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 satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. Here abolitionist William Lloyd Garrison (left) holds a slave woman in one arm and points a pistol toward a burly slave catcher mounted on the back of Daniel Webster. The slave catcher, wielding a noose and manacles, is expensively dressed, and may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend and return fugitive slaves to their owners. Behind Garrison a black man also aims a pistol toward the group on the right, while another seizes a cowering slaveholder by the hair and is about to whip him saying, "It's my turn now Old Slave Driver." Garrison: "Don't be alarmed Susanna, you're safe enough." Slave catcher: "Don't back out Webster, if you do we're ruind." Webster, holding "Constitution": "This, though Constitutional, is "extremely disagreeable." "Man holding volumes "Law & Gospel": "We will give these fellows a touch of South Carolina."Man with quill and ledger: "I goes in for Law & Order." A fallen slaveholder: "This is all "your" fault Webster." In the background is a Temple of Liberty flying two flags, one reading "A day, an hour, of virtuous Liberty, is worth an age of Servitude" and the other, "All men are born free & equal." The print may (as Weitenkampf suggests) be the work of New York artist Edward Williams Clay. The signature, the expressive animation of the figures, and especially the political viewpoint are, however, uncharacteristic of Clay. (Compare for instance that artist's "What's Sauce for the Goose," no. 1851-5.) It is more likely that the print was produced in Boston, a center of bitter opposition to the Fugitive Slave Act in 1850 and 1851.|Signed: E.C. Del.|Title appears as it is written on the item.|Century, p. 70-71.|Weitenkampf, p. 102-103.|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 1851-6.

Patently militaristic propaganda for the Union cause in the form of a sheet music cover illustration. Columbia or Liberty stands on the ramparts of a fortress near a cannon pointed across a harbor toward a mountainous landscape. She wears a Phrygian cap and a long gown revealing her left shoulder and breast, and holds a shield and an American flag. At her feet are a fasces (symbol of Union) and an olive branch. With her left foot she crushes a crown. Two more symbols of aristocratic tyranny, a scepter and shackles, lie broken nearby. Surrounding the central picture are shields bearing the initials of the thirteen original states. On either side of the picture stand additional fasces. Below are a scroll (the Constitution) and a sword, and at the top two arrows. The title of the piece suggests that the illustration portrays an actual painted patriotic banner.|Memphis, Tenn. Published by E.A. Benson, no. 258 Main St.|Sarony, Major & Knapp Liths. 449 Broadway N.Y.|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 1860-3.

The Revolution and Early America Unit covers the standard eighteenth century topics that would appear in any textbook. These lessons, however, will push students to dig deeper as they read the documents and develop historical arguments about topics ranging from the Great Awakening (why was George Whitefield so popular?) to the Stamp Act (why were Colonists upset about the Stamp Act?) to the Constitution (why did the Founding Fathers keep slavery in the Constitution?). Each lesson offers primary documents that promote conflicting interpretations. The unit will introduce students to historiography, as they contrast Bernard Bailyn's interpretaton of the Declaration of Independence to Howard Zinn's account. These lessons will emphasize the historical reading skills students will practice all year.

In this activity, students will identify and draw conclusions about the relationship between the legislative, executive and judicial branches by critically analyzing primary sources. Using the scale, they will decide whether the United States government more appropriately fits the concept of "separation of powers" or "shared powers." They will formulate an opinion about each document and place it on the scale accordingly, and support their opinions with specific evidence from the primary sources.

This lesson examines Native American sovereignty and the Constitutional power granted to the president and the Senate to make treaties with foreign nations. The site presents the Treaty and related documents, including a photograph of the Indian leader, Spotted Tail. Explanatory text, materials for teachers, and links to further resources accompany the documents.

Although many people think of the White House as a symbol of democracy, it is also a part of our country’s history of slavery. From the start of White House construction in 1792 until emancipation took effect in Washington, D.C. in 1862, enslaved men, women, and children labored at the Executive Mansion. The stories of these individuals, working under the oppressive institution of slavery in the “People’s House,” demonstrate a stark contrast to the ideals of freedom and democracy that the White House has long represented.

