A burlesque parade, led by Andrew Jackson and satirizing various aspects of his administration. Weitenkampf asserts that the subject is Jackson's post-election visit to Boston; Murrell suggests a parody of Democratic campaign parades. In fact the print's publication did roughly coincide with Jackson's triumphal tour of the eastern cities New York, Philadelphia and Boston in late June and early July 1833. (The Library's impression was deposited for copyright on July 6, 1833). This artist's portrayal, however, is clearly fanciful. The procession moves from right to left. At its head is Jackson, seated on a horse with Martin Van Buren cross-legged behind him. Next is a devil playing a fiddle, followed by a mounted officer whose horse is one of two drawing a wagon holding caged Indians, with a flag "Rights of Man" and liberty cap. Inside the cage a forlorn Indian sings "Home! Sweet home!" This no doubt refers to Jackson's controversial Indian resettlement program, whereby thousands of Cherokees, Seminoles and other natives of the eastern United States were uprooted and moved to less desirable lands farther West. It probably refers to a specific casualty of this program, Sauk Indian leader Black Hawk, who in 1832 had led an unsuccessful uprising to resist white incursion into Indian lands in Ohio. Touring the Eastern United States as a prisoner of war, Black Hawk and his party arrived in New York on June 12, 1833, coinciding with Jackson's own visit there. The singing Indian resembles Charles Bird King's portrait of Black Hawk, painted in 1832. In the background are a cheering crowd, a hickory tree and a balloon overhead marked "rising generation." The figures sing lyrics from various songs. Jackson: "I've kissed and I've prattled to fifty fair maids." Van Buren: "Had I a heart for falshood fram'd." Devil: "When wild wars deadly blast was blown." Soldier: "How happy's [the] soldier that lives on his pay." Monkey atop the wagon: "Merrily every bosom boundeth." Prostrate drunk in foreground: "Hail! Columbia, happy land." Flags with various messages fly above the crowd, saying "See the Conquering Hero comes / Sound the trumpet beat the drums." and "Remember the glories of Brien the Brave" and "Honour and gratitude to the man who has filled the measure of his countrys glory." Atop the hickory tree flies a banner with "Heaven send it happy dew, / Earth lend it sap anew / Gaily to burgeon / And broadly to grow." Below the title is the quote, "There hath not been the like of them, neither shall there be any more after them, even to the years of many generations." The print is particularly well drawn, and may be the work of John Bufford. It compares closely to "The Government" (1834-12) and "Grand Fantastical Parade" (1833-12), also issued by Endicott & Swett in New York.|Drawn by Hassan Straightshanks (David Claypool Johnston?), under the immediate Superintendence of Maj. Jack Downing.|Entered . . . by Endicott and Swett New-York 1833.|Title appears as it is written on the item.|Fowble, no. 332.|Malcolm Johnson, "David Claypool Johnston, the American Cruikshank," Antiques, July 1972 p. 101-107.|Murrell, p. 120, 124.|Weitenkampf, p. 31. |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 1833-11.|Published in: Many nations: A Library of Congress resource guide for the study of Indian and Alaska native peoples of the United States / edited by Patrick Frazier and the Publishing Office. Washington : Library of Congress, 1996, p. 173.

The familiar metaphor of the presidential contest as a boxing match is invoked once again. (For an earlier example see "Set to Between the Champion Old Tip and the Swell Dutchman of Kinderhook," no. 1836-12.) The scene is set in an open field, roped off behind to make a ring. Republican candidate Fremont (right) squares off against Democrat James Buchanan (left), after the latter has felled American party nominee Millard Fillmore. Buchanan warns Fremont, "Look out now Young Mariposa for that hair on your face I will put in the "Right" when you least expect it!" Fremont replies, "Come to time, Old Buck, I think I can lick a Democrat as old again as you are!" Fremont steps over the fallen Fillmore, who says, "You see, Fremont, I'm down! There must be a good many drops of 'Democrtic Blood' in that arm of Old Buck's to strike such a stunning blow!" Buchanan is seconded by an Irishman (far left) who comments, "By Jabbers but Old Bucky knocks 'em." Fremont is supported by a Bowery type (crouching at far right) who urges him, "Go in wooly Hoss don't be afeard." The print was probably issued in summer 1856 or later in the election campaign, after Fillmore's prospects for victory had dimmed. |Probably drawn by John L. Magee.|Published by John Childs, 84 So. 3rd St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-16.

