An allegorical illustration on the cover of a patriotic song, dedicated to the "National Guards of Philadelphia." A pronouncedly decollete Columbia or Liberty figure sits astride a bald eagle which flies over the globe. The eagle clutches lightning bolts and an olive branch in its talons, while Columbia holds a scroll (probably the Constitution) and an American flag.|Entered . . . 1859 by Lewis Dela . . . Pennsylvania.|Lewis N. Rosenthal Lith. Phila.|Philadelphia, Lee & Walker, 722 Chestnut Street.|The Library's copy of the music cover was deposited for copyright on September 15, 1859.|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 1859-2.

A patriotic, Unionist sheet music illustration. Liberty stands on a pedestal, wearing a Phrygian cap, a white tunic over a long gown emblazoned with stars, and a red sash. She holds a sword in her right hand and a staff with American flag in her left.|Entered according to Act of Congress by Charles S. Stoddard.|Gilmour & Dean, Litho.|The Library's copy of the music sheet was deposited for copyright by Charles S. Stoddard on April 18, 1862.|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 1862-4.

Have you ever stopped to think about the incredible risks the Founding Founders took when they rebelled against British authority? They were starting a war with the greatest military power of the time even though they did not have a mighty fighting force themselves. And they were fighting for a type of government that most people thought was impossible. In this video mini-course, Professor Sarah Burns of the Rochester Institute of Technology explains the historical and philosophical context of the American Revolution from the changing role of the British army in the colonies to Radical Whig theory.

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.

Allegory showing the figure of Liberty leading troops to victory, in the foreground are German prisoners of war and refugees.

A satire on the failure of the combined efforts of Henry Clay, Daniel Webster, John Calhoun, and Nicholas Biddle to thwart Andrew Jackson's treasury policy. In 1833 Jackson ordered that federal deposits be removed from the Bank of the United States, a controversial action that utlimately led to the Bank's destruction. To the right, beneath columns marked "Pensylvania," "Virginia," "New York," and "Georgia," sits Andrew Jackson smoking a clay pipe and conversing with Jack Downing. Behind him are strong boxes of "Deposites" the topmost of which is marked "Foundation for a National Bank." Leaning on them is the figure of Liberty with a staff, liberty cap and flag reading "Public confidence in Public funds." At her feet is an eagle with shield, arrows and lightning bolts. Downing: " . . . Gineral, this is a real shiver de freeze! You've sent Clay to "pot" eny how "nullified Calhoun," made "Webster" a "shuttle cock and busted Biddle's Bank biler!" Jackson: "Aye, Aye, Major Downing they thought they'd give us a dose of Congress Water, but they find what we're "Bent on" and we've given 'em a hard Poke into the bargain!" He refers to support for his program spearheaded in Congress by Missouri Senator Thomas Hart Benton. On the left a marble-based water fountain explodes, hurling aside (clockwise from upper left) Nicholas Biddle, Daniel Webster, Henry Clay, and John Calhoun. Biddle: "The fountain from the which my current springs or else dries up to be discarded thence,--" Webster: "Thus vaulting ambition doth o'er leap itself and falls on t'other side." Clay: "Sic transit gloria mundi. "Le jeu est fait, The game is up." Calhoun (losing his cockaded hat and bayonet): "United "we" stand, divided I fall. Fonte nulla fides." Also thrown from the fountain are a "National Gazette," "Ginger bread," a bottle of "Boston Pop," and a plank "American System." ":Explosion. . ." is one of the few satires favorable to Jackson on the Bank issue. It is very similar in terms of composition and draughtsmanship to another pro-Jackson satire "The Downfall of Mother Bank" (no. 1833-9), and could easily be by the same artist. Both are signed with the commonly-used pseudonym "Zek Downing." "Explosion" was recorded as deposited for copyright on February 1, 1834.|Drawd off after natur by the real Zek Dowining Neffu . . . .|Entered Southern District of New York 1834 by Anthony Imbert. |Title appears as it is written on the item.|Weitenkampf, p. 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 1834-6.

An emblematic illustrated cover for a piece of Millard Fillmore campaign music, composed by Frederic Southgate and copyrighted in 1856. The figure of Columbia or Liberty, surrounded by clouds and an oval frame, stands on a globe and holds a shield and American flag. She wears classical dress and a Phrygian cap. An eagle descends toward her from the clouds. Behind Columbia is a burst of light from the rising sun. At her feet is a small bouquet.|Published by Henry McCaffrey, Baltimore.|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 1856-7.

