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.

The artist charges the Republicans with electoral corruption and extremism in their efforts to defeat Democratic presidential nominee George B. McClellan. Oblique reference is also made to Lincoln's supposed advocacy of equal rights for blacks. A ragged black soldier points a bayonet at a maimed white Union veteran, preventing him from placing his vote for McClellan in an already stuffed ballot box. The former says, "Hallo dar! you cant put in dat you copperhead traitor, nor any oder 'cept for Massa Lincoln!!" McClellan ran on the Peace Democrat or Copperhead ticket. The one-legged, one-armed soldier replies, "I am an American citizen and did not think I had fought and bled for this. Alas my country!" A worried election worker wearing spectacles tells his heavy-set colleague, "Im afraid we shall have trouble if that soldier is not allowed to vote." But the second responds, "Gammon, Hem just turn round. you must pretend you see nothing of the kind going on, and keep on counting your votes." Two townsmen converse in the background beneath a sign "Vote Here."|Signed: J.E. Baker del. (Joseph E. Baker).|Title appears as it is written on the item.|Lorant, p. 269.|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 1864-35.

Another satire on the 1838 New York mayoral contest, this time suggesting collusion between Whig candidate and incumbent mayor Aaron Clark and conservative Democrat Richard Riker. Here Clark sits on his stalled mare (center) as his rival Isaac L. Varian's horse makes off at left. Just visible, it trails a flag that reads "Regular Democratic Nomination! No Monopoly! Down with a monied Aristocracy!" Clark hands Riker a staff with a ram on its end, labeled "Lottery Office," urging, "Take my rod Dickey, and give her [his horse] another conservative poke, or it will be all Dickey with me!" Riker replies, "She'll go Aaron as soon as she feels her oats! If she dont I'll give her the six months!" A Jew stands at right thumbing his nose at the proceedings, "Shtop my friendsch I vill shave you shome troublesh . . . It ish moneysh vat maksh de Mare/Mayor go.!!"|Entd . . . 1838 by J. Fitzsimmons 97 John St . . . Southern District of New York.|Signed: Sheepshanks fecit 1838 (probably Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 56.|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 1838-7.

Henry Clay is the hunter, and various Democrats his quarry. Clay wears a fringed buckskin outfit and coonskin cap reminiscent of Davy Crockett and the Western characters of the contemporary stage, such as Nimrod Wild-Fire or Jibbenainosay. (In Bucholzer's earlier cartoon "Treeing Coons," no. 1844-20, James Polk wears a similar costume.) He grasps a rattlesnake with the head of incumbent President John Tyler. In his belt are two trophies, the Van Buren fox and Polk goose. He stands on the trunk of a felled "Hickory" tree (an allusion to Democratic patriarch Andrew Jackson), while an eagle hovers over him displaying a ribbon with the Whig campaign slogan, "Honor To Whom Honor Is Due." Clay says, "Thus perish the enemies of my Country, and of the People, who have honored me with their suffrages!" To the left stands Clay's running-mate Theodore Frelinghuysen, holding John C. Calhoun and Thomas Hart Benton by the seats of their trousers. He addresses Clay, "Here, noble Hunter! I have found two non-descript Animals! One of them is continually bawling about mint drops! and the other is yelling about disunion and nullification!" "Mint drops," slang for gold coin, were popular symbols of Benton's hard-money philosophy. Calhoun's leadership in the South's movement for nullification of the federal tariff of 1828 marked him as an advocate of disunion.|Entered . . . 1844 by J. Baillie.|Lith & pub by James Baillie 118 Nassau St. N.Y.|Signed: H. Bucholzer.|The Library's impression of "The Hunter of Kentucky" was deposited for copyright on August 23, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 74.|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 1844-39.

A tableau dramatizing the brutal tactics employed by Zachary Taylor as commander of U.S. forces against the Seminole Indians during the Second Seminole War (1835-42). Taylor, on horseback at right, presides over a scene of devastation and carnage. Soldiers aided by bloodhounds relentlessly pursue retreating Seminoles, including a multitude of women and children who flee in panic to the left. A wounded dog lies on the ground in the lower right, while another lunges at the throat of a Seminole brave who shields a woman and child at left. A village burns in the distance In the center an officer standing with his back to the viewer points out the slaughter to Taylor, who exclaims, "Hurra! Captain, we've got them at last, the dogs are at them--now forward with the Rifle and Bayonet and "give them Hell Brave Boys", let not a red nigger escape-, show no mercy-, exterminate them, -this day we'll close the Florida War, and write its history in the blood of the Seminole--but remember Captn., as I have written to our Government to say that the dogs are intended to ferret out the Indians, (not to worry them) for the sake of consistency and the appearance of Humanity, you will appear not to notice the devastation they commit."|Entered . . . 1848 by James Baillie.|Published by James Baillie, 87th St. near 3rd Avenue N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 96-97.|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 1848-20.

