Divinity and Identity: Symbolism in Early America

Like stained glass images adorning Catholic Cathedrals across the world, Americans told the story of their nation with symbols of divinity. In early America, citizens represented themselves with in art and alluded to the values important to the young republic. Even in the architecture of the country’s capital there are references to their self assigned role as a classical Greco-Roman empire. A newly born nation in the late 18th century was discovering what the country was to represent. Over time, the early American’s developed their national identity through symbols of divine conception, classicism, and patriotic ideals of liberty.

The conception of America, like Jesus Christ, was believed to be immaculate. Illustrations depicting biblical images show how early Americans romanticized their origin. In Benjamin Franklin’s reverse design

of the U.S. Seal, the divinity of our Nation’s birth is unmistakable. Like Moses leading the Israelites, America would similarly be lead to salvation. Instead of a Pharaoh in Egypt, however, the colonists were embarking on an exodus from Britain. With divine intervention, they would be lead to the land of milk and honey. This narrative of revolution was easy for the overwhelmingly Christian colonies to identify with and understand. Furthermore, it was in Franklin’s nature to promote dramatic images of violence to sway groups toward his cause. In his earlier works he used similar dramatic imagery like the the dismembered Britannia, or the dissected snake, during a time of heightened political tension. By relating the British to the Egyptians who refused to let the Israelites go, Franklin was showing that the revolution was in God’s hands. Only He would lead the Revolutionaries to the promise land. The tyrannical British, like the Egyptians, were relentless in their pursuit of oppression. The Red Seas is parted in Franklin’s illustration, and the Americans are seen escaping British rule in a rebellion ordained by God.
The Apotheosis of Washington continues the theme of divinity in American art. In the image, the first American president is crowned like a god. As an angel hovers a halo above his head, he looks toward Mt. Vernon. He was resurrected like Christ. Washington in the eyes of Americans was untouchable. He was morally untainted; his essence was purely patriotic. He symbolized the revolution, and the success achieved by the founding generation. He was the father of the budding empire. Americans saw themselves as a new nation in the image of Washington. While the actual Washington may not have been divine, the images of his likeliness, nonetheless, are symbolic of American’s interpretation of themselves and the men who created the country. Andrew Burstein notes in Immortalizing our Founders, that “romantic truth [can] supplant actual fact.” To many Americans, it was irrelevant whether or not Washington was truly godlike. Instead, American’s prized the symbolism in Washington. He was more than a man, he was America. Through their first President, American’s were glorifying themselves. This self assigned uniqueness inspires the narrative of a divinely blessed nation.
Dressed in robes reminiscent of classical Roman statues, John Adams and Thomas Jefferson’s marbled expressions seem impassive. Compared with the saintly Washington glorified in heaven, Adams and Jefferson seem human. They are unpolished and imperfect. Jefferson and Adams lived during a time when clothes symbolized ones rank in society. Romans, however, chose not to hide under extravagant clothing. Instead of an expensive cravat or ornamental coat, the two men are depicted through sculpture as wearing a toga in a Greco-Roman tribute. Using simple garments like the ones shown, takes the focus away from their aesthetics and accentuates their intelligence. The artist is showing that America is like a modern republic created at the hands of these intellectual visionaries. What is unusually unique about these busts, however, is the striking imperfections. Adams, with a wrinkled frown and Jefferson’s commanding nose and brow do not resemble the glowing Washington floating in heaven. While most American’s wouldn’t recognize these busts for the men they accurately resemble, these depictions show us that Jefferson and Adams were not Gods, they were men. Upon their deaths on the same July fourth day, Burstein writes how they were eulogized as “high minded sages,” and not as Gods like George Washington. Instead of the savior that Washington represents, these men are instead depictions of deep thinkers and intellectuals. From America’s divine conception, and noble battle against the tyrants from Europe, the creation of a government was not done by Gods, but by classical philosophers.
In a typical portrayal patriotism, Washington Crossing the Delaware, is saturated in myth.

