A satire on Andrew Jackson's "Kitchen Cabinet," the pejorative name given his informal circle of close advisors. The print appeared during the heated controversy incited by Jackson's discontinuation of federal deposits to the Bank of the United States. In the President's September 1833 message to his formal cabinet, announcing this measure he claimed sole "responsibility" for this decision. Many regardless attributed the move to the machinations of Van Buren and other figures of the "Kitchen" group. "The Government," is shown as a cart, driven by a figure made up of kitchen implements, and drawn by an ass with Jackson's head, who is in turn led by the ear by Martin Van Buren. The cart is marked "K.C." probably standing for Kitchen Cabinet, and bears an emblem composed of a broad-brimmed hat, riding crop, sword, Jackson's eyeglasses, and a cauldron. The same cauldron, inscribed with the word "unit," appears as the mid-section of the driver. (The cryptic term "unit" figures in an earlier cartoon -- again with reference to Jackson's cabinet -- Edward W. Clay's ".00001. The Value of a Unit," no. 1831-1). Into the cart a black man pours a bucket of waste, apparently from the public privvy in the background, marked "Public Accomodation / Place of Deposit" on the right.|Entered . . . 1834 by Endicott & Swett . . . New-York.|Hassan Straightshanks (David Claypool Johnston?) Del.|The title suggests that the print was to have been the first in a series, although no further numbers have been recorded. It was by the same artist, pseudonymed "Hassan Strightshanks," as "The Grand National Caravan Moving East" (no. 1833-11) and "The Grand Fantastical Parade. . ." (no. 1833-12). The Library's impression was deposited for copyright on April 7, 1834.|Title appears as it is written on the item.|Murrell, p. 124.|Weitenkampf, p. 35.|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 1834-12.

A burlesque history of the Jackson administration, with particular reference to his campaign to destroy the Bank of the United States. The narrative, in a series of twelve episodes, is based on Cervantes's "Don Quixote," which recounts the adventures of the don (here Jackson) and his squire Sancho Panza (here Jackson's vice president and successor Martin Van Buren). The episodes are as follows: 1. Jackson as Don Quixote, "redresser of grievances, the writer righter of wrongs," sits meditating in his study. A pair of military boots hover in the air at left. On the walls are portraits of Nero and Dionysus. 2. Jackson/Quixote kneels to receive his Doctor of Laws degree to the obvious amusement of several onlookers. 3. He attempts to thrash sacks of money labeled "U. S. Deposits" in a "certain public house" (the Bank of the United States) but is restrained by Bank president Nicholas Biddle and by Henry Clay and Daniel Webster, the latter shielding the sacks with the Constitution. This is a reference to the conflict over Jackson's 1833 order for the removal of federal deposits from the Bank. 4. He confronts a crowd bearing signs reading "Petitions for the restoration of deposits," "N. York Mechanics" and "Virginia Resolves," reflecting public protestation of the removal order. 5. "Don Quixote's Attack on the Giants" shows him charging the United States Bank building, as Van Buren/Sancho looks on. 6. "Don Quixote's Interview with the Canon" has Jackson discussing his aspirations for "making myself an emperor" and furthering the career of Van Buren. The canon may be "Globe" editor Francis Preston Blair or influential adviser and strategist Amos Kendall. A painting of Jackson, titled "Washington 2d" hangs behind him. 7. "Don Quixote Chagrined at the statement of Nicholas" shows Jackson angrily confronting U. S. Bank president Nicholas Biddle with the latter's written refusal to "surrender the books & papers & funds committed to them [i.e., to the Bank] by Congress without a revocation by congress first." 8. "Private Confab between Sancho and his Master" shows Van Buren reporting to Jackson on his poor public image. On the table is a "Report of the committee on the removal of the deposits" and a copy of the "Globe" newspaper. 9. "The Don and Sancho with eyes and ears stopped mounted on their hobby [horse]" ignore the winds "pressures, petitions, failures," and "Virginia Resolves" blowing about them. Jackson is armored with kitchenware made by "B. K. & Company Washington." The armor symbolizes the insulating nature of the advice and influence of Democratic publicists and prominent members of Jackson's "Kitchen Cabinet," Francis Preston Blair and Amos Kendall (hence "B. K. and Company"). The knight sits astride a wooden horse labeled "Great National Shaving Shop." 10. "Don Quixote Addressing certain Bound captives whose liberation he in vain attempted to accomplish" refers to the retention of the pension accounts for Revolutionary War veterans by the Bank. 11. In "Constitutional Insanity or the Don About to Figure it on Board Ship" Jackson says to Van Buren, "You must know . . . that this vessel [the Constitution] is here on purpose without a possibility of any other design to call & invite me to embark." 12. The narrative concludes with Jackson's retirement and Van Buren's inheritence of the problems of the presidency. "The Knight on his Way Home and Sancho in the High Road to Promotion" shows Jackson riding off toward his Tennessee estate, the Hermitage. Van Buren meanwhile is tossed into the air from a "Map of the United States 1837" held by several grinning men including (directly below the rider) the artist himself.|Clarence Brigham's tentative attribution of the print to David Claypool Johnston, cited by Weitenkampf, is undoubtedly accurate. The print compares closely to earlier comic etchings by Johnston, such as "Foot-Race" (no. 1824-4), and to his annual albums entitled "Scraps," issued from 1830-1849. Moreover, the self-portrait in the final scene is very similar to that which appears in the last vignette in the 1837 issue of "Scraps."|Drawn by David Claypool Johnston, Boston.|Title appears as it is written on the item.|Johnson, no. 51.|Weitenkampf, p. 50.|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 1837-2.

A prediction of dire consequences to follow from Jackson's withdrawal of federal funds from the Bank of the United States, initiated late in 1833. The artist is harshly critical of Jackson's move to distribute federal treasury funds among several state or so-called "pet" banks. He also condemns the influence of both Jackson's informal circle of advisors, the "Kitchen Cabinet," and the newspapers friendly to the Administration, the "Collar Presses." Jackson declared his own personal "responsibility" for the controversial order to remove the feredal deposits from the Bank. Here a mob of farmers, laborers, and tradesmen riot, holding papers saying "Broken Bank," and shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." They pursue Jackson, who flees to the right carried on the back of Jack Downing. Jackson: "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." Downing: "I told you I'd get you off Jinral but it will be a tarnel tight squeeze I guess." In the center Thomas Ellicott and Reuben Whitney, anti-Bank fiscal advisors to the administration, try to pull down the statue of Justice (here labeled "Supreme Court") resting on a pedestal "Constitution." A man in judge's robes, Supreme Court Justice John Marshall, warns "Miscreants forbear, the day of retribution is at hand and Justice shall be no longer set at defiance!" Five dogs, representing newspapers supportive of Jackson's program, including the "Globe, Albany Argus, Evening Post, Standard," and "Journal of Commerce" scamper away with their collars chained together. These are called "Collar Presses, " a derisive nickname playing on their status as newspapers or "presses" subservient to the administration. On the far left Henry Clay tells Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions!" Below them two blacks converse: "Hurrah Bob two or three more rows like dis and nigger free, for there will be no more Goberment." "Hurrah! for Massa Garison [i.e. abolitionist William Lloyd Garrison], den he shall be King!" On a step at lower left a sailor offers a Jewish broker a ten dollar bank-note. Sailor: "I say Moses give us some ballast for this here bit of rag." Banker: "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten."|Entered . . . Southern District of New York by T.W. Whitley 1834, and for sale at 104 Broadway.|T.W. Whitley alias Sir Joshua invt.|The print was recorded as deposited for copyright by Whitley on February 1, 1834. The print was probably printed and sold by Anthony Imbert, since his address is given in the imprint. The print is also very close in style to Imbert's "Old Nick's New Patent Plan ... (no. 1834-5).|Title appears as it is written on the item.|Weitenkampf, p. 35.|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 1834-7.

A crudely-drawn, anonymous satire on the Jackson Administration, alleging political intrigue behind Jackson's September 1833 decision to remove federal deposits from the Bank of the United States. The cartoon adapts the nursery rhyme "The House that Jack built," portraying the Kitchen Cabinet (the derisive name given Jackson's informal circle of influential advisors) as rats "that eat the malt that lay in the house that Jack built" -- the malt being "The public Deposits." (For an earlier use of the same rhyme see "Parody. 605,000 Sour Grapes," no. 1820-1.) The view is framed by a colonnade, with the columns of the Bank visible at left. Between each pair of columns is a character from the nursery rhyme. Treasury Secretary William J. Duane is the cat "That caught the rats," possibly referring to Duane's opposition to Jackson's plan for removal of the deposits. Jackson, the dog "That worried the Cat," sits on a strong box with a key hanging from his neck. (Jackson dismissed Duane from his post for his intransigence on the Bank issue on September 23, 1833). The Senate is the cow "with the crumpled horn that tossed the dog" referring the stiff opposition Jackson's measures later met from the Senate. "The honorable ******" (possibly Silas Wright, Van Buren ally and staunch advocate of Jackson's bank policies in Congress, or Richard M. Johnson, Van Buren's 1836 vice-presidential running-mate) as the maiden "all forlorn, That milked the Cow" and was kissed by "the man all tattered and torn," Vice-President Martin Van Buren. Van Buren stands before a grandfather clock with a figure of Pan holding a fiddle, symbolizing chaos and turmoil. Newspaper editor and Jackson supporter Francis Preston Blair is the priest "That married the man, all tattered and torn, unto the Maiden all forlorn." Major Jack Downing, portrayed as a soldier with the head of a rooster and holding a flag reading "Jackson & Glory," is the cock "That crowed in the morn, and soured the priest..." In the foreground left, below the Jackson/dog figure, a boar tears apart the Constitution. The artist here echoes charges that Jackson exceeded his legitimate presidential authority in his removal order. The print was probably issued late in 1833, after Duane's dismissal by Jackson, and before the former sank from national visibility altogether. It may date from as late as the first half of 1834, when public debate about Jackson's removal action raged in the Senate.|Title appears as it is written on the item.|Weitenkampf describes two similar cartoons, based on the same nursery rhyme. In one version, drawn by E. W. Clay and published in 1834, the maiden carries a pail marked "Vice President Office," and curiously (as in the present print) her face is averted from view.|Murrell, p. 149-152 (Clay version).|Weitenkampf, p. 34-35.|Purchase; Caroline and Erwin Swann Memorial Fund.|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 1833-6.

 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:Describe the key points of the election of 1828Explain the scandals of Andrew Jackson’s first term in office

A crudely drawn but bitter attack on Andrew Jackson's veto of the re-charter of the Bank of the United States and his subsequent campaign to destroy the Bank. Jackson (right) is a king fiddling on his throne as the Capitol burns in the background. He is attended by Jack Downing, while Vice-President Martin Van Buren peeps out from behind a curtain. Downing: "Jineral jest put a letel more Veto Rosin on your bow and you'ill give us a rale Nero-Doodle of a tune. That are fiddle jineral sound like your intarpitation of the Constitution. you can play ener most any tune you like on it." Jackson: "D-mn the Constitution Major. It is where it ought to be, Under my Feet." Van Buren: "Safety Fun." Before him is a strong chest labelled "30,000,000 Crowns" Beside it kneel three men, the "Reptiles that crawl through their own Slime to the Throne of Power." Beside them is a headstone inscribed "Sacred to the Memory of Dame Freedom, born July 4, 1776 and departed this life Oct.1 1833 A.E [sic]. . ." A crowd of "Kitchen Scullions & Pat-riots" with asses' ears mill about in the background, cheering for Jackson. They represent Jackson's close circle of advisors, the so-called "Kitchen Cabinet," and his lower-class and often unruly Irish immigrant (ergo "Pat-riots") supporters. At lower left stands John Bull, who says, "Ha-ha Brother Jonathan might as well hang up his fiddle, and not go bragging all over the world about his Freedom." A text below is a mock report of the murder of Dame Freedom by "Andrew Veto" and the "Color Presses," (i.e. "collar presses" or pro-Jackson newspapers) including the "Globe, Albany Argus, Richmond Enquirer," and others, and the robbery of the earnings of the "Sons of Freedom." |Entered . . . 1834 by E. Bisbee.|From Jineral Jackson's big picter, draw'd off from nater by Zek Downing, Historical Painter to Uncle Jack & Jineral Jackson.|Published by E. Bisbee, 95 Canal St. New-York.|The print was deposited by Bisbee for copyright on February 1, 1834, along with a later version of "Troubled Treasures" (no. 1833-5). Both prints bear a close resemblance in style to "The Political Barbecue" (no. 1834-9), and were probably drawn by the same hand.|Title appears as it is written on the item.|Weitenkampf, p. 35-36.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1834-8.