Winfield Scott's controversial performance as commander in the War of 1812 battle at Lundy's Lane turned to account by the artist in this parody of the general's candidacy in 1852. The battle of Lundy's Lane against the British in Canada in 1814, considered by Scott a personal triumph, was in fact a questionable victory in which the wisdom of Scott's strategy and tactics had been disputed. Here, Scott's abolitionist supporters for the Whig presidential nomination, William Seward (holding Scott by the tails) and Horace Greeley (kneeling at far right), hesitate to let Scott join the "Whig Chorus" on the left, knowing the general's well-known propensity for "faux pas" and imprudent remarks. The general's managers did in fact try to preserve his silence on the major issues before the June 1852 Whig Convention. Seward and Greeley's reluctance here also stems from the party's endorsement of the Compromise of 1850, including the controversial Fugitive Slave Act, as part of its platform. Both avowed antislavery men, Seward and Greeley opposed the measure and wanted to prevent Scott's endorsement of it. With raised sword, Scott tries to rush forward toward the Whig Chorus. The dialogue is set to the tune of "Will you come to bower." The chorus sings: "Will you come to the meeting we've got up for you? / Your feast shall be hasty soup with your favorite Irish stew. / Will you, . . . come to Lundy's lane! / Will you &c. /There on our Platform you can either stand or lie, / With a smile on your cheek and a drop in your eye /Wont you, . . . come to Lundy's lane! / Wont you &c." The reference to a "hasty soup" goes back to Scott's Mexican War days. (See "Distinguished Military Operations," no. 1846-15.) The "Irish stew" allusion may be a sarcasm on Scott's reputed nativist leanings before the Mexican War. Behind the chorus is a camp with a large cauldron (probably soup) on a fire and soldiers in ranks. A nearby flag staff flies American and British flags. Scott responds to the call: "I will come to the meeting if Bill Seward lets me go, / But what I say when I get there I'm sure I do not know. / I will come . . . to Lundy's lane. / I will come &c. / I will take a hasty plate of soup and a smell of Irish stew, / And all sorts of contradictions I will make clear as mud to you. / Wont I come, . . . to Lundy's lane? / Wont I come &c." / Seward sings: / "You cant go to the meeting for you know you are not well, / And you'll make a Judy of yourself I surely do foretell / You cant go, . . .to Lundy's lane. / You cant go &c. / Greeley, weeping, implores Seward: /"Dont let him go to the meeting! With his feathers and his fuss, / He'll certainly expose himself and play the deuce with us. / Dont let him go, . . . to Lundy's lane! / Dont let him go &c. / Scott's concern with image and decorum earned him the nickname "Old Fuss and Feathers."|Published by John Childs, 84 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 212.|Weitenkampf, p. 107.|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 1852-16.

Zachary Taylor's stubborn resistance to declaring his views on the major political issues during his candidacy in the 1848 presidential campaign was a favorite theme of the opposition. Here Taylor, in uniform, fields questions from a group of "Office Seekers." The first asks, "What is your opinion of Free-Trade Sir?" A bespectacled man behind him inquires, "What do you think of the Tariff Sir?" Two other men standing in background debate: "We can't find out anything by him." "That's because he's got it in him--A still tongue makes a wise head. Didn't he lick Santa Anna at Buena Vista?" Taylor, sitting with feet propped on a chair back, declares, "Ax my ------! Do you think I sit here to answer your bothering questions? You'll find out what I think when I'm President, & then it will be my part to command & yours to obey." At left, editor Horace Greeley (in long white coat) confides to an unidentified man, "We must take up with Matty [i.e., Martin Van Buren, Free Soil candidate]." The other man states, "We must elect Hale." He refers to John P. Hale, Liberty party nominee for president in the fall of 1847. His nomination was superseded in the coalition of Liberty party and Barnburner Democrats forming the Free Soil party in August 1848 to nominate Van Buren.|Drawn by H. Bucholzer.|Published by J. Baillie 87th St. near 3d. Avenue N.Y.|The Library's impression was deposited for copyright on September 14, 1848.|Title appears as it is written on the item.|Lorant, p. 192.|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 1848-25.

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.