Although Washington wears no divine crown, he maintains an unquestionable authority. He is the general of the ship, and the general of America. The image portrays a wide array of characters. An androgynous individual sits beside an Indian, a black man, and a men of the frontier. They all row under an American flag that had yet to be created. Adorned in their hodgepodge of makeshift uniforms, the boat is not just carrying the crew to victory, but toward liberty. This is the grand idea of the American Revolution. To most Americans, the Revolution wasn’t a Civil War, but a war against tyrants. Romancing the war in this way is tempting. Instead of a civil war with lukewarm popularity, a fight with a cruel antagonist for liberty makes for a better story. Yet, what this symbolic painting misses is that not all were sailing toward freedom. Sadly, unlike the mythical boat, the black man was actually rowing towards years of bondage; and the Indian removal from his land. Nonetheless, the painting is inspiring. It shows what America could be at its

best.
Molly Pitcher, in the 1856 painting is donning a dress as she helps load a cannon. By her feet lies her dead husband and an empty pail of water. Although death and violence surround her, she looks sternly toward the enemy. Interestingly, the juxtaposition of masculine and feminine qualities gives the audience competing ideas of who she might have been. This idealized image of what many believed to be true, however, is myth. Although the legend has infiltrated text in school books, Molly Pitcher is folklore. While this heroine is fake, there were many women who actually participated in Revolution. One account of a “real” Molly Pitcher type warrior—actually called Captain Molly—died from syphilis, which is not quite the most patriotic way to go. Another female American patriot, Deborah Sampson, dressed as man to face combat against the British. In this case, however, Sampson’s story is less appealing. Challenging gender norms of the late 18th century, Sampson’s story was initially alluring to America. She earned money touring and talking of her experience as a solider. However, as Anne Lombard suggests, gender classification strongly solidified in the early 19th century. Sampson’s story eventually became provocative. While Sampson and “Capt. Molly” may have been forgotten, Pitcher still existed beyond just imagination to may Americans. One reason may be Molly’s representation in history was non threatening to gender roles of the time. Although there seems to be a mix of feminine and masculine characteristics, she nonetheless was called into battle as she served men. Moreover, the husband still has his place in Pitcher’s story and the image. Compared with a Sampson figure who herself would reap all the glory in battle, the 19th century portrayal of Molly Pitcher is much easier to handle because it didn’t challenge how society viewed women.
Ultimately, the 19th century illustrations of Molly and Washington represent something more than fabrication and patriotic zeal, they represent American’s overcoming the unlikely. Like David overcoming Goliath, these depictions represent determination, courage, and unity during war. Featured front and center is the theme of a glorified protagonist. During a time when paintings and art were the only way to represent a culture, artists illustrated and idyllic America. With art, it was possible to create symbols and shape how Americans see themselves and their county. Self promotion in this way is a vessel for future generations bask in the “glow” of America’s past. The generation that created our laws and government, was to early Americans, was distinguished and worth preserving with symbolism. Creating a national identity through art allowed American’s to rally around a shared idealized history.
As the United States grappled with it’s immortalized past that was depicted in statues and symbols, legacies of individuals were dissected for only the good—or the bad—depending on who was doing the scrutinizing. In a constant battle of good vs. evil, America could do no wrong. To early Americans, it seems the beauty of the past was the only thing worth preserving. The idyllic America shown in Washington Crossing the Delaware was the American they wanted to believe in. The leaders of the revolution were the demigods they wanted to worship; the myths, like Molly Pitcher were the stories they wished to be true. To them, their country’s destiny was to be the divine heroes in history’s long battle for liberty and justice for all. Yet, by ascribing to this belief, the achievements were worshiped and the defeats were ignored. This may have been a search for a national identity and purpose, but by refusing to see the imperfections in a shared history, it is ultimately impossible to understand one’s own society.