The Free Soil sympathies of the cartoonist are evident in his portrayal of the 1848 presidential contest as a race between the three major candidates. The contenders are on the course. Whig candidate Zachary Taylor (left) rides a bloodhound with a collar reading "Buena Vista." The bloodhound is a reminder of the public outcry over Taylor's controversial use of dogs against the Indians in the Second Seminole War. The Battle of Buena Vista was one of Taylor's most decisive but costly victories in the Mexican War. A pouch of "Dead Letters mes up & then we can go ahead." A crowd of men look on from behind the rail, most of them shouting for Van Buren. Among the disgruntled is (third from left) Isaiah Rynders, a New York City political leader, who curses Taylor's poor performance, "Damn that Bloodhound! how he lags." An unidentified companion responds, pointing to Van Buren, "Just as I told you Rynders." Further right stand editor James Watson Webb and another man, who lament, "This sacrificing "Principles" for "Men" has availed me nothing," and "Damn it, Webb, we're both done brown!" Webb backed Taylor's bid for the presidency, although the candidate persistently refused to avow Whig party principles. The disappointed pair form a marked contrast to the jubilant Horace Greeley (far right), who waves his hat in the air and jeers, "Where's Webb's 30,000 men in Buckram now?" (See "One of the Young B'Hoys in Ecstasies," no. 1846-14.)|Entered . . . 1848 by H.R. Robinson.|Lithd. & publd. by H.R. Robinson 31 Park Row N. York. Adjoining Lovjoy's Hotel (Opposite the Park Fountain).|Signed with initials: W.J.C.|Title appears as it is written on the item.|Weitenkampf, p. 96.|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 1848-37.

Zachary Taylor and Lewis Cass engage in a bout of fisticuffs in their battle for the presidency in 1848. Taylor, clearly getting the better of his opponent, seizes Cass by the lapels saying, "A little more grape! Gen"al" Gas!" Cass pleads, "Enough! Enough! you've knocked all the breath out of my body--Carry me off Old Bullion!" His appeal for help is to conservative Democratic senator Thomas Hart Benton, who stands to the left wondering, "I didn't think old Gas would have funked so soon; these d--d Barnburners must have frightened his pluck out of him." One of the "Barnburners" (i.e., radical Democrats), former President Martin Van Buren (far left), comments, "If old Gas comes round in my neighborhood I'll give a poke that will soon settle his hash." On the far right stands Henry Clay, who lost the Whig nomination to Taylor. His aside: "As I couldn't get the match myself I am glad Old Rough and Ready has got it."|Published by J. Dexter & Brother 32 Ann St. N.Y.|Probably drawn by Edward Williams Clay.|The Library has two impressions of the print, both printed on the verso of "The Race between Bennett and Greely for the Post-Office Stakes" (no. 1843-4).|Title appears as it is written on the item.|Weitenkampf, p. 91.|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 1848-31.