A racist poster attacking Republican gubernatorial candidate John White Geary for his support of black suffrage. (See also "The Constitutional Amendment!," no. 1866-5.) The artist purports to show the convention of Radical Republicans held in Philadelphia in September 1866. On a dais in the background left, black men cheer as a procession of white men arm-in-arm with blacks enter from the right. The legend below reads: "Every Radical Candidate for United States Senator took part. "White Men & Women Are You Ready for This?" |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 1866-7.

A simpler and less animated composition on the same general idea as Edward W. Clay's ".00001" (no. 1831-1). Again Jackson is seated in a collapsing chair, with the "Altar of Reform" toppling next to him, and rats scurrying at his feet. The rats are (left to right): Secretary of War John H. Eaton, Secretary of the Navy John Branch, Secretary of State Martin Van Buren, and Treasury Secretary Samuel D. Ingham. Jackson's spectacles are pushed up over his forehead, and his foot is planted firmly on the tail of the Van Buren rat. "Resignations" fill the air behind him, and a pillar marked "Public confidence in the stability of this admistration [sic]" falls to the left. There seem to be at least two versions of the print, not counting Clay's ".00001." The present version seems to be a close but inferior copy of the print by the same title attributed to Edward W. Clay by both Murrell and Davison. The latter has the legend "Washington 1831" printed in the lower margin. Davison quotes from an April 25 entry in John Quincy Adams'diary saying that "Two thousand copies of this print have been sold in Philadelphia this day. Ten thousand copies have been struck off, and will all be disposed of within a fortnight." It is unclear, however, whether Adams was referring to a version of "The Rats leaving a Falling House" or to Clay's ".00001" which was produced and published in Philadelphia and deposited for copyright on May 5. |Title appears as it is written on the item.|Davison, "Andrew Jackson in Cartoon and Caricature", p. 21.|Murrell, p. 110.|Weitenkampf, p. 24.|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 1831-2.

Postmaster general Amos Kendall's 1840 resignation prompted the artist's speculation on the desertion of other Van Buren cabinet members. Kendall resigned on May 16, to concentrate on editing the "Extra Globe," a Democratic campaign newspaper. The artist also echoes Whig charges of White House extravagance under Van Buren, and rumors (well-founded) of the lucrative financial benefits of Kendall's new post. The President sits on a throne on a dais, as Kendall bows before him tendering his resignation. Three other advisors caucus in the background. They are (left to right) Treasury Secretary Levi Woodbury, Secretary of State John Forsyth, and editor Francis Preston Blair. Woodbury and Forsyth both hold their resignations. Kendall: "Your excellency please accept my resignation My health is very feeble. I've made no money in office, and Blair is to give me the profits of the Extra Globe. I must go back to editing Newspapers." Before accepting a cabinet post in the Jackson administration, Kendall had been a highly successful editor. Van Buren: "This is a very inauspicious time my Friends to dissolve the Cabinet. It really looks as if I am to be abandoned." Woodbury: "What's to become of me? Am I not to go to Russia France or England? We must provide for the family." Forsyth: "I wish to resign provided I can do it profitably; a foreign Mission is just the thing." Blair: "Dont all desert us. The Whigs will make capital out of this be sure of it." Contrary to the cartoonist's prediction, no cabinet resignations other than Kendall's were forthcoming.|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. 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 1840-34.

In the Civil War and Reconstruction unit, students engage in contentious historiographic debates about the period--Was Lincoln a racist? Was Reconstruction a success or failure? Was John Brown a "misguided fanatic"? Did Lincoln free the slaves, or did the slaves free themselves? The unit includes two Structured Academic Controversy lessons, an Opening Up the Textbook lesson on sharecropping, and a look at Thomas Nast's political cartoons.

The American Imperialism Unit covers the Spanish-American War and the War in the Philippines. The lessons approach historical inquiry from different angles: one asks students to contrast newspaper accounts of the explosion of the Maine, while a more elaborate inquiry lesson delves into the causes of the Spanish-American War. In a third lesson students examine pro- and anti-imperialism political cartoons of the period. Finally, students are asked to interpret some of the brutal actions that took place in the Philippines.

