Rebellion November 1837     
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Scenes from Nat Turner's rebellion
Engraving representing scenes from Nat Turner's rebellion in Virginia in 1831. The same figures appeared in the 1835 engraving of the Seminole war -- purchased from the same company. Library of Congress, Rare Book and Special Collections Division, LC-USZ62-38902.

More on the engravings

According to Marcus Wood in Blind Memory: Visual Representations of Slavery in England and America, in the early 1800s, newspapers routinely used such "types," as they were called, to represent various classes and events in society. Only a limited number of types were available for sale, which led to near-standard print representations of Indians and African Americans. The practice not only contributed to stereotyping, but may have produced the word, which has been standard in English only since the early 20th century.
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Noble Savages

Notably, Catlin was not commissioned to paint the blacks. While Indians were lionized as noble defenders of the land, blacks received the silent treatment, comparatively speaking. No one invited John Horse to a ball.

Steeped in Romanticism, Americans took pride in their continent's rebellious Indians, who vividly reminded them of the country's frontier heritage and westward ambitions. Rebel blacks, on the other hand, reminded Americans of uncomfortable truths about slavery, an institution threatening to destroy the fabric of the young republic.

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Part 2, War: Outline  l  Images
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 Trail Narrative
 + Prologue
 + Background: 1693-1812
 + Early Years: 1812-1832
 - War: 1832-1838
+ Prelude to War
+ Revenge
+ Deceit
+ Liberty or Death
spacer spacer Captivity
Noble Savages
Liberty or Death
Osceola's Death
Star of the Nation
Jesup's Proclamation
The Decision
 + Exile: 1838-1850
 + Freedom: 1850-1882
 + Legacy & Conclusion