In the United States, the nineteenth century was a time of tremendous growth and change. The new nation experienced a shift from a farming economy to an industrial one, major westward expansion, displacement of native peoples, rapid advances in technology and transportation, and a civil war. In this lesson, works of art from the nineteenth century are paired with written documents, including literary selections, a letter, and a speech. As budding historians, students can use these primary sources from the nineteenth century to reconstruct the influence of technology, geography, economics, and politics on daily life.
In this lesson students will: Learn about daily life in the United States in the 1800s through visual art and literature; Understand some of the ways in which nineteenth-century life was affected by technology, geography, economics, and politics; Apply critical-thinking skills to consider the various choices artists and writers have made in depicting daily life around them; Make personal connections to the nineteenth century by placing themselves in the contexts of works of art and readings.

A slanderous portrayal of Democratic tactics against Whig presidential candidate William Henry Harrison. The supposedly insidious and high-living Van Buren and his minions suffer by comparison to the Whig candidate, here portrayed as rustic and plainspoken. Harrison is shown dressed in buckskins and standing near a plough on his Ohio farm. A contingent of Democrats have arrived in an elegant coach at left. The visitors are (left to right) Francis Preston Blair, Amos Kendall, John Calhoun, and Martin Van Buren. Blair remarks to Kendall, "I will state in my paper that we found him drinking Rye Whiskey and that will kill him with the Temperance men and reading Abolition tracts settles him in the South. Our readers you know will swallow anything. I must make the most of this interview as our case is desperate indeed." Kendall responds, "Why he is quite a natural. He dont suspect us to be Spies . . . We may be able to furnish you with something clever for the Globe [i.e., Blair's newspaper the Washington "Globe]."" Calhoun protests to Van Buren, "Matty this is a dirty job. I don't like it." Van Buren says, "As I live that is old Harrison himself the old fool. After the many opportunities he has had of enriching himself to live in a log cabin and plough his own ground. Now look at me who never pulled a trigger, or chased an Indian unless by proxy: I roll in riches, and live in splendour, dine with kings, make my sons princes, enrich my friends, punish my enemies, and laugh in my sleeve at the dear People whom I gull." Harrison greets them with, "Gentlemen you seem fatigued, If you will accept of the fare of a log cabin, with a Western farmer's cheer, you are welcome. I have no champagne but can give you a mug of good cider, with some ham and eggs, and good clean beds. I am a plain backwoodsman, I have cleared some land, killed some Indians, and made the Red Coats fly in my time."|Printed & published by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 64.|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 1840-36.

A Northern-produced satire, expressing strongly anti-abolitionist sentiments. A large pair of bare feet, obviously those of a black man, protrude from beneath a Phrygian cap adorned with the word "Liberty," several stars, and an eagle with arrows and olive branch from the seal of the United States. Weitenkampf very plausibly suggests that the print is by Baker, whose work for the Bufford lithography firm is similar in style. Compare Baker's emphatically anti-Lincoln "Columbia Demands Her Children!" (no. 1864-34).|Entered . . . 1864 by J.E. Cutler in the District Court of . . . Mass.|Probably drawn by Joseph E. Baker, Boston.|Title appears as it is written on the item.|Weitenkampf, p. 141.|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 1864-36.

New York "Tribune" editor Horace Greeley is ridiculed for vacillating between support of candidates Martin Van Buren and Zachary Taylor in the presidential election of 1848. Greeley balances precariously on a tightrope labeled "Mason & Dickson's Line," which is stretched across Salt River. He holds a balancing pole with a bust of Van Buren on one end and Zachary Taylor on the other. His foot rests upon a stool which in turn rests upon a loaf of "Bran Bread" (a well-known Greeley preference) poised on edge on the wire. He comments, "O crackee! it is as hard work for me to define my position as it was for Taylor to define his," referring to Taylor's stubborn refusal to take a public stand on major issues. Below, immersed in the proverbial river of political disaster, is Henry Clay, defeated candidate for the Whig presidential nomination. Clay complains, "Alas! my Whig brethren! to this complexion must we all come at last!" To the right, on shore, a bespectacled man (possibly an abolitionist) reads aloud from a book: "On slipp'ry heights, I see them stand / While briny billows roll below." Further upstream a man dressed in tattered clothes rides a donkey which trails a placard advertising, "Ground & lofty tumbling Mr. Greely's first appearance in that Character." Greeley wears his characteristic pale frock coat and carries a copy of the "Tribune" in his pocket.|Entered . . . 1848 by J. Baillie. |Lith & published by James Baillie, 87th St. near 3d Avenue N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 94.|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 1848-54.

