A Whig campaign song in praise of William Henry Harrison, illustrated with a rural tableau of the candidate's fabled log cabin on the Ohio River. The cabin stands in a clearing, and flies an American flag. A cider barrel is beside its open door, around which grows a vine. Outside, Harrison, in shirtsleeves and with his hand resting on a shovel, speaks with a drover or farmer whose ox wagon waits nearby. The drover raises a glass of cider. In the foreground is a plough, and in the background a man works on a rail fence. The song is "Respectfully Inscribed to all true Republicans in the United States."|Entered . . . 1840 by G.E. Blake . . . Eastern District of Pena.|Sinclair's Lith.|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 1840-15.

A diverse group of abolitionists try to drag an unwilling black man toward the left with a large gaff hook. Holding the hook are (left to right) an old hag, a Quaker man, and two other homely men. The hag declares, "How perverse our dear colored brother is, I shall break my wind if I pull much longer." The Quaker says, "Verily it is hard work to set this Ethiopian at liberty. I fear we must break his back before we can succeed." A woman behind him enjoins "Pull on brethren till you have broken every yoke." Another young woman (center) asks the black, "Don't you feel the blessings of liberty?" The black protests, "Bress my soul, Massa Robolition, why you kidnap me 'way from Massa Clay? Let poor nigger go 'bout his bizness, and hab his own way dis once, and I berry glad." The black struggles to join Henry Clay and Horace Greeley, on the right, who stand with hands joined. The elderly Clay stands leaning on his cane. Greeley, in top hat and white coat, points toward the right and advises Clay, "Don't look behind you, friend Harry, but come and see my crack article on the Tariff." Weitenkampf dates the cartoon 1851, on the basis of the reference to Greeley's support of trade protectionism. The apparent double entendre of the word "hook" in the title is puzzling.|Probably drawn by H. Bucholzer.|Published by Nathaniel Currier, New York?|Title appears as it is written on the item.|Weitenkampf, p. 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 1851-7.

A sensationalized portrayal of the skirmish, later to become known as the "Boston Massacre," between British soldiers and citizens of Boston on March 5, 1770. On the right a group of seven uniformed soldiers, on the signal of an officer, fire into a crowd of civilians at left. Three of the latter lie bleeding on the ground. Two other casualties have been lifted by the crowd. In the foreground is a dog; in the background are a row of houses, the First Church, and the Town House. Behind the British troops is another row of buildings including the Royal Custom House, which bears the sign (perhaps a sardonic comment) "Butcher's Hall." Beneath the print are 18 lines of verse, which begin: "Unhappy Boston! see thy Sons deplore, Thy hallowed Walks besmeared with guiltless Gore." Also listed are the "unhappy Sufferers" Saml Gray, Saml Maverick, James Caldwell, Crispus Attucks, and Patrick Carr (killed) and it is noted that there were "Six wounded; two of them (Christr Monk & John Clark) Mortally."|Engrav'd Printed & Sold by Paul Revere Boston.|The print was copied by Revere from a design by Henry Pelham for an engraving eventually published under the title "The Fruits of Arbitrary Power, or the Bloody Massacre," of which only two impressions could be located by Brigham. Revere's print appeared on or about March 28, 1770.|Title appears as it is written on the item.|Brigham, p. 41-57.|Cresswell, no. 246.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1770-1.|Published in: Viewpoints; a selection from the pictorial collections of the Library of Congress . . . Washington : Library of Congress, 1975, no. 56.|Exhibited in: Creating the United States, Library of Congress, 2008.

Another in the series of "bobalition" broadsides, marking the July 14 celebration of the anniversary of the abolition of the slave trade. (See no. 1819-2). The text, facetiously dated "Uly 14teenth 18 hundred and 30 tu," consists of a letter to "Captain Ookpate" from "Pomp Peters" and "Cezar Garbo" regarding the celebratory procession, along with notes on toasts, volunteers, etc. The broadside is illustrated with a cut of a standing black man facing right and another caricature of a strutting militiaman armed with a cutlass and broom.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Rei lly. Boston : G.K. Hall, 1991, entry 1832-4.

