This lesson plan asks students to analyze two primary sources, in the form of letters, that address the issues relating to religious freedom for the newly formed United States and its relation to the nature of citizenship and equality in a religiously diverse society. Students will also analyze the 1st. Amendment and develop an argument regarding 1st amendment issues today.

An illustrated sheet music cover for an abolitionist song composed by Jesse Hutchinson, Jr. The song is dedicated to antislavery editor Nathaniel Peabody Rogers, "As a mark of esteem for his intrepidity in the cause of Human Rights." It is illustrated with an allegory of the triumph of abolitionism. In a landscape a railroad car, "Immediate Emancipation," is drawn by a locomotive named "Liberator" and followed by another locomotive, the "Repealer," which pulls a second car "Liberty Votes and Ballot Boxes." The "Liberator" was the name of a prominent antislavery newspaper published in Boston by William Lloyd Garrison. "Repealer" probably refers to the Irish insurgent movement in support of the repeal of the Legislative Union, a cause with which many abolitionists in the United States were allied. Flags bearing the names of two other abolitionist publications, the "Herald of Freedom" and "American Standard" (i.e., Rogers's" National Anti-slavery Standard), fly from the "Emancipation" car. The trains approach a bend in the track, nearing a station where a number of people gather to welcome them. Beyond the station is a church. In the distance two other trains, one marked "Van" and the other "Clay," crash and their passengers flee. These allude to Democrat and Whig presidential hopefuls Martin Van Buren and Henry Clay. The reference to Van Buren suggests that the music-sheet appeared before the Democratic convention in May, when James K. Polk, not Van Buren, received the party's presidential nomination.|Entered . . . 1844 by J. Hutchinson.|Thayer & Co's. Lith Boston.|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 1844-52.

This video segment, adapted from NOVA, chronicles the education of leading chemist Percy Julian. Although Julian began his elementary school years in the Deep South under Jim Crow laws, he became one of the few African Americans of his time to earn a Ph.D.

The artist parodies recent outbreaks of violence in Congress, and offers a pointed comparison between the elevated rhetorical sparring in the Senate and a more physical brand of combat in the House of Representatives. In the left frame members of the Senate (wearing the togas of Roman senators) watch a bout of swordplay between Alabama Democrat Jeremiah Clemens (here "Clements") and South Carolina Democrat Robert Barnwell Rhett. Clemens lunges blindly at his opponent with his sword while covering his face with a shield marked "Valor." Rhett crouches on the floor beneath his own shield, labeled "Piety." Prominent among the onlookers is Missouri senator Lewis Cass who comments, "The Gladiator from South Carolina is certainly one of the most 'talented' men in the 'Dodging Line' our Country has produced--it's astonishing what practice enables us to accomplish." An unidentified senator exclaims, "Admirable! Admirable! what Suppleness and determination. I fearlessly assert that never in this Chamber has the 'Pious Dodge' been better executed." Another unidentified spectator adds, "Very prettilly done! that dodge was about as neatly executed as anything of the kind I have lately seen." In the second frame two "Bulley's of the House" (one probably Albert Gallatin Brown) fight before a gallery of spectators. Two spectators stand on a bench exclaiming, "Let them fight it out and dont let your anxiety make you perspire to freely. Here--Boy? go and ge me a glass of Brandy & some Crackers & Cheese. we may as well have a pleasent time of it--I bet a Hundred to one Brown whips his man in three minutes" and "Shame!!--Shame!! Where's the Sergeant at Arms!"|Probably drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 105.|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 1852-38.

Learn about the trailblazing, gender non-conforming performer Gladys Bentley with this digital short from Unladylike2020. Gladys Bentley fled her homophobic Trinidadian immigrant family in Philadelphia, PA at age 16 to join New York's Harlem Renaissance jazz scene as a cross-dressing performer. In a time when homosexuality was widely considered sinful and deviant, Bentley wore men's clothing -- a tuxedo and top hat -- and became famous for her lesbian-themed lyrics covering popular tunes of the day, and for openly flirting with women in the audience. In the 1950s, succumbing to pressure from the black church and McCarthy Era harassment of the LGBTQ community, Bentley said of her gender identity, "I am a woman again!" Constantly reinventing herself, Bentley challenged norms and pushed boundaries. Support materials include discussion questions, vocabulary, a research project on queer identity during the Harlem Rennaissance, and a close reading of Bentley's famous essay, "I am a Woman Again".

