A vindictive Northern fantasy on the aftermath of the Civil War. Confederate president Jefferson Davis, dressed in a hoopskirt or crinoline, hangs from a "Sour Apple Tree" at left, a Bowie knife in one hand and a torn flag in the other. (For Davis's costume, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11; for the "sour apple tree," see "John Brown Exhibiting His Hangman," no. 1865-16.) Beneath Davis is an open grave from which peers the devil. At right nooses are suspended over the heads of several "Confederate Mourners" (left to right): Gen. Robert E. Lee, Secretary of War John C. Breckinridge, Secretary of State and War Judah P. Benjamin, one of the Southern "Fire-eaters" and member of the Confederate Senate William Lowndes Yancey, Georgian Robert A. Toombs, and Louis T. Wigfall. Lincoln's assassin John Wilkes Booth (far right) rushes to join the group. On the ground lie copperheads (symbols of Peace Democrats), skulls, and broken artillery. The infamous Confederate prisons, Libby and Andersonville, can be seen in the distance. In the upper register the blindfolded figure of Justice, holding a sword and scales, is enthroned on a bank of clouds. At left Liberty sits beside an urn partially covered by the Union flag. An eagle is beside her. A grieving soldier and sailor attend the urn, while a slave man, his wife, and child look toward the far right, where the recently assassinated Abraham Lincoln is escorted heavenward by angels. |Designed by Burgoo Zac.|Entered . . . 1865 by Charles Porah . . . Ohio, Cincinnati.|Title appears as it is written on the item.|Weitenkampf, p. 148.|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 1865-13.

Students use Library of Congress primary sources to learn about French Canadian immigrants and their contributions in New England.

Scene depicting French women in war-time. One woman is working in a factory, one is nursing her child, and another woman is hoeing in the field. In the background is an outline of Victory. French women made up over 40 percent of the work force during the war. Over two million were recruited into positions in heavy industry. Films were used for the first time as entertainment at Les Foyers du Soldats for soldiers on leave, and also to keep the homefront abreast of activities of the war in a romantic and humanizing way. Signed: G. Capon. Promotional goal: Fr. K8.J7. 1917//Fr. F34.J7. 1917. Item is no. 233 & 283 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.

This site provides photos, letters, articles, and resources for learning about the history of flight -- aircraft and balloons, Alexander Graham Bell's aerodynamic studies, the Wright brothers, Charles Lindbergh, Igor Sikorsky's helicopters, and Amelia Earhart.

Frontline Diplomacy: The Foreign Affairs Oral History Collection of the Association for Diplomatic Studies and Training presents a window into the lives of American diplomats. Transcripts of interviews with U.S. diplomatic personnel capture their experiences, motivations, critiques, personal analyses, and private thoughts.

A sheet music cover illustrated with a portrait of prominent black abolitionist Frederick Douglass as a runaway slave. Douglass flees barefoot from two mounted pursuers who appear across the river behind him with their pack of dogs. Ahead, to the right, a signpost points toward New England. The cover's text states that "The Fugitive's Song" was "composed and respectfully dedicated, in token of confident esteem to Frederick Douglass. A graduate from the peculiar institution. For his fearless advocacy, signal ability and wonderful success in behalf of his brothers in bonds. (and to the fugitives from slavery in the) free states & Canadas by their friend Jesse Hutchinson Junr." As the illustration suggests, Douglass himself had escaped from slavery, fleeing in 1838 from Maryland to Massachusetts. He achieved considerable renown for his autobiography "Narrative of the Life of Frederick Douglass," first published in 1845. The Library's copy of "The Fugitive's Song" was deposited for copyright on July 23, 1845. An earlier abolitionist song composed by Hutchinson, "Get Off the Track!" (no. 1844-14), also used a cover illustration to amplify its message.|Boston. Published by Henry Prentiss 33 Court St.|Entered . . . 1845 by Henry Prentiss.|Lith. of E.W. Bouve Boston.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-7.

