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.

A deceptive broadside, ostensibly a pro-McClellan campaign piece but actually a piercing attack on the Democratic platform. In the center is a portrait of Democratic presidential candidate George B. McClellan standing aboard a ship, watching the Battle of Malvern Hill--the culminating defeat of his disastrous Peninsular Campaign. (See "The Gunboat Candidate," no. 1864-17.) Beneath the print's title "The Chicago Platform" is a subheading "Union Failures" above a cannon flanked by tattered American flags. Each Democratic platform resolution is illustrated with a vignette which supports its reverse. The top left scene shows a black man chased by bloodhounds, above the tenet "Resolved, that in the future, as in the past, we will adhere with unswerving fidelity to the Union under the Constitution as the only solid foundation of our strength." At the upper right is a polling scene, above which appears the Democratic resolution condemning the "interference of the military authority of the United States in the recent elections held in Kentucky, Maryland, Missouri, and Delaware." In the scene balloting proceeds under the protection of federal soldiers. Citizens loyal to the Union vote, while an obviously unruly Irishman is barred. Other scenes are (middle register, left to right): "The Constitution Itself Has Been Disregarded." Abraham Lincoln displays his Emancipation Proclamation to a group of black men and women. (Continuing from left): ". . . In Every part, and Public Liberty and Private Right." A picture shows the New York draft riots of 1863, where one man clubs another while a young boy dances. A simian Irishman holds a black child upside down by his foot and is about to strike him with a club. Fires rage in the background. "Resolved That the Aim And Object of the Democratic Party is to Preserve the Federal Union and the Rights of the States Unimpaired . . . . " One scene shows a black woman sold at a slave auction, and another scene portrays two white men flogging a black man, as an overseer watches approvingly. The bottom register shows scenes of the war, Southern soldiers bowing to President of the Confederacy Jefferson Davis, a Union graveyard, "Rebels in the North" or spies being arrested, and so on. The lengthy text below includes excerpts from McClellan's letter accepting the Democratic nomination, and from his running mate George Hunt Pendleton's speech in Congress calling for a reconciliation with the South or the peaceful acceptance of its secession.|Signed: Th Nast.|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 1864-22.

Douglass, Frederick. "Emancipation Proclaimed." Frederick Douglass Project Writings- University of Rochester. 1862, https://rbscp.lib.rochester.edu/4406Description: Stephen Douglass reacts to the Preliminary Emancipation Proclamation

The “Own It!” Handbook for Adults & Teens is a step-by-step guide to a fourteen topic after-school program, such as a Boys & Girls Club, or an adult Community Building group. For adults, it seeks to bridge divides and  explore what Americans have in common. For teens, it is a transformative after-school, trauma-informed enrichment program. It nurtures academic skills, personal growth and leadership. For all, it uses history to connect our past to our future, as part of the Own Your History® (OYH) Collection. Our inheritances from family history and the American experience provide the starting point for our personal journeys.  Our individual stories are part of a complex American history. We each can choose consciously to write our life story and work for a greater future. Own It! is not “school” but enhances students’ engagement in being creative, making things happen, and  achieving goals. Its mission is to help them step up and enrich their lives, especially by understanding that they live in history.

Students will analyze documents from the War Department’s Bureau of Refugees, Freedmen, and Abandoned Lands — better known as the Freedmen’s Bureau — that Congress established on March 3, 1865, as the Civil War was coming to an end. Using the scale in Weighing the Evidence, students will evaluate the effectiveness of the Freedmen’s Bureau in assisting formerly enslaved persons. Learning Objectives: Students will be able to identify and draw conclusions about the roles of the Freedmen’s Bureau (Bureau of Refugees, Freedmen, and Abandoned Lands), critically analyze primary sources, formulate opinions about the effectiveness of the Bureau, and back up their opinions verbally or in writing.

This Political Cartoon, published in Harper's Weekly in October 1862, shortly after the Battle of Antietam, summarizes the idea behind the Emancipation Proclamation. In it an axe-wielding President Lincoln threatens to cut down the tree a Confederate Soldier is using as refuge. Labeled "Slavery," the tree/soldier relationship in the cartoon is meant to convey the idea that slavery in the south was supporting the Confederate war effort - note also the poor state the Southern soldier appears to be in, shoeless and ragged (one Maryland resident who observed the invading Confederate army described them as "scarecrows"). Lincoln sought to frame the Emancipation of slaves as a "fit and necessary war measure for suppressing [the] rebellion," arguing that ending slavery in the south would deprive the Confederate army of the Home Front labor support slaves provided, thus ending the war quicker. The comic is specifically about the Preliminary Emancipation Proclamation (issued at the end of Sept, 1862), which was a warning to the South that if they did not cease their rebellion before January 1, 1863, he would pass the formal Emancipation Proclamation - hence the title "Lincoln's Last Warning."