Evidently a companion to "The Globe Man Listening to Webster's speech on the Specie Circular" (no. 1838-3), the small, bust-length caricature of Democratic editor Francis Preston Blair shows him looking even more cadaverous and morose. The title refers to the defeat of Van Buren's Independent Treasury Bill in 1838. The print was registered for copyright on July 6, 1838, soon after the bill was voted down late in the second session of the Twenty-fifth Congress.|Entd . . . 1838 by H.R. Robinson . . . Southn. Dist. of N.Y.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|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 1838-4.

A small, bust-length caricature of Washington "Globe" editor and Van Buren adviser Francis Preston Blair. The print was probably issued in the spring of 1838. In May of that year the Specie Circular, an extremely unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver ("specie") in payment for public lands, was repealed. The print's title may refer to Daniel Webster's lengthy March 12 speech condemning the Independent Treasury Bill and other aspects of President Van Buren's fiscal program. The print may to be a companion piece to "The Globe-Man After hearing of the Vote on the Sub-Treasury Bill" (no. 1838-4). Both are probably attributable to Napoleon Sarony on the strength of their marked resemblance to Sarony's characterization of Blair in "A Globe to Live On!" (no. 1840-42).|Entd . . . 1838 by H.R. Robinson . . . Southern District of N. York|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|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 1838-3.

Prominent Democratic party publicists Francis Preston Blair and Amos Kendall are portrayed as Siamese twins, joined at the mid-section, and standing on a large globe. Blair (left) was the influential editor of the Washington "Globe" newspaper. Kendall resigned his cabinet post as postmaster general on May 16, 1840, to undertake editing of the "Extra Globe," a party organ issued during the presidential campaign. The "Extra" is the ligament that joins him and Blair in Sarony's cartoon. Blair exclaims, "Amos: You are an Atlas! and can support the Globe!" Kendall replies, "Yes! Frank, and "can" make the Globe support me." The latter's confirms the widespread rumor that Kendall shared considerably in the campaign paper's profits. He holds in his left hand a paper with the words "List of Subscribers 100,000 Office Holders." Kendall used thousands of federal postmasters to distribute the "Extra Globe." Whigs also maintained that some 100,000 public employees were forced to contribute a portion of their salaries to support the campaign.|Printed & published by H.R. Robinson, 52 Cortlandt St. & Pennsa. Avenue Washington D.C. (imprint supplied by Weitenkampf).|Signed: N.S. (with logo of a barrel; Napoleon Sarony]|Title appears as it is written on the item.|Weitenkampf, p. 61.|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 1840-42.

A patriotic device adorning the cover of a song arranged and adapted from "God Save the King." The device is based on the official seal of the United States. An eagle with outstretched wings holds arrows and olive branches. Behind its head is a field of stars, and a streamer reading "E Pluribus Unum" is draped around him.|N. York, published for the proprietor by G. Endicott, 359 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 1835-1.

An illustrated sheet music cover for a Unionist song, "God and Our Union," composed by Leopold Meignen with words by Louis Dela. The illustration features four maidens, each representing a section of the United States--North, South, East and West. The maidens stand around an altar and point to a scroll, the "Constitution of North America," which they unroll. Rising from the altar are two Corinthian columns supporting an arch, over which is draped a large American flag. Atop the arch sits an eagle. In the space between the columns appears a large, gleaming anchor, symbol of hope. The scene is surrounded by dark clouds through which an eye appears. The vigilant eye was a familiar Masonic symbol, and a device adopted by the Wide-Awake Clubs of 1860. (See "Free Speech, Free Soil, Free Men," no. 1860-14.) Here it probably refers to the song's assertion of divine watchfulness over the Union.|Entered . . . 1860 by Beck & Lawton. |Philada. Published by Beck & Lawton, S.E. Cor. 7th & Chestnut St. Boston by Oliver Ditson & Co. N. York by S.T. Gordon. H. Cartwright in Wheeling. Cincinnati by John Church.|Schnabel & Finkeldey lith. 218 Walnut Street. Philadelphia.|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 1860-2.

