Poster showing a small girl sitting amid ruins, holding a bouquet of forget-me-nots. Title from item.

Poster showing cranes in a shipyard. Produced by Signal Corps, U.S.A. and Committee on Public Information.

The story of John Horse and the Black Seminoles has been largely untold, but according to Professor Amy Sturgis of Signum University, it deserves to be remembered. Not only did they create the largest haven in the U.S. South for runaway slaves and lead the largest slave revolt in U.S. history, but they also secured the only emancipation of rebellious slaves prior to the U.S. Civil War. In this video, Professor Sturgis tells the incredible story of the Black Seminoles.

On May 27, 1861, Benjamin Butler, commander of the Union army in Virginia and North Carolina, decreed that slaves who fled to Union lines were legitimate "contraband of war," and were not subject to return to their Confederate owners. The declaration precipitated scores of escapes to Union lines around Fortress Monroe, Butler's headquarters in Virginia. In this crudely drawn caricature, a slave stands before the Union fort taunting his plantation master. The planter (right) waves his whip and cries, "Come back you black rascal." The slave replies, "Can't come back nohow massa Dis chile's contraban." Hordes of other slaves are seen leaving the fields and heading toward the fort.|Title appears as it is written on the item.|Weitenkampf, p. 126.|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 1861-37.

In this activity students consider different viewpoints on whether former slaves should be given land at the end of the Civil War. Students read one of five primary sources and summarize the author's viewpoint. This activity makes a good introduction to a unit on Reconstruction or to sum up a unit on the Civil War. This activity was designed to help students with language processing challenges synthesize historical documents.

The title continues: "Breaking up of a Grand Spree in the Tea Room & total abflustification of the common scoundrels." Weitenkampf calls the print a satirical look at members of the New York Common Council "after a spree of eating and drinking," and cites two others by Elton. The artist also suggests corruption in that Tammany-controlled civic body, a center of Democratic power in 1840. It is a crowded scene of drunken merriment. In the foreground are several comical figures in various attitudes, including a reeling heavy-set man who says, "I'm affraid I've not done me juty to me w-a-r-d this evening, let me see what I've had: three Oyster stews . . . " He leans on a smaller man who says, "Don't make yourself uneasy Sir, if you havent done your duty on this occassion, I would like to see the man who has & if there is such a man all I want is his Daguerreotype Likeness to hang on the inside of my shirt to remember him by . . ." (Daguerreotypes were first introduced in 1839, and portrait studios had opened in several major cities in the United States by early 1840.) On the right two others converse. One, with a bulbous red nose, lifts his glass aloft. The second holds a bag marked "40,000." The first says, "Ah! that's the talk! let me see with that amount of stuff, I can cut out forty pairs of pantaloons with a thousand sets of trimmings for each man, o yes Sir depend on it, the documents shall be forthcoming!" The second, "Here is the Stuff for pantaloons & I hope now you will put that matter through & let me have the contract without delay." In the middle ground left a black manservant holds a tray of cups before the open door to a "Tea Room."|For sale at 124 Nassau St. N.Y.|Probably drawn by John L. Magee.|Title appears as it is written on the item.|Murrell, p. 162, 164.|Weitenkampf, p. 68-69.|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 1840-1.

Poster showing a figure of Columbia, brandishing an American flag and a shield, riding an eagle as she leads a large squadron of airplanes.

Poster showing a mounted soldier brandishing a sword, his horse at full gallop. Poster no. 133. Wt. W9488/586 25m. - 9/15. Title from item.

A selection of Library of Congress primary sources exploring found poetry and the ability to retell history from one's own perspective. This set also includes a Teacher's Guide with historical context and teaching suggestions.

Students use Library of Congress primary sources to create poetry based on the language found in Depression Era oral histories.