This collection uses primary sources to explore twentieth-century mining in the Mojave Desert. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This inquiry examines the 20th century history of migration from Mexico to the United States and recent efforts to limit the movement of people across the southern U.S. border. The inquiry takes its inspiration from a 2018 podcast episode by Malcom Gladwell titled, “General Chapman’s Last Stand.” The podcast is part of Gladwell’s Revisionist History series (http://revisionisthistory.com). In the podcast, Gladwell tells the story of General Leonard F. Chapman Jr., Commandant of the Marine Corps during the Vietnam War, who went on to serve as the Commissioner of the Immigration and Naturalization Service (INS) from 1972 to 1975. Chapman is credited with reforming the INS into a more efficient and effective agency, but Gladwell argues that Chapman’s efforts also led to an unintentional increase in unauthorized immigrants. In 1970, 760,000 Mexican immigrants, or 1.4% of Mexico’s population, lived in the U.S. By 2008, there were 12.7 million Mexican immigrants in the U.S. which amounted to 11% of all people born in Mexico; an increase of almost 800% in less than 30 years. The question of how and why this happened is the central focus of this inquiry.

This collection uses primary sources to explore the Boston Tea Party. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Democratic candidate James Buchanan, as a buck deer, crosses the finish line of a racecourse ahead of competitors Millard Fillmore and John C. Fremont. Spectators cheer in the stands behind. Fillmore appears as an emaciated horse, fallen on the course. Next, Fremont follows close on the heels of Buchanan. Fremont stands astride two horses: one with the head of New York "Tribune" editor Horace Greeley and the other the "wooly nag" of abolitionism. The latter here more closely resembles a filly than a nag. Greeley: "Monte why didn't you lean more on the wooly horse--you gave me all your weight--never mind we've beat the grey Filly [i.e., Fillmore] next time we'ill head off that hard old Buck." Fremont: "Get out--hang you and the Wooly Horse--I could beat that broken down silver grey "Filly" and the old Buck too--had I gone on my own hook." Fillmore: "Oh! Oh! why did'nt I stay in sweet Italy with my friend King Bomba and the lazy Neapolitans--Then I should not have been blowen up like a Bag of wind in this Chase." Buchanan: "Never mind Gentn. I could not "help" beating you, the American Nation wished it so--I will send you all to Ostend--and I promise you that I will have no Tailors in my white House. [As a youth Fillmore had been apprenticed to a tailor.] Mercy on me! to think that this Glorious People should be almost Pierced to Death [a reference to unpopular Democratic incumbent Franklin Pierce] by War and making Free States in this land of Liberty by a set of Fashion inventores 'I'll none of it.'"|Probably drawn by John L. Magee.|Published by John Childs, 84 So. 3rd 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 1856-18.

A pro-Buchanan satire, critical of the divisive or sectionalist appeal of the other two presidential contenders in the 1856 race. "Buck" or Buchanan (left) has evidently won a card game over Fremont (fallen at right) and Millard Fillmore (at right, blindfolded). Holding four aces and a large cauldron of "Union Soup" Buchanan vows, "I have fairly beaten them at their own game, and now that I have became possessed of this great "Reservoir" I will see that each and Every State of this great and glorious Union receives its proper Share of this sacred food." Fremont has tripped over a "Rock of Disunion" and fallen to the ground, still holding his large spoon "Abolition." He laments, "Oh, that I had been born a dog!--This is too much for mortal man to bear. Had I not stumbled over that "Blasted" rock I might have reached the fount of my ambition and with this good ladle 'Deal' to the North, and leave the South to 'Shuffle & Cut' off their mortal coil, by starvation, I shall have to 'Pass'!" Behind Fremont, Fillmore wanders blindfolded, holding a Know Nothing lantern (reflecting his party's nativist affiliation) and a spoon. He despairs, "I regret to say that 'Going It Blind' is a loosing Game, I did hope that I would be able to dip my spoon in the Pot without much difficulty.--My Hand is played out--'Buck' wins, and I am satisfied--Four aces can't be beat! and Buck holds them."|For sale by Nathaniel Currier at No. 2 Spruce St. N.Y.|Title appears as it is written on the item.|Gale, no. 803.|Weitenkampf, p. 118.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-26.