A sheet music cover for a song by John M. Crosland, dedicated to President Buchanan. The cover is illustrated with an array of emblems, many of them symbolizing threats to the integrity of the Union. A bust of George Washington dominates the composition, appearing above in an aureole of stars. Above him is an eagle clutching an olive branch and arrows, and below a streamer with his words, "I shall carry with me to my grave a strong incitement to unceasing vows, that your Union may be perpetual." Two hands reach out to push back the dark clouds encroaching from both sides. Lightning flashes from the clouds, toppling the arch of the Union on the left, and tormenting an eagle on the right. Beneath the arch are a plough, cornucopia, flag, and anchor. The eagle loses his grip on his olive branch and lets fall a streamer "E Pluribus Unum." At the bottom two hands threaten the Capitol with burning torches. A foot (left) treads on the Constitution, and another (right) is about to crush the "Union." On the left is a view of the Bunker Hill Monument in Boston, on the right Robert Mills's design for the Washington Monument. On the last page of the sheet music appears the following notice: "The Author has in preparation a Plate of larger size (18 x 24 inches,) presenting in still bolder contrast the prosperity of "Our Union As It Is," and the certain results of an attempt at disunion. This large Edition will be embellished with the portraits of our Presidents, and Coat of Arms of the several States, and in style and execution well suited to the Parlor and Drawing Room, . . . ."|Entered . . . 1860 by John M. Crosland . . . East. Distr. of Pensa.|Indecipherable signature on stone at lower left.|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 1860-5.

An illustrated sheet music cover for "The Stars and Stripes Forever," a song dedicated to the United States Volunteers by William J. Lemon. A figure representing the Constitution is shown wearing a Phrygian cap and holding a shield in her left hand and the American flag, topped by a laurel wreath, in her right. To her right is the American eagle, and at her left attributes, including a globe, a palette, and a lyre. She stands on a mound of earth marked "United States of America." A second eagle flies above her. The scene is accompanied by the following verse: The God of Battles smiled' Justice triumphed: / The Stars & Stripes, Columbia's Sacred Flag / Like Eagles pinions Fluttered to the breeze. |Philadelphia, Lee & Walker, 722 Chestnut St.|Signed: H. Whately.|Thomas Sinclair's Lith. Phila.|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 1861-19.

StoryWorks develops inclusive and transformative educational theater experiences that provide students with the opportunity to examine our country’s civil rights history. Through content consistent with school curriculum standards, the program engages students in experiential learning and inspires them to ask deeper questions about the historical underpinnings behind contemporary issues. The process creates pathways to civic engagement, creates lasting memories and instills a tangible sense of social belonging. This StoryWorks educational project is built around Beautiful Agitators, a theatrical play about Vera Mae Pigee, a hair stylist and business owner in Clarksdale, Mississippi, and one of the unsung heroes of the civil rights era. Using her beauty parlor as a hub for Delta-based organizing and resistance, Pigee operated her salon by day and then transformed it into a clandestine center for civil rights organization and education in the evenings. Known for her big hats and larger than life personality, Mrs. Pigee led the direct action that registered nearly 6,000 African Americans to vote in the region. Although Pigee was largely left out of the history books, along with many women of the movement, our play Beautiful Agitators and accompanying curriculum revives her legacy, highlighting her methods and tactics. Inspired by the innovative K-12 civil rights education standards developed by the Mississippi Civil Rights Commission. Our commitment is to expand upon the standards by further developing content related to social justice, power relations, environmental justice, diversity, equity, mutual respect, and civic engagement. Beautiful Agitators combines inquiry with higher-order thinking skills of analysis, evaluation and synthesis. Set in a beauty parlor owned and operated by a Black woman in the Mississippi Delta, our curriculum is based on our investigation into primary sources and their relationship to critical moments in the national movement. This foundation of historical context allows for students and educators to find contemporary parallels which further engage learners to reflect upon the legacy of the civil rights movement and the struggles that we, as citizens, continue to grapple with today.View the complete play Beautiful Agitators on the StoryWorks Theater site.Implementation1. Beautiful Agitators Performance Classroom watches a prerecorded, staged reading of the play Beautiful Agitators, which was created and performed by artists from the Mississippi Delta, home of Vera Mae Pigee.2. Lesson Plan Activities Following the eight-lesson plan structure, students will read aloud or act out scenes from the play. This participatory interaction with the text and the historical events promotes a high level of engagement from the students and encourages experiential learning. These activities directly correspond to scenes in the play and to specific content area standards. Teacher leads guided discussions and helps to explain the historical context and theme of each scene. Students/actors have the opportunity to share their experiences having portrayed these historical figures. 