An illustrated broadside reviling four Rhode Island Whigs who broke party ranks to support a popular movement to free imprisoned radical Thomas Wilson Dorr. (On the Dorr Rebellion see also "Trouble in the Spartan Ranks, Tyrants Prostrate Liberty Triumphant," and "The Great Political Car and Last Load of Patriots," nos. 1843-6, 1844-19, and 1845-5.) The broadside's author alleges political opportunism in the alliance of (left to right) Charles Jackson, Samuel F. Man, James F. Simmons, and Lemuel H. Arnold with Democrats to support a "liberation" ticket in the spring elections of 1845. This notice, evidently published after the April canvass, laments the election of "an obscure individual like [President James K.] Polk" and "a pompous, self-conceited man like [Gov. Charles] Jackson" as well as "Foreigners, ignorant, barbarous and uncivilized," "radicals, disorganisers, and abolitionists assuming to be jurists" in general. The author exhorts the reader, "Let us not reward Traitors, but with just indignation abandon them as 'Scape-Goats,' to their destiny--forever." The "Four Traitors" are crudely caricatured. Jackson holds a proclamation of liberation, probably the act of June 1845 pardoning Dorr. Samuel Man is depicted as obese, sitting in a chair and holding an infant. Simmons thumbs his nose at Man, and his own coattails are in turn held by Lemuel Arnold. A verse appears below them: O, heaven that such companions thou'dst unfold; / And put in every honest hand a whip / To lash the rascals naked through the world.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-4.

One of three anti-Lincoln satires published by Nichols in Boston at around the same time. (It was deposited for copyright on June 30, 1863, along with "Oppression!! Suppressing the Press" and "The Great American What Is It? Chased by Copper-heads" nos. 1863-6 and 1863-8). The present cartoon criticizes the Lincoln administration's mismanagement of the war, the "Four Years Contract" being the presidency. A barefoot Lincoln sits on a log labeled "Fredericksburg" (site of a major Union defeat under the leadership of Gen. Ambrose E. Burnside) and holds an ax between his legs, as he receives four members of the "Committee on War" at left, who also carry axes. He says to himself, "My axe is as dull as theirs so I hid it between my legs." The Committee on the Conduct of the War was formed in 1861 to investigate recent Union military failures. In front of them is a woodpile with logs inscribed with the names of Southern cities, such as "Richmond," "Mobile," and "Charleston." Ensconced in the pile is a tiny black man who cries out, "Massar.r.r." Beneath a nearby grindstone lurks a copperhead (nickname of the Peace Democrats, who opposed Lincoln's wartime policies). The members of the committee (from left to right) report: Man with top hat: "Mr. President. There is a nigger in the woodpile dont you here him holler. Old song." Second man: "Abe., We found Fremont [Union Officer John C. Fremont] all run out, but we have fixed him up as good as new and I invented the first lie about McClellan." In 1862 Gen. George B. McClellan was relieved from command of the Army of the Potomac (some said for political reasons) and later became the presidential candidate of the Peace Democrats. Bareheaded man: "Abe--I've been in Mac's Com-sary department and found the provisions good, as I stole a sheep that he left in Maryland and twas excellent." Man carrying a large book "Committee on War Full Report": Mr. Pres. We've got axes to grind, as they got dreadful dull in trying to cut up McClellan's character & by the way cant you do something for us now?" Lincoln addresses them: "Sirs; Your report is recieved with profound pleasure, and your shall be great; but ther's a blasted Copperhead under the grindstone so that if you grind here you'll get bit and that is sure death. 'Mac' is the only one that can handle 'em, so I dont see what I'm going to do. 'Mac' gave that Richmond log a good crack and if I hadn't stole his Wedge, he would have split it sure and if my heels want so long I'd go to Trenton and get him back. I am this moment getting a despatch from Fr so I must bid you all good day. 1st News Good, Good, Good. 2nd News Thunderation!" The term "Copperhead" referred to Peace Democrats and others who advocated a negotiated reconciliation with the South. A Union officer behind Lincoln cuts with his ax into the Fredericksburg log, on which lies another copperhead. He announces, "1st Despatch Copperhead cut off, his capture certain. 2nd Despatch He has escaped through the gap and threatened our positions." In the right background, "Stone-Man" a figure made of stones standing on a horse, comments, "Mr. Pres. I have been to the rear and owing to my great weight I have broken down a number of bridges." The figure no doubt represents Gen. John Stonemen, commander of Union cavalry during the recent defeat at Chancellorsville. At far left a two-headed man, "Wilke's Spirit by a Medium," observes, "Mac is a slow hoss but there's no use in trying to run him down." In November 1861 Union naval officer Charles Wilkes captured Southern diplomats James Murray Mason and John Slidell on the "Trent," a British merchant ship. Beside him is a sign "Lies told for cash." In the distance are a dog, a rooster, a horse, and a boxing match.|Entered . . . 1863 by E.W.T. Nichols . . . Mass.|The Library's impression of the work was deposited for copyright on June 30, 1863. |Title appears as it is written on the item.|Weitenkampf, p. 139.|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 1863-7.