Caricature of the Ullysses S. Grant as being inebriated and trying to walk from a lamp pole labeled "2nd term" to lamp pole labeled "3rd term": a policeman in a doorway says, "Will he make it?"|Copyright by Mat Hastings.|Published by Hastings & Hannerty, 215 N. 4th St., St. Louis, Mo. Copyright secured.|Signed in stone: Mat Hastings del.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Martin Van Buren's New York political favorites are represented as piglets suckled by a giant sow "The Empire State." The artist's pointed reference is to the exploitation of New York State by the President and his supporters. The piglets nursed by the sow bear the names "The Regency" and "Tammany Hall" (popular names for the state and city Democratic machines respectively), "Weigh master General," the names of various patronage positions and of banks friendly to the administration, and the "Safety Fund." On the left other piglets, representing applications for bank charters and government offices and "The Times," await the sleeping sow's attention. Van Buren (left) and a stout Dutchman (a stereotyped character often used to represent New York State) look on. Van Buren: Was ever man blest with such a fine old sow and litter of pigs! They have made me the greatest man in the Union, and even follow me every where! Dutchman: Myn Got dey will suck de very life's blood out of dat old sow, I never seen pigs suck so in all myn life. Got for damn such a breed! Myn Vrow would not have dem on de farm.|Printed and published by H.R. Robinson, 48 & 52 Cortlandt St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 51.|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 1837-15.

A comic scene anticipating a Whig victory in the upcoming presidential election. The date is 1845, after an election supposedly decided on the Texas question, the tariff issue, and Democratic identification with Jacksonian policies. The artist ridicules Democrat James K. Polk's advocacy of the annexation of Texas as misguided aggression. In addition, the title's use of the phrase "Going to Texas," contemporary code for embezzling, may be a swipe at the political spoils system associated with the Democrats since the Jackson administration. Incumbent President John Tyler also comes under attack for corruption. The scene is outside the White House. On a "Loco Foco" donkey Polk and running-mate Dallas, heavily armed and equipped with military packs, are about to depart for Texas. Dallas holds a flag with skull-and-crossbones and the motto "Free Trade," a symbol of antiprotectionism. Around the donkey's neck is a feed barrel full of "Poke berries." Before the donkey stands Andrew Jackson, offering his trademark hat and clay pipe, and crooning: I give thee all, I can no more, / Though poor the offering be, / My hat and Pipe are all the store, / That I can bring to thee! / A hat whose worn out nap reveals / A friendly tale full well, / And better far a heart that feels, / More than Hat and Pipe can tell! At this the donkey brays, "Eehaw!" and Polk bids Jackson, "Goodbye General! It is all day with us. I am a gone Sucker!" Dallas exclaims, "D--n Clay!" Behind the donkey stands John Tyler, with lowered head, reflecting, "It is very odd, that after all my treachery, and the unscrupulous efforts of office holders and political dependents, this is my reward! If I had not laid by enough for a rainy day, I should slope for Texas too!" On the ground nearby lies a sign reading: For Sale A lot of hickory Poles will be sold cheap to close the concern. enquire of Polk & Dallas." From the steps of the White House Henry Clay waves and calls out, "A pleasant journey to you Gentlemen! may your shadows never be less!" Below the title is a narrative, purportedly excerpted from the Tyler administration organ the "Madisonian" of April 1845: All wept particularly when the old chieftain approached and holding his hat and pipe in one hand and the other placed on his heart, with tremulous accent interrupted occasionally with a cough, sang the above lines, an impromptu composed by himself to the well known tune of my heart and Lute, even the sagacious Tyler was subdued and sank into a fit of melancholy abstraction; the Donkey brayed encore.|Entered . . . 1844 by J. Baillie.|Lithd. & pubd. by James Baillie 118 Nassau St. N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The print probably appeared late in the campaign, as the Library's impression was deposited for copyright on October 22, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 83.|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 1844-47.

Political cartoons friendly to Van Buren were the rare exception during the 1840 campaign. Here the artist parodies the exploitation by Whig politicians of populist candidate William Henry Harrison. Martin Van Buren stands on the bank of a stream wishing the Harrison party "a quick voyage, take care you dont spill your valuable cargo." Harrison appears as a donkey wading in the shallows with a barrel of "Hard Cider" tied to its tail, carrying senators Henry Clay and Daniel Webster and Virginia representative Henry A. Wise on his back. Harrison: "I feel very much like a donkey!" Webster: "I say Wise do you think we have enough hard cider to last us to the Hedd of Navigation!" Wise: "Oh Webster dont be frightened we have plenty lashed on to the stern. What say you Clay!" Clay: "I'm content!" The image is clumsily drawn, but otherwise resembles Edward Williams Clay's work. There may have been some use of transfer paper in the lithographic process.|Drawn by Edward Williams Clay?|Published by John Childs, 90 Nassau St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 67.|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 1840-49.

Students examine primary resources, photographs by Dorothea Lange, and a U.S. map to understand the migrant experience during the Great Depression.

