Poster showing the American flag waving among clouds. Reproduced by the New Columbus Lithograph Co. Signed with chop and dated in plate. Includes text "The Flag Speaks" by Franklin K. Lane. Issued by National Americanization Committee, 29 West 39th St., City of New York.

Buildings and connecting roadways, mountain range in background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-5. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bird's-eye view of center grounds showing buildings, roads and mountains in background. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Visitors of all ages view an exhibit of Ansel Adams' photographs of Manzanar and sculpture displayed on walls and tables. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-42. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: Honolulu Academy of the Arts, Honolulu, HI, and other venues, 2006-2007.

Bird's-eye view of grounds from guard tower; view west, showing buildings, roads, and Sierra Nevada mountains in background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-4-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Rows of camp houses at the base of mountains. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-26. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Two way traffic in the camp, and camp buildings. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-27. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Rows of camp housing, covered on the outside with tarpaper, snow-covered mountains in the distance. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-25. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: American Treasures of the Library of Congress, 2002-2003.

A selection of primary sources exploring historic maps presented by the World Digital Library. This set also includes a Teacher's Guide with historical context and teaching suggestions.

This collection of Liberia maps includes twenty examples from the American Colonization Society (ACS), organized in 1817 to resettle free black Americans in West Africa. These maps show early settlements in Liberia, indigenous political subdivisions, and some of the building lots that were assigned to settlers. This on-line presentation also includes other nineteenth-century maps of Liberia.

Students use Library of Congress primary sources to understand the impact of the Erie Canal on the economic and social growth of New York and the nation.

Poster showing a marine at attention and a small scene of marines on the deck of a battleship. Enlist at 24 East 23d Street, New York. Forms part of: Willard and Dorothy Straight Collection.

Students use Library of Congress primary sources to examine the influences that growing up around Hannibal had on Mark Twain's work.

Poster showing god of war Mars, in Roman dress, encouraging British munitions workers (i.e., god of fire Vulcan) to supply armaments for the troops seen in the background. Title from item.

Poster showing god of war Mars, in Roman dress, encouraging British munitions workers (i.e., god of fire Vulcan) to supply armaments for the troops seen in the background. Title from item.

Highlights from the past and present of Maryland, from the rich online collections of the Library of Congress.

Masao Nakazawa, chemistry teacher, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-28. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Another commentary on the Texas question (see "Texas Coming In," no. 1844-28), illustrating Democratic campaign strategy as advanced by Andrew Jackson. The idea of the annexation of Texas, repudiated by many of the early presidential candidates in the field, including Henry Clay and Martin Van Buren, was embraced by Democratic nominee James K. Polk. As the campaign developed the Texas question became an important issue. The artist shows it to be a decisive weapon for the Democrats against Clay and his pro-Bank platform. The "masked battery" is a large cannon fired by Polk and the diminutive Democratic senator from Mississippi Robert J. Walker. Walker's February letter defending annexation had brought the Texas issue to the fore in the campaign. The cannon has been "masked" or hidden from the Whigs on the left by two rows of knights, among whom are Van Buren and Calhoun (carrying flags of their respective states, New York and South Carolina) and John Tyler and Richard M. Johnson. In a balloon above the scene appear Andrew Jackson's "General Orders" on the campaign strategy: "Let the enemy expend their fire on the veteran candidates in Armor [Van Buren, Calhoun, et al], drawn up before the Battery so as to hide it perfectly. Then, when the enemy is prepared to charge, open suddenly to the right and left in double quick time, and let go the big Gun charged with Texas." Polk, lighting the charge, says "Alas poor Harry! You should not have stood by that Bank and opposed our younger sister State who asks our help." At left, Henry Clay, Daniel Webster, and other Whigs are felled by the "Texas" cannonball. Clay is knocked into a column of the U.S. Bank, which breaks and topples the building. Clay: "Oh! who would have thought that behind those leaders they had a commander-in-chief & a masked battery, with my old enemy [i.e., Polk] I d--d to H--l, on the Pensylvania avenue. How did he come here? I'm a gone coon!" Clay refers to his celebrated outburst against then-Speaker of the House Polk in 1838. (On this, see "Scene in Washington," no. 1838-16). Clay's running-mate Theodore Frelinghuysen appears at the far left as a devil in clerical robes, weighed down by an immense "Bag of lies about the Loco Foco Candidates not yet paid for." He says, "The main pillar of the Bank broken! who is now to pay me for all the lies I had stored up in Washington against the Loco Foco candidates? It is too late to make up any about Polk & Dallas, & I shall never be paid unless I take my men on whom the Bank is falling." |Entered . . . 1844 by James Baillie, N.Y.|Lithography and print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Official records show that the print was registered for copyright on June 28, 1844. The Library's impression is inscribed with the deposit date of July 1.|Signed: H. Bucholzer.|Title appears as it is written on the item.|Weitenkampf, p. 75.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-29.

