Entered according to Act of Congress in the year 1865 by Gibson & Co. in the Clerks Office of the District Court of the United States for the Southern District of Ohio.|Inscribed in ink below title: Filed June 16 1865.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A tobacco label produced for C.S. Allen & Company, bearing a patriotic emblem of the mutuality of Liberty and the Union--clearly designed to appeal to Northern sentiments. The two ideals are personified by women. The title notwithstanding, one of them (on the left) appears to be a young girl and the other a mature woman. They are framed in an ornate oval surmounted by an eagle with a shield.|Entered . . . 1863 by C.S. Allen & Co. Segar Manrs.|Milton Bradley lith. Springfield, Mass.|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 1863-3.

As in "Texas Coming In" (no. 1844-28), a bridge over Salt River is the central motif, making the difference between the Whigs' successful crossing to the "Presidential Chair" and the disastrous route taken by the Democrats. The artist shows Whig candidates Clay and Frelinghuysen crossing a sturdy, modern "People's Bridge." In contrast, Democrats Thomas Hart Benton, George M. Dallas, and James K. Polk tumble from a rotting "Loco Foco Bridge" into Salt River. Benton is laden with a heavy bag or knapsack of "Mint Drops." Polk carries another sack marked "Annexation Texas," naming a major issue in the campaign. A sign on the bridge reads: "All persons are forbid going over this bridge faster than a slow walk." (The People's Bridge on the other hand is "adapted to swift travelling.") Party leader Martin Van Buren is already neck-deep in the water below, and Democratic patriarch Andrew Jackson tries to support part of the collapsing span on his back at right. Benton: "Alas! we were loaded too heavy. I forgot the old bridge was rotten." Van Buren: "I do believe that I shall never get out. I am stuck fast in the mud like a stationary buoy." |Entered . . . 1844 by J. Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Lithography and print coloring on reasonable terms.|Signed: H. Bucholzer.|The Library's impression of "The Two Bridges" was deposited for copyright on June 26, 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 1844-23.

A satire on the competition between Daniel Webster and Winfield Scott for the 1852 Whig nomination for the presidency. In the drawing, the candidates stand on opposite sides of a door, Scott on the left and Webster on the right, both futilely trying to force the door open. Webster: "Profoundly as it is to be regretted, it is my deliberate opinion some one has got hold of this door knob!" Scott: "How d----d vexatious! I shall force my way through by "Maine" strength! D------L is that you? show your god like magnanimity, and let a "starved man" through to get his "hasty plate of soup." A man with long hair stands with his back toward the viewer next to Scott, an ax marked "MAINE" over his shoulder. On the ground at his feet is a broken bottle. His presence may allude to the Maine Liquor Law (an influential 1851 temperance measure) or to the unpopularity of Webster in Maine, earned by his 1842 Webster-Ashburton treaty. Significantly, Maine was also the first state to vote in presidential elections. (For the "hasty plate of soup" reference, see "Distinguished Military Operations," no. 1846-15.) Two unidentified men stand in the background. Other unidentifiable objects lie at Scott's feet.|Drawn by August Hoppin?|Pub. at the Office of Yankee Notions 98 Nassau St. N.Y.|Thomas W. Strong Lith. 98 Nassau St. N.Y.|Title appears as it is written on the item.|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 1852-10.

Another in a series of racist posters attacking Radical Republican exponents of black suffrage, issued during the 1866 Pennsylvania gubernatorial race. (See "The Constitutional Amendment," no. 1866-5.) The poster specifically characterizes Democratic candidate Hiester Clymer's platform as "for the White Man," represented here by the idealized head of a young man. (Clymer ran on a white-supremacy platform.) In contrast a stereotyped black head represents Clymer's opponent James White Geary's platform, "for the Negro." Below the portraits are the words, "Read the platforms. Congress says, The Negro must be allowed to vote, or the states be punished." Above is an explanation: "Every Radical in Congress Voted for Negro Suffrage. Every Radical in the Pennsylvania Senate Voted for Negro Suffrage. Stevens [Pennsylvania Representative Thaddeus Stevens], Forney [John W. Forney, editor of the " Philadelphia Press":], and Cameron [Pennsylvania Republican boss Simon Cameron] are for Negro Suffrage; they are all Candidates for the United States Senate. No Radical Newspaper Opposes Negro Suffrage. "Geary" said in a Speech at Harrisburg, 11th of August, 1866--"There Can Be No Possible Objection to Negro Suffrage." |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 1866-8.