In the United States, the nineteenth century was a time of tremendous growth and change. The new nation experienced a shift from a farming economy to an industrial one, major westward expansion, displacement of native peoples, rapid advances in technology and transportation, and a civil war. In this lesson, works of art from the nineteenth century are paired with written documents, including literary selections, a letter, and a speech. As budding historians, students can use these primary sources from the nineteenth century to reconstruct the influence of technology, geography, economics, and politics on daily life.
In this lesson students will: Learn about daily life in the United States in the 1800s through visual art and literature; Understand some of the ways in which nineteenth-century life was affected by technology, geography, economics, and politics; Apply critical-thinking skills to consider the various choices artists and writers have made in depicting daily life around them; Make personal connections to the nineteenth century by placing themselves in the contexts of works of art and readings.

An ambivalent but essentially pro-Lincoln illustration appearing on a song by John Hogarth Lozier, dedicated to the composer's "Comrades the 37th Indiana Regiment and all who love Our Brave Soldier Boys." Lincoln drives the Union wagon, whose rickety frame consists of a boat "Constitution" mounted on four wheels. Pulled by horses named after leading Union generals, including Benjamin F. Butler, Ulysses S. Grant, William S. Rosencrans ("Rosie"), and Joseph Hooker, it is crowded with people. One of the riders holds an American flag while another seems to be falling over the side of the wagon. The vehicle has gotten mired in the mud hole of Secession, where several figures are floundering. Uncle Sam attempts to extricate the stuck back wheel using a large pole "Emancipation Proclamation" as a lever, whose fulcrum is a rock marked "1863." Sam's efforts and the wagon's progress are also threatened by several snakes at right. These probably represent the anti-Republican Copperheads who advocated reconciliation with the South. Although the Emancipation Proclamation took effect in January 1863, the print may have appeared as late as 1864. It was not until March 1864 that Grant was given supreme command of the Union army.|Cincinnati. Published by J. Church. Jr. . . . Boston. O. Ditson & Co. Philadelphia. Lee & Walker. New York. W. A. Pond & Co.|Middleton, Strobridge & Co. lith. Cincinnati Ohio.|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 1863-15.

The August 1864 Democratic national convention in Chicago is unfavorably compared to the Republican convention in Baltimore in June of the same year. The artist is especially critical of prominent New York Peace Democrats Horatio Seymour and Fernando Wood. The party's espousal of a truce with the South is presented here as advantageous to the Confederacy and to Great Britain. The cartoon is divided into two panels: "Baltimore" (left) and "Chicago" (right). In Baltimore, Liberty says to the seated Lincoln, "My fate I trust in your hands go and do your Duty!" She is accompanied by the American eagle. Lincoln holds his Emancipation Proclamation. His platform is upheld by supporters (from left to right) Massachusetts senator Charles Sumner, Union general Ulysses S. Grant, and Union admiral David Glasgow Farragut. Behind them are a soldier and a man wearing a labor cap. At right, a dwarfish Democratic presidential candidate George B. McClellan is thrust onto a tiny round platform made of cheese by Copperhead leader Clement Laird Vallandigham. The reluctant McClellan entreats, "No Val: it is too bad, such a frail slippery box, I'll certainly break my neck!" Vallandigham tries to reassure him, saying, "Don't be afraid little Mac, I'll support you." The platform is supported by snakes, representing the Copperheads or Peace Democrats, one holding a Confederate flag of "Separation." Nearby a street tough in a top hat, smoking a cigar, holds up his fist and says, "Dam'n the Niggers," while an Irishman with a clay pipe observes, "Be jabbers what a select Company, ould Jonny Bull and all!" John Bull, the central figure, reads a pro-McClellan and Davis issue of the "London Times." At bottom left New York governor Horatio Seymour holds a plaque reading, "All ye desiring peace come one, come all. The War proved to be a failure." On the right New York congressman Fernando Wood, another prominent Copperhead, extends his hand to the viewer with the invitation "All true friends of Slaves and their Masters should join our Company." The print compares closely in drawing style, in format, and in its anti-Democratic bias to "Democracy. 1832. 1864." (no. 1864-23), published by Prang & Company. Both prints were probably drawn by the same artist.|Title appears as it is written on the item.|Weitenkampf, p. 144.|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 1864-23.

