A pro-Breckinridge satire on the 1860 presidential contest. Republican candidate Abraham Lincoln (right) and Democrat Stephen A. Douglas (left) appear as boxers squaring off in a ring before a small crowd of onlookers. Douglas is seconded by an Irishman (left), presumably representing Douglas's Democratic constituency. Lincoln is coached by a black man, who kneels at right, armed with a basket of liquor bottles, and signifies Lincoln's antislavery leanings. In the background a third candidate, John C. Breckinridge, thumbs his nose and points toward the White House. He is encouraged on his way by a number of men who cheer and doff their hats to him. Weitenkampf cites a version of the print signed by F. Welcker of Cincinnati. Whatever his identity, the artist of "The Undecided Political Prize Fight" was probably also responsible for "The Political Quadrille" and "Dividing the National Map" (nos. 1860-23 and 1860-24), judging from the strikingly similar handling of the candidate portraits in all three prints.|Title appears as it is written on the item.|Weitenkampf, p. 121.|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 1860-22.

This collection uses primary sources to explore the Underground Railroad and the Fugitive Slave Act of 1850. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

An anti-McClellan broadside, contrasting Republican candidate Abraham Lincoln's advocacy of equality and free labor in the North to Democratic opponent McClellan's alleged support of the Southern slave system. The comparison is made in two scenes, "Union and Liberty" (left) and "Union and Slavery" (right). In the first, Lincoln shakes the hand of a bearded man wearing a square paper labor cap, while black and white school children issue from a schoolhouse flying the American flag in the background. On the right McClellan, in military uniform, shakes the hand of Confederate president Jefferson Davis, as a slave auction takes place behind them.|Published by M.W. Siebert, Printer, 28 Centre Street, Corner Reade, N.Y.|Title appears as it is written on the item.|Lorant, p. 264.|Weitenkampf, p. 143.|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 1864-27.

An open 8th grade U.S. History textbook covering the American Revolution through Reconstruction. Includes chapters on the underlying beliefs behind our system of government, westward expansion. the Civil War, and more. Each chapter is set up around an inquiry question. We consider these questions to be “Compelling Questions”. That means we want you to be thinking about this question throughout the entire chapter. You’ll notice that most of them are open ended. By investigating each question over the course of a chapter you’ll come to a conclusion that you should be able to support with evidence before moving on to your next inquiry.

An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. The text reads: "United States' slave trade, 1830. The Copper Plate from which the above picture has just been engraved, was found many years ago by workmen engaged in removing the ruins of Anti-Slavery Hall, in Philadelphia, which was burned by a mob in 1838. No previous impression of the Plate is known to its present owner. A scene in the inter-State Slave trade is represented." The writer goes on to describe the scene as a group of slaves in chains, with a mother "fastened to her children," being sold by a trader on horseback to another. "Both dealers have whips in their hands. A ship and a boat, each loaded with slaves, are seen on the left. In the background, slaves are working in gangs, and one man is being flogged. The United States Capitol, surmounted by its flag, overlooks the scene in the distance. The engraving....is an interesting contribution to American History. Price 20 cents." |The author suggests that this impression was printed some years after 1838. The author's use of "engraved" is evidently being a misnomer for "printed," since he mentions later in the same text the absence of earlier impression.|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 1830-1.

This video playlist is a guided tour of the African American Heritage Trail, in Florence, Massachusetts, which shares the contributions and legacy of Sojourner Truth, as well as the many abolitionists, Underground Railroad agents, and former enslaved people who called Florence home in the 19th century. Each video is dedicated to a different site on the trail and includes biographical information about key figures in Florence's history.

A representation of an enormous illuminated transparency displayed on thefacade of the federal recruiting office for Negro troops on Chestnut Street in Philadelphia on November 1, 1864. The display celebrated the emancipationof slaves in Maryland through the state's new constitution, adopted onOctober 13 of the same year. At the top of the transparency is a bell draped with bunting and surmountedby an American flag. On each side of it is a lit oil lamp. Beneath the bell,in bold letters, are the words "God Save the Republic." Immediately below this is a large battle scene where black troops storm anenemy redoubt, with the commentary, "Never in field or tent scorn a blackregiment." Below the scene are quotations from George Washington, ThomasJefferson, and Patrick Henry, affirming the ideal of emancipation. Foursmaller scenes appear at right and left of a central panel (clockwise fromupper left): 1. "Before Fort Wagner, July 11th, 1863," where a dying black Unionstandard-bearer gives up the flag to another, saying, "Boys!! I never once letthe old flag touch the ground." 2. "Struggle for a Rebel battle flag at New Market Heights, Near Richmond,Sept. 29th, 1864.--Maj. Genl. Butler," in which a black soldier bayonets aConfederate, saying, "Sic semper tyrannis." 3. "In St. Mary's County, Maryland," showing a black woman pointing out aschoolhouse to two black children saying, "Tis education forms the CommonMind." A subtitle reads, "12,000 colored soldiers from Maryland now at thefront fighting for the Union." 4. A slave auction, with the note that thousands of women and children were sold to the far South annually under Maryland's old constitution. A quote attributed to Homer above the scene reads, "God fixed it certain that whatever day / Makes man a slave takes half his worth away." In the center of the transparency is an arch composed of blocks with thenames of various virtues, supported by two columns, the one on the rightlabeled "Faith." The keystone of the arch is Justice. Above it are AndrewJackson's famous words, "The Union must and shall be preserved." Various textsexemplifying Maryland's tradition of religious and personal freedom appearinside the arch. Below are portraits of Abraham Lincoln and an unidentified man.|Ringwalt & Brown Prs. 111 & 113 South 4th St. Phila.|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 1864-44.