A polemic applauding Democratic support of the Dorrite cause in Rhode Island. (See also "Trouble in the Spartan Ranks," and "The Great Political Car and Last Load of Patriots," nos. 1843-6 and 1845-5). In the spring of 1842 Thomas Wilson Dorr led an abortive revolt against the Charter government of Rhode Island, attempting to force liberalization of suffrage and reapportionment of legislative representation. The rebellion failed, and Dorr was convicted of treason and imprisoned in June 1844. His imprisonment generated considerable sympathy for him among Democrats even outside his own state. The rebellion, in fact, became a minor issue in the presidential campaign of 1844. James K. Polk was supportive of the need for reform in Rhode Island while his opponent, Whig candidate Henry Clay, condemned the Dorrites' "wanton defiance of established authority." "Tyrants Prostrate" is a pro-Dorr statement, praising the support of the movement by Democratic candidates Polk and Dallas while portraying Whigs Henry Clay, Theodore Frelinghuysen, and Daniel Webster as the agents of wealthy or religious interests. The locus of the cartoon is Dorr's prison cell. (He had been sentenced to life at hard labor and solitary confinement at the state prison at Providence.) Dorr (center, in shirtsleeves) stands and raises his manacled hands, proclaiming, "The process of this Court does not reach the man within, From this sentence of the Court I appeal to the People of our State and our Country!" Polk (left) and Dallas (far left) stand with joined hands. Dallas vows, "As sure as a God of Justice rules on high he will be free." Polk holds a hammer and pliers, apparently for use on Dorr's chains, and says, "The people will speak in tones of thunder yet, they brook no old King's charter, to enchain true patriots!" On the right stand Henry Clay, his running-mate Theodore Frelinghuysen (in clerical robes), and Daniel Webster. Clay raises his arm and declares, "Alas! alas! when Dorr is free King Charles charter will be destroyed, and with it the last British form of Government in these States. and the last hope of our Aristocracy for the people will have triumphed!" In his right hand is a document "Tariff," a token of his support of protection for American manufactures during the 1844 campaign. Frelinghuysen protests to Clay, "Ah my master say not so for then Church and State will never be united!" Daniel Webster responds with, "Yes they will If we join the American Party, and raise a Protestant succession on the ruins of Popery." The party to which he refers was nativist and anti-Catholic in ideology. Overhead flies the genius of Fame, carrying a crown for Dorr and trumpeting: Speed the sound O'er all your plains / The Martyr's freed from shameful chains! / Around his brow will freemen twine / A glorious wreath of myrtle vine! / Our Polk obey the people's call; / The Tyrant sees his shackles fall! / And every son of Liberty / Shout long live Dorr the great the Free! "Tyrants Prostrate" must have appeared during the 1844 election campaign. Dorr was in fact released from prison in June of the following year.|Drawn by H. Bucholzer.|Entered . . . 1844 by J. Baillie.|Lith. of & pubd. by James Baillie 118 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 81-82.|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 1844-19.