The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. He singles out for indictment radical abolitionist William Lloyd Garrison, Pennsylvania Free Soil advocate David Wilmot, New York journalist Horace Greeley, and Southern states' rights spokesman Senator John C. Calhoun. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Wilmot: "Bubble, bubble, toil and trouble! / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. / Til we divided be!" Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / Niggars strong as goats / Cut your master's throats / Abolition boil! / We divide the spoil." Greeley: "Bubble, buble [sic], toil and trouble! / Fourierism / War and schism / Till disunion come!" In the background, stands the aging John Calhoun. He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants!"|Entered . . . 1850 by J. Baillie.|Published by James Bailley, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 101.|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 1850-7.

An optimistic Unionist boast, issued early in Lincoln's presidency, predicting the summary defeat of the Confederacy. Abraham Lincoln (at left) stands over the shield of the United States and a bald eagle, and fends off the sword of a bewhiskered secessionist. To the far left Lincoln's predecessor James Buchanan flees, saying, "I am glad I am out of the scrape!" He wears horns and has the words "Something rotten in Denmark" written on his clothing. Lincoln declares, "Just in time!" The secessionist wears a large-brimmed planter's hat, and has a pistol in his belt. He says, "Now or never" as his troops retreat into the background. Behind him federal troops under Union commander Winfield Scott approach. Scott says, "This is the way we serve all Traitors!" His lead soldier, holding up a noose, responds, "I am ready!" Behind are more Union troops, and a gallows. A domed building, possibly the Capitol at Washington, appears in the distance at left.|Copyright secured by Carl Anton, Cincinnati.|The print was deposited for copyright in the District Court for Cincinnati on May 24, 1861.|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 1861-27.

McClellan, in the character of Hamlet stands near an open grave holding the head of Abraham Lincoln. He soliloquizes, "I knew him, Horatio: A fellow of infinite jest . . . Where be your gibes now?" The cartoon evidently appeared following publication in the "New York World" of a scandalous but fabricated account of callous levity displayed by Lincoln while touring the battlefield at Antietam. (See also "The Commander-in-Chief conciliating the Soldier's Votes," no. 1864-31.) McClellan's lines here come from "Hamlet," act 4, scene 1, which takes place in a graveyard, where a gravedigger throws up the skull of Yorick, the king's jester. Hamlet picks up the skull and meditates on the nature of life. At left are the words, "Chicago Nominee," referring to McClellan. At right an Irish gravedigger pauses in his work. Horatio (far right) is New York governor and prominent Peace Democrat Horatio Seymour. The White House is visible in the distance.|Probably published by Thomas W. Strong, N.Y.|Signed: Howard Del [i.e. J.H. Howard].|Title appears as it is written on the item.|"The Lincoln Image," p. 133.|Lorant, p. 265.|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 1864-33.

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

Objective: Using your school’s local version of ISearch, students will gather and cite information from multiple texts and diverse media and draw on information from multiple print or digital sources.Note: If students do not know what a primary source document is and why researchers use them, you may wish to tell them that primary source documents include letters, diaries, journals, interviews, transcripts, speeches, and pamphlets. Researchers and historians use them as first-hand accounts of something that happened at a certain point in time.Instructions: Use the ISearch BINGO card and one of the three worksheets to teach students how to use ISearch to find academic sources. Worksheet A introduces students to the ISearch interface. Worksheet B introduces students to the ISearch interface by comparing it with another search tool of your choosing. Worksheet C introduces students to the ISearch interface and requires students to cite sources correctly in an annotated bibliography.Distribute the ISearch BINGO Worksheet of your choosing (A, B, or C) for Grades 6-8.Encourage students to read all directions along with you first so you can help them understand.Demonstrate how to use ISearch to find sources and how to create citations or find citation helpers. See demo instructions.Pass out the BINGO cards. Explain how to get a BINGO. Tell students that they can choose any of the topics in the box as a search term when looking for that source. They can mix and match. In other words, a student can do a search for civil rights for B1 and suffrage for I6, or the student could do civil rights across the row.ModificationsEncourage students to work in teams to find the sources.Change the search terms in the BINGO card to relate to those with a current classroom assignment.Time Required: Activities in Worksheet A can be completed in 25-45 minutes. Activities in Worksheet B can be completed in 45-65 minutes. Activities in Worksheet C can be completed in 90 minutes.

Every media source has a story to tell--a driving purpose. The media that people consume largely shapes their world views. The US public is becoming more divided partially due to the consumption of increasingly biased news. As a critical consumer of media, It is important to be able to separate fact from opinion. In this unit, adapted from the high school version, students will become critical consumers of news, by identifying media bias in order to become better informed citizens.  NOTE: This unit has been adapted for use at the middle school level from the resource Identifying Media Bias in News Sources by Sandra Stroup, Sally Drendel, Greg Saum, and Heidi Morris.