A crudely drawn but complex satire mocking Zachary Taylor's military background and lack of political experience. Student Zachary Taylor, wearing a paper cap made out of the journal "The True Whig" is seated on a low stool at the feet of his more politically seasoned running mate Millard Fillmore. Taylor reads from a book "Congressional Debates 1848. Slavery . . .", and spells out "W-I-L-M-O-T: Wilmot, P-R-O-V-I-S-O: Proviso. What do I know about such political stuff. Ah! Wait until I get loose, Then you will see what fighting is!" A torn sheet marked "National Bank" lies at his feet. Fillmore, who reads from "The Glorious Whig Principles [by] Henry Clay," admonishes Taylor, "This will never do, you must forsake this course,--for our party is a peaceful and rightous sect--free from wickedness." Behind Fillmore are an open book cabinet, the Constitution, and a globe. This are in obvious contrast to the maps of "The Late War" and a broadsheet "The Life of Johnny Tyler" on the wall behind Taylor. At Taylor's knee sits a bloodhound with a collar marked "Florida," a reminder of Taylor's controversial use of bloodhounds in the Second Seminole War. To the right two black youths polish Taylor's weapons. The first, kneeling and wiping a pistol, says, "By golly! Massa Taylor like fighting better then him dinner." The other, cleaning a sword, claims, "Dis am de knife wot massa use to cut up de Mexijins wid." In the center of the floor are a group of toy soldiers and a cannon.|Probably drawn by E.F. Durang.|Published by Peter E. Abel & Durang, Philada.|Sold by Turner & Fisher, N. York & Philada.|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 1848-44.

The Van Buren administration's record, particularly with regard to the handling of public finances, is condemned as corrupt and a perpetuation of unpopular Jacksonian policies. The artist echoes perennial Whig charges of the Democrats' disregard for the Constitution and their autocratic style of governing. The nursery rhyme theme of "The House that Jack built" employed here was also used in several earlier cartoons. (See nos. 1820-1 and 1833-6.) Murrell also reproduces an earlier and somewhat similar E. W. Clay version of the "House that Jack built," probably dating from the bank wars of around 1834. Here, the "House" is Jackson's subtreasury system, represented above by a banking house interior whose floor rests on "Constitutional Currency," and whose cellar stocked with empty boxes. The scene appears in a cloud of smoke, which comes from the pipes of Andrew Jackson (on the left) and advisor and publicist Amos Kendall (on the right). Kendall's pipe also blows bubbles, symbolizing vanity or idle schemes. Nine verses from the nursery rhyme and corresponding satirical scenes appear below. 1. "This is the Malt that laid in the House that Jack built." The scene shows crates labeled "Post Office Revenue," "Public Land Sales," "Custom House," "Bonds," and "Pension Fund," suggestive of administration graft and intrigues in a cellar. 2. "This is the Rat that eat the Malt . . ." shows Van Buren's Treasury Secretary Levi Woodbury as a rat. 3. "This is the Cat that caught the Rat . . ." shows Daniel Webster as a cat toying with Woodbury. 4. "This is the Dog That worried the Cat, . . ." has Thomas