A satire on the Democrats' defeat in the fall New York state elections, here viewed as a referendum on Van Buren's independent treasury, or "Sub-treasury" system. A large ball labeled "Sub Treasury" is pushed down a hill by successful Whig gubernatorial candidate William H. Seward, who says, "A long push, a strong push, and a push all together, and down goes Tyranny and Oppression!" He is assisted by three other men whose arms are linked, one of whom holds a banner with the Whig motto "Preserve Credit and Commerce." Inside the ball is a sleeping Van Buren, who exclaims, "I must be dreaming, for it seems to me, I am going down hill!" The ball rolls onto New York Democratic incumbent governor William Marcy, wearing a uniform with a "50 cents" trouser patch (See "Executive Marcy and the Bambers," no. 1838-5), and several other men, including Missouri senator Thomas Hart Benton. Benton cries, "Push Governor; or down you goes!" Another holds a flag with the words "Trades Union" and cries "Lord ha! Marcy upon us!" In the lower left a crowd of workingmen applaud the scene. Among them are a farmer, a seaman, and a driver or husbandman who waves his hat and says, "Huzza! for the Empire State, she has sent the Ball rolling back again, in double quick time!"|Entd . . . 1838 by H.R. Robinson . . . Southn. Dist. of N.Y.|Printed & publd. by H.R. Robinson, 52 Cortlandt.|Probably drawn by H.D. (Henry Dacre?)|Title appears as it is written on the item.|Weitenkampf, p. 52.|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 1838-13.

A satire aimed at California Republican gubernatorial nominee George C. Gorham's espousal of voting rights for blacks and other minorities. Brother Jonathan (left) admonishes Gorham, "Young Man! read the history of your Country, and learn that this ballot box was dedicated to the white race alone. The load you are carrying will sink you in perdition, where you belong, or my name is not Jonathan." He holds his hand protectively over a glass ballot box, which sits on a pedestal before him. At center stands Gorham, whose shoulders support, one atop the other, a black man, a Chinese man, and an Indian warrior. The black man complains to Gorham, ". . . I spose we'se obliged to carry dese brudders, Kase des'se no stinkshun ob race or culler any more, for Kingdom cum." Gorham replies, "Shut your mouth Cuffy--you're as indiscreet as Bidwell [another gubernatorial nominee] and Dwinelle--here's the way I express it--Tอัhe war of opinion is not yet fought through. It must go on until national citizenship shall no longer be controlled by local authority, and "Manhood alone" shall be the test of the right to a voice in the Government.'"Chinese man: "Boss Gollam belly good man. He say chinaman vo-tee all same me1ican man--Ketch--ee mine all same--no pay taxee--belly good." Indian: "Chemue Walla! Ingen vote! plenty whisky all time--Gorom big ingin." At right a man in a top hat, holding a monkey on a leash, calls out mockingly, "Say, Gorham! put this Brother up."|Title appears as it is written on the item.|"Image of America," p. 83.|Weitenkampf, p. 154.|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 1867-3.

One of several racist parodies of black American illiteracy, dialect, and manners issued in Boston at various times between 1819 and 1832. Others in the series are "Grand Bobalition or Great Annibersary Fussible" (no. 1821-1), "Grand and Splendid Bobalition of Slavery" (1822, Collections of the Historical Society of Pennsylvania), "Grand Celebrashun ob de Bobalition of African Slabery!!!" (no. 1825-1), "Dreadful Riot on Negro Hill!" (no. 1827-1), and "Bobalition of Slavery" (no. 1832-3). For their apparent range of production dates these are all suspiciously similar in style, language, subject, and typography. The broadsides are in the form of burlesque reports and letters relating to the annual July 14 celebrations, among Boston's black residents, of the anniversary of the abolition of the slave trade. (The American slave trade was actually abolished on January 1, 1808, but was celebrated in July by many American blacks for some time). In his use of black stereotypes, the producer anticipates Edward Williams Clay's "Life in Philadelphia" series of 1828-29. The "Reply to Bobalition" text comprises a "Dialogue between Scipio and Cato, and Sambo and Phillis, occasioned by reading the account of Bobalition proceedings, as detailed in a letter from Cesar Gobbo, to his friend Marco Mushy . . ." Above, two vignettes illustrate the respective conversations, the conversants portrayed as well-dressed, free blacks.|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 1819-2.