Women working in a factory. Signed: L. Jonas. Promotional goal: U.S. G2. 1918//Fr. F34.J7. 1918. Item is no. 180 & 234 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.

Since the first successful oil well in 1859, the U.S. has drilled millions of wells for oil and gas. Drilling surged with demand, technology, and geopolitics, with notable periods like the post-WWII boom and the fracking-driven increase in natural gas wells. This progress has brought economic benefits and energy shifts, yet also raised environmental and social concerns.

Four lesson plans developed by the Coquille Tribe of Oregon for fourth-grade students.
Lessons include:
1) People Groups - This lesson will give students a foundational aware- ness of the Indigenous, sovereign people groups who live in what is now known as Oregon—their history, their culture, and the issues that continue to impact them today. When undertaking the study of Indigenous people, it is important to begin with their long history on the land. Indige- nous people have lived in Oregon for thousands of years, in established communities, with estab- lished social structures, languages, and cultures. They were—and are—deeply and inextricably connected to the land.
2) Sea Otters - In this lesson, students will learn about the import- ant role of the sea otter in the history and tradi- tional life of the Coquille Indian Tribe. They will also learn about the long-term impact the European fur trade had on the population of this magnificent creature and how the sea otter’s virtual extinction damaged the ecosystem of the Oregon Coast. Stu- dents will then learn how to identify and diagram the sea otter’s internal and external structures (i.e., the organization of the inside and outside body parts that form a living thing) and describe how the purpose of these structures supports sea otter survival. Finally, students will create an educational poster or pamphlet that provides an overview of the sea otter and its impact on the traditional life of the Coquille Indian Tribe.
3) History of the Coquille Indian Tribe - This lesson will give students a general knowl- edge of the history, ancestral territory, and traditional lifeways of the Coquille Indian Tribe. Working in groups, students will use maps, make predictions, and participate in a close reading of
a written text that allows them to check their pre- dictions. The text provides other interesting facts about the Tribe, which should provide informa- tion and generate questions that can guide their learning in subsequent lessons about the Coquille Indian Tribe.
4) Coastal Lifeways - The Coquille Indian Tribe flourished on Oregon’s southwestern coast for thousands of years in a homeland encompassing more than a million acres. The Tribe’s ancestral and modern lands of interest include significant portions of Oregon’s Coos, Curry, Douglas, Jackson, Josephine, and Lane counties. The Coquille traditional lifeways are deeply tied to the coastal environment. This lesson provides students with the opportunity to gain specific knowledge about important elements of the Coquille coastal lifeways.

The artist's portrayal of Harrison's rout of Van Buren reflects strong Whig confidence late in the presidential campaign of 1840. Van Buren is shown as a fox, with a bird (an albatross?) labeled "Treasury" around his neck. He flees from a pack of barrel-trunked hounds, and from Whig senators Daniel Webster (center) and Henry Clay, toward the White House steps. From the steps William Henry Harrison warns him away with a pitchfork. Van Buren: "I must get to cover as soon as possible, my race is nearly run! D---n these cider barrel hounds." Harrison: "Oh ho! you are making for the White house my boy! but it's no longer a cover for you, I'm put here to keep you out of it!" Webster: "He is nearly run out! he will not go another turn! see how his tail droops!" Clay: ". . . Look out General or he'll get into his hole!" The barrels are labeled "Tip's Dog," "Hard Cider 1841," "Reform 1841," and "Better Times." |Entered . . . 1840 by J. Childs.|Published by J. Childs no. 90 Nassau St. New York.|Signed with monogram: EWC (Edward Williams Clay).|The Library's impression was deposited for copyright on August 26, 1840, but was actually registered for copyright earlier, on August 14. Printed in the lower left margin is "Price 25 Cents."|Title appears as it is written on the item.|Weitenkampf, p. 65.|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 1840-50.