Lincoln's support of abolition is portrayed here as a liability in his race to the White House against Democratic candidate George B. McClellan. At top a smoothly run train "Union" heads straight for the White House. The engine is labeled "Democracy" and the first car, in which McClellan stands in the role of engineer, flies a flag "Constitution." The other cars are labeled "Union" and are occupied by happy, cheering Democrats. McClellan taunts, "Wouldn't you like to swap horses now? Lincoln?" (probably a reference to Lincoln's replacement of him as commander of the Army of the Potomac). Several of his passengers comment on the wreck of the Republican train below: "H-ll, H ll, I'm used to Railroad accidents but that beats Vibbards all to smash." New York governor Horatio Seymour: "I thought little Mac could take the train through better than I could." "It's no use talking Ben [Union general Benjamin F. Butler]! I told you I was on the right train . . . thunder there's John McKeon [prominent Democrat and New York lawyer ] with us." "Little Mac is the boy to smash up all the Misceganationists." "Politics does make strange bed fellows . . . the d . . . l if there aint Fernandy!" "Fernandy" is Fernando Wood, prominent Peace Democrat and mayor of New York. "Good-bye Horace [Horace Greeley]! Nigger on the brain flummoxed you." "Thus ends the Abolition Party!" "Be the powers the gintleman with his pantaloons in his bootleg is having a high time of it." "Good-bye old Greenbacks!" to Salmon P. Chase, who leaves with a satchel at right. Chase, who resigned his post as secretary of the treasury on June 29, says, "Thank God, I got off that train in the nick of time." In contrast, Lincoln's train, below, is far behind after having crashed on rocks "Confiscation," "Emancipation," "$400,000,000,000 Public Debt," "To Whom It May Concern," and "Abolitionism." Lincoln himself is hurled into the air, and says, "Dont mention it Mac, this reminds me of a . . ." This reference is to Lincoln's rumored penchant for telling humorous stories at inappropriate moments. (See "The Commander-in-Chief Conciliating the Soldier's Votes," no. 1864-30.) "Tribune" publisher and abolitionist Horace Greeley, also in the air, says, "I told you Abe that 'To whom it may concern' would be the death of us." (See "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-31.) A black man crushed in the wreck accuses Lincoln, "Wars de rest ob dis ole darkey? Dis wot yer call 'mancipation'?" Another black man hurtles through the air, retorting, "Lor Amighty Massa Linkum, is dis wot yer call 'Elewating de Nigger'?" Secretary of War Edwin Stanton, hanging out of the train, moans, "Oh! dear! If I could telegraph this to Dix I'd make it out a Victory." Preacher and abolitionist Henry Ward Beecher holds a black child to his breast and prays, "Oh! my brethering! Plymouth Church will try to save the Platform." The notorious Union general Ben Butler exclaims, "H--ll! I've Preyed $2,000,000 already!" The four clean-shaven men in the train are identifiable as Massachusetts senator Charles Sumner, New York journalist and state political leader Thurlow Weed, Secretary of State William Seward, and John McKeon. Sumner: "Say Seward will praying save us?" Seward: "Oh! I'm a goner! Ask Thurlow, he's my spiritual Adviser." Weed: "Pray! yes, pray Brother, Butler will lead." At left Maximilian, puppet emperor of Mexico, confers with John Bull and Napoleon III of France, saying, "Oh Main Got'vi I vas send over to dis land of Greasers to pe chawed up py de Yankees." John Bull's opinion is ". . . This will never do. The Monroe doctrine must be put down." Napoleon III says, ". . . by Gar, if dat train gets to de White House, its all up with my Mexico." During the Civil War, Napoleon III tried to establish a puppet state in Mexico under Emperor Maximilian. At bottom left are prices and ordering instructions for obtaining copies of the print.|Entered . . . 1864 by Bromley & Co. New York.|Title appears as it is written on the item.|Weitenkampf, p. 146.|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 1864-39.

2 articles written by Frederick DouglassFrederick Douglass, “What Shall Be Done with the Slaves if Emancipated?” Douglass Monthly, January 1862Frederick Douglass, “Why Should a Colored Man Enlist?” Douglass’ Monthly, April 1863Letter from James Henry Gooding to President LincolnJames Henry Gooding to President Lincoln, September 28, 1863, published in Herbert Aptheker, ed., A Documentary History of the Negro People in the United States (New York: Citadel Press, 1951), 482-84.

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

 U.S. History is designed to meet the scope and sequence requirements of most introductory courses. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience). U.S. History covers key forces that form the American experience, with particular attention to issues of race, class, and gender.Senior Contributing AuthorsP. Scott Corbett, Ventura CollegeVolker Janssen, California State University, FullertonJohn M. Lund, Keene State CollegeTodd Pfannestiel, Clarion UniversityPaul Vickery, Oral Roberts UniversitySylvie Waskiewicz

By the end of this section, you will be able to:Explain what is meant by the term “total war” and provide examplesDescribe mobilization efforts in the North and the SouthExplain why 1863 was a pivotal year in the war

I will be using this illustration to gather my students in whole & small grooup discussions relating to becoming more of a "participatory citizen" in the U.S. society. While using the PSA, I am attempting to develop critical thinking skills and get my students to reflect on moments when they were asked "well, what are you going to do about it" and "emancipation" and develop their own questions. I also believe that the both the photo and psa can how stimulate Problem-based learning: getting my students to think about how they can active citizens rather than passive citizen. Finally, to get my students to think about becoming inventors.