Tammany political boss William Marcy Tweed is portrayed as a bullying schoolteacher giving New York City comptroller Richard B. Connolly a lesson in arithmetic. A teary-eyed Connolly stands on a stool writing wildly inaccurate equations on a blackboard. For instance, "$147 x 2 equals $1380948"). Connolly protests to his teacher, "These figures wont suit my Father the public," but Tweed responds, "Never mind the public Mind me I will make a rich man of you 12 years ago I was poor, now I am rich by this new arithmetic." Behind the board are two padlocked ledgers-- "City Debt 1871 125,000,000" and "City Debt 1869 30,000,000." Exaggerated bills for the building of the county courthouse are posted on the wall. The building's final cost was $12 million, of which two-thirds was fraudulent. In less than three years Tweed's "ring" of corrupt officials managed to rob the city's treasury of $30 million.|Entered . . . 1871 by Thomas Kelly.|Lith. by Wm. C. Robertson 59 Cedar St. N.Y.|Pub. by Ths. Kelly 17 Barclay St. N.Y.|Title appears as it is written on the item.|Werner, p. 165-167.|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 1871-3.

A patriotic scene on the cover of a music sheet for a song written by N. P. Beers and composed by M. Colburn. In a middle-class domestic interior a young soldier (center) prepares to go off to war for the Union. He is surrounded by his family and has discarded his civilian clothes, which lie in a heap at left, and donned a uniform taken from a still-open trunk. A small child--possibly his own--watches him with obvious fascination. A young woman (his wife?) clutches his hand, as an elderly man kneels beside him fixing a holster to his belt. A revolver is on the floor in the foreground. A young girl (right) holds his knapsack, and another man (at left, standing beneath a picture of a Revolutionary War scene) holds his musket and points toward an open doorway at the right, through which Union troops are visible assembled before the U.S. Capitol.|Entered . . . 1862 by Firth, Pond & Co. |Lith. of Sarony, Major & Knapp, 449 Broadway, N.Y.|New York. Published by Firth, Pond & Co. 547 Broadway. Boston, O. Ditson & Co. Rochester, J.P. Shaw. Milwaukee, H.N. Hempsted. Pittsburgh, H. Kleber & Bro.|The Library's copy of the music sheet was deposited for copyright on July 2, 1862.|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 1862-5.

An illustrated sheet music cover for a song composed in honor of Republican presidential candidate Rutherford B. Hayes. Uncle Sam sits atop a hay wain labeled "Hayes." A large American flag with a liberty cap and a wreath appears next to him. Tied to a pitchfork on the side of the wagon is a banner reading, "A Good Honest Load of Hayes on the Way to Washington." The wagon's large front wheel is inscribed "Hard Money Wheeler Gold Basis," a reference to Hayes's advocacy of a hard currency, based on redeemability for specie. The Hayes wagon crosses a bridge over a small stream in which float bags of "Rag Money," or worthless currency. The wagon is pulled across the bridge and toward the U.S. Capitol (here naively labeled "White House") by a team of oxen, each bearing a flag inscribed with a state name. Several farmers or herdsmen accompany the oxen. Two black youths wave from a nearby fence. In the middleground is a signpost, "National Road Ohio to Washington." (Hayes went from being governor of Ohio to President of the United States.) "Honest Money Paid Here" is written in the sky above the Capitol.|Entered . . . 1876 by Oliver Ditson & Co.|J.H. Buffords's Sons, Lith. 141 Franklin St. Boston. Published by Oliver Ditson & Co. 451 Washington St., New York, Chicago, Phila.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1876-2.

The cartoonist is optimistic about the prospects of Whig presidential candidate Zachary Taylor, here shown rowing Democratic oppponent Lewis Cass up the river of political misfortune. Cass, seated in the stern, wears an almost comical frown and Taylor, plying his oars in the bow, a look of determination.|Entered . . . 1848 by P. Smith [i.e., Nathaniel Currier] . . . N.Y.|The Library's impression was deposited for copyright on July 10, 1848, a month after Taylor received the Whig nomination at the party's Philadelphia convention.|Title appears as it is written on the item.|Gale, no. 5666.|Weitenkampf, p. 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 1848-27.

