An animated comic scene ridiculing the Democratic and American party candidates. In the foreground is a somewhat rickety wooden "Democratic Platform," into which presidential candidate James Buchanan has just run, knocking his mount (running mate John C. Breckinridge, in the form of a buck) unconscious. Buchanan (center, dressed as a jockey) holds his right shin and curses a ragged black youth who stands laughing on the platform, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." The black youth jeers, "Ya! Ya! Ya! Why Massa Buck. Dis is de Democratic Platform, I tink I misunderstand you to Say dat you like dis Plank [. . .] in fac dat you was de Platform [. . . .]" One of the planks in the platform is labeled "Slavery," and another "Cuba," referring to the apparent proslavery and annexationist interests of the Democrats. On the far right a small boy is hoisted onto the back of a ragged, weed-chewing man with a beard. The urchin holds a flag reading, "We Po'ked em in 44, We Peirce'd em in 52 and We'll "Buck em" in 56." The bearded man looks at the child irritably and scowls, "Hello there!! are you a Fre'mounter." At left, American party candidate Millard Fillmore, riding a goose with the head of running mate Andrew Jackson Donelson and holding a "Know Nothing" lantern, cries, "I'm "All right on the Goose," and yet I dont seem to make much head way, Gentlemen you may all laugh, but if I'm not the next President the Union Will Be Disolved, The South Wont Stand It." In the background a crowd watches the race. Two men converse, saying, "Little too much Squatter Sovereignty about that Goose Fillmore?" and "A decided Curvature of the Spine, no Back Bone Sir, "All Dough" Sir, ha! ha! ha!" The majority of the spectators, however, cheer on Republican candidate John C. Fremont whose horse takes the lead at right. On an observation or judging deck nearby stands Brother Jonathan, holding what appears to be a timer's watch. The apt comic mise-en-scene and development of the minor characters here are characteristic of John L. Magee's work.|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-15.

An obscure and bizarre satire, datable only by its incidental reference to the murder of Congressman Jonathan Cilley. (See "Scene in Washington, Sunday Feby. 25. 1838" and "The New Code of Chivalry," nos. 1838-17 and -18.) The print is extremely crude, evidently the product of an amateur or a provincial press. On a small hill two men crouch on the ground near a tree or bush. From the tree grows a man holding a newspaper with the words "Coal is Coal." The third man says, "Just cover up the roots well, there, or you'll expose Me." One of the crouching men says, "I say, Chowder, let me hill up the Rohan. While you whip in the Cattle." The other is frightened by a "Bloody Hand" which appears in the sky above him. A man in a long coat and tall hat (at right) says, "The fact is, Doctor, those Cattle won't feed on Rohans. The prospects of the "Porty" look blue, If we could whip in the Miserable Conservatives, it would really be 'contholing.'" On a branch of the tree perches a bird with the head of a man, who sings "The rascally Whigs killed poor Cilley, Whit-Whit pewee!" On the left a black youth tries to hold back two "Hampton Bulls," one of which says, "Mutton and cheese." The youth says, "Hold on Massa Gineral, it be ob no use to go to dat Market." On the far right several cattle stampede their driver, who is warned by a man in shirtsleeves, "You cant drive them Cattle, no how Gid."|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 1838-19.

