Ranavalona I (1828–1861): No face to a name that marked Madagascar’s history

Ranavalona is a renowned historical figure known for being a formidable sovereign who resisted European domination and harshly repressed Christianity in her country. However, her official portrait is not genuine, as she never posed for anyone!

Ranavalona: A name that evokes "Authority and Nationalism”

An unusual path to the throne

Born around 1788 to a cousin of King Andrianampoinimerina, Ramavo was adopted by the king’s elder sister. She rose to the ranks of the Malagasy aristocracy, bearing a name already tied to royalty: Rabodonandrianampoinimerina. She was chosen to marry the future King Radama, making her a key figure in Madagascar's history as a symbol of authority and nationalism.  

Her ascension to the throne in 1828, upon Radama's death, showcased her determination, discipline, and courage. Though not the legitimate heir—Rakotobe, the eldest son of Radama’s elder sister, was the rightful successor—she claimed the throne with the support of several courtiers and senior officers, including Andriamamba, Andriamihaja (her future husband), Rainijohary, and Ravalontsalama.

A great sovereign: Authoritarian and Nationalistic

At the beginning of her reign, Ranavalona continued her late husband’s modernization efforts. However, she grew increasingly aware of the looming threat of colonization by either the British or the French. French forces had begun seizing strategic points along Madagascar’s eastern coast, while the British gradually eroded Malagasy customs through Christianity.  

Ranavalona fiercely resisted European influences, particularly Christianity, with legendary fervor and severity. She harshly suppressed the practice of Christianity among her people, banning communion, baptisms, Bible teachings, and home religious gatherings. In 1835, after persistent defiance, she expelled British missionaries from the island.  

Despite her staunch opposition to European culture, Ranavalona continued to modernize Madagascar with the help of Jean Laborde, an adventurer whose ingenuity proved beneficial to the kingdom. Laborde’s contributions included advancements in metallurgy, chemistry, glassmaking, papermaking, sugar production, and soap manufacturing. However, blinded by her holy war, the queen eventually ordered Laborde’s exile.  

During her reign, Ranavalona successfully repelled attacks by French and British forces and relentlessly pursued Malagasy Christians, many of whom became martyrs.

Ranavalona: No authentic portrait of the Queen

Ranavalona rejected all forms of European influence that could undermine Malagasy culture and identity. She refused to have her likeness reproduced, believing that photography stole the soul and thus killed the subject. She attributed her husband Radama I's untimely death to his decision to have his portrait painted by the artist Coppalle in 1826; Radama died two years later in 1828.

The role of missionary William Ellis in the Queen’s portrait

British missionary William Ellis arrived amidst this turbulence in 1856 and witnessed Ranavalona’s violent campaign against Christianity. He stayed for a month (August–September 1856) during her reign, returning in 1862 at the invitation of King Radama II. As the court photographer from 1862 to 1865, Ellis photographed members of the royal family, including Rabodo, Ranavalona’s niece and the future Queen Rasoherina.  

Back in England, Ellis donated portions of the Malagasy Christians’ preserved Psalms to the British and Foreign Bible Society Museum. These pages were exchanged for a complete Bible, reflecting his admiration for their devotion.  

Ellis’s photograph of Rabodo later inspired architect Ramanankirahina Philippe (1860–1916) to create Ranavalona I’s portrait, which entered colonial historiography and official memory.

The Queen’s portrait: Fact and Fiction

In Ellis’s photograph, Princess Rabodo is shown in a long dress with pleats and small bows on the front, holding a handkerchief, her hair parted and styled with small braided flowers. Ramanankirahina’s rendition added vibrant colors, a long purple cape, and a royal crown. The queen’s expression was hardened, likely influenced by descriptions from foreign visitors, including Ellis himself.  

In his writings, Ellis described Ranavalona as a petite but robust woman with a round face, well-formed forehead, small eyes, and a short, narrow nose. Her lips were thin and well-shaped, her chin slightly rounded, and her head and face proportionate. At 68 years old, she appeared healthy and wore a gold-plated crown adorned with ornaments, likely including a crocodile tooth, as well as necklaces and large gold earrings.

Helihanta RAJAONARISON

The Social Uses of Photography in Antananarivo (Mid-19th to Mid-20th Century), PhD Thesis, University of Antananarivo, 2014, 523p.

Professor of History, University of Antananarivo

President of the Museum of Photography of Madagascar