Paul Cuffe was a sea captain, entrepreneur, and philanthropist who lived through the birth and early life of the United States. As a young man, he helped smuggle goods past the British blockade during the Revolutionary War; by the early 1800s, he was perhaps the wealthiest Black man in the young republic, renowned and respected for his business sense and moral character and the first free man of color to visit The White House. An ardent abolitionist, Cuffe used his wealth to build one of the first integrated schools in America and to power his ambitious — and controversial — plans to build a new Black republic in West Africa.

The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

Paul Cuffe was a sea captain, entrepreneur, and philanthropist who lived through the birth and early life of the United States. As a young man, he helped smuggle goods past the British blockade during the Revolutionary War; by the early 1800s, he was perhaps the wealthiest Black man in the young republic, renowned and respected for his business sense and moral character and the first free man of color to visit The White House. An ardent abolitionist, Cuffe used his wealth to build one of the first integrated schools in America and to power his ambitious — and controversial — plans to build a new Black republic in West Africa.The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

A prediction of dire consequences to follow from Jackson's withdrawal of federal funds from the Bank of the United States, initiated late in 1833. The artist is harshly critical of Jackson's move to distribute federal treasury funds among several state or so-called "pet" banks. He also condemns the influence of both Jackson's informal circle of advisors, the "Kitchen Cabinet," and the newspapers friendly to the Administration, the "Collar Presses." Jackson declared his own personal "responsibility" for the controversial order to remove the feredal deposits from the Bank. Here a mob of farmers, laborers, and tradesmen riot, holding papers saying "Broken Bank," and shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." They pursue Jackson, who flees to the right carried on the back of Jack Downing. Jackson: "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." Downing: "I told you I'd get you off Jinral but it will be a tarnel tight squeeze I guess." In the center Thomas Ellicott and Reuben Whitney, anti-Bank fiscal advisors to the administration, try to pull down the statue of Justice (here labeled "Supreme Court") resting on a pedestal "Constitution." A man in judge's robes, Supreme Court Justice John Marshall, warns "Miscreants forbear, the day of retribution is at hand and Justice shall be no longer set at defiance!" Five dogs, representing newspapers supportive of Jackson's program, including the "Globe, Albany Argus, Evening Post, Standard," and "Journal of Commerce" scamper away with their collars chained together. These are called "Collar Presses, " a derisive nickname playing on their status as newspapers or "presses" subservient to the administration. On the far left Henry Clay tells Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions!" Below them two blacks converse: "Hurrah Bob two or three more rows like dis and nigger free, for there will be no more Goberment." "Hurrah! for Massa Garison [i.e. abolitionist William Lloyd Garrison], den he shall be King!" On a step at lower left a sailor offers a Jewish broker a ten dollar bank-note. Sailor: "I say Moses give us some ballast for this here bit of rag." Banker: "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten."|Entered . . . Southern District of New York by T.W. Whitley 1834, and for sale at 104 Broadway.|T.W. Whitley alias Sir Joshua invt.|The print was recorded as deposited for copyright by Whitley on February 1, 1834. The print was probably printed and sold by Anthony Imbert, since his address is given in the imprint. The print is also very close in style to Imbert's "Old Nick's New Patent Plan ... (no. 1834-5).|Title appears as it is written on the item.|Weitenkampf, p. 35.|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 1834-7.

Whig presidential candidate Winfield Scott and his party pursue an abolitionist course leading toward Salt River and political doom. New York senator and antislavery advocate William Seward appears as a poodle which leads the blindfolded Scott and his entourage of three asses with the heads of prominent abolitionists David Wilmot, Joshua Reed Giddings, and Horace Greeley. They pass a signpost pointing toward Salt River (ahead) and Washington (in the opposite direction). Seward: "Place the utmost confidence in me gentlemen asses . . . for when was I ever known to betray those with whom I was associated!" Scott: "It seems to me that I scent a strange saltness in the air!" Wilmot carries a "Free Soil" burden and is ridden by a black man. The slave exclaims, "Whew Massa Scott! up here you can see de riber shining in de sun!" Ass Giddings bears a sack marked "Abolition," while behind him Greeley carries a load marked "Higher Law." Greeley complains, "Here I am again upon my winding way. I would be glad to get off on my own hook, but this is my only chance for office, and I should like to get hold of another short term." A man on a hill in the background points toward Washington, exclaiming, "Ho there! Ho there! yonder lies your course! you're going astray! They are deaf as a post, or a set of obstinate jack asses!" (Under the man's feet the name "Seward" was inscribed but later obliterated.)|Published by John Childs, 64 Nassau St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 108.|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 1852-32.