Henry Clay's November 1847 address to a public meeting in Lexington, Kentucky, condemning the Polk administration's prosecution of the Mexican War and opposing the pondered annexation of all of Mexican territory is the subject of the artist's attack. Clay's speech was widely published and was endorsed by influential New York editor Horace Greeley. Here the Whig statesman's pacifism is depicted as insincere and politically motivated, and Greeley is shown as unpatriotic. A two-faced Clay hands a pair of pistols to his son Lt. Col. Henry Clay (in uniform, far left). The younger Clay was an officer in the Mexican War and was killed at Vera Cruz in February 1847. The elder Clay says, "Take these pistols, my son, & use them honorably. May they do good execution on the foes of your country." On the other side he addresses Greeley and several others, vowing, "Down with this War-making Administration! Down with the Army who rob & kill our innocent friends the Mexicans!" Greeley (center, in pale frock coat) holds a copy of his New York "Tribune," publishing Clay's speech. His reply is, "Hurra! Hurra! These are the good old days of the Hartford Convention! It warms the very bran bread in my stomach to hear thee! Glorious Harry of the West!" The Hartford Convention, held in 1815, was an early secessionist movement in the Northeast. "Bran bread" was a well-known dietary preference of Greeley's. Behind Greeley is a cadaverous man (possibly William Lloyd Garrison, editor of the "Liberator&1), who says, "This is nuts for us. Another spoke in the non-resistance wheel!" Beside him another unidentified man, wearing plaid trousers patched in several places, throws up his hands and exclaims, "Mercy on me! what shall I do? Here I have been waiting 20 years for an office under the Whigs, & old Harry has knocked us all into the shape of a three cocked Hat." On the right stands bewhiskered New York "Courier and Enquirer" editor James Watson Webb. Outraged, he raises his fist and shouts, "What the devil is this? What success can we expect when we go against the country, and trample on the ashes of our slain Heroes?" Webb, though a Whig, supported the Mexican War brought about by the Democratic Polk administration. He is told by a smaller man, "Peace, Colonel! You'll spoil all. Don't you know it is necessary to decry the war in order to make out that Scott & Taylor are doing more harm than good, and thus keep them out of the Presidential chair, which must be filled by Harry of the West. You know our case is desperate, and so Harry must do something desperate for his own sake." On the far right a carpenter holds up a wooden peg and announces, "Gentlemen, I've made a new Wooden leg for Santa Anna. You can appoint a Clay-Whig Committee to present it to him, with a suitable address." Gen. Antonio Lopez de Santa Anna, the commander of Mexican forces, had left his wooden leg behind in his retreat from the Battle of Cerro Gordo.|Entered . . . 1847 by J. Baillie.|Lith. & published by James Baillie, 87th. Str. near 3d. Avenue, N.Y.|Probably drawn by John L. Magee.|The Library's copy of the print was deposited for copyright on November 29, 1847.|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 1847-5.

Democratic presidential candidate George Brinton McClellan is lampooned as an incompetent military leader. He sits in a saddle mounted on the boom of the Union ironclad vessel "Galena." The print recalls two prominent failures in McClellan's tenure as commander of the Army of the Potomac, which haunted him during the 1864 campaign. The "Galena," a Union ironclad leading a flotilla of Union gunboats against Richmond, was driven back and badly damaged by Confederate batteries just miles from the capital in May 1862. McClellan was criticized for refusing to bring nearby land troops to the navy's aid. Shortly thereafter McClellan's peninsular campaign toward Richmond came to a disastrous conclusion with the Battle of Malvern Hill, shown here raging in the background. McClellan's troops retreated to the protection of naval guns, effectively ending the Union threat to Richmond. The artist shows McClellan viewing the battle through a telescope from his safe perch. He calls to the troops, "Fight on my brave Soldiers and push the enemy to the wall, from this spanker boom your beloved General looks down upon you."|Probably drawn by Louis Maurer.|Title appears as it is written on the item.|Gale, no. 2904.|Weitenkampf, p. 145.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-17.

Another campaign portrait of Whig presidential candidate Henry Clay. In an oval frame, surrounded by an ornate floral wreath, is a bust-length portrait of Clay. Two books and a quill pen are visible over his shoulder at left; at right, behind a curtain, is the base of a column and, beyond that, the sky. Surmounting the oval is an eagle grasping an olive branch in one claw and arrows in the other, and holding a streamer in his beak. Below is a facsimile of Clay's signature. Like "The Working Man" (no. 1844-3), the Library's impression is a proof (possibly a restrike) on paper from a plate engraved for printing campaign badges. Sullivan and Fisher reproduce a similar badge printed on silk (no. HC-47). In this state, Clay's head is surrounded by a faint halo indicating considerable reengraving of the plate.|Sold by Edward P. Whaites no. 1 Cortlandt Strt. N.Y.|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 1844-4.

