This course explores the causes, course, and consequences of the American Civil War, from the 1840s to 1877. The primary goal of the course is to understand the multiple meanings of a transforming event in American history. Those meanings may be defined in many ways: national, sectional, racial, constitutional, individual, social, intellectual, or moral. Four broad themes are closely examined: the crisis of union and disunion in an expanding republic; slavery, race, and emancipation as national problem, personal experience, and social process; the experience of modern, total war for individuals and society; and the political and social challenges of Reconstruction.

Using the American Civil War as a baseline, the course considers what it means to become “modern” by exploring the war’s material and manpower needs, associated key technologies, and how both influenced the United States’ entrance into the age of “Big Business.” Readings include material on steam transportation, telegraphic communications, arms production, naval innovation, food processing, medicine, public health, management methods, and the mass production of everything from underwear to uniforms—all essential ingredients of modernity. Students taking the graduate version must complete additional assignments.

A sheet music cover for a postwar song lamenting the fall of the Confederacy. A ragged Confederate flag stands draped over an abandoned cannon, which sits in a landscape overgrown with grass and weeds. Almost hidden in the grass is the stock of a rifle.|Entered . . . 1866 by A. E. Blackmar . . . Louisiana.|Lith. Feusier, Hoyle & Co. No. 9, Commercial Place. N.O.|New Orleans. Published by A.E. Blackmar. 167 Canal St.|The Library also has a redrawn version, identical except that the lithographer's imprint is missing.|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 1866-2.

The Confederate leaders are portrayed as a band of competing opportunists led by South Carolina governor and secessionist Francis Pickens (far left). The artist criticizes the January 1861 secession of five states from the lower South, following the lead of South Carolina, which had formally declared its independence a month before. Armed with a whip and a pistol, Pickens sits on the back of a young slave, pronouncing, "South Carolina claims to be file leader and general whipper in of the new Confederacy, a special edict! Obey and tremble!" The other leaders are also armed. Pickens's tyranny is met by expressions of self-interest from the other confederates. The nature of these individual interests are conveyed pictorially and in the text. Leaders from Alabama, Mississippi, and Georgia sit on bales of cotton, while Florida and Louisiana sit on a wrecked ship's hull and a barrel of sugar respectively. Florida (represented by a bearded man, possibly Stephen R. Mallory, senator and later secretary of the Confederate navy ): "We want it distinctly understood that all the lights on the Coast will be put out, in order to facilitate wrecking business." Alabama (William L. Yancey): "Alabama proclaims that CĚ_Ąotton is King,' and the rest of the Confederacy "must obey" that Sovereign. Mississippi (Jefferson Davis): "We came in, with the understanding that we shall issue bonds to an unlimited extent, with our ancient right of repudiation when they became due." Georgia (Governor Joseph E. Brown): "Georgia must have half the honors, and all the profits, or back she goes to old Pluribus Unum.'" Louisiana (a mustachioed man): "A heavy duty must be levied on foreign sweetening in order to make up for what we have sacrificed in leaving the Union, otherwise we shall be like a PĚ_Ąelican in the wilderness!'" Although Texas, which seceded on February 1, is not represented here, the print probably appeared at the time of the Montgomery convention in early February when the Confederate States of America was formed, but before Jefferson Davis assumed its presidency. Texas did not attend that convention.|Published by Currier & Ives, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 1730.|Weitenkampf, p. 128.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-6.

An illustrated sheet music cover for a comic song, published "for the benefit of the Soldiers Home Fair, Milwaukee, Wis." The cover is adorned with a caricature of an obese Britannia, seated and holding a trident and shield. Printed in almost monochromatic neutral tones, the oval-format illustration imitates classical medallions or reliefs. The work expresses the abiding Northern resentment over British support of the Confederate war effort.|Signatures have evidently been obliterated, judging by the presence of scratching-out in the stone in the lower portion of the oval. |The Library's impression was deposited for copyright on June 28, 1865.|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 1865-10.