The second in a series of anti-Lincoln satires by Bromley & Co. This number was deposited for copyright on July 1, 1864. The artist conjures up a ludicrous vision of the supposed consequences of racial equality in America in this attack on the Republican espousal of equal rights. The scene takes place in a park-like setting with a fountain in the shape of a boy on a dolphin and a large bridge in the background. A black woman (left), "Miss Dinah, Arabella, Aramintha Squash," is presented by abolitionist senator Charles Sumner to President Lincoln. Lincoln bows and says, "I shall be proud to number among my intimate friends any member of the Squash family, especially the little Squashes." The woman responds, "Ise 'quainted wid Missus Linkum I is, washed for her 'fore de hebenly Miscegenation times was cum. Dont do nuffin now but gallevant 'round wid de white gemmen! . . . " A second mixed couple sit at a small table (center) eating ice cream. The black woman says, "Ah! Horace its-its-its bully 'specially de cream." Her companion, Republican editor Horace Greeley, answers, "Ah! my dear Miss Snowball we have at last reached our political and social Paradise. Isn't it extatic?" To the right a white woman embraces a black dandy, saying, "Oh! You dear creature. I am so agitated! Go and ask Pa." He replies, "Lubly Julia Anna, name de day, when Brodder Beecher [abolitionist clergyman Henry Ward Beecher] shall make us one!" At the far right a second white woman sits on the lap of a plump black man reminding him, "Adolphus, now you'll be sure to come to my lecture tomorrow night, wont you?" He assures her, "Ill be there Honey, on de front seat, sure!" A German onlooker (far right) remarks, "Mine Got. vat a guntry, vat a beebles!" A well-dressed man with a monocle exclaims, "Most hextwadinary! Aw neva witnessed the like in all me life, if I did dem me!" An Irishwoman pulls a carriage holding a black baby and complains, "And is it to drag naggur babies that I left old Ireland? Bad luck to me." In the center a Negro family rides in a carriage driven by a white man with two white footmen. The father lifts his hat and says, "Phillis de-ah dars Sumner. We must not cut him if he is walking." Their driver comments, "Gla-a-ang there 240s! White driver, white footmen, niggers inside, my heys! I wanted a sitiwation when I took this one." The term "miscegenation" was coined during the 1864 presidential campaign to discredit the Republicans, who were charged with fostering the intermingling of the races. In the lower margin are prices and instructions for ordering various numbers of copies of the print. A single copy cost twenty-five cents "post paid."|Entered . . . 1864 by Bromly & Co. . . . New York.|Title appears as it is written on the item.|Weitenkampf, p. 141-142.|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 1864-38.