Signed in stone: WA.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A crude satire on the obstacles facing Van Buren's reelection effort in 1840. Weighed down by a large bundle labeled "Sub Treasury," Van Buren follows the lead of Andrew Jackson toward the White House. His way is blocked by barrels of "Hard Cider" and log cabins, symbolizing the popular appeal of Harrison's candidacy. In the right distance the Capitol is visible, and in the left distance Van Buren's home at Kinderhook. A mischievous youth stands behind Van Buren thumbing his nose.|Sold by Huestis & Co. 104 Nassau-St, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 68.|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 1840-26.

A comic scene ridiculing the Tammany Democrats of New York City. Tammany headquarters, known as the "Wigwam," here erupts in a drunken fracas over the Democratic platform for the presidential race of 1852. The platform specifically endorsed the Compromise of 1850, which incorporated the Fugitive Slave Act, a measure highly repugnant to abolitionists and Free-Soil or Barnburner Democrats. The artist also capitalizes on current rumors of candidate Franklin Pierce's bouts of alcoholism. In the center stands a wooden platform, in the process of collapsing on one end under the riotous exertions of abolitionists. On the other end (at left) stand Pierce and his runnning mate William R. King. Pierce, visibly drunk and swooning, is supported by King. Yet he tries to speak, "Fel-er-cit-zens. I'm bliged to you. I, that is--King? did you put that "Bri" (hic) "Bri" (hic) "Brick!" (damm the word)--in my "Hat?" Fel--citizens? this is my mot (hic) mottoe! "Prin-Ci-Ples, Not, Men--Men, Not Prin-ciples" whichever is the most ex (hic) "Expedient" (damm the word). Fel-Cit-zens? hurray for the Dem (hic) Dem (hic) "Democratic Party." (damm the word) (hic) (hic) ah that last "Brandy Smash" was too Muscular for my constution. "King! King!" your drunk" King: "Come--Pierce stand up like a man, what will your friend think, if you are as limber as this after we get you in the White House, what will become of the country. Come now? stand up, or lay down, one or the other." King leads Pierce toward an Irish tough (far left), one of the party rank and file, who steps onto the platform and declares enthusiastically, "Your the boy for this crowd! slap down yer paw! . . . aint we a go in ter have a nice time when we gitm you in the white house? well we is! hoss! wont we lick Mexico again? wont we go ter Cuba and kiss the purty Spanish galls? wont we lamm the British? & Choke Louis Napoleon? well we will! . . ." The platform itself is inscribed with the warning: "In consequence of the Ricketty Construction of this Platform, all Barnburners, Free-Soilers, & Abbolitionists are requested to Tread on it as lightly as possible." The structure breaks up on the right amid a crowd of brawling Democrats, one of them carrying an "Abbolition" banner. In the left foreground, a muscular, bare-chested "Old Hunker" (conservative Democrat) sends a Free-Soiler flying with a punch, saying, "How do you like that for a Change?" To which the Free-Soiler answers, "I should like it better without the change?" In the center sits a man in athletic costume holding a bottle. He looks to the right where Whig candidate Winfield Scott enters on the back of a donkey. The athletic man says, "Hulloa? Scott! is it a fact that you brought down--twelve "Birds" at one "Shot." Scott, dressed as a hunter, with a large sack slung over his saddle, replies, "Yes Sir, brought e'm "Down," and "Bagged" e'm too." As in "Terrible Rout and Total Destruction of the Whig Party" (no. 1852-26) the comic characterization and style of draftsmanship here are unquestionably John L. Magee's, and compare closely with other, signed works by the artist.|Drawn by John L. Magee.|For sale by Nathaniel Currier at No. 2 Spruce St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 111.|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 1852-13.