A patriotic broadside illustrated with emblems of the United States composed chiefly of typographic elements. A large central framework incorporates a small "Temple of Freedom" surmounted by a small Liberty figure, and containing the words "The Federal Constitution." On each side are oval bust portraits of Presidents (left to right) Washington, Adams, Jefferson, and Madison. Above them are small vignettes representing (on the left) Agriculture and Domestic Manufactures, the "immoveable pillars of the Independence of our country," and (on the right) Commerce, "a strong support to our national edifice." In the upper section of the framework are the seal of the United States and a listing of the names of the seventeen states with their 1810 census figures. Various quotations and brief texts are included, the longest of which are an account of George Washington's resignation of his commission, a description of the geography, government, and people of the United States, and the song "Columbia" written by "Dr. Dwight, President of Yale College."|Entered . . . the Fifteenth Day of January, 1812, by Jonathan Clark, of Albany, New-York.|Printed by and for the Authors, at the Press of R. Packard, no. 51 State-Street, Albany.|The broadside is purported to be the eighth edition, of June 1812, and "Executed with American Materials."|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 1812-1.

It is about the fundamental rights of Indian citizens envisaged.the resources gives an over view of fundamental rights.

An elaborate emblem to the memory of George Washington, illustrating the cover of a song in his honor composed by B. A. Burditt. The song, according to the text, was written "Expressly for the celebration of the 83d Anniversary of American Independence, and performed before the City Authorities of Boston, in the Music Hall, July 4th 1859." It is dedicated to former Massachusetts senator Edward Everett, whose public speeches in support of the Union made him a prominent figure during the antebellum period. His nationalistic oration on George Washington was particularly well-known. In May 1860 Everett was chosen the vice presidential nominee of the Constitutional Union party. A central roundel portrait of Washington in Roman toga is surrounded by military paraphernalia. These include a tricornered hat, a saber, and epaulets (below), rifles and cannonballs (right), and a cannon with broken wheels (left). Also below is a pen and inkstand with the Declaration of Independence. The roundel's laurel-wreath frame is flanked by rows of American flags. Above the portrait is an allegorical vignette, with the figures of Peace (left) and Liberty (right). Peace supports a shield decorated with stars and stripes, and bestows a wreath on the American eagle, who stands at left holding a streamer ("E Pluribus Unum"), arrows, and an olive banch. Liberty or Columbia holds a sword and points upward. Before her, on the ground, lies a sheathed sword. To the right is a railing.|Boston. Published by Oliver Ditson & Co. 277 Washington St.|Entd . . . 1859 by O. Ditson & Co. Mass.|John H. Bufford's Lith. |The Library's copy of the work was deposited for copyright on October 4, 1859.|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 1859-3.

John Stuart Mill (May 20, 1806 - May 8, 1873), an English philosopher and political economist, was an influential liberal thinker of the nineteenth century. John Stuart Mill refined and developed utilitarianism, which was originally formulated by Jeremy Bentham (1748-1832), his godfather and a close friend of his father James Mill.

This course explores the ideal of social justice. What makes a society just? We will approach this question by studying three opposing theories of justice—utilitarianism, libertarianism, and egalitarian liberalism—each foundational to contemporary political thought and discourse.

As events of the last few years have shown, the Supreme Court has played a crucial role in American political life. There is practically no issue of social significance in the American past that did not at some point end up in the nation’s courtrooms, yet much of the workings of the constitution remain obscure. This subject is designed to introduce students to the main themes and events of American constitutional law since 1787. It introduces terms and concepts of law and legal history, focusing on three recurring themes in American public life: liberty, equality, and property. Readings consist mostly of original court cases, especially from the U.S. Supreme Court, but the focus of the class is on the historical connections between those cases and broader social, political, and cultural trends.

An allegory of printing and liberty, illustrating a broadside of a June 24, 1826, letter from Thomas Jefferson on American democracy. The female figure of Liberty displays to the Four Continents the art of printing. Liberty stands to the right of a hand printing press over which hovers the figure of Fame. On the left stand female personifications of Asia and Europe; on the right are an Indian Queen (representing the Americas) and a kneeling black woman (Africa). In the foreground left is a pile of volumes and a scroll with the names of early printers Faustus, Caxton, and Bradford. In the right distance is a Temple of Liberty. In the left background a dark figure or demon falls from the sky. Jefferson's letter to the Mayor of Washington expresses his regret at not being able to attend the fiftieth anniversary celebration of American Independence in Washington. Jefferson describes the Declaration of Independence as "the signal of arousing men to burst the chains under which monkish ignorance and superstition had persuaded them to bind themselves, . . . ." Jefferson died ten days after writing the letter.|Signed: Brown D. Anderson S.|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 1826-1.