In his typically jingoist view of Polk's handling of the Oregon question, the artist Edward Williams Clay belittles the self-interested attitudes of Europe toward the dispute. The issue of whether to settle the northern boundary of American territory in Oregon at the 49th parallel or at the more expansive 54.40 parallel was in dispute even before Polk's election. Stung by British rejection of his administration's proposal of the 49th parallel, however, Polk publicly pursued the bolder claim in the early months of 1846. At the same time he considered providing Britain with tariff concessions, as an incentive to compromise. In Clay's cartoon Polk, urged on by the belligerent General Bunkum, faces English monarch Queen Victoria and Prince Albert across an ocean. In the distance, on "neutral Ground," Louis Philippe of France and Czar Nicholas I of Russia look on. Victoria (on her throne): "I've opened my Ports for the admission of your Corn, and I offer to settle the Oregon business by arbitration! What more can you expect? Beware how you rouse the British Lion!" Prince Albert, in a heavy German accent: "I dink so doo!" Nearby (far left) the Duke of Wellington struggles to rouse the British lion, who says, "Unloose my chains and fill my belly! Then I'll fight." Polk, to Victoria: "You opened your ports to keep you from starvation! I offered to settle the Oregon question at 49 [degrees] and you refused--I won't arbitrate--I go the whole figure to 54 42. which, if you'll agree to, I am willing to negotiate! General Bunkum, heavily armed and accompanied by a bald eagle: "I'm for war and the whole of Oregon, Kalifornia, Kanada, and Kuba; here's a bird that will cut your British lion's liver out, and eat it cold without sugar, by thunder!!!" On an island near Britian, Irish Repeal Movement leader Daniel O'Connell waves a "Repeal" club, threatening, "Give us repale, or the divil an Irishman will you get to join your ranks!" O'Connell also holds a bag of "rent," the term for American funds contributed in support of his movement. Czar Nicholas: "I shall have no objection to see John Bull get a good licking; It will help my Eastern views." Louis Philippe: "I got my fingers burnt by meddling in the Texas business, so I shall not interfere in this; especially as a war will bring grist to my mill!" |Entered . . . 1846 by J. Baillie.|Lith & pub. by James Baillie 118 Nassau St. N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The Library's impression was deposited for copyright on April 5, 1846.|Title appears as it is written on the item.|Davison, no. 194.|Weitenkampf, p. 86.|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 1846-1.

An illustrated sheet music cover for a song "written and sung by Mr. Howard Paul, in his comic & musical entertainment 'Patch Work.'" Uncle Sam here is a young man in a wide-brimmed hat and patchwork jacket. He sits whittling with his jackknife in a rocking chair. On the floor near his chair lies a crumpled copy of the "New York Herald." In his youthfulness, costume, and idealized features the figure somewhat resembles "Citizen Know Nothing" in "Uncle Sam's Youngest Son" (no. 1854-4).|Philadelphia, Lee & Walker, 722 Chesnut Str. Montreal, Ca. J. W. Herbert & Co., 131 & 133 Notre Dame St.|Signed: H. Whatley.|Thomas Sinclair's Lith. 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 1854-5.

Northern fears of European intervention in the Civil War on behalf of the South are manifest here.Uncle Sam, in the form of a bearded Union soldier (closely resembling Abraham Lincoln), unceremoniously routs John Bull from a fenced garden where the latter has been poaching. Grabbing him by the scruff of the neck, Sam warns, "John, You lost your Non-interfering Principle. I'll lay it on your back again." The American wields a large stick "Principle of Non Enterference." John Bull has a handful of cotton plants, more of which appear at right, and wears "Armstrong's Patent" cannon on his legs. (The term refers to a type of English-made gun used by the Confederates.) The artist has hidden several Negro faces in his drawings of cotton plants here. A cock with the head of French leader Napoleon III watches from his perch on the fence at left. At right stands a large scarecrow from whose arms hang the lifeless bodies of Confederate general P. G. T. Beauregard and Confederate president Jefferson Davis. A plaque on the scarecrow reads, "All Persons Tresspassing These Premisses, will be punished according to Law." |The Library's impression of the print was deposited for copyright on June 22, 1861. |Title appears as it is written on the item.|Entered . . . 1861 by E. Stauch . . . Pennsylvania.|Weitenkampf, p. 132.|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 1861-39.