Students will explore the enduring legacy of the cultures of enslaved people in Virginia by examining primary sources, engaging the research of Black historians, and connecting to their own experiences, interests, and cultures. Students document their thinking in a graphic organizer for formative assessment.

Alfred Whital Stern (1881-1960) of Chicago presented his outstanding collection of Lincolniana to the Library of Congress in 1953. Begun by Mr. Stern in the 1920s, the collection documents the life of Abraham Lincoln (1809-1865) both through writings by and about Lincoln as well as a large body of publications concerning the issues of the times including slavery, the Civil War, Reconstruction, and related topics.

The collection contains more than 11,100 items. This online release presents more than 1,300 items with more than 4,000 images and a date range of 1824-1931. It includes the complete collection of Stern劌製 contemporary newspapers, Lincoln劌製 law papers, sheet music, broadsides, prints, cartoons, maps, drawings, letters, campaign tickets, and other ephemeral items. The books and pamphlets in this collection are scheduled for digitization at a later date.

Plantation agriculture, and slave labor, united the British colonies in the West Indies and the southern part of the eastern seaboard. In this video, Kim discusses the sugar islands of the Caribbean and how their reliance on enslaved Africans for labor defined plantation society throughout the British colonies.

In this seminar you will learn about slavery in the 1800’s prior to the Civil War. You will also learn about one brave woman and her journey to freedom using the Underground Railroad. By the end of this seminar you will be able to explain the purpose of the Underground Railroad and the dangers that came along with being a slave.Standards5.1.5.CDescribe the principles and ideals shaping local, state and national government.

The opposition of Northern abolitionists, churchmen, and political figures to enforcement of the Fugitive Slave Act of 1850 is criticized in this rare pro-Southern cartoon. In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave owner, and the application of the same principle against the Northerner in a case of stolen textiles. In the left panel a slaveholder "Mr. Palmetto" and a federal marshal confront an abolitionist "Mr. Pumpkindoodle" and a garishly dressed, runaway slave "Pompey" in a warehouse or shop interior. On the counter is a copy of the newspaper the "Emancipator." Palmetto: ". . . I've come here to take that fugitive slave who belongs to me, according to the provisions of the U. S. law! Officer do your duty!" Pumpkindoodle (handing a pistol to the slave): "What! seize my African brother! never! I dont recognize any U.S. law! I have a higher law, a law of my own. here Pompey take this pistol and resist to the death! if he attempts to take you!" Pompey (trembling): "Ye yes sa! I'll try, cause brudders [antislavery senator from New York William H.] Seward and [abolitionist William Lloyd] Garrison says its all right; and so does Parson Squash! But I'm mighty feared." Federal marshal: "Whew! I think I'd better make myself scarce!" In the panel on the right, the same abolitionist approaches the seated slaveholder in the latter's shop. A sturdy slave "Cesar" and a grinning attendant stand by. On the counter are several bolts of fabric, labeled "Bay State Shawls," "Cotton Shirting," "Domestic Prints," "Amoskeag Ticks," "Lowels Negro Cloth" and "Hamilton Long Cloth." A copy of the "Charleston Mercury" lies open on Palmetto's lap. Pumpkindoodle: "Look here Mr. Palmetto them 'ere goods is mine! They've been stole from me, and if you dont give 'em up, I'll take the law of the land on you!" Palmetto: ". . . They are fugitives from you, are they? As to the law of the land, I have a higher law of my own, and possession is nine points in the law. I cant cotton to you. Kick out the abolitionist Cesar." Cesar: "Of course Massa. De dam Bobolitionist is the wus enemy we poor niggers have got." |Entered . . . 1851 by E.W. Clay . . . Southern District of N.Y.|Pub. at 152 Nassau St. corner of Spruce N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The Library's impression of the print was deposited for copyright on January 22, 1851.|Title appears as it is written on the item.|Century, p. 70.|Weitenkampf, p. 103.|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 1851-5.