Senators Thomas Hart Benton and Henry S. Foote are paired here in a facetious farewell scene, as Benton departs the "Shop of the Senate." In reality Benton lost his Senate seat in a January 1851 election, largely because of his refusal to honor the Missouri Resolutions on Slavery (also known as the Jackson-Napton Resolutions of 1849). He charged that the resolutions were engineered by John C. Calhoun, Foote, and a few other Senate foes. Benton's term ended on March 3. In the center stands Benton dressed as a ragged Irishman, a stock character common in Yankee theatre productions of the New York stage at the time. He smokes a cigar, and stands near a mangy donkey which is laden with saddle, pack, and whip, a bundle marked "Life & Times of Thos H. Benton [bound] for California" at his feet. His California destination has several possible explanations. It may be an oblique allusion to Benton's antislavery stance, as Benton was embroiled in the dispute during his last Senate term, on the admission of California to the Union as a free state. He was also a prominent advocate of a transcontinental railroad. Also likely is the artist's association of the recent California Gold Rush with Benton's career-long bullionist ideology. Benton looks left and shakes the hand of Foote, who is dressed as a New York fireman or street tough, with a visored cap and boots. Foote: "So, yer goin ter leave us, ha Benton? well if I had my Pocket Hankercher about me I'de cry." Benton: "Thank yer Foote! any other time will do, the fact is I won't work in no Shop where the Boss is all the time a findin fault with me work, & the Fellers in the Shop is all the time a Laughin at me." At the far left Calhoun and two others watch from a window with the sign "Cabinet Work." Weitenkampf dates the print 1850. But it is unlikely that it appeared long before the March 3, 1851, expiration of Benton's term in the Senate.|Probably drawn by John L. Magee.|Title appears as it is written on the item.|Reilly, p. 162.|Weitenkampf, p. 101-102.|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 1851-3.

A playful caricature of a Millerite, an adherent of the Adventist preacher William Miller who predicted that the world would end on April 23, 1844. The man sits in a large safe labeled "Patent Fire Proof Chest," stocked with a ham, a fan (hanging on the door of the safe), cheese, brandy, cigars, ice, a hat, and a small book marked "Miller." As he thumbs his nose, he says "Now let it come! I'm ready." The "salamander safe," probably a trade name of the period, is named after the animal mythically reputed to have the ability to endure fire (and, presumably, the holocaust) without harm.|Entered . . . 1843 by T. Sinclair Pa.|Printed by Thomas Sinclair, Philadelphia.|The Library's impression of the print was deposited for copyright prior to the expected day of reckoning, on March 2, 1843.|Title appears as it is written on the item.|Murrell, p. 159.|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 1843-5.

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 music cover for a song by William Clifton, "inscribed [i.e., dedicated] to New York Know Nothing leader James W. Barker Esq." The illustration features the youthful "Sam" type who appears in various identities in earlier nativist prints, such as "Uncle Sam, an American Song" (no. 1854-5). The portrait bears a particularly strong resemblance to "Citizen Know Nothing" in Sarony's "Uncle Sam's Youngest Son" (no. 1854-4) as well as to the central figure in "The Young America Schottisch" (no. 1855-5). Here shown in bust portrait looking toward the right, the figure wears a hat with a curled brim, flowing tie, plaid waistcoat, and jacket. |Signed: Stackpole, Sc.|The Library's impression of the print was deposited for copyright on July 21, 1855.|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 1855-6.

An exultant view of Winfield Scott's second major victory in the Mexican War, at the Battle of Cerro Gordo, where Mexican commander Santa Anna beat an unceremonious retreat. In the mid-April victory Santa Anna's military chest with $11,000 in gold and his wooden leg fell into the hands of American troops. For an explanation of the "hasty plate of soup," see "Distinguished Military Operations" (no. 1846-15). The print also mocks Winfield Scott's well-known fastidiousness and taste for comfortable appointments and James K. Polk's handling of the Mexican War. In Clay's cartoon, Santa Anna rides off to the left, while the rest of his cavalry is seen in the distance routed by American troops. Scott sits in the Mexican's abandoned carriage, equipped with a lavish dinner service and two cocks, doffs his hat and invites the departing enemy to "stop and take a hasty plate of soup? It's some of your own cooking & very good I assure you!" Santa Anna replies, "No I thank you, General, I'm afraid of an attack from the rear! (Jesus Maria! this beats cock-fighting!)" An American trooper holds the reins of the carriage's team -- one horse and a braying ass with blinders-- and a fighting cock on a leash, saying, "I didn't think when I left New York that I should have taken Santa Anna's best fighting cock prisoner!" Another trooper kneels before the open military chest, while a third marvels at "Santa Anna's Cork leg!" In the lower right corner is a paper "Pass port for Santa Anna" signed by Polk, a reference to the President's allowing the exiled general to return to Mexico in hopes that he would terminate the war.|Lith. & pub. by H.R. Robinson 142 Nassau St. N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 88-89.|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 1847-4.