A satire attributing the dire fiscal straits of the nation to Andrew Jackson's banking policies, with specific reference to recent bank failures in New Orleans, New York, and Philadelphia. The artist blames the 1837 panic on Jackson's and later Van Buren's efforts to limit currency and emphasize specie (or coinage) as the circulating medium in the American economy. Missouri senator Thomas Hart Benton's role as an ally of the administration and champion of coinage (in the cartoonist's parlance "mint drops") is also attacked. In an eighteenth-century sickroom scene Uncle Sam, wearing a liberty cap, a stars-and-stripes dressing gown, and moccasins, slumps in a chair. In his hand is a paper reading "Failures / New Orleans right Nicholas Biddle arrives, with a trunk of "Post Notes" and "Bonds," and is greeted by Brother Jonathan. Jonathan: "Oh Docr. Biddle I'm so glad you're come. Uncle Sam's in a darned bad way . . ." Biddle: "I'll try what I can do . . . & I've sent to Dr. John Bull for his assistance." The print is dated 1834 by Weitenkampf, but it must have appeared after Van Buren's victory in the 1836 presidential election, given Uncle Sam's remark, "You are to nurse me now Aunt Matty." Nancy Davison's date of 1837 is more credible. Most likely it was issued during the spring of that year, after the collapse of the cotton market and several banks in New Orleans and the subsequent failure of many New York banks in March. In April Nicholas Biddle's Pennsylvania state bank came to the aid of the ailing banking community by buying up considerable numbers of bonds and notes.|Printed & published by H.R. Robinson 52, Cortlandt Street, New York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 102.|Helfand, p. 11.|Murrell, p. 132.|Weitenkampf, p. 36.|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 1837-6.

An anti-Tyler satire, lampooning the incumbent's efforts to secure a second term against challengers Henry Clay and James Polk. With his shoulder to the door Tyler bars the entry of (left to right) John C. Calhoun, Clay, Polk, and Andrew Jackson. Tyler: "D--n you keep out. I tell you Uncle Sam dont want any new servants--he likes "me" too well, he only wants a man that will work like a niggar for nothing." Clay: "Uncle Sam Calls me, you rogue--nobody can shut me out & I will come in." Polk: "I Knows Uncle Sam don't want a servant to work for nothing, Matty got "fat" in his service before. So may I. Give me a push behind, General." Jackson, pushing Polk: "By the Eternal! I'll poke you in at all events." Seeing Tyler's efforts Uncle Sam kicks him from behind, saying, "Holloa you impudent rascal, let those persons in I'll examine them myself--Ah! Harry [i.e., Clay] is that you? Come in--I want you--and [to Tyler] do you get out with that kick, and never show me your false face again." Uncle Sam is portrayed in an unusual manner, as an old man wearing knee-breeches and a wide-brimmed straw hat.|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on June 26, 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 1844-26.

Issued in the wake of Lincoln's assassination in April 1865, the print conveys some of the Northern hostility toward the conspirators, whom the public associated with former president of the Confederacy Jefferson Davis. Uncle Sam or Brother Jonathan stands before a cage in which a hyena with the bonneted head of Jefferson Davis claws at a skull. Davis's neck is in a noose, which will begin to tighten as a man at right turns the crank of a gallows. The bonnet on Davis's head alludes to the circumstances of his recent capture. (See "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11.) Below, a man grinds out the song "Yankee Doodle" on a hand organ. Above, the Lincoln conspirators are portrayed as "Gallow's Bird's," with their heads in nooses. From left to right they are: Michael O'Laughlin, David Herold, George Atzerodt, Lewis Paine, Mary Elizabeth Surratt, Samuel Arnold, Edman Spangler, and Dr. Samuel Mudd. Uncle Sam points his stick at a skull "Booth," on which sits a black crow. Booth had committed suicide on April 26, 1865.|Entered . . . June 7, 1865, by G. Querner . . . D.C.|Title appears as it is written on the item.|Weitenkampf, p. 151-152.|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 1865-17.