A severe split within the Whig ranks, between partisans of Henry Clay and those of Zachary Taylor, preceded the party's convention in June 1848. Here Horace Greeley, one of Clay's most influential northern supporters, tries to drive the party wagon downhill toward "Salt River" (a contemporary idiom for political doom). At the same time, a Brother Jonathan or Uncle Sam figure steers in the opposite direction, toward the White House. Greeley whips his horse, a scrawny nag with the head of Henry Clay, with a switch or small branch; the uphill-bound horse has Taylor's head, and its driver wields a carriage whip. The cart is laden with papers marked "Tariff," "Bank," and "Internal Improvements," traditional catchwords of Whig politics. Greeley: "It's of no use to talk to me, for Mr. Clay says he would rather be right than to be President, and that is the policy I am adopting now." Brother Jonathan: "Do slack up a little there, Horace, till we get over a chock that some one has put before the wheel." The "chock" that the cart has run into is a rock marked "Wilmot Proviso," placed in the road by Congressman David Wilmot. The question of the validity of the proviso, an 1846 proposal to prohibit slavery in territories acquired during the Mexican War, became an important issue in the 1848 campaign, and a stumbling block to candidates like Taylor who courted Southern support. The proviso was never passed by the Senate.|Entered . . . 1848 by J. Baillie.|Published by James Baillie, 87th St. near 3rd Avenue, New York.|Signed in reverse: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Lorant, p. 189.|Weitenkampf, p. 95.|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 1848-21.

In February 1861 Washington was alarmed by rumors that secessionists planned to seize the city and make it the capital of the Confederacy. The print may have been produced in that context, or during Lincoln's call to arms and rather anxious military build-up of the capital in April. Here, General in Chief of the Army Winfield Scott, who engineered the Washington defense, is portrayed as a fierce bulldog. He stands guard defiantly over a large cut of beef representing Washington, as a greyhound wearing a broad-brimmed planter's hat and wrapped in a Confederate flag (Confederate president Jefferson Davis) slinks away to the left. Beyond the greyhound are bales of cotton, a bone, and an animal skull. A small snake coils threateningly in the grass. A palmetto tree, emblem of secessionist leader South Carolina, rises in the distance. On the right, behind the bulldog, are barrels of "mess pork," beans, beef, sacks of money, and a large cannon. The stars and stripes fly over them. Another version--a crude, slightly smaller copy of this or of a common model, but without the printer's imprint and copyright line--is also in the Library's collection (Stern Collection, portfolio 4, no. 2). Weitenkampf lists four versions. Grant (II, p. 5-35) reproduces several versions of the design on patriotic envelopes in use in June, July, and August 1861. Weitenkampf and Murrell attribute the design to Beard. |Entered . . . 1861 by F T B . . . Southern District of Ohio.|Signed: Friz del (Frank T. Beard?).|Title appears as it is written on the item.|Vent, Starr & Co., West 4th Street, Cincinnati, O.|Murrell, p. 220.|Weitenkampf, p. 131.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-26.

In this lesson, students will learn that enslaved people resisted their captivity constantly. Because they were living under the domination of their masters, slaves knew that direct, outright, overt resistance"”such as talking back, hitting their master or running away"“"“could result in being whipped, sold away from their families and friends, or even killed.

Garrison, William Lloyd. “To The Public”. The Liberator. January 01, 1831. From Teaching AmericanHistory. https://teachingamericanhistory.org/document/to-the-public/ (accessed January 19, 2022).Description: First page of the inaugural issue of this anti-slavery newspaper.

This collection uses primary sources to explore women in the antebellum reform movement. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This course surveys the increasing interaction between communities, as the barrier of distance succumbed to both curiosity and new transport technologies. It explores Western Europe and the United States’ rise to world dominance, as well as the great divergence in material, political, and technological development between Western Europe and East Asia post–1750, and its impact on the rest of the world. It examines a series of evolving relationships, including human beings and their physical environment; religious and political systems; and sub-groups within communities, sorted by race, class, and gender. It introduces historical and other interpretive methodologies using both primary and secondary source materials.

This course focuses on the period between roughly 1550-1850. American ideas of race had taken on a certain shape by the middle of the nineteenth century, consolidated by legislation, economics, and the institution of chattel slavery. But both race and identity meant very different things three hundred years earlier, both in their dictionary definitions and in their social consequences. How did people constitute their identities in early America, and how did they speak about these identities? Texts will include travel writing, captivity narratives, orations, letters, and poems, by Native American, English, Anglo-American, African, and Afro-American writers.

A sheet music cover with a comic scene of escaping slaves, produced around the time of Union general Benjamin F. Butler's declaration of such fugitives as contraband of war. (See "The (Fort) Monroe Doctrine," no. 1861-37.) The song was composed by Septimus Winner, and dedicated to Butler. Four black men tumble down a grassy knoll, pursued by a planter or overseer who hastens down the steps behind. The music cover was deposited for copyright on August 7, 1861.|Philadelphia. Published by Lee & Walker 722 Chesnut St.|Thomas Sinclair's Lith. Phila.|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 1861-38.