Lincoln's support of abolition is portrayed here as a liability in his race to the White House against Democratic candidate George B. McClellan. At top a smoothly run train "Union" heads straight for the White House. The engine is labeled "Democracy" and the first car, in which McClellan stands in the role of engineer, flies a flag "Constitution." The other cars are labeled "Union" and are occupied by happy, cheering Democrats. McClellan taunts, "Wouldn't you like to swap horses now? Lincoln?" (probably a reference to Lincoln's replacement of him as commander of the Army of the Potomac). Several of his passengers comment on the wreck of the Republican train below: "H-ll, H ll, I'm used to Railroad accidents but that beats Vibbards all to smash." New York governor Horatio Seymour: "I thought little Mac could take the train through better than I could." "It's no use talking Ben [Union general Benjamin F. Butler]! I told you I was on the right train . . . thunder there's John McKeon [prominent Democrat and New York lawyer ] with us." "Little Mac is the boy to smash up all the Misceganationists." "Politics does make strange bed fellows . . . the d . . . l if there aint Fernandy!" "Fernandy" is Fernando Wood, prominent Peace Democrat and mayor of New York. "Good-bye Horace [Horace Greeley]! Nigger on the brain flummoxed you." "Thus ends the Abolition Party!" "Be the powers the gintleman with his pantaloons in his bootleg is having a high time of it." "Good-bye old Greenbacks!" to Salmon P. Chase, who leaves with a satchel at right. Chase, who resigned his post as secretary of the treasury on June 29, says, "Thank God, I got off that train in the nick of time." In contrast, Lincoln's train, below, is far behind after having crashed on rocks "Confiscation," "Emancipation," "$400,000,000,000 Public Debt," "To Whom It May Concern," and "Abolitionism." Lincoln himself is hurled into the air, and says, "Dont mention it Mac, this reminds me of a . . ." This reference is to Lincoln's rumored penchant for telling humorous stories at inappropriate moments. (See "The Commander-in-Chief Conciliating the Soldier's Votes," no. 1864-30.) "Tribune" publisher and abolitionist Horace Greeley, also in the air, says, "I told you Abe that 'To whom it may concern' would be the death of us." (See "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-31.) A black man crushed in the wreck accuses Lincoln, "Wars de rest ob dis ole darkey? Dis wot yer call 'mancipation'?" Another black man hurtles through the air, retorting, "Lor Amighty Massa Linkum, is dis wot yer call 'Elewating de Nigger'?" Secretary of War Edwin Stanton, hanging out of the train, moans, "Oh! dear! If I could telegraph this to Dix I'd make it out a Victory." Preacher and abolitionist Henry Ward Beecher holds a black child to his breast and prays, "Oh! my brethering! Plymouth Church will try to save the Platform." The notorious Union general Ben Butler exclaims, "H--ll! I've Preyed $2,000,000 already!" The four clean-shaven men in the train are identifiable as Massachusetts senator Charles Sumner, New York journalist and state political leader Thurlow Weed, Secretary of State William Seward, and John McKeon. Sumner: "Say Seward will praying save us?" Seward: "Oh! I'm a goner! Ask Thurlow, he's my spiritual Adviser." Weed: "Pray! yes, pray Brother, Butler will lead." At left Maximilian, puppet emperor of Mexico, confers with John Bull and Napoleon III of France, saying, "Oh Main Got'vi I vas send over to dis land of Greasers to pe chawed up py de Yankees." John Bull's opinion is ". . . This will never do. The Monroe doctrine must be put down." Napoleon III says, ". . . by Gar, if dat train gets to de White House, its all up with my Mexico." During the Civil War, Napoleon III tried to establish a puppet state in Mexico under Emperor Maximilian. At bottom left are prices and ordering instructions for obtaining copies of the print.|Entered . . . 1864 by Bromley & Co. New York.|Title appears as it is written on the item.|Weitenkampf, p. 146.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-39.

Although slightly different in format, this appears to be the fourth in the Bromley series of anti-Republican satires. As in no. 2 of the series, "Miscegenation or the Millenium of Abolitionism" (no. 1864-39), the artist plays on Northern fears of racial intermingling. Here, white men are dancing and flirting with black women in a large hall. Above the musicians' stage hangs a portrait of Abraham Lincoln. At right hangs a banner "Universal Freedom, One Constitution, One Destiny. Abraham Lincoln Prest." The text below further describes the scene: " The Miscegenation Ball at the Headquarters of the Lincoln Central Campaign Club, Corner of Broadway and Twenty Third Street New York Sept. 22d. 1864 being a perfect fac simile of the room &c. &c. (From the New York World Sept. 23d. 1864). No sooner were the formal proceedings and speeches hurried through with, than the room was cleared for a "negro ball," which then and there took place! Some members of the "Central Lincoln Club" left the room before the mystical and circling rites of languishing glance and mazy dance commenced. But that Many remained is also true. This fact We Certify, "that on the floor during the progress of the ball were many of the accredited leaders of the Black Republican party, thus testifying their faith by works in the hall and headquarters of their political gathering. There were Republican Office-Holders, and prominent men of various degrees, and at least one Presidential Elector On The Republican Ticket. |Entered . . . 1864 by Bromley & Co. . . . New York.|Lith. Kimmel & Forster 25th & 256 Canal Street N.Y.|Signed: Thomas(?).|Title appears as it is written on the item.|Weitenkampf, p. 142.|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 1864-40.

A satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. Here abolitionist William Lloyd Garrison (left) holds a slave woman in one arm and points a pistol toward a burly slave catcher mounted on the back of Daniel Webster. The slave catcher, wielding a noose and manacles, is expensively dressed, and may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend and return fugitive slaves to their owners. Behind Garrison a black man also aims a pistol toward the group on the right, while another seizes a cowering slaveholder by the hair and is about to whip him saying, "It's my turn now Old Slave Driver." Garrison: "Don't be alarmed Susanna, you're safe enough." Slave catcher: "Don't back out Webster, if you do we're ruind." Webster, holding "Constitution": "This, though Constitutional, is "extremely disagreeable." "Man holding volumes "Law & Gospel": "We will give these fellows a touch of South Carolina."Man with quill and ledger: "I goes in for Law & Order." A fallen slaveholder: "This is all "your" fault Webster." In the background is a Temple of Liberty flying two flags, one reading "A day, an hour, of virtuous Liberty, is worth an age of Servitude" and the other, "All men are born free & equal." The print may (as Weitenkampf suggests) be the work of New York artist Edward Williams Clay. The signature, the expressive animation of the figures, and especially the political viewpoint are, however, uncharacteristic of Clay. (Compare for instance that artist's "What's Sauce for the Goose," no. 1851-5.) It is more likely that the print was produced in Boston, a center of bitter opposition to the Fugitive Slave Act in 1850 and 1851.|Signed: E.C. Del.|Title appears as it is written on the item.|Century, p. 70-71.|Weitenkampf, p. 102-103.|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 1851-6.

A satire on the competition between rival editors Horace Greeley and James Gordon Bennett for New York post office printing contracts. The artist also comments on the circulation wars between Bennett's "New York Herald" and Greeley's relatively new paper the "Tribune, "and on latter's editorial support of abolition. Clay shows Greeley (at left) outdistanced by James Gordon Bennett, who rides a black steed with a pouch marked "Black Mail." The pouch may be a reference to some aspect of Bennett's scandal-mongering journalism or to accusations of extortion made against Bennett by British lecturer Silk Buckingham in 1843. Greeley wears his characteristic frock coat, stove-pipe hat, knee-breeches, and boots. The Scottish-born Bennett wears a tam o'shanter, tartan sash, and kilt. The artist exaggerates his cross-eyed squint. Greeley laments, "I'm afraid my two hundred dollars is lost, as well as the Post Office printing!" In December 1842, Greeley was sued for libel by novelist James Fenimore Cooper. In the trial, reported in detail in the "Tribune," the plaintiff was awarded a judgment of $200 against Greeley. Bennett exclaims, "I shall distance the Squash [i.e., Greeley] if he don't pull foot!" Both men race toward the New York Post Office, in front of which stands a man in a hat and long coat--probably the postmaster. The man says, "The largest circulation gets it!" At the left stand two black men, one with a paper marked "Emancipation" in his pocket, the other holding a copy of the "Tribune." The first says, "Brother Greely rideth like one possessed! He reminds me of Death on a pale Horse!" The second, "My presumption is dat de debil himself helps dat dam Bennett!" The essentially racist portrayal of the two blacks is reminiscent of Clay's much earlier "Life in Philadelphia" series. (See Munsing, pp. 28-29.) Davison dates the print about 1841. The first issue of Greeley's newspaper appeared in April of that year. The editor's reference to his $200 loss, however, suggests that Clay's drawing did not appear until after the Cooper lawsuit of December 1842.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 162.|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 1843-4.

This course, organized as a series of lectures, aims to provide an interdisciplinary view of the history and current climate of nuclear weapons and non-proliferation policy. The first lecture begins the series by discusses nuclear developments in one of the world’s most likely nuclear flash points, and the second lecture presents a broad discussion of the dangers of current nuclear weapons policies as well as evaluations of current situations and an outlook for future nuclear weapons reductions.

Seeking a middle course between the issues of the annexation of Texas on one hand and abolitionism on the other, Van Buren lost the support of southern Democrats, including elderly statesman Andrew Jackson. Here the artist portrays Van Buren as a dog with a fox's bushy tail, leading his master (Jackson) astray. Jackson says, "Matty! Matty! it strikes me that you are leading me wrong--By the eternal! we shan't find Texas here." Van Buren insists, "We must take a middle course, boos. Salt river is on one side, and abolitionism is on the other." To their left is a man wearing striped pants and holding by their tails two dogs with the heads of James Polk and George Dallas. The man may be Brother Jonathan (as Weitenkampf suggests) or, judging from his boldly striped trousers, a representative of Loco Foco Democrats. He says to Jackson, "Here, Almighty sir! are a couple of pups well broken, who will come when you whistle for them & go where you wish. "That dog" has too much fox in him." Polk and Dallas were chosen Democratic nominees in late May.|Entered . . . 1844 by James Baillie.|Lithography & print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on August 7, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 73.|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 1844-38.