Another satire on Andrew Jackson's conflict with French king Louis Philippe over French reparations due the United States under the Treaty of 1831. The artist blames vice-president Van Buren for escalation of anti-French feeling in the Administration to the verge of war. In the center Jackson, holding a sack of 25 million francs (the amount of French debt established by the treaty), dances to a tune played by "First Fiddle" Van Buren and the Cabinet orchestra. Louis Philippe falls to the floor at left. Jackson: "Par l'Eternel! Louis Philippe, je jouerai l'enfer et Thomas avec vous! D--n it Martin give us a War-dance! Whoop!!" Louis Philippe: "Nom de Dieu! I try de double shuffle wis dis d--n old Jackson, & he put me on my back supristi!!" Van Buren: "'I am the boy for bewitching 'em!' Forward and back two!!" Various other foreign heads of state and significant persons (identified in the lower margin) witness the scene, some commenting on it. The words given to Baron de Rothschild, for instance, express the anti-Semitic, anti-bank sentiments of the artist, "By Moses and de Profits, I am King of de Jews!" Weitenkampf records three different "issues" of the print, but describes only one, signed by Edward Williams Clay and published by Robinson in February 1836 at 48 Courtlandt St. The Library's impression has a variant imprint, listing the address as 52 Courtlandt St., and lacking Clay's monogram.|Printed & published by H.R. Robinson, 52 Cortlandt Street, New York. Entered . . . 1836 by H.R. Robinson.|Title appears as it is written on the item.|Davison, "E.W. Clay: American Political Caricaturist of the Jacksonian Era," no. 74 (variant).|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 1836-5.

A satire on the Van Buren administration challenged by Whig presidential candidate William Henry Harrison. Harrison, dressed as a woman, tries to remove Van Buren from his throne with a midwife's forceps. Van Buren, clinging to his seat (lettered "US") says, "O! Help! Help! I cant hold out much longer. He will have me out, I feel he will: our suffering is intolerable." Holding him back are supporters (left to right) John C. Calhoun, Francis Preston Blair, Amos Kendall, and Thomas Hart Benton. Calhoun: "After all my turning and twisting and turning again and again to no purpose. Why it is worse than Nullification." Blair: "O! Granny spare the poor dear little creature. See how much he suffers. If we lose him we are undone indeed." Benton: "I am "Bent-on" holding him down, till his incubation be more complete, as I wish to deliver him myself." Harrison: "You must come my baby; if you stay here much longer you will kill your Mammy." Harrison stands on a small table covered with a cloth with an eagle ornament. A modest, upholstered chair (also with an eagle) stands to the right, in marked contrast to the larger, more ornate throne. The print is the work of the artist "HD," judging from its similarity, especially in the portraits, to his "A Political Movement" (no. 1840-37).|Drawn by "HD" (Henry Dacre?).|Printed and 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. 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 1840-39.

A crude but charming comic send-up of 1876 Republican campaign strategy. Democratic candidate Samuel J. Tilden and an unidentified man stand fishing on the left bank of a river, their basket overflowing with their catch. On the opposite bank stand Rutherford B. Hayes and Republican incumbent Ulysses S. Grant, obviously less successful. Grant advises Hayes, "I guess that reform bait won't work this side. Better try an anti-Catholic worm." Since both the Democratic and Republican platforms in 1876 stressed reform, Hayes's campaign sought to stir up anti-Catholic prejudice against Tilden.|Copyrighted and Pub'd by P. Jesse 116 Nassau St. N.Y.|Signed: F.G. Del.|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 1876-7.

Students use Library of Congress primary sources to conduct ethnographic research to show how cultural artifacts from The Grapes of Wrath support one of the book's many themes.

Students use Library of Congress primary sources to examine the lives of migrant workers in California during the Great Depression.

Address--Bromley & Co. Box 4265 New York City.|There is a later state of this print in the Library of Congress with the full title and imprint, PC/US - 1864.B8687, no. 1a (B size). See American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-37.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