An optimistic view of the presidential prospects of Martin Van Buren, nominated at the Free Soil Party's August 1848 convention in Buffalo, New York. Here Van Buren rides a buffalo and thumbs his nose as he sends Democratic candidate Lewis Cass (left) and Whig Zachary Taylor flying. Both are about to land in Salt River. Van Buren says defiantly, "Clear the track! or I'll Ram you both!" Cass, whose "Wilmot Proviso" hat has already landed in the river, exclaims, "Confound this Wilmot Proviso, I'm afraid it will lead to something bad." (On the Wilmot Proviso see "Whig Harmony," no. 1848-21.) Cass's opposition to the proviso put him at odds with a large number of Democrats. Taylor speculates, "If I had stood on the Whig platform firmly, this would not have happened." He cites his reluctance to decisively embrace the regular Whig party doctrines. His cap flies in the air, spilling a packet of "Dead Letters." (On the "dead letter" matter see "The Candidate of Many Parties," no. 1848-24.) |Entered . . . 1848 by H.R. Robinson.|Probably drawn by "W.J.C."|Published by H.R. Robinson 31 Park Row N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 92.|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 1848-38.

Another satire on the special committee of the House of Representatives investigating Van Buren's Treasury Department. The committee, chaired by James Harlan but dominated by Henry A. Wise of Virginia, centered upon Secretary Levi Woodbury and probed irregularities in handling and accounting of federal funds in the customs houses. This occurred in the wake of the Swartwout embezzlement scandal uncovered in November 1838. (See "Price Current" and "Sub Treasurers Meeting in England," nos. 1838-21 and -20.) In "A Bull Chase" Henry A. Wise (left) spears the hindquarters of a bull with the head of Treasury Secretary Woodbury, saying "C'mon Prentiss, I'm into him! He's going to roar!" He apparently addresses Mississippi Congressman Sergeant S. Prentiss, a Whig ally, who is unseen in the wings.|Drawn by Napoleon Sarony?|Entd . . . 1839 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt & 1-1/2 Wall St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 58 .|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 1839-7.

Democratic frustrations in the race for the "Presidential Chair" are again parodied in the sequel or companion to "Balloon Ascension to the Presidential Chair" (no. 1844-32). Here the ascent of the Democrats is foiled as their balloon explodes, dumping Polk (far right) and his vice-presidential running-mate George M. Dallas into Salt River. Henry Clay seems to have punctured the balloon with a flag staff. Already in the water are former Democratic warhorses Martin Van Buren and Andrew Jackson. "Salt River" was a colloquialism for political misfortune or failure. Polk, falling, says: "This is the worst "bust" that I ever went upon!" Van Buren, spouting water: "This salt water makes me spout like a whale." Jackson, waving his cane: "By the eternal! I told them there was too much gas in their balloon." On the left Whig candidates Clay and Frelinghuysen rise triumphantly toward the Presidential Chair in a balloon adorned with an American eagle. Clay says, "Good-bye Polk, you'll find it much easier travelling in that direction!" Frelinghuysen waves to supporters who cheer him from below, "Hurrah! hurrah for the people's choice! They mount upward like eagles!" |Entered . . . 1844 by James Baillie.|H. Bucholzer.|Lithography and print coloring on reasonable terms by James Baillie No. 33 Spruce St. N.Y.|The Library's impression of "Bursting the Balloon" was deposited for copyright on July 10, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 78.|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 1844-33.