The artist envisions public repudiation of Democratic hard-money policies, and the triumph of administration opponent Nathaniel P. Tallmadge, a conservative Democrat. Tallmadge, on horseback and armed with a lance "public opinion," rides over a fallen Van Buren, saying, "Roll off that ball, tis the voice of the People, they tolerate no more of your hard money humbugs." Van Buren protests, ". . . take your horse's hoofs from off my shoulder; I've no room for SĚ_Ąober second thoughts' now." He leans against a large ball marked "Solitary and Alone," which rolls over Missouri Senator Thomas Hart Benton and Treasury Secretary Levi Woodbury. Benton, who wields a quill "Expunger" and holds "Mint Drops," exclaims, "Woodbury get out of my way, or the ball will overwhelm us both." "Mint drops" was a colloquialism for gold coins, and refers to Benton's advocacy of a higher ratio of gold to silver in circulation. (For an earlier use of the giant ball metaphor see "N. Tom O' Logical Studies," no. 1837-14.) Editor Francis Preston Blair (seated on a bench at right) says, "Benton out with your old pistols that you shot Jackson with, & pop down Talmadge & his horse, or he'll reach the Capitol." Behind him appear the faint outlines of the Capitol. At left former postmaster general Amos Kendall and former New York governor William L. Marcy sit on the ground. Kendall asks, "By the powers tis the Bronze Horse, he carries all before him. Marcy what shall we do?" Marcy complains, "Confound it I'm down, quite down, with my britches torn again." Marcy's trousers are mended with a "50 cents" patch. (On Marcy's trousers' patch see &2Executive Mercy/Marcy and the Bambers, &1no. 1838-5.) The print probably appeared during the 1840 presidential campaign, when Tallmadge used his formidable influence in New York State in support of Harrison. It is also possible that it appeared during one of his own bids for reelection in 1838 or 1840. Comparison with other 1840 prints by "HD" supports the later date.|Lith. & pub. by H.R. Robinson, no. 52 Cortlandt St., no. 2 Wall St. N.Y. & Pennsylvania Ave: Washington Dist: Cola.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 66-67.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-38.

Fumiko Hirata, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-14. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs. Exhibited: Honolulu Academy of the Arts, Honolulu, HI, and other venues, 2006-2007.

Fumiko Hirata, half-length portrait, seated at a desk, facing Mr. Matsumoto, seated across from her, reading a document. Title transcribed from Ansel Adams' caption on verso of print, with misspelling "Harata." Original neg. no.: LC-A35-4-M-15. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

A gloomy view of the effects of the Polk administration's Tariff of 1846. The artist echoes Whig condemnation of the measure as adverse to American trade. A funeral cortege, composed of administration supporters, carries the coffin of "Free Trade" to a grave marked by a monument with the names of sixteen states. The names of Pennsylvania and New York, two states particularly resistant to the new tariff, appear in large letters. Alabama, Arkansas, Illinois, Indiana, Louisiana, Michigan, Mississippi, Missouri, South Carolina, Tennessee, and Virginia are missing. Over the grave is a banner reading, "Here lies Free Trade! Be it understood / He would have liv'd much longer if he could." The pall-bearers are (left to right) Vice President George M. Dallas, James K. Polk, Secretary of State James Buchanan, and Secretary of War William L. Marcy, wearing his characteristic fifty-cent trouser patch (see "Executive Marcy and the Bambers," no.1838-5). Polk: "This is a dead weight and verry heavy Mr. Vice." Dallas replies: "I agree with every thing you say Mr. President. if you were to insist that the moon was made of green Cheese I would swear to it for a Consideration." Buchanan complains: "I say, army lower down your side a little, you are throwing all the weight on me." Buchanan, from Pennsylvania, drew considerable fire from his native state for his support of the new lower tariff. Marcy suggests: "Raise your side, state and then we'll throw the whole weight on our leaders." The mourners are administration supporters: editor Thomas Ritchie (here called "Mother Ritchie" and dressed as a woman), senators John C. Calhoun and George McDuffie, and congressmen Ambrose H. Sevier, Robert Barnwell Rhett, and Dixon Hall Lewis. Ritchie: "If he should be resucitated! What a paragraph it would make in my paper!! Nous Verrons." Calhoun: "Hung be the heavens with black!" McDuffie: "If the whigs should get in we must resort to Nullification!" Sevier: "this sticks in my gizzard!" Lewis (notoriously obese): "We must grin and bear it, though it makes me feel very heavy!" Rhett: "a plagu of this sighing! it wells one up most villainously!" In the lower margin is the narrative: "This unfortunate youth died of Home Consumption & was buried at Washington in Nov: 1846 [the date the tariff was passed]. He was carried to the grave by Polk, Dallas, Buchanan & Marcy. The chief Mourners were his Nurse Mother Ritchie, [. . .] the cenotaph is to be erected by the Whigs. 16 States have already contributed & others are coming in."|Entd . . . 1846 by H.R. Robinson. |H.R. Robinson's Lith. 142 Nassau St. N.Y.|Signed with monogram: C (Edward Williams Clay).|T.B. Peterson Agent 98 Chesnut St. Phila.|Title appears as it is written on the item.|Davison, no. 187.|Weitenkampf, p. 87.|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 1846-12.