An imaginative and elaborate parody on the upcoming 1844 presidential campaign. The artist favors Whig nominee-apparent Henry Clay and is highly critical of incumbent John Tyler. The "chase" for the presidency leads to the White House (upper left) where Robert Tyler arouses his sleeping father saying, "Come wake up old Sampson, the Philistines are upon you!" President Tyler replies with a yawn: "Why Bobby my Pippin! I do believe I've been asleep! no matter I'm the People's favorite and belong to no Party. They will reelect me! If they don't I'll veto the whole concern d--n me!" His statement and the presence of a "Veto" paper on his desk allude to his liberal use of the presidential refusal to stymie Whig congressional efforts to establish a National Bank. In Robert Tyler's pocket is a scroll "Irish Repeal," referring to his support of that international movement. Approaching the steps of the White House, riding a beast which is half-horse and half-alligator (a mythical animal associated in popular lore with Clay's Kentucky), is Henry Clay. He exclaims triumphantly, "Hurrah! Old Kentuck will distance them all yet, and then the views of the lamented Harrisson will be carried out in full, and treachery will meet its reward." The sun rises behind him and an eagle with a streamer reading "E pluribus unum" flies ahead. Clay is followed by South Carolina Democrat John Calhoun, who remarks, "My old nullification Coota Turtle is rather a slow Coach! I am afraid he won't get out of this Clay Bank!" Taking the lower road (in keeping with his reputation for intrigue) is Martin Van Buren, riding a fox and exclaiming, "Confound Calhoun! He is right in my way! I'll take a short cut and though the path is crooked and rather dirty, I don't care so that I get in." Van Buren was derisively nicknamed "the Kinderhook fox." On the same path are two more presidential aspirants, James K. Polk(?) and Richard M. Johnson. The first, sitting on a donkey and waving a club, yells, "I'am an Old Soldier, but I shall never get in unless I can turn this Donkeys head the right way." Johnson, who has fallen off his horse, exclaims, "My old amalgamation Nag has got the blind staggers! and I can stump it no longer!" "Amalgamation" was common parlance for the melding of races, more specifically referring here to Johnson's common-law marriage and offspring with a mulatto woman, Julia Chinn. Off to the right, Massachusetts senator Daniel Webster sits by an open fire, cooking a cauldron of "Chowder" (a staple of his native New England), vowing, "I shant leave my Chowder! unless my country calls me." Behind him on horseback is Gen. Winfield Scott who calls over to War of 1812 Commodore Charles Stewart, seated in a boat on a lake, "Odds bullets and bayonets! I don't care about being President but if my friends insist upon it I'll serve! I say Commodore, cant you or I get in by a Coup-de-main!" Stewart replies, "I think not General! so I'll haul my wind! I am better fitted to govern the helm of old Ironsides than the helm of State." In the lower right corner, a man (possibly Supreme Court Justice John McLean) falls head first down an incline, saying, "If I thought I had a drop of Democratic blood in my veins I would let it out."|Entered . . . 1843 by H.R. Robinson.|H.R. Robinson 142 Nassau St. Lithy. in all its branches.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 72.|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 1843-8.

An anti-Lincoln satire, showing the Republican incumbent and his supporters menaced by giant "Copperheads" (Peace Democrats). After a speech on May 1, 1863, asserting that the Civil War was being fought to free blacks and enslave whites, not to save the Union, Clement Laird Vallandigham, leader of the "Copperheads," was arrested and tried for treason. He had defied Union general Ambrose E. Burnside's General Order No. 38, that "the habit of declaring sympathies for the enemy [would] no longer be tolerated" and that offenders would be punished by military procedure. Bowing to Vallandigham's widespread public support, Lincoln reduced the severity of his sentence from imprisonment to banishment behind Confederate lines. Here, three huge copperheads pursue Lincoln, who tears a piece of paper "Constitution & the Union as it was." A fourth snake curls around in front of him. The quotation is from a speech given by Vallandigham in May 1862: "To maintain the Constitution as it is and to restore the Union as it was." Lincoln, who is barefoot and in backwoods dress, drops a paper that reads, "New Black Constitution [signed] A. L. & Co." One of the snakes says, "If you cant read that document drop it." Two others hiss, "Hit him again," and "Ah, you cuss. I thought you had a little nigger on the brain." Lincoln calls to two freedmen who follow him, "Go back to your master, dont think you are free because you are emancipated," but they implore, "Fadderrrr Abrum" and "Take us to your Bussum." A minuscule black man who has fallen from inside Lincoln's hat cries, "Ise going back to de sile." At far left Burnside, who holds a flaming torch, is being choked by a snake representing Vallandigham. The significance of the torch is unclear, although it resembles the lanterns of the Wide-Awakes, active in Lincoln's 1860 presidential campaign. Burnside begs, "Oh, dear Clement you are hugging too tight." Vallandigham responds, "Look here if you think to Burn-my Side you will get foiled." Below, a snake eating a black man comments, "I say, Clement, Shriekers go good Down with him." At right a skeleton has just risen from the grave of abolitionist martyr John Brown, whose tombstone is inscribed "Hung in Virginia by Wise [i.e., Virginia governor Henry A. Wise]." On the ground are the words "Removed to No. 7 Hell Gate." The skeleton is exhorted by Satan, ". . . the Devil is to pay come get up and take your share." The skeleton responds, "Sure enough. Come Father let us start for Canada where it is colder." The "What-is-it" of the title refers to a deformed African man recently featured at P. T. Barnum's Museum on Broadway. (See also "An Heir to the Throne, or the Next Republican Candidate.," no. 1860-33.) |Entered . . . 1863 by E.W.T. Nichols . . . Mass.|The Library's impression of the work was deposited for copyright on June 30, 1863.|Title appears as it is written on the item.|Weitenkampf, p. 138.|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 1863-8.