A crude woodcut satire showing Harrison luring "Mother Bank," Jackson, and Van Buren into a barrel of "Hard Cider." Jack Downing chases Jackson and Van Buren toward the barrel as Mother Bank crawls into it. While Jackson and Van Buren sought to destroy the Bank of the United States, one of Harrison's election campaign promises was to reestablish it, hence his providing "Mother Bank" a refuge in this scene.|Sold at Elton's, 18 Division-Street, New-York.|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 1840-29.

A pro-Breckinridge satire on the 1860 presidential contest. Republican candidate Abraham Lincoln (right) and Democrat Stephen A. Douglas (left) appear as boxers squaring off in a ring before a small crowd of onlookers. Douglas is seconded by an Irishman (left), presumably representing Douglas's Democratic constituency. Lincoln is coached by a black man, who kneels at right, armed with a basket of liquor bottles, and signifies Lincoln's antislavery leanings. In the background a third candidate, John C. Breckinridge, thumbs his nose and points toward the White House. He is encouraged on his way by a number of men who cheer and doff their hats to him. Weitenkampf cites a version of the print signed by F. Welcker of Cincinnati. Whatever his identity, the artist of "The Undecided Political Prize Fight" was probably also responsible for "The Political Quadrille" and "Dividing the National Map" (nos. 1860-23 and 1860-24), judging from the strikingly similar handling of the candidate portraits in all three prints.|Title appears as it is written on the item.|Weitenkampf, p. 121.|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 1860-22.

An illustrated sheet music cover for a Unionist song by Hans Krummacher, dedicated to Maryland Democratic senator James Alfred Pearce. The cover is adorned with a drawing of the goddess Hebe, the mythological Greek goddess of youth and cup-bearer of Zeus. Here Zeus is present as an eagle grasping flaming thunderbolts in its talons. (See Edward Savage's "Liberty in the Form of the Goddess of Youth," no. 1796-2, for an earlier pairing of Hebe with the Jovian eagle.) With her right arm around the eagle, Hebe pours a libation from an ornate golden cup. Surrounding the vignette is a floral wreath. Two doves and a flaming urn appear below.|Baltimore, Published by Henry McCaffrey No. 207 Baltimore St. Washington D.C. John F. Ellis.|Lith. by A. Hoen & Co. Balto.|The work was deposited for copyright on May 4, 1860.|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 1860-4.

Published by King & Baird, Printers, Philadelphia.|Signed in block: Th. Nast.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Exhibited in: American Treasures of the Library of Congress, 2004-2005.

An anti-McClellan broadside, contrasting Republican candidate Abraham Lincoln's advocacy of equality and free labor in the North to Democratic opponent McClellan's alleged support of the Southern slave system. The comparison is made in two scenes, "Union and Liberty" (left) and "Union and Slavery" (right). In the first, Lincoln shakes the hand of a bearded man wearing a square paper labor cap, while black and white school children issue from a schoolhouse flying the American flag in the background. On the right McClellan, in military uniform, shakes the hand of Confederate president Jefferson Davis, as a slave auction takes place behind them.|Published by M.W. Siebert, Printer, 28 Centre Street, Corner Reade, N.Y.|Title appears as it is written on the item.|Lorant, p. 264.|Weitenkampf, p. 143.|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 1864-27.