Entered according to Act of Congress in the year 1865 by H. & W. Voight in the Clerks Office of the District Court for the Southern District of New York. Published by H. & W. Voight. Lith. by Kimmel & Forster, 254 & 256 Canal St. N.Y.|Inscribed in ink lower right: March 31 1865.|Stamped lower left: Copyright Library May 5 1865.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A patriotic sheet music cover for a Unionist song written by Gen. W. H. Hayward, composed and arranged by Prof. C. S. Root, and dedicated to Wilson G. Horner, Esq. Columbia, wearing a liberty cap and carrying an American flag and a sword, rides on the back of a flying bald eagle. On either side of the title panel are military trophies composed of crossed flags, shields, swords, bayonets, and other paraphernalia. The trophy on the right incorporates a pickax and spade. Below are cannons, cannonballs, sacks and barrels of powder, and a drum and drumsticks.|Ehrgott, Forbriger & Co. Lith.|Published by A.C. Peters & Bro., no. 94, West Fourth Str., opposite the Post Office, St. Louis|The Library's copy of the music sheet was deposited for copyright on December 30, 1862.|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 1862-16.

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.

A vindictive Northern fantasy on the aftermath of the Civil War. Confederate president Jefferson Davis, dressed in a hoopskirt or crinoline, hangs from a "Sour Apple Tree" at left, a Bowie knife in one hand and a torn flag in the other. (For Davis's costume, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11; for the "sour apple tree," see "John Brown Exhibiting His Hangman," no. 1865-16.) Beneath Davis is an open grave from which peers the devil. At right nooses are suspended over the heads of several "Confederate Mourners" (left to right): Gen. Robert E. Lee, Secretary of War John C. Breckinridge, Secretary of State and War Judah P. Benjamin, one of the Southern "Fire-eaters" and member of the Confederate Senate William Lowndes Yancey, Georgian Robert A. Toombs, and Louis T. Wigfall. Lincoln's assassin John Wilkes Booth (far right) rushes to join the group. On the ground lie copperheads (symbols of Peace Democrats), skulls, and broken artillery. The infamous Confederate prisons, Libby and Andersonville, can be seen in the distance. In the upper register the blindfolded figure of Justice, holding a sword and scales, is enthroned on a bank of clouds. At left Liberty sits beside an urn partially covered by the Union flag. An eagle is beside her. A grieving soldier and sailor attend the urn, while a slave man, his wife, and child look toward the far right, where the recently assassinated Abraham Lincoln is escorted heavenward by angels. |Designed by Burgoo Zac.|Entered . . . 1865 by Charles Porah . . . Ohio, Cincinnati.|Title appears as it is written on the item.|Weitenkampf, p. 148.|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 1865-13.

Students will receive exposure to new vocabulary, then read and annotate an article, discuss, and engage in a writing exercise, focused on the Iroquois Confederacy.  

Entered according to Act of Congress in the year 1865 by Gibson & Co. in the Clerks Office of the District Court of the United States for the Southern District of Ohio.|Inscribed in ink below title: Filed June 19 1865.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Another state of no. 1861-23, with the addition of a skull and crossbones drawn on Davis's chest.|Probably published by Currier & Ives, New York.|Title appears as it is written on the item.|Weitenkampf, p. 129.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-24.

A caricature of Jefferson Davis, probably issued not long after the bombardment of Fort Sumter, but certainly postdating his February 1861 election as president of the Confederacy. Davis is shown standing on a gallows, draped in the Confederate flag and wearing on his head a misshapen Phrygian cap. Under him is a "Secession Trap" door. He anticipates his drop saying, "O dear! O dear! I don't really want to secede this way--I want to be let alone.'" To the gallows crossbar is nailed a "Letter of Marque." (See "The Southern Confederacy a Fact!!!," no. 1861-22.) Below stand several observers, including many prominent secessionists who await their own execution with nooses around their necks. They are (left to right) Secretary of State Robert Toombs, Gen. P.G.T. Beauregard, Vice President Alexander Stephens, and South Carolina governor Francis W. Pickens. Each of them speaks. Toombs: "I begin to feel weak in the knees!" Beauregard: "Oh Jeff! Jeff! is that the elevated position that you promised me?" Stephens: "Alas! Alas! I prophesied in November that secession would be the death of us." Pickens is still defiant, saying: "Can it be possible that they will dare to hang a gĚ_Ąentleman from South Carolina?'" Another state of the print, with skull and crossbones drawn on Davis's chest, was also issued (evidently by Currier & Ives) under the title, "Jeff Davis, on His Own Platform" (no. 1861-24). |Probably published by Currier & Ives, New York, in 1861 or 1862.|Title appears as it is written on the item.|Weitenkampf, p. 129.|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 1861-23.