An illustrated sheet music cover for a set of "popular airs" for the piano, dedicated by the publisher to "Whigs of the United States." A Whig campaign piece, the work eulogizes the supposed humble rusticity of presidential candidate William Henry Harrison. In an oval medallion flanked by American flags is a bust portrait of Harrison. Beneath it lie crossed olive branches and above, in a burst of light, stands an eagle holding a streamer that reads "The Hero of Tippecanoe." In the background are Harrison's log cabin with smoking chimney (on the left) and the United States Capitol (on the right). The music sheet sold for fifty cents.|Entered . . . 1840 by F.C. Unger.|Gimber's Lithy. 404, Broadway New York.|New York. Published by Ferdinand C. Unger, late Saml. C. Jollie & Co. 385 Broadway.|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 1840-14.

An untitled woodcut, bold in design, apparently created for use on broadsides or banners during the Whigs' "log cabin" campaign of 1840. In front of a log cabin, a shirtsleeved William Henry Harrison welcomes a soldier, inviting him to rest and partake of a barrel of "Hard Cider." Nearby another soldier, already seated, drinks a glass of cider. On a staff at right is an American flag emblazoned with "Harrison & Tyler."|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 1840-16.

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.  

A pro-Jackson commentary on the confrontation between the United States and France over reparations due the U.S. under the Treaty of 1831 (See "Spirit of the Times" no. 1836-4). The situation reached crisis intensity in 1836 when France refused payment pending an apology for remarks purportedly offensive to that nation in a Jackson speech the previous December. The print was deposited for copyright on January 25, ten days after Jackson's Special Message to Congress, wherein he suggested preparation for hostilities in the event that payment was not forthcoming. The cartoon spoofs the bellicose climate generated in part by American and French presses before spoliation payments were begun in May, and to the rivalry between New York newspapers the "Morning Courier and New York Enquirer," the "Sun," and the "Herald." The print is based on a fable by Jean de la Fontaine ("Fables de la Fontaine" Livre XII, Fable 4), about two she-goats who confront each other on a plank high above a river. Each is too proud to make way for the other, and hence both end up falling into the river. Similarly, two goats with the heads of French king Louis Philippe (left) and Andrew Jackson (right) meet on a plank bridging a channel. The Jackson goat says "By the 8th of January I shall not go back." Louis Philippe responds "Nor I by the 3d day of July." (January 8 is the anniversary of Jackson's famous victory at the Battle of New Orleans.) Below them John Bull waves his hat and says, "Go it my Harties fifty to one on Brother Jonathan, Some one will profit by this. I don't say who!" On the left the Gallic cock stands on a bale with the words "La raison du plus fort est toujours la meilleure" (loosely translated: "Might makes right"). He crows that "Orleans has been his [Jackson's] rise, Orleans will be his Fall," alluding to Jackson's famous victory at the Battle of New Orleans, and the French royal family, the house of Orleans. On the right is an American eagle with thunderbolts in his talons. In the lower half of the print editors of three French journals, "La Quotidienne, Le Constitutionel" and "Les Debats," shout taunts like "Go on! Go on! Vive la gloire!!" and "Might makes Right" across a small body of water at American editor James Watson Webb, on the right. Webb sits on a bale of saltpetre cheering Jackson and waving a "Bennett Bludgeon" club. The saltpetre symbolizes Webb's aggressive stance on enforcement of the spoliation claims; the bludgeon his well-publicized beating of James Gordon Bennett, editor of the rival New York "Herald," in January 1836. From Webb's pocket a boy surreptitiously removes a copy of Jackson's "Special Message" saying "The "Sun" shines for all," perhaps a reference to the New York "Sun's "non-partisan editorial policy.|Entered . . . 1836 N.Y.; added by hand in ink: "By Jos. Mouls."|Sold at 36 Maiden Lane 3d. Story.|Title appears as it is written on the item.|Weitenkampf, p. 42.|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 1836-3.

