The Dark Side of Monticello

This article from the Smithsonian is not so much about Jefferson's "dark side" as it is about the dark side of the society into which he was born, a society marked by slavery.

The very existence of slavery in the era of the American Revolution presents a paradox, and we have largely been content to leave it at that, since a paradox can offer a comforting state of moral suspended animation. Jefferson animates the paradox. And by looking closely at Monticello, we can see the process by which he rationalized an abomination to the point where an absolute moral reversal was reached and he made slavery fit into America’s national enterprise.

We can be forgiven if we interrogate Jefferson posthumously about slavery. It is not judging him by today’s standards to do so. Many people of his own time, taking Jefferson at his word and seeing him as the embodiment of the country’s highest ideals, appealed to him. When he evaded and rationalized, his admirers were frustrated and mystified; it felt like praying to a stone. The Virginia abolitionist Moncure Conway, noting Jefferson’s enduring reputation as a would-be emancipator, remarked scornfully, “Never did a man achieve more fame for what he did not do.”

Thomas Jefferson’s mansion stands atop his mountain like the Platonic ideal of a house: a perfect creation existing in an ethereal realm, literally above the clouds. To reach Monticello, you must ascend what a visitor called “this steep, savage hill,” through a thick forest and swirls of mist that recede at the summit, as if by command of the master of the mountain. “If it had not been called Monticello,” said one visitor, “I would call it Olympus, and Jove its occupant.” The house that presents itself at the summit seems to contain some kind of secret wisdom encoded in its form. Seeing Monticello is like reading an old American Revolutionary manifesto—the emotions still rise. This is the architecture of the New World, brought forth by its guiding spirit.

In designing the mansion, Jefferson followed a precept laid down two centuries earlier by Palladio: “We must contrive a building in such a manner that the finest and most noble parts of it be the most exposed to public view, and the less agreeable disposed in by places, and removed from sight as much as possible.”

The mansion sits atop a long tunnel through which slaves, unseen, hurried back and forth carrying platters of food, fresh tableware, ice, beer, wine and linens, while above them 20, 30 or 40 guests sat listening to Jefferson’s dinner-table conversation. At one end of the tunnel lay the icehouse, at the other the kitchen, a hive of ceaseless activity where the enslaved cooks and their helpers produced one course after another.

During dinner Jefferson would open a panel in the side of the fireplace, insert an empty wine bottle and seconds later pull out a full bottle. We can imagine that he would delay explaining how this magic took place until an astonished guest put the question to him. The panel concealed a narrow dumbwaiter that descended to the basement. When Jefferson put an empty bottle in the compartment, a slave waiting in the basement pulled the dumbwaiter down, removed the empty, inserted a fresh bottle and sent it up to the master in a matter of seconds. Similarly, platters of hot food magically appeared on a revolving door fitted with shelves, and the used plates disappeared from sight on the same contrivance. Guests could not see or hear any of the activity, nor the links between the visible world and the invisible that magically produced Jefferson’s abundance. (Read entire article.)

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