This postscript focuses on Portrait du citoyen Belley, ex-représentant des colonies, a painting by Anne-Louis Girodet depicting the first black deputy to the National Convention during the French Revolution in which Jean-Baptiste Belley is shown standing alongside a bust of Guillaume-Thomas Raynal, the author of Histoire des deux Indes. The painting, which is eerily similar to Firmin Massot's Mme de Staël à côté du buste de son père Jacques Necker, weaves together the diverse constructions of fathers, daughters, and slaves explored in this book. Girodet's white-and-black dyad, used by Germaine de Staël to address her relationship with her father, is consistent with the notion that women abolitionists were strongly attached to their fathers and with people of black, mixed-race, or African descent.
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