A burlesque history of the Jackson administration, with particular reference to his campaign to destroy the Bank of the United States. The narrative, in a series of twelve episodes, is based on Cervantes's "Don Quixote," which recounts the adventures of the don (here Jackson) and his squire Sancho Panza (here Jackson's vice president and successor Martin Van Buren). The episodes are as follows: 1. Jackson as Don Quixote, "redresser of grievances, the writer righter of wrongs," sits meditating in his study. A pair of military boots hover in the air at left. On the walls are portraits of Nero and Dionysus. 2. Jackson/Quixote kneels to receive his Doctor of Laws degree to the obvious amusement of several onlookers. 3. He attempts to thrash sacks of money labeled "U. S. Deposits" in a "certain public house" (the Bank of the United States) but is restrained by Bank president Nicholas Biddle and by Henry Clay and Daniel Webster, the latter shielding the sacks with the Constitution. This is a reference to the conflict over Jackson's 1833 order for the removal of federal deposits from the Bank. 4. He confronts a crowd bearing signs reading "Petitions for the restoration of deposits," "N. York Mechanics" and "Virginia Resolves," reflecting public protestation of the removal order. 5. "Don Quixote's Attack on the Giants" shows him charging the United States Bank building, as Van Buren/Sancho looks on. 6. "Don Quixote's Interview with the Canon" has Jackson discussing his aspirations for "making myself an emperor" and furthering the career of Van Buren. The canon may be "Globe" editor Francis Preston Blair or influential adviser and strategist Amos Kendall. A painting of Jackson, titled "Washington 2d" hangs behind him. 7. "Don Quixote Chagrined at the statement of Nicholas" shows Jackson angrily confronting U. S. Bank president Nicholas Biddle with the latter's written refusal to "surrender the books & papers & funds committed to them [i.e., to the Bank] by Congress without a revocation by congress first." 8. "Private Confab between Sancho and his Master" shows Van Buren reporting to Jackson on his poor public image. On the table is a "Report of the committee on the removal of the deposits" and a copy of the "Globe" newspaper. 9. "The Don and Sancho with eyes and ears stopped mounted on their hobby [horse]" ignore the winds "pressures, petitions, failures," and "Virginia Resolves" blowing about them. Jackson is armored with kitchenware made by "B. K. & Company Washington." The armor symbolizes the insulating nature of the advice and influence of Democratic publicists and prominent members of Jackson's "Kitchen Cabinet," Francis Preston Blair and Amos Kendall (hence "B. K. and Company"). The knight sits astride a wooden horse labeled "Great National Shaving Shop." 10. "Don Quixote Addressing certain Bound captives whose liberation he in vain attempted to accomplish" refers to the retention of the pension accounts for Revolutionary War veterans by the Bank. 11. In "Constitutional Insanity or the Don About to Figure it on Board Ship" Jackson says to Van Buren, "You must know . . . that this vessel [the Constitution] is here on purpose without a possibility of any other design to call & invite me to embark." 12. The narrative concludes with Jackson's retirement and Van Buren's inheritence of the problems of the presidency. "The Knight on his Way Home and Sancho in the High Road to Promotion" shows Jackson riding off toward his Tennessee estate, the Hermitage. Van Buren meanwhile is tossed into the air from a "Map of the United States 1837" held by several grinning men including (directly below the rider) the artist himself.|Clarence Brigham's tentative attribution of the print to David Claypool Johnston, cited by Weitenkampf, is undoubtedly accurate. The print compares closely to earlier comic etchings by Johnston, such as "Foot-Race" (no. 1824-4), and to his annual albums entitled "Scraps," issued from 1830-1849. Moreover, the self-portrait in the final scene is very similar to that which appears in the last vignette in the 1837 issue of "Scraps."|Drawn by David Claypool Johnston, Boston.|Title appears as it is written on the item.|Johnson, no. 51.|Weitenkampf, p. 50.|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 1837-2.

Massachusetts senator and prominent antislavery advocate Charles Sumner is attacked here. The artist questions his sincerity as a humanitarian as he shows him dispensing a few coins to a black child on the street, while ignoring the appeal of a ragged white urchin. The scene is witnessed by two stylishly dressed young women. Though unsigned, the print has the relatively skillful draftsmanship and atmospheric quality found in the works of Boston lithographer Fabronius. See, for instance, that artist's "The Mower" (no. 1863-14). "The Secession Bubble" (no. 1862-12) also appears to be by Fabronius. Weitenkampf gives the 1862 date and publisher's imprint.|Boston. Published by G.W. Cottrell. |Probably drawn by Dominique C. Fabronius.|Title appears as it is written on the item.|Weitenkampf, p. 136.|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 1862-11.

Caricature of 12 weeping women in large bed, with boots of Brigham Young at the foot and his hat at the head.|Printed by Mayer, Merkel & Ottmann, Lith., 22-24 Church St., N.Y.|Signed in stone: J. Keppler.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)