An illustrated sheet music cover for an anti-Confederate comic song. Confederate president Jefferson Davis stands on a bale of cotton and asks John C. Breckinridge, former U.S. Vice President and fellow secessionist, to "Black Me." Breckinridge, in military uniform, complies and begins to paint Davis's face with blacking. Around Breckinridge's feet coils a "Copperhead," symbol of the Peace Democrats. Another snake winds around the broken, inverted staff of a Union flag. At right a grinning black man sits on boxes of "Butler's Blacking" and holds a tin of blacking in his hand. The name "Butler" probably refers to Gen. Benjamin F. Butler, a figure despised in the South. Among other things, Butler had forced the Confederacy to recognize the military status of U.S. Negro troops. At left under the heading "Memminger's Funeral Pile," bare-chested Confederate secretary of the treasury Christopher G. Memminger is partially submerged in a pile of C.S.A. bonds. Under his management, the Confederate Congress issued so many bonds that the people doubted its ability to redeem them, and prices skyrocketed. "Repudiation" appears in large letters on one of the bonds.|Alexander McLean lith.|Entered . . . 1864 by Mrs. Eunice Bussett . . . Missouri.|Published for the Author by Endres & Compton, no. 52, 4th St., St. Louis.|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 1864-43.

One of the rare illustrated sheet music covers issued under the Confederacy. Published by the composer in Richmond, this edition features a Confederate soldier who kneels on one knee holding a large flag with the words, "God save the South." A cavalryman, he wears high boots and a plumed hat and holds a drawn sword in his right hand. A cannonball lies in the grass before him. In the distance soldiers fire a cannon toward an advancing troop of infantry. Few illustrated music sheets were issued in the South either before or during the war, as the lithography industry was in a relatively undeveloped state there.|Antered [sic] . . . by C. T. De Coeniel Richmond Va.|Lith. by Ernest Crehen 146 Main St.|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 1862-2.

A later, altered version of "The Pending Conflict" (no. 1863-10). Albeit more optimistic from the Northern point of view than its earlier couterpart, this version is equally critical of European abetment of the Confederate war effort and of the anti-Lincoln or pacifist movement in the North. The artist has made significant changes in composition and details. The positions of the central figures are reversed so that the secessionist figure is on the left, wearing a belt marked "Secession. The States shall be sovereign!" He still tramples on the American flag and wields a club marked "British pirate steamers, Br[itish] Cannon, &c." Strewn about his feet are three broken clubs inscribed "Bermuda," "Fingal," and "alias Atlanta." John Bull and Napoleon III of France watch from the background left. The former holds a bundle of clubs wrapped in a band labeled "Neutrality." The clubs are labeled "Steam Rams" and "Blockades" and "Runners." The muscular figure representing the Union is now clearly the more dominant. He wears a belt labeled "Union. The people shall be sovereign!" and raises a club threatening Secession. With his other hand, he grasps a snake by the throat. In the background right, on the ocean, are three ships, two of which are aflame. |Designed by O.E. Woods.|Entered . . . 1863 by Oliver Evans Woods . . . Pennsylvania.|Herline & Hensel, Lith. 632 Chestnut St. Phila.|This impression was deposited for copyright on January 21, 1864, along with another redrawn version with added text and the new title "The Pending Contest" (no. 1864-3).|Title appears as it is written on the item.|Weitenkampf, p. 138.|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 1864-2.

One of three similar prints published by Oliver Evans Woods, reflecting grave northern fears of British and French interference on behalf of the Confederacy in the Civil War. (See also "The Pending Conflict" and "The Pending Contest," nos. 1864-2 and 1864-3.) The controversy centered on the "Alabama" and other warships built and fitted out for the Confederates in England. French Emperor Napoleon III's military operations in Mexico in 1862 and 1863 were also perceived as dangerous to the North. The print actually appeared in the summer of 1863, when Southern diplomatic overtures to France and England threatened to result in international recognition for the Confederacy. In the center Jefferson Davis--here called "Secesh"--raises a club labeled "Pirate Alabama" over the head of a brawny Union soldier whose arms are constricted by the Constitution, and around whose waist and legs coils a poisonous snake. Davis tramples on an American flag. At right stands a leering John Bull, who holds a pile of clubs in reserve for Davis. Behind him is a prancing Napoleon III, also watching the contest. In the distance two ships burn on the ocean. Napoleon: "Whip him, Secesh, and when I get Mexico, I'll help you whip him again." John Bull: "Down with him, Secesh--burn his Ships--destroy his Commerce--England has plenty more such clubs for you." Secesh: "I'll fix him--I'll kill him." Soldier: "The flag of my country trampled under foot--the ships of my country burning on the ocean--while I stand here entangled in the coils of this foul Copperhead, and so bound up by Constitutional restraints, that I am unable to put forth my true strength in their behalf." The "restraints" mentioned may refer to opposition on constitutional grounds to Lincoln's use of what he considered valid presidential war powers. The cartoon may have been specifically occasioned by the Supreme Court's review in the "Prize Cases" of 1863 of the legality of the Union blockade. "Copperhead" was the derogatory term used for anti-Lincoln or anti-Republican advocates of a negotiated reconciliation with the South.|Published by Oliver Evans Woods, Philadelphia.|The Library's impression of the print was deposited for copyright on July 1, 1863.|Title appears as it is written on the item.|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 1863-10.