Students use Library of Congress primary sources to gain a better understanding of why the government takes care of its people and how this type of welfare state started.

Students use Library of Congress primary sources to examine the degree to which the Depression/New Deal amended the economic destruction of the Civil War.

Students use Library of Congress primary sources to examine significant events and attitudes of the 1920s related to The Great Gatsby.

Printed within image: T.J. Nicholl.|Published by The Courier Lith. Co. Bu[ffalo?]. Copyright by M. Lee.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A satire on Taylor administration efforts to curtail American "filibusters," armed expeditions against Cuba for the purpose of freeing the island from Spanish rule. Specific reference here is to the Navy's blockade of one such expeditionary force, which assembled on Round Island under Colonel G. W. White in early September 1849. The many puzzling references in the dialogue and imagery here aside, it is clear that the artist is also poking fun at the expansionist dreams of Americans of the time who advocated annexation of Cuba, Canada, and even parts of South America. The artist is critical as well of the current Cuban regime. On the shore of Round Island, the would-be invaders sit at a long rustic banquet table. Nearby several youths play with marbles and hoops, while two boys and a man ride a seesaw. Beyond, two men fly star-shaped kites which read "Cuba" and "Canada." The table is set with food, apparently taken from two large baskets at right. Several of the banqueters toast, "The Queen of Slave Traders!" "The Republic of Sierra Madre!" and "Venezuela! St Domingo! and Yucatan!" A man at the head of the table, holding a "N.Y. Express Proclamation" (perhaps Zachary Taylor's 1848 proclamation denouncing the expedition) addresses them, "You should thank us ye Pirates and Robbers of Cuba for saving you from [Spanish governor of Cuba Federico] Roncali's Garrote." One of the diners protests, "We are no Pirates! we dont kidnap people from the United States nor from Africa" (a reference to the Cuban government's alleged abduction of Juan Francisco Garcia y Rey from New Orleans in July 1848 and to Cuba's slave trade). Offshore are several boats, including a U.S. naval frigate with the words "Nine Millions a year" emblazoned on its sail and a small sloop. A man in the sloop calls out to the frigate, "Help! Help! dont let Roncali trample on your laws." The man is former Havana jailer Juan Francisco Garcia y Rey, now held by the Spanish government for freeing Cuban revolutionaries. Garcia y Rey had appealed for help to the American government, on the basis of his illegal abduction by the Spanish consul. To his call comes the response, "We dont care for the laws we are reaping laurels. Mr. Rey." Others on deck on the American ship converse, saying, "This is as safe and more glorious than Tampico" and "La Cronica will let the Negroes loose upon those who escape from the proclamation."|Probably published in New York.|Title appears as it is written on the item.|Weitenkampf, p. 100.|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 1849-5.