An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. The text reads: "United States' slave trade, 1830. The Copper Plate from which the above picture has just been engraved, was found many years ago by workmen engaged in removing the ruins of Anti-Slavery Hall, in Philadelphia, which was burned by a mob in 1838. No previous impression of the Plate is known to its present owner. A scene in the inter-State Slave trade is represented." The writer goes on to describe the scene as a group of slaves in chains, with a mother "fastened to her children," being sold by a trader on horseback to another. "Both dealers have whips in their hands. A ship and a boat, each loaded with slaves, are seen on the left. In the background, slaves are working in gangs, and one man is being flogged. The United States Capitol, surmounted by its flag, overlooks the scene in the distance. The engraving....is an interesting contribution to American History. Price 20 cents." |The author suggests that this impression was printed some years after 1838. The author's use of "engraved" is evidently being a misnomer for "printed," since he mentions later in the same text the absence of earlier impression.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1830-1.

The first of two prints formerly thought to be anti-Jackson satires, but actually dealing with the sensational trial of Methodist minister Ephraim K. Avery in May 1833 for the murder of Sarah Maria Cornell. (See also "A Minister Extraordinary...," no. 1833-14). Miss Cornell, a young and pregnant factory girl, was beaten and strangled, and left tied to a post on a remote Massachusetts farm in December 1832. Avery was tried in May 1833 and despite considerable evidence against him (reported at length in the press) was acquitted on June 5. The artist's portrayal here appears to be based on published testimony from the trial. Avery, wearing green spectacles, is shown in the act of tying the young woman by the neck to a post before a haystack. Her shoes and kerchief lie on the ground at left, Avery's walking stick on the ground at right. An owl (the crime occurred at night) perches on one of the posts, and on and about the hut are demons, who speak: "Do you see what is going on here." "I never sleep on such occasions." "How will this be managed if it should go to a jury." "A Jury ye young fools is nothing. what's to be done with Public Opinion."|New York. Published by Henry Robinson & Company.|The print was deposited for copyright on July 18, 1833 by New York publisher Henry Robinson & Company. It was followed on August 14 by a sequel, another Robinson copyright "A Minister Extraordinary Taking Passage..." (no. 1833-14).|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-13.

A representation of an enormous illuminated transparency displayed on thefacade of the federal recruiting office for Negro troops on Chestnut Street in Philadelphia on November 1, 1864. The display celebrated the emancipationof slaves in Maryland through the state's new constitution, adopted onOctober 13 of the same year. At the top of the transparency is a bell draped with bunting and surmountedby an American flag. On each side of it is a lit oil lamp. Beneath the bell,in bold letters, are the words "God Save the Republic." Immediately below this is a large battle scene where black troops storm anenemy redoubt, with the commentary, "Never in field or tent scorn a blackregiment." Below the scene are quotations from George Washington, ThomasJefferson, and Patrick Henry, affirming the ideal of emancipation. Foursmaller scenes appear at right and left of a central panel (clockwise fromupper left): 1. "Before Fort Wagner, July 11th, 1863," where a dying black Unionstandard-bearer gives up the flag to another, saying, "Boys!! I never once letthe old flag touch the ground." 2. "Struggle for a Rebel battle flag at New Market Heights, Near Richmond,Sept. 29th, 1864.--Maj. Genl. Butler," in which a black soldier bayonets aConfederate, saying, "Sic semper tyrannis." 3. "In St. Mary's County, Maryland," showing a black woman pointing out aschoolhouse to two black children saying, "Tis education forms the CommonMind." A subtitle reads, "12,000 colored soldiers from Maryland now at thefront fighting for the Union." 4. A slave auction, with the note that thousands of women and children were sold to the far South annually under Maryland's old constitution. A quote attributed to Homer above the scene reads, "God fixed it certain that whatever day / Makes man a slave takes half his worth away." In the center of the transparency is an arch composed of blocks with thenames of various virtues, supported by two columns, the one on the rightlabeled "Faith." The keystone of the arch is Justice. Above it are AndrewJackson's famous words, "The Union must and shall be preserved." Various textsexemplifying Maryland's tradition of religious and personal freedom appearinside the arch. Below are portraits of Abraham Lincoln and an unidentified man.|Ringwalt & Brown Prs. 111 & 113 South 4th St. 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 1864-44.