Campaign satire predicting Whig presidential candidate William Henry Harrison's ascendancy over Democrat Martin Van Buren. In the center of the print is a mountain with a statue of George Washington, "Pater Patriae," on its pinnacle. Descending the mountain is incumbent President Jackson, portrayed as a snapping turtle. Van Buren is a snake, slithering out of a "Pool of Corruption" below as Harrison, an eagle, flies overhead. Jackson: "Here I go full of glory! Martin my boy look out for Harrison he'll be down upon you like an eagle." Van Buren: "What does the old snapper say. D--n Harrison he cant "crawl"1along as I can." Harrison: "No but I can "fly" ahead of you."|Entered . . . 1836 by H.R. Robinson.|Published April 1836, by the proprietor H.R. Robinson, 48 Cortlandt St. New York.|The print was registered for copyright on April 18, 1836.|Title appears as it is written on the item.|Weitenkampf, p. 45.|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 1836-10.

Entered according to Act of Congress in the year 1886 (All rights reserved.)|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

An illustrated sheet music cover for an antislavery song, dedicated to abolitionist spokesman Henry Ward Beecher. The illustration features a roundel illustration of the burning of the Free State Hotel in Lawrence, Kansas, by a proslavery mob in May 1856. The roundel is flanked by a standing Indian (left) and a settler, seated and holding a musket and Bible. The settler is probably meant to represent one of the emigrants recruited by associations like the New England Emigrant Aid Company to settle in Kansas in hopes of insuring its emergence as a free state.|A variant copy (cover only, with slightly different image) is in P&P LOT 10615-11; LC-USZ62-53600.|Boston. Published by Oliver Ditson Washington St.|Designed and engraved by Greene & Walker Boston.|Entered . . . 1856 by O. Ditson.|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 1856-10.

A caricature of Abraham Lincoln, probably appearing soon after his nomination as Republican presidential candidate. The artist contrasts Lincoln's modest posture at the Illinois Republican state convention in Springfield in 1858 with his confident appearance at the 1860 Illinois Republican ratifying convention, also held in Springfield. The two Lincolns are shown joined at the back and seated on a stump. The 1858 Lincoln (facing left) addresses a small audience of men, including a young black man. He denies any presidential ambitions, his words appearing in a cabbage-shaped balloon: "Nobody ever expected me to be President. In my poor, lean, lank face, nobody has ever seen that any Cabbages were sprouting out." In contrast, the 1860 Lincoln (facing right) states, "I come to see, and be seen." There may be, as Wilson maintains, an implied criticism here of Lincoln's reticence about his political views during the 1860 campaign, when from May to November Lincoln made no speeches except for a brief address at the meeting in Springfield. This may explain the less-than-enthusiastic, puzzled look of several of his listeners here. The lithograph is particularly well drawn. Although clearly by a trained and able artist, it is not readily attributable to any of the major known cartoonists of the time.|Title appears as it is written on the item.|Weitenkampf, p. 124.|Wilson, p. 40-41.|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 1860-25.

Campaign badge produced for the Whig National Convention held at Baltimore in May 1844. A bust-length portrait of Whig candidate Henry Clay appears in an oval, against a backdrop of American flags. The oval is surmounted by arrows, an olive branch, and a shield held by an eagle. Above the eagle, in a sunburst, is the title. Beneath the flags are palm fronds and a wreath with the words: "The Farmer of Ashland [Clay's Kentucky estate]. Honor to whom Honor is due."|Bannerman Sculpsit.|Title appears as it is written on the item.|Sullivan and Fischer, no. HC-46.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-1.