Exhibit poster showing two scenes in which men with partial leg amputations are being taught to work in a printshop. Poster caption: Learning the operations of the monotype caster and the handling of type in the printing shop of the Red Cross Institute for Crippled and Disabled Men, New York. Exhibit of the Red Cross Institute for Crippled and Disabled Men and the Red Cross Institute for the Blind.

Exhibit poster showing two scenes in which men with partial arm amputations are taught welding. Poster captions: Disabled men are taught oxy-acetylene welding in the Red Cross Institute for Crippled and Disabled Men, New York City ; His good arm enables him to handle the torch as effectively as two-armed workmen. Exhibit of the Red Cross Institute for Crippled and Disabled Men and the Red Cross Institute for the Blind.

Jacksonian editor Francis Preston Blair rises from his coffin, revived by a primitive galvanic battery, as two demons look on. A man on the right throws up his hands as he is drawn toward Blair, saying: Had I not been born insensible to fear, now should I be most horribly afraid. Hence! horrible shadow! unreal mockery. Hence! And yet it stays: can it be real. How it grows! How malignity and venom are "blended in cadaverous union" in its countenance! It must surely be a "galvanized corpse." But what do I feel? The thing begins to draw me . . . I can't withstand it. I shall hug it! . . . First demon: "There! We've lost him, after all! See! they are bringing him to life again!" Second demon (holding a copy of Blair's newspaper, the "Globe)": Lose him! ha ha! . . . Rest you easy on that score. But can't you see that it's all for our gain that he should be galvanized into activity again? Where have we his equal on earth? especially since dear Amos [Kendall], poor fellow, has got his hands so full, at the Post Office, that he can't write for us as he used to. Show me another man that can lie like him. They talk of Croswell [influential editor of the "Albany Argus" and Van Buren ally Edwin Croswell] but Harry is nothing to him. I doubt if I can beat him myself. Lose him! a good joke that! Weitenkampf tentatively identifies the man at right as Amos Kendall, but the likeness differs considerably from that found in other caricatures of Kendall.|Printed & pub: by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 43.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-25.

A pro-Whig cartoon showing rival candidates Winfield Scott and Franklin Pierce in a race for the presidency in 1852 before an audience of animated spectators. Scott, in uniform and looking uncharacteristically trim, rides a giant gamecock. He is clearly in the lead here, and tips his hat to Pierce, taunting, "What's the matter, Pierce? feel "Faint? " ha! ha! ha! lord what a "Goose!" don't you wish you had my "Cock?" well good bye, Pierce, good bye." Pierce, also in uniform, but riding a large goose, replies, "O dear me! I shall "Faint," I know I shall "Faint," its "Constitutional!"" The added emphasis on the word "Constitutional" suggests that there is a pun intended. The reference to Pierce fainting stems from the Battle of Churubusco in the Mexican War when Pierce, suffering from earlier combat injuries, collapsed unconscious and was carried from the field. The goose was an unflattering symbol also associated with Pierce's Democratic predecessor James K. Polk. (See "Sold for Want of Use," no. 1844-37.)|Pub. at the Office of Yankee Notions 98 Nassau St. N.Y.|Signed: J.L. Magee delt.|Thomas W. Strong Lith. 98 Nassau St. N.Y.|Title appears as it is written on the item.|Lorant, p. 205.|Weitenkampf, p. 109.|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 1852-18.

