“You asked my opinion of the portrait,” Frederick Douglass informed his white Irish editor and publisher, Richard Webb, regarding the frontispiece accompanying the publication of the first Dublin edition of his autobiography in a letter written from Edinburgh, Scotland, in January 1846, “I gave it, and still adhere to it. That the picture don’t suit is no fault of yours—or loss of yours—I am displeased with it not because I wish to be, but because I can[‘]t help it. I am cirtain [sic] the engraving is not as good, as the original portrait. I don’t like it, and I have said so without heart or thunder” (Letter to Richard Webb). For Douglass who spent a life-time engaged in stage-managing and choreographing the circulation of his face and body within a vast photographic archive over which he exerted full control, Webb’s newly commissioned “picture” traded in a white racist burlesque of Black humanity that offered nothing less than a grotesque insult to his “original portrait.”1

中文翻译：

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“在大理石中保留我的特征”：弗雷德里克·道格拉斯 (Frederick Douglass) 的内战后绘画、素描、雕塑和草图。插图散文

“你问过我对这幅肖像的看法，”弗雷德里克·道格拉斯 (Frederick Douglass) 在 1846 年 1 月在苏格兰爱丁堡写的一封信中，对他的爱尔兰白人编辑兼出版商理查德·韦伯 (Richard Webb) 谈及他的自传第一版都柏林版出版所伴随的卷首画， “我给了它，并且仍然坚持它。图片不适合不是你的错——也不是你的错——我对它不满意不是因为我希望如此，而是因为我无法帮助它。我很确定 [原文如此] 雕刻不如原始肖像。我不喜欢它，我这么说是不带感情的，也不是雷鸣般的”（给理查德·韦伯的信）。对于道格拉斯一生从事舞台管理和编排他的面部和身体在他完全控制的庞大摄影档案中的循环，