This collection uses primary sources to explore school desegregation in Boston. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

An advertising calendar for a lithographic printing firm, decorated with Unionist symbols and motifs. The calendar for 1863 and the first 6 months of 1864 is surrounded with an elaborate framework of floral and acanthus ornament, surmounted by the figure of Columbia or Liberty. The figure is closely based on Thomas Crawford's statue of Freedom on the U.S. Capitol. She stands holding shield and sword, and wearing a robe emblazoned with stars and an eagle headdress with a crown of stars. At her right are symbols of progress, industry, and culture: a locomotive, a plough with a sheaf of grain, a statue, and a printing press. At her left are artifacts of war such as tents, cannons, arms, and an eagle. Flanking the calendar itself are two vignettes. On the left is a peacetime scene, with a farmer holding a scythe as two field hands harvest grain behind him. On the right a soldier with a rifle stands before a battlefield. Two putti appear in the acanthus scrolls below.|Ehrgott, Forbriger & Co. Lithographers, Cincinnati.|Entered . . . 1862 by Ehrgott, Forbriger & Co. . . . Ohio.|The Library's copy of the calendar was deposited for copyright on January 3, 1863.|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 1862-17.

An advertising calendar for a lithographic printer, with various patriotic motifs and a subtle commentary on the Emancipation Proclamation. The calendar, for 1863, is set within an elaborate architectural framework. The whole is draped with an enormous flag which hangs down from an enthroned Columbia at top. Columbia sits holding a sword and shield, an eagle on her left, and a globe and the Constitution at her feet. Further left are a plough, scythe, and wheat sheaves. On the right appear symbols of progress and industry including a telescope, locomotive, anvil and hammer, millstone and gear wheel, and bales and barrels of goods. On the middle register are symbols of the arts, sciences, and learning, including an easel painting, palette and brushes, musical instruments, books, urns, and a tapestry. On the far left a seaman mans a cannon before a backdrop of sails and smokestacks. On the right an infantryman stands guard with his dog before an encampment. At the bottom are two scenes. The scene on the left shows three black children and a white child, who watches idly as one of the three stands on a cotton bale and whitewashes over a placard reading "1862." Another black child, kneeling on a crude wooden block with chains attached to it (an allusion to slavery), holds the bucket of whitewash, and the third blows soap bubbles. In the scene on the right the roles are reversed: as the white child works, the three black children are idle. Standing on a pedestal labeled "Emancipation," the white boy inscribes the date "1863" on a panel. He holds a portfolio under his arm. A black child sits on a classical cornice at left, holding a small bucket of paint while one of his companions reclines on the ground. The third black child sits fiddling on a fallen column nearby. A small hourglass appears in a vignette below the calendar. |Ehrgott, Forbriger & Co. Lith. Cincinnati.|Entered . . . 1862 by Ehrgott, Forbriger & Co. . . . Ohio.|The Library's impression of the calendar was deposited for copyright on January 3, 1863. |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 1862-18.

Once more the House of Representatives investigation of Treasury practices under the Van Buren administration in connection with the Swartwout embezzlement scandal. (See above nos. 1839-6 through -9.) The print must have appeared in January or February, after the House of Representatives voted to form its select investigative committee by ballot. Speaker of the House James K. Polk, perceived as a friend of the administration, was prevented by a Whig majority in the House from appointing the committee himself, as was customary. Here a kneeling, bespectacled Polk is berated by Satan (who could represent Van Buren). Satan: "What does this mean? How came you to let that Committee be chosen by ballot? Don't you know we're undone? Was it for this I made you Chancellor of the Exchequer? Did not you engage to do all our work? and manage the House for my interest? and here's that cursed [Whig Congressman Henry A.] Wise with his Committee breaking in to our Head Quarters! I'll cashier you!!" Polk: "Dread Sir! be not too wratful with your servant; I did my very best. You know I have not the influence I once had; I'm sure I turned & twisted & did all a man could. Pray try me but once more; See if I don't carry your Sub-Treasury Bill for you, & if that passes you know we are all made!" "Called to Account" is most probably by the same artist as "Symptoms of a Duel" (no. 1839-10).|Drawn by HD?|Entd . . . 1839 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt & 11-1/2 Wall st. N. Y.|Title appears as it is written on the item.|Weitenkampf, p. 57.|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 1839-11.