Again Van Buren's flirtation with radical interests is portrayed as his downfall. As in "The Modern Colossus" (no. 1848-56) antislavery activist Abby Folsom (here "Abby Fulsome") is prominently featured. Here she witnesses Van Buren's flight from various foes, each depicted as an animal. In pursuit of Van Buren are Zachary Taylor (as an alligator), and senators Thomas Hart Benton (a bull), John C. Calhoun (a lion), and Daniel Webster (an elephant). Taylor vows, "I'll swallow him directly," while Webster says, "Let me put my foot on him." A crane "Poke," actually incumbent Democratic President James K. Polk, swoops toward the fleeing fox from the sky. On the left stand editor Horace Greeley, Folsom, and longtime Van Buren ally Benjamin F. Butler. Greeley tells the fox to "Run under my white coat Matty. It will not be the first time that it has covered a fox. But, cheer up, for there is still balm in Gilead. You shall be the candidate of the Fourierites [i.e., members of the reform movement championed by Greeley]." Folsom laments, "Now that he has doubled on his track & come over to us, what a pity that we can't save him!" Butler exclaims, "Alas! Alas! is this the end of my devotedness, my martyrdom, & above all, my state preaching?" Van Buren replies, "It's no use friends, my cake is all dough, as my face used to be. Why did you drag me out of my hole to be tormented thus." "Doughface" was a name given northern friends of slave interests, which Van Buren was perceived to have been during his administration.|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near 3d. Avenue N.Y.|Signed with initials: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Weitenkampf, p. 89-90.|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 1848-57.

A satire on South Carolina's role as instigator of secessionism in the South. The artist may be lampooning the convention of seceded states which assembled at Montgomery, Alabama, on February 4, 1861. The prominent leaders of the Confederate states are portrayed as foxes. The chief fox (the one "without a tail") is South Carolina governor Francis Pickens. South Carolina was the most radical of the Southern states and the first to leave the Union. Here he tries to entice the others into giving up their tails as well. As the text below puts it, "A cunning fox, having lost his tail in a trap, to save himself from ridicule called a convention of the other foxes and stated to them that having found his tail a great incumbrance he had cut it off, and advised them all to do the same, . . ." Standing on a pedestal supported on the back of a crouching black man, Pickens (center) holds aloft a document "Secession" and says, "All in favor of losing their tails will please say aye contrary no, carried the member from Mississippi will commence operations." The member from Missippi is Jefferson Davis, who stands at right holding a large ax. Before him, with its tail on a block, is a fox "Florida." Davis says (although he doesn't move), "Make ready, take aim, fire! bang!! there she goes slick as a whistle, now then Toombs, your tail if you please, no noise." Georgia secessionist Robert Toombs holds a bowl in front of him, and announces, "After the member from Florida I claim the honor of being the "next Customer." An unidentified man at the far right proclaims, "Until a better substitute is offered, I shal hold on to my tail, that's certain." To the left of Pickens is an ornate table carved with symbols of tyranny and treachery, including a pistol, dagger, crown, whip, and die. On the table rests an inkwell with a statuette of two men fighting with daggers. Behind, two foxes representing Louisiana and Alabama are partly concealed by a large document. On the far left is "Texas," a fox with a foolscap pulled down over its face and holding a musket with bayonet and a liquor bottle. He sings, "Yankee doodle be hanged (hic) Star spangled banner 'hanged, (hic) come lets lick 'er." Another man asks, "In case we cut off our tails and should afterwards repent, is there any description of glue in the market with which we can fasten them on again, and will it stick." In the foreground Buchanan's secretary of the interior Jacob Thompson of Mississippi runs from an emptied safe with a sack of $870,000, saying, "To the victors belong the spoils that good Democractic doctrine." Thompson had resigned the cabinet in 1861. The stolen goods may refer to an episode during his term of office when he was accused of stealing a large sum of money from the Indian funds of the Department of Interior. He was eventually judged innocent of this charge. In the background a fox standing atop a ladder puts a torch to the American flag and eagle.|Drawn by John L. Magee.|Published by John L. Magee, 22 South Fifth St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 126.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-8.

Frank Hirosawa, half-length portrait, standing in the laboratory, facing slightly left. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-37-A. 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.