A bitter vilification of the Van Buren administration's use of bloodhounds to hunt fugitive Indians during the Second Seminole War in Florida. The artist condemns the racism and inhumanity of the measure, as well as the role of editor Francis Preston Blair as apologist for the administration. The War Department under Secretary Joel Poinsett was accused of ineptness and cruelty in its conduct of the war--a costly and protracted campaign to subjugate and remove the Seminole Indians from tribal lands in Florida. Public and congressional indignation was stirred in February and March 1840 when the Cuban bloodhounds were first introduced. (The cartoon may date from this time or from as early as 1838 when the idea was first suggested to commanding general Zachary Taylor by Poinsett.) The use of dogs particularly enraged abolitionists, who believed that the animals were really intended for hunting runaway slaves. In the cartoon Poinsett presents a flag that bears the image of an Indian's head carried by a dog. Francis Preston Blair, on his knees, shows the troop of hounds a map of Florida. Blair: "I take pleasure in pointing out to you, my "brethren-"in-arms the seat of a war, the honour of terminating which our master has put in the hands of "our" race. I have no doubt you will all prove like myself--good "collar" men in the cause." Blair's use of the term "collar men" evokes the old colloquialism "collar presses" as a reference to newspapers friendly to the Democratic administration. Poinsett says: "Fellow citizens & soldiers! In presenting this standard to the 1st Regiment of Bloodhounds, I congratulate you on your promotion, from the base & inglorious pursuit of animals, in an uncivilized region like Cuba, to the noble task of hunting "men" in our Christian country! our administration has been reproached for the expense of the Florida war, so we have determined now to prosecute it, in a way that's "dog cheap!" Hence in your "huge paws!" we put the charge of bringing it to a close. Be fleet of foot and keen of nose, or the Indians will escape in "spite" of your "teeth! Dear Blair" here, shows you a map of Florida the theatre of your future deeds. Look to him as the trumpeter of your fame, who will emblazon your acts, as far as the 'Globe' extends, He feels great interest in all his Kith & Kin,' and will therefore transmit your heroism, in "dog"grel verse to remotest posterity!"|Printed & pub: by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa Avenue Washington D.C.|Signed: Bow Wow-Wow (probably Napoleon Sarony).|Title appears as it is written on the item.|Weitenkampf, p. 62.|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 1840-5.

This site presents two dozen publications written in the 19th century about slavery in America. It includes first-person accounts from former slaves, judicial opinions, abolitionist pieces, and more.

In this lesson, students read the story of Sojourner Truth and discuss events that took place during her lifetime. Among these were the abolition of slavery and the effects of policies pertaining to abolition. Students will determine the costs, benefits, and unintended consequences of policies, beginning with an analysis of costs, benefits, and unintended consequences of a policy that would allow them to take two years off of school before advancing to middle school. They will analyze the effects of policies noted in the book and continue the analysis by examining government policies.

This annotated bibliography contains resources about Sojourner Truth's life and legacy, categorized by Elementary, Middle School, and General/Adult. Resources listed on the bibliography include books, websites, videos, interactive timelines, and newspaper articles. Resources are annotated to instruct educators in how they might best use the resources in their classes.

An imaginative portrayal of the violent suppression of abolitionist propagandizing and insurrectionism in the South. The print may have been stimulated by several instances during the early 1830s of hanging, tarring and feathering of anti-slavery activists in Georgia, Louisiana and Mississippi. In 1835 resolutions were passed by various Southern states urging Northern suppression of the abolitionist societies. In the image a judge with ass's ears and a whip, seated on bales of cotton and tobacco with the Constitution underfoot, condemns a white man (an abolitionist) to hanging. The prisoner is roughly dragged by two captors toward a crowd of jubilant men who surround a gallows. In the distance a cauldron of tar boils over an open fire. The text below the image reads: Sentence passed upon one for supporting that clause of our Declaration viz. All men are born free & equal. "Strip him to the skin! give him a coat of Tar & Feathers!! Hang him by the neck, between the Heavens and the Earth!!! as a beacon to warn the Northern Fanatics of their danger!!!!"|The Library's impression of "Southern Ideas of Liberty" is printed on the same sheet as "New Method of Assorting the Mail" (no. 1835-2). Both prints are closer stylistically to lithographs published in Boston, particularly those of J.H. Bufford, than with ones produced in New York or Philadelphia during this period.|Title appears as it is written on the item.|Weitenkampf, p. 37.|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 1835-3.