A comic scene representing two New York city political factions, the Whigs and the radical Democrats (or "Loco Focos"), as scuffling newsboys. The scene takes place before the half-built Customs House, where several newsboys and a black chimney sweep are gathered watching a scrap involving a ragged youth selling "loco foco" matches and another newsboy. The match-seller raises his fist and threatens, "Oh! you d---d Whiggy." The latter, striking him, "I'll loco poke you." On the left three of the newsboys hold Democratic newspapers the "New York Evening Post" and the "New Era," and a copy of radical reformer Frances ("Fanny") Wright's lectures. One says, with a sidelong glance at the unfortunate match-seller, "I told him he had better not fight." The chimney sweep taunts them, "Does Fanny know you're out?" On the right, a second group of newsboys, holding copies of Whig journals, the "Transcript, Morning Courier and New York Enquirer, Gazette," and the "Evening Star," cheer on the winning fighter.|Printed & publd. by H.R. Robinson, 52 Cortlandt, 11 1/2 Wall, & 38 Chatham St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 46.|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 1836-21.

An allegorical design on the cover of a piano-music composition dedicated to the newly elected Democratic governor of Massachusetts, Marcus Morton. The illustration's central motif is based on the state seal, showing an Indian warrior and a star on a shield, draped with the state and United States flags. (Oddly, the Indian's head is obscured by the flags, and weeds grow up around the shield--perhaps an editorial comment on the artist's part.) On a streamer is the state motto "Ense petit placidam [sub libe]rtate quietem" (With the sword she seeks peace under liberty). In the distance the state house (on the right) and the governor's mansion are visible. The image is framed by two columns and a plinth made up wholly of type ornaments and printed in red ink.|Entered . . . 1839 by Henry Prentiss.|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 1839-14.

A sheet music cover illustrated with an allegorical vignette incorporating the arms of the state of South Carolina. The quickstep was composed by Geo. F. Cole for the Washington Light Infantry and dedicated by the troop to the Savannah Republican Blues, Chatham Artillery, Georgia Hussars, and Volunteer Guards and to the Columbia Richland Rifle Corps and Governors Guards. According to the text it was "played on the Occasion of the reception of the above Companies in Charleston Feb 22nd 1850." The vignette features an arch, "Constitution," resting on three columns labeled "Wisdom," "Justice," and "Moderation." The arch stands in the shadow of a palmetto, South Carolina being known as the Palmetto State. In the left background is a mountainous landscape with a viaduct crossed by a locomotive. On the right, a farmer ploughs his field and ships sail on the water.|Entered . . . 1850 by Wm. Hall & Son. |Lith. of Wm. Endicott & Co. N.Y.|Music composed by Geo. F. Cole for the Washington Light Infantry; published by George F. Cole, Charleston, S.C.|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 1850-1.

A dramatic prison scene, intended to contrast the clemency of New York's Whig governor William H. Seward with the vindictiveness of the Democrat-controlled New York City prison administration. In the interior of the Halls of Justice, popularly known as "the Tombs," a grim jailer stands blocking the approach of a Catholic priest toward a small cell, saying "You can't Enter." The priest, holding a crucifix and rosary beads, presents a paper marked "Admit the Bearer. W H Seward" and replies, "Here is my authority from Govr. Seward for admission. I shall now see the wretched man." Meanwhile, in his cell, the "wretched man"--actually, convicted murderer John Caldwell Colt--kneels in prayer, a Bible beside him. He implores, "Must I die without seeing my Priest? How cruel to prevent me from making My peace with my God!" The print may be based on an actual incident. Interestingly, though, in the closing months of his administration Seward refused to pardon Colt, despite considerable political pressure to do so. Colt cheated the hangman by taking his own life on the day of his scheduled execution.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 70.|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 1842-1.

An illustrated sheet music cover, for a march celebrating the election of Silas Wright as governor of New York. Wright, a popular and influential Democrat and Van Buren ally, was elected in November 1844. The march is dedicated to the new governor by its composer Oliver J. Shaw. The cover is adorned with an elaborately drawn arms of the state of New York. A shield shows the rising sun over a landscape with canal barges; below is the state motto "Excelsior." The shield is flanked by two classical figures: Justice (left) with scales and sword, and Hope holding an anchor and a scythe symbolizing agriculture. Above is an eagle holding arrows, olive branches, and a streamer reading "E Pluribus Unum" and below are olive and oak branches.|Entered . . . 1844 by Wm. H. Oakes.|For sale by E.H. Wade, 197 Washington St.|Thayer & Co's Lith. Boston.|The Library's copy of the music-sheet was deposited for copyright on December 24, 1844.|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 1844-49.