A satire on Franklin Pierce's alleged ineptness as an officer during the Mexican War. There are two scenes. In the left frame, in "New Hampshire," Pierce trains a band of volunteer militia, exhorting them, "Forward! my brave Compatriots preserve but that undaunted front, and victory is ours." A soldier on the far left asks, "Capting Pierce wheres them Britishers! darn their skins just show em to a feller! will ye?" In contrast, in "Mexico" at right, Pierce lags behind his troops, holding his stomach and complaining, "Oh! how bad I feel, and every Step I go forward, I feel worse. I got such a pain in the abdomen I must resign my Command and go home." A soldier with the group looks back, saying, "Come along Gineral Pierce! heres them ere enemies you used to talk about on trainin down East: Hurry up and lick em." The print was no doubt issued during the 1852 presidential campaign when Pierce was the Democratic candidate.|For sale by Nathaniel Currier at No. 2 Spruce St. N.Y.|Title appears as it is written on the item.|Gale, no. 2410.|Weitenkampf, p. 110.|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 1852-22.

Poster shows two soldiers in hospital suffering the effects of poison gas; a distraught Red Cross nurse and older man look on. Poster drawn by Raemaekers for The Century Magazine and is part of Barron Collier Series of Patriotic Cartoons. Title from item.

An illustrated Whig campaign music sheet. Before a log cabin in the wilderness Harrison greets a crippled veteran in a fashion similar to "This log cabin . . ." (no. 1840-17). In the distance is a somewhat larger rustic house with mountains beyond. On a large flag flying from a pole to the left of the cabin are six bars of music, forming the stripes of the flag. The score continues on the side wall of the cabin itself. Repeated throughout the notation, marking the treble and bass clefs, are tiny figures of soldiers, bayonets, and cider barrels.|Entered . . . 1840 by Saml. Carusi.|Lith. of Ed Weber & Co.|Published by Saml. Carusi Baltimore.|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 1840-18.

A satire on Andrew Jackson's campaign to destroy the Bank of the United States and its support among state banks. Jackson, Martin Van Buren, and Jack Downing struggle against a snake with heads representing the states. Jackson (on the left) raises a cane marked "Veto" and says, "Biddle thou Monster Avaunt!! avaount I say! or by the Great Eternal I'll cleave thee to the earth, aye thee and thy four and twenty satellites. Matty if thou art true...come on. if thou art false, may the venomous monster turn his dire fang upon thee..." Van Buren: "Well done General, Major Jack Downing, Adams, Clay, well done all. I dislike dissentions beyond every thing, for it often compels a man to play a double part, were it only for his own safety. Policy, policy is my motto, but intrigues I cannot countenance." Downing (dropping his axe): "Now now you nasty varmint, be you imperishable? I swan Gineral that are beats all I reckon, that's the horrible wiper wot wommits wenemous heads I guess..." The largest of the heads is president of the Bank Nicholas Biddle's, which wears a top hat labeled "Penn" (i.e. Pennsylvania) and "$35,000,000." This refers to the rechartering of the Bank by the Pennsylvania legislature in defiance of the adminstration's efforts to destroy it.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Weitenkampf cites another version of the print issued by Robinson with the date 1836, and suggests that the present version is a reversed copy of that. One print with this title was registered for copyright by Robinson on March 29, 1836.|Weitenkampf, p. 39-40.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-7.