Whig nominee Zachary Taylor's reluctance to clearly declare his political views was an issue eagerly exploited by the opposition in the 1848 campaign. Here the artist shows phrenologist Orson S. Fowler probing the candidate's skull to determine his "principles," as New York "Tribune" editor Horace Greeley (left) takes notes. Greeley asks, "What for a Prsident would he make?" Fowler replies, "he says he is 'Incompetent,' & so say his developments." Taylor (center) sits grumbling, "When I get to Washington I will turn [Postmaster General] Cave Johnson out, and put a good Military man in his place, This paying 7.50 for "dead letters," is too much for me to stand." Beginning in late July the "dead letter" issue was a source of great popular amusement at Taylor's expense. After Taylor's nomination in early June, he was sent a letter by John Morehead offering him the candidacy. In an economizing move, Taylor had recently instructed the local postmaster in Baton Rouge not to forward to him any letters on which postage was not prepaid. Consequently, Morehead's notification of nomination was among the mail that landed in the dead letter office in Washington, and after several weeks cost Taylor $7.50 to have retrieved. Among the long list of Taylor's characteristics that Greeley and Fowler have compiled are: "A Quick Fiery Temper," "A lack of self respect," and "Disregard for things Sacred." Each of these falls under a broader category, such as "Combativeness," which is accompanied by a number designating its degree of "development." The number six indicates an ideal level of development, anything lower being deficient. Seven, the highest possible score, was excessive. Here Taylor scores a seven in "Combativeness," but only receives a one for "Self Esteem." In "Firmness" he receives a fourteen, making him remarkably "Obstinate & Mulish." Shelved on the back wall at right are specimens of heads and skulls, including those of Martin Van Buren, James Watson Webb, Henry Clay, and a black man. Posted on the left is a sign advertising "Fowler & Wells. Phrenologists, 131 Nassau St. Clinton Hall, N. York."|Drawn by "W.J.C."|Entered . . . 1848 by H.R. Robinson.|Lithd. & published by H.R. Robinson-31 Park Row New York.|Title appears as it is written on the item.|Lorant, p. 19.|Weitenkampf, p. 93-94.|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 1848-24.

A grim commentary on the extraordinary measures taken by some Americans to evade military service during the Civil War. A man in shirtsleeves (center) has just had his right hand mutilated by a woman who stands at left, holding a hammer and knife. On a stump before the woman lies the man's severed index finger. "Oh Lord! Oh Lord! how it hurts," howls the man, as he dances about holding his bleeding hand. On the right, another man with an amputated finger extends his hand and reassures him, "Tˆü_ˆüąwont hurt but a minute and then you can get one of those." He refers to a certificate in his left hand, signed by "Dr. Syntax," certifying that "I have examined Adam Cowherd, Esq. and find that he has lost the first finger of his right hand. He affirms that it was cut off while digging post holes. I recommend that he be sent to the Army or to Fort Lafayette." During the Civil War, Fort Lafayette was used as a prison for political offenders.|Entered . . . 1862, by Wm. E.S. Trowbridge . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on August 27, 1862.|Title appears as it is written on the item.|Wm. E.S. Trowbridge, del.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1862-6.