The strongly racist character of the Democratic presidential campaign of 1868 is displayed full-blown in this elaborate attack on Reconstruction and Republican support of Negro rights. Horses with the heads of Democratic candidate Horatio Seymour and running mate Francis P. Blair, Jr., pull a fine, ornate carriage in a race with a rude wagon drawn by asses with the heads of Republican candidates Ulysses S. Grant and Schuyler Colfax. The Democratic carriage pulls ahead in the race, heading toward a cheering crowd and a series of floral arches held by young maidens. The U.S. Capitol is visible beyond. In the carriage are four allegorical figures: Liberty, holding the Constitution and a banner which reads "Our Glorious Union Dˆü_ˆüąistinct, like the Billows, One, Like the Sea' This is a White Man's Government!"; Navigation, holding a miniature ship; Agriculture, holding sheaves of wheat and a scythe; and Labor, represented by a bearded man with a hammer and flywheel. In contrast to the Democratic vehicle, the Republican wagon has stalled before a pile of rocks and a cemetery strewn with bones representing "100,000,000 White Lives, the Price of Nigger Freedom!" Its wheels are blocked by a large stone "Killing Taxation" and a skeleton. Other stones represent "Ruined Commerce," "$30,000,000 stolen from the Treasury," and "Negro Supremacy." In the wagon are the grim reaper, Pennsylvania representative and abolitionist Thaddeus Stevens, an unidentified man, a black woman, and an idle black man. Stevens: "Colfax pulls like the d----l but old tangleleg [i.e., Grant] aint worth a d----n! Push at the tailboard, Ben!" Massachusetts representative and former Civil War general Benjamin F. Butler, pushing the wagon from the rear, replies, "I am pushing, Thad! but we are stuck. Seymour is a mile ahead now." Silver spoons protrude from Butler's pocket. (For the origins of Butler's nickname "Silver Spoons," see "The Radical Party on a Heavy Grade," no. 1868-14.) The black woman reassures Stevens, "Don't worry you'sef, honey, or you'll peg out afore we get de paeket for Seymour's in de White House and we's good for Salt River [colloquialism for political disaster]." The black man asks, "War's dis wagon gwine wid dis member ob Congress. I'd jes like to know?" The unidentified man remarks, "The Democracy would not take me so I thought I'd come back & stick by you Uncle Thad, and we'll all go to H-ll together!" Death announces, "My friends 1,000,000 slaughtered soldiers block the wheels--you fooled them, and they now impede your progress!" At bottom right a group of bummers, a term referring to party hangers-on, carpetbaggers, and other disreputable characters, stand in line to buy tickets to Salt River. At left New York "Tribune" editor Horace Greeley invites abolitionist preacher Henry Ward Beecher to play the thimblerig. Nearby a black couple in rags express their desire to return to their former master. At top right, next to the U.S. Capitol, a group of black youths in striped outfits dance and tumble about. In the lower right margin are prices and information regarding ordering copies of the print by mail. "Price 25 cents mailed. 5 for $1.00. 60 for $10.00, 100 for $16.00. Nothing sent C.O.D. Express charges paid by Parties ordering. Address: Bromley & Co. Box 4265. New York City.|Entered . . . l868 by Bromley & Co. . . . New York|Title appears as it is written on the item.|Lorant, p. 303.|Weitenkampf, p. 157.|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 1868-15.