A variant of "The Pending Conflict" (no. 1863-10), evidently issued at about the same time (and deposited for copyright on the same date). Significant alterations here include: the "Neutrality" band has been removed from around the clubs held by John Bull; Napoleon III now seems to dance, with his hand on John Bull's shoulder; Secession's belt reads only "Secession" and the Union figure's reads "The people shall rule!"; four burning ships appear in the background; and, Secession's club is cracked and splintering. The text, printed in letterpress below the image, reads: "Emp. Napoleon.--Whip him, Secesh, and as you have helped me to a chance to win Mexico, only keep him employed a little longer, and then I will help you. John Bull.--Down with him, Secesh, burn his ships, destroy his commerce--England has plenty more such clubs for you. Secesh.--I will kill him if I can, and yet, this Mudsill, whom I have despised as a mercenary coward, insulted, and would have trodden under foot, has proved to be a very giant in courage and in resources; even hampered as he is, nevertheless, his blows fall so hard and fast, that, but for his attention being diverted by the assaults of that Snake [i.e., the copperhead], I would be unable to continue the conflict one moment longer. U. S. Citizen Soldier.--The Flag of my country trampled under foot--the ships of my countrymen destroyed upon the ocean, by those who would disenfranchise me of my rights of citizenship, and make me an alien, and a stranger, in the fairest portion of my own land, and I, when battling for my rights, have met a long, a desperate, and a sanguinary contest, where, but for the encouragement given to my adversary by the attacks of this vile Copperhead, I would otherwise have quickly won a complete, and almost "bloodless" victory."|Entered . . . 1863 by Oliver Evans Woods, Pennsylvania.|Herline & Hensel, Lith. 632 Chestnut St. Philada.|Published by Oliver Evans Woods, 1003 Race Street, Philadelphia.|The Library's impression of the print was deposited for copyright on January 21, 1864.|Title appears as it is written on the item.|Weitenkampf, p. 138.|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 1864-3.

The August 1864 Democratic national convention in Chicago is unfavorably compared to the Republican convention in Baltimore in June of the same year. The artist is especially critical of prominent New York Peace Democrats Horatio Seymour and Fernando Wood. The party's espousal of a truce with the South is presented here as advantageous to the Confederacy and to Great Britain. The cartoon is divided into two panels: "Baltimore" (left) and "Chicago" (right). In Baltimore, Liberty says to the seated Lincoln, "My fate I trust in your hands go and do your Duty!" She is accompanied by the American eagle. Lincoln holds his Emancipation Proclamation. His platform is upheld by supporters (from left to right) Massachusetts senator Charles Sumner, Union general Ulysses S. Grant, and Union admiral David Glasgow Farragut. Behind them are a soldier and a man wearing a labor cap. At right, a dwarfish Democratic presidential candidate George B. McClellan is thrust onto a tiny round platform made of cheese by Copperhead leader Clement Laird Vallandigham. The reluctant McClellan entreats, "No Val: it is too bad, such a frail slippery box, I'll certainly break my neck!" Vallandigham tries to reassure him, saying, "Don't be afraid little Mac, I'll support you." The platform is supported by snakes, representing the Copperheads or Peace Democrats, one holding a Confederate flag of "Separation." Nearby a street tough in a top hat, smoking a cigar, holds up his fist and says, "Dam'n the Niggers," while an Irishman with a clay pipe observes, "Be jabbers what a select Company, ould Jonny Bull and all!" John Bull, the central figure, reads a pro-McClellan and Davis issue of the "London Times." At bottom left New York governor Horatio Seymour holds a plaque reading, "All ye desiring peace come one, come all. The War proved to be a failure." On the right New York congressman Fernando Wood, another prominent Copperhead, extends his hand to the viewer with the invitation "All true friends of Slaves and their Masters should join our Company." The print compares closely in drawing style, in format, and in its anti-Democratic bias to "Democracy. 1832. 1864." (no. 1864-23), published by Prang & Company. Both prints were probably drawn by the same artist.|Title appears as it is written on the item.|Weitenkampf, p. 144.|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 1864-23.