Sharply critical of both the Democratic and Whig choice of presidential candidates in 1852, the artist laments the nomination of two soldiers, Winfield Scott (center) and Franklin Pierce (far right), in preference to several more "capable" statesmen who appear at left. The latter are (left to right): Samuel Houston, John J. Crittenden, Thomas Hart Benton, Millard Fillmore, John Bell, Lewis Cass, Stephen A. Douglas, and Daniel Webster. Most prominent in the group are Fillmore, Cass, and Webster, who also sought the presidential nomination in 1852. Fillmore: "I have sought more anxiously to do what was right; than what would please, and feel no disappointment, at finding that my Conduct has, rendered me an unavailable candidate." Cass: "We have been partizans where we differed in opinions as to the best means of promoting the prosperity and happiness of our native land, but we cast aside, party when we stood Shoulder, to Shoulder, for the Constitution & the Union." Webster: "It is not our fortune to be, or to have been successful Millitary Chieftains. We are nothing but painstaking, hardworking, drudging Civilians, giving our life, and health, and strength, to the maintenance of the Constitution and upholding the liberties of our country." Columbia, draped in stars and stripes and grasping the hands of Scott and Pierce, responds: "I acknowledge your noble services, worth and Constant devotion most Illustrious sons, and that you have the long experience, Sound sense and practical wisdom which fit you to receive the highest honor in my power to bestow, but you are "not Available." " "Availability," in the contemporary lexicon, meant the quality of broad popular appeal. Scott and Pierce were both distinguished in the Mexican War. Scott, holding a liberty staff and Phrygian cap, proclaims: "You see Gentlemen it is "availability" that is required and that is "my" qualification." Pierce holds a shield adorned with stars and stripes, adding, "I am a "Great" man and have done the country "Great" Service! I never knew it before; but it "must be so;" for the Convention has declared it, and the Democracy affirm it." Before his nomination by the Democratic convention of 1852, Pierce was a relatively little known New Hampshire attorney--a fact which Whig publicists tended to exaggerate. Pierce had, after all, served as a two-term congressman and senator from New Hampshire.|Lith. & pub. by Nathaniel Currier, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 880.|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 1852-14.

A caricature of President Martin Van Buren issued during the Panic of 1837, strongly critical of his continuation of predecessor Andrew Jackson's hard-money policies. Particular reference is made to the Specie Circular, a highly unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver (i.e., "specie") in payment for public lands. Designed to curb speculation, the measure was blamed by administration critics for draining the economy of hard money and precipitating the 1837 crisis. Hearkening back to the anti-Jackson "King Andrew the First" (no. 1833-4), the artist portrays Van Buren as a monarch in a princely cloak, treading on the Constitution. He is crowned "in the name of Belzebub . . . Ragamuffin king" by a demon. Van Buren's cloak is trimmed with "shinplasters," the colloquial term for the often worthless small-denomination bank notes which proliferated during the panic. Van Buren says, "I like this cloak amazingly, for now I shall be able to put into execution my Designs without being observed by every quizing, prying Whig. I'm obliged to keep close since my Safety Fund is blown . . ." Under the Safety Fund law, passed during Van Buren's term as governor of New York, banks were required to contribute to a fund used to liquidate the obligations of banks that failed. The fund was quickly exhausted during the panic. On the walls are pictures of "Bequests of the Late Incumbent" (Andrew Jackson), including "The Hickory Stick," worshipped by the masses like the brazen serpent in the Old Testament, Jackson's spectacles and clay pipe, his hat, the Safety Fund balloon in flames, and "the Last Gold Coin," minted in 1829 (the year Jackson first took office). On the wall at right is a headless statue of Jackson holding a "veto" in his right hand (an allusion to Jackson's 1832 veto of a bill to recharter the Bank of the United States). Visible through a window is a street scene where a crowd mobs a theater exhibiting "a Real Gold Coin." Beneath Van Buren's feet are several documents, including the Specie Circular and "petitions," the missives from New York bankers and merchants which deluged the White House calling for repeal of the Circular. A document labeled "Indian claims" refers to another unpopular Jackson legacy: the numerous grievances by tribes like the Cherokees and Seminoles regarding unfair and inhumane government treaties by which they were being displaced and deprived of their lands.|Copyright secured according to law by F.J. Winston.|Published at 89 Nassau St. NY.|Signed: Forbes Delt.|The Library's impression of the print was deposited for copyright on August 29, 1837, and published at the same address as Anthony Fleetwood's "6 Cents. Humbug Glory Bank" (no. 1837-10).|Title appears as it is written on the item.|Weitenkampf, p. 49.|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 1837-1.