A virulent attack on the four conservative Rhode Island legislators who broke with the Law and Order Party to support a Democratic movement to free imprisoned radical Thomas Wilson Dorr. (On the Dorrite Rebellion see also "Trouble in the Spartan Ranks, Tyrants Prostrate Liberty Triumphant," and "The Four Traitors, Who Most Infamously Sold Themselves," nos. 1843-6, 1844-19, and 1845-4). The broadside's text comes from a July 1845 letter from John Whipple, a prominent Providence, R.I., Whig, assailing the "cold-blooded treachery" of Charles Jackson, Samuel F. Man, James Fowler Simmons, and Lemuel H. Arnold in their support of the "liberation" ticket in the spring elections of 1845. Whipple alleges political opportunism and personal ambition as their motive, and offers a lengthy rebuttal to aspersions cast on his own political character by Lemuel Arnold. He also compares Lemuel Arnold to Revolutionary War traitor Benedict Arnold. The woodcut illustration shows a chariot drawn by Cerberus, the three-headed hound of hell, and by a cow with the head of Thomas Wilson Dorr. Driving the chariot is a bespectacled demon with the legs of a goat. Entwined about his body is a snake, and he wields a whip and a pitchfork. The demon is probably James F. Simmons, who was elected governor on the Democrats' liberation ticket. His tail is grasped by Lemuel Arnold, who sits behind him holding a staff with a banner "Office." Behind Arnold sit three other figures: a woman (indicating the prominence of women in the Dorrite cause), a man blowing a horn (another conspirator?), and a uniformed officer, either Napoleon Bonaparte or Benedict Arnold. On the back of the chariot rides a man with a bottle in his pocket, waving a newspaper, the "Tribune," and a stovepipe hat. This may be Horace Greeley, editor of the New York "Tribune," although his usual alignment with the Whigs makes his role here questionable. Below the image are the quotations, "We stoop to Conquer" and "Better to reign in Hell than serve in Heaven" (Satan's famous remark from "Paradise Lost)." The chariot is decorated with snakes and a shield and anchor with a death's head on the central panel. The unidentified publisher of the broadside adds, in a colophon, "I have been at considerable trouble, in obtaining a drawing and engraving of "The Worthies;" and would particularly inform my friends, that I shall ever consider myself alone, personally, responsible for all that I shall publish . . . ." Although Marvin Gettleman, in his study of the Dorrite rebellion, dates the broadside March 1845, Whipple clearly states in his letter, "it is now July."|Title appears as it is written on the item.|Gettleman, p. 171n.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-5.

An animated comic scene ridiculing the Democratic and American party candidates. In the foreground is a somewhat rickety wooden "Democratic Platform," into which presidential candidate James Buchanan has just run, knocking his mount (running mate John C. Breckinridge, in the form of a buck) unconscious. Buchanan (center, dressed as a jockey) holds his right shin and curses a ragged black youth who stands laughing on the platform, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." The black youth jeers, "Ya! Ya! Ya! Why Massa Buck. Dis is de Democratic Platform, I tink I misunderstand you to Say dat you like dis Plank [. . .] in fac dat you was de Platform [. . . .]" One of the planks in the platform is labeled "Slavery," and another "Cuba," referring to the apparent proslavery and annexationist interests of the Democrats. On the far right a small boy is hoisted onto the back of a ragged, weed-chewing man with a beard. The urchin holds a flag reading, "We Po'ked em in 44, We Peirce'd em in 52 and We'll "Buck em" in 56." The bearded man looks at the child irritably and scowls, "Hello there!! are you a Fre'mounter." At left, American party candidate Millard Fillmore, riding a goose with the head of running mate Andrew Jackson Donelson and holding a "Know Nothing" lantern, cries, "I'm "All right on the Goose," and yet I dont seem to make much head way, Gentlemen you may all laugh, but if I'm not the next President the Union Will Be Disolved, The South Wont Stand It." In the background a crowd watches the race. Two men converse, saying, "Little too much Squatter Sovereignty about that Goose Fillmore?" and "A decided Curvature of the Spine, no Back Bone Sir, "All Dough" Sir, ha! ha! ha!" The majority of the spectators, however, cheer on Republican candidate John C. Fremont whose horse takes the lead at right. On an observation or judging deck nearby stands Brother Jonathan, holding what appears to be a timer's watch. The apt comic mise-en-scene and development of the minor characters here are characteristic of John L. Magee's work.|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-15.