An imaginative but puzzling commentary on sectional tensions over slavery between New England abolitionists and southern agrarian slaveholders. In his sweeping satire the artist also portrays a considerable hostility toward blacks as existing among various ethnic groups, including the Germans, French, Irish, and Scots. The title and main conceit here play on the differing regional cuisine: Cod-Fish as the staple of the North and, for the South, "Hopping-John," which he identifies as "Stewed Rice, Cow-Peas, & Bacon a Noble & invigorating dish much in Vogue," and "Johnny-Cake" or "Indian Corn-Bread the stamina of the South." A crowd has gathered at a wharf to witness a confrontation between a man draped from head to foot with cod-fish and onions and a wealthy southerner (center). The former grips the hand of a black youth (far right) and declares "Massachusetts never will relax in her demand, for this gentleman and friend of mine [i.e., the black man], enjoying his rights & protection, in the true spirit and meaning of the Constitution of the United States." A young woman stands at the man's side, her arm around his, and reassures the black youth, "Poor Soul Sir will do all he can to save you, from these wretched varmints." The southerner, who is dressed in white breeches, riding boots, and coat, reacts angrily, waving his riding crop, "There lies your path! be off at once, with that Black Villain for we are resolutely determined to permit no innovations in our Constitution and Sacred Laws at the hazard of Life & Fortune." A stout man in a long coat to the left chimes in on the southerner's behalf, "Why you must be a downright Ass to presume that our Sacred Constitution and Laws can be altered to suit your nonsensical Cod-Fish and Onion Notions." The black man, who is barefoot, says to his protector, "Ole Massa I tink wee best go way kase dees Bockara is blongst foh make Swonga dat fashion. But dem hadn't ought foh call you ole ho! Dem is too Cubbitch to gie me right!" Various comments come from the crowd. An Irishman: "Tunder & turf de darn Nagur has nie call wid de Repeal My honey." The Repeal movement was a source of strife in Ireland at the time (see "O'Connell's Call and Pat's Reply," no. 1843-1.) A Frenchman: "Vous etes bougres black dem rasskal. Je ne parle wis un Diable." A German or Dutchman: "Verdam black baese quiesta. Der fisch isch more schtink auer saur-Crout und kase!" A club-wielding Scotsman: "A'l noke ye doon ye black veelain gin ye 'mak anither wee whimper." Another man: "Hold your jabbering You black Son of a ----." Several slaves and their master appear at far left. The slaves remark, "Please ole massa let me gie that Yankee Nigga one Punch in e gut," "Ole Massa Chase it foh ebery body gwine free," and "Hold you mout you is one dam fool." In the foreground sits a large cannon with mottoes inscribed: "Pro Patria" and "Animis opibusque parati." Beneath the cannon a pile of spilled coins, "Our Blood & Treasure."|James Akin of South Carolina Lithographer, Philadelphia, April 1845.|Published at no. 18 Prune St. Philad.|Title appears as it is written on the item.|Purchase Caroline and Erwin Swann Memorial Fund.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-6.

Highlights from the past and present of Massachusetts, from the rich online collections of the Library of Congress.