Lincoln's support of abolition is portrayed here as a liability in his race to the White House against Democratic candidate George B. McClellan. At top a smoothly run train "Union" heads straight for the White House. The engine is labeled "Democracy" and the first car, in which McClellan stands in the role of engineer, flies a flag "Constitution." The other cars are labeled "Union" and are occupied by happy, cheering Democrats. McClellan taunts, "Wouldn't you like to swap horses now? Lincoln?" (probably a reference to Lincoln's replacement of him as commander of the Army of the Potomac). Several of his passengers comment on the wreck of the Republican train below: "H-ll, H ll, I'm used to Railroad accidents but that beats Vibbards all to smash." New York governor Horatio Seymour: "I thought little Mac could take the train through better than I could." "It's no use talking Ben [Union general Benjamin F. Butler]! I told you I was on the right train . . . thunder there's John McKeon [prominent Democrat and New York lawyer ] with us." "Little Mac is the boy to smash up all the Misceganationists." "Politics does make strange bed fellows . . . the d . . . l if there aint Fernandy!" "Fernandy" is Fernando Wood, prominent Peace Democrat and mayor of New York. "Good-bye Horace [Horace Greeley]! Nigger on the brain flummoxed you." "Thus ends the Abolition Party!" "Be the powers the gintleman with his pantaloons in his bootleg is having a high time of it." "Good-bye old Greenbacks!" to Salmon P. Chase, who leaves with a satchel at right. Chase, who resigned his post as secretary of the treasury on June 29, says, "Thank God, I got off that train in the nick of time." In contrast, Lincoln's train, below, is far behind after having crashed on rocks "Confiscation," "Emancipation," "$400,000,000,000 Public Debt," "To Whom It May Concern," and "Abolitionism." Lincoln himself is hurled into the air, and says, "Dont mention it Mac, this reminds me of a . . ." This reference is to Lincoln's rumored penchant for telling humorous stories at inappropriate moments. (See "The Commander-in-Chief Conciliating the Soldier's Votes," no. 1864-30.) "Tribune" publisher and abolitionist Horace Greeley, also in the air, says, "I told you Abe that 'To whom it may concern' would be the death of us." (See "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-31.) A black man crushed in the wreck accuses Lincoln, "Wars de rest ob dis ole darkey? Dis wot yer call 'mancipation'?" Another black man hurtles through the air, retorting, "Lor Amighty Massa Linkum, is dis wot yer call 'Elewating de Nigger'?" Secretary of War Edwin Stanton, hanging out of the train, moans, "Oh! dear! If I could telegraph this to Dix I'd make it out a Victory." Preacher and abolitionist Henry Ward Beecher holds a black child to his breast and prays, "Oh! my brethering! Plymouth Church will try to save the Platform." The notorious Union general Ben Butler exclaims, "H--ll! I've Preyed $2,000,000 already!" The four clean-shaven men in the train are identifiable as Massachusetts senator Charles Sumner, New York journalist and state political leader Thurlow Weed, Secretary of State William Seward, and John McKeon. Sumner: "Say Seward will praying save us?" Seward: "Oh! I'm a goner! Ask Thurlow, he's my spiritual Adviser." Weed: "Pray! yes, pray Brother, Butler will lead." At left Maximilian, puppet emperor of Mexico, confers with John Bull and Napoleon III of France, saying, "Oh Main Got'vi I vas send over to dis land of Greasers to pe chawed up py de Yankees." John Bull's opinion is ". . . This will never do. The Monroe doctrine must be put down." Napoleon III says, ". . . by Gar, if dat train gets to de White House, its all up with my Mexico." During the Civil War, Napoleon III tried to establish a puppet state in Mexico under Emperor Maximilian. At bottom left are prices and ordering instructions for obtaining copies of the print.|Entered . . . 1864 by Bromley & Co. New York.|Title appears as it is written on the item.|Weitenkampf, p. 146.|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 1864-39.