An elaborate emblem to the memory of George Washington, illustrating the cover of a song in his honor composed by B. A. Burditt. The song, according to the text, was written "Expressly for the celebration of the 83d Anniversary of American Independence, and performed before the City Authorities of Boston, in the Music Hall, July 4th 1859." It is dedicated to former Massachusetts senator Edward Everett, whose public speeches in support of the Union made him a prominent figure during the antebellum period. His nationalistic oration on George Washington was particularly well-known. In May 1860 Everett was chosen the vice presidential nominee of the Constitutional Union party. A central roundel portrait of Washington in Roman toga is surrounded by military paraphernalia. These include a tricornered hat, a saber, and epaulets (below), rifles and cannonballs (right), and a cannon with broken wheels (left). Also below is a pen and inkstand with the Declaration of Independence. The roundel's laurel-wreath frame is flanked by rows of American flags. Above the portrait is an allegorical vignette, with the figures of Peace (left) and Liberty (right). Peace supports a shield decorated with stars and stripes, and bestows a wreath on the American eagle, who stands at left holding a streamer ("E Pluribus Unum"), arrows, and an olive banch. Liberty or Columbia holds a sword and points upward. Before her, on the ground, lies a sheathed sword. To the right is a railing.|Boston. Published by Oliver Ditson & Co. 277 Washington St.|Entd . . . 1859 by O. Ditson & Co. Mass.|John H. Bufford's Lith. |The Library's copy of the work was deposited for copyright on October 4, 1859.|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 1859-3.

An extended and bitter indictment of Jefferson Davis and the Southern slave system. The work consists of a series of twelve vignettes with accompanying verse, following the scheme of the nursery rhyme "The House That Jack Built." The same nursery rhyme was adapted for some of the bank war satires during the Jacksonian era. The vignettes are as follows: 1. the "House," showing the door to a slave pen; 2. bales of cotton, "By rebels call'd king;" 3. slaves at work picking cotton, "field-chattels that made cotton king;" 4. slave families despondently awaiting auction; 5. slave auctioneer, "the thing by some call'd a man;" 6. slave shackles; 7. slave merchants; 8. a slave breeder negotiating in an interior with a slave merchant; on the wall appear portraits of Jefferson Davis and Gen. P.G.T. Beauregard; 9. a cat-o-nine-tails; 10. a slave driver flogging a bound female slave; 11. Jefferson Davis, "the arch-rebel Jeff whose infamous course / Has bro't rest to the plow, and made active the hearse." 12. symbols of slavery, an auctioneer's gavel, whip, auctionnotices, and shackles lying torn and broken with a notice of Jeff Davis's execution because " . . . Jeffs infamous house is doom'd to come down." |Drawn and published by David Claypool Johnston, Boston.|Entered . . . 1863 by D.C. Johnston . . . Massachusetts.|The Library's impression of the work was deposited for copyright on July 3, 1863. The Boston Athenaeum owns Johnston's preliminary pencil drawings for the individual scenes in this work.|Title appears as it is written on the item.|Citizens in Conflict, no. 40-43.|Johnson, no. 75.|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 1863-9.

An imaginative portrayal (with overt propaganda value) of an event in the Texas war of independence --the surrender of Mexican commander Santa Anna and his brother-in-law General Martin Perfecto de Cos, to American leader Samuel Houston after the Battle of San Jacinto in late April 1836. Santa Anna (center) bows and offers his sword to Houston, saying, "I consent to remain your prisoner, most excellent sir!! Me no Alamo!!" His subordinate follows suit. Houston, clad in buckskins and holding a musket, says, "You are two bloody villains, and to treat you as you deserve, I ought to have you shot as an example! Remember the Alamo and Fannin!" The print reflects the intensity of anti-Mexican feeling in the United States after Santa Anna's massacre of American defenders at the Alamo mission in February 1836 and the slaughter at Goliad, Texas, a month later of American colonel James Fannin and his surrendered troops.|After Edward Williams Clay. Published by Henry R. Robinson, New York.|This print is the second of two prints which Weitenkampf lists as "Genl. Houston, Santa Anna & Cos" and "Houston, Santa Anna & Cos," both published by H. R. Robinson. The Library's impression is trimmed, however, and lacks the publisher's imprint. The first version was drawn by Edward W. Clay. |Title appears as it is written on the item.|Weitenkampf, p. 43.|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 1836-24.