This course explores the history of the ideal of personal freedom with an eye towards contemporary debates over the pros and cons of the regulatory state. The first part of the course surveys the sociological and theological sources of the concepts of freedom and civil society, and introduces liberty’s leading relatives or competitors: property, equality, community, and republicanism. The second part consists of a series of case studies in the rise of modern liberty and libertarianism: the abolition of slavery, the struggle for religious freedom, and the twentieth-century American civil liberties movement. In the last part of the course, we take up debates over the role of libertarianism vs. the regulatory state in a variety of contexts: counter-terrorism, health care, the financial markets, and the Internet.

A burlesque triumphal procession representing victory for the Democratic platform in the election of 1848. In a chariot drawn by Democrats Lewis Cass and William O. Butler (shown as two horses), Uncle Sam drives toward the White House. On his way he rides over and cuts in two a black man representing abolitionism and then continues over Free Soil candidate Martin Van Buren. Whig candidates Zachary Taylor and Millard Fillmore trail along behind, sharing the saddle of the same bucking horse. Uncle Sam's chariot, called "Firm Confederation," is composed of a cab formed of large eagle wings and a shield. In it ride four crowned Liberty figures. They hold spears with banners reading: "Tariff of 1846," "Welcome [----] Oppressed," "No National Bank," and "Honor and Peace." Uncle Sam remarks enthusiastically, "Do tell now, ain't this the way to make a happy Republic?" Van Buren, visible beneath the chariot's wheels, groans, "Second sober thoughts--I wish I had been out of this muss!" Fillmore comments, "I say Taylor, we two have been too weighty for the Old buster! [i.e., their horse]" Taylor replies, "No, the Old thing was in a very bad condition when we mounted him."|Published by Peter E. Abel & Durang, Philada.|Signed with initials: E.F.D. (E.F. Durang).|Title appears as it is written on the item.|Weitenkampf, p. 95.|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 1848-43.

Allegory showing the figure of Liberty gathering up the specters of fallen soldiers from a cemetery.

This Casebook is intended to be used in a course which concentrates on Constitutional Rights and centers the Fourteenth Amendment. It can be used in a first year Law School course with a title such as “Liberty, Equality, and Due Process,” as it is at CUNY School of Law, an upper division Constitutional Rights course, or an advanced undergraduate course focusing on constitutional rights, especially equality and due process.

Allegory showing the figure of Liberty, arms outspread with broken chains hanging from her wrists, gathering children to her sides.

A bitter indictment of the Democratic administration's responsibility for violence and bloodshed in Kansas in the wake of the 1854 Kansas-Nebraska Act. (See also "Forcing Slavery Down the Throat of a Freesoiler" and "Democratic Platform Illustrated," nos. 1856-8 and 1856-11.) The print appeared during the presidential campaign of 1856. In the center stands Democratic incumbent Franklin Pierce, dressed in the buckskins of a "border ruffian," as the violent, proslavery invaders of the Kansas territory from Missouri were known. He has planted his foot on an American flag which is draped over Liberty, who kneels at his feet imploring, "O spare me gentlemen, spare me!!" Pierce is armed with a rifle, and has a tomahawk, dagger, pistol, and scalp on his belt. At right a similarly outfitted Lewis Cass stands licking his lips and scoffing, "Poor little Dear. We wouldnt hurt her for the world, would we Frank? ha! ha! ha! . . ." At the far right Democratic senator Stephen Douglas kneels over a slain farmer and holds up the hapless victim's scalp, exclaiming, "Hurrah for our side! Victory! Victory! "We will subdue them yet." "On the far left Democratic candidate James Buchanan and secretary of state William Marcy (with his characteristic fifty-cent" trouser patch) kneel over another victim and empty his pockets. Buchanan lifts the man's watch, saying,"T'was your's once but its mine now, "Might makes right," dont it." Pierce responds, "You may bet your life on that, ole Puddinhead," and says to Liberty, "Come Sis--sy, you go along wid me, I'le take Good care of "you" (hic) "over the left."" In the left background a cottage burns, and the mad widow of a murdered settler stands before a group of ruffians. Widow: "Come husband let us go to heaven, where our poor Children are." Ruffian, thumbing his nose: "Ho! ho! She thinks I'm her husband, we Scalped the Cus and she like a D--m fool went Crazy on it, and now she wants me to go to heaven with her, . . . " In the distance are further scenes of pillage and murder. Attribution to Magee is based on the print's clear stylistic similarity to his "Forcing Slavery Down the Throat of a Freesoiler" (no. 1856-8). A number of satires published by John Childs during the 1856 campaign are also attributable to Magee on stylistic grounds.|Drawn by John L. Magee.|Title appears as it is written on the item.|Murrell, p. 190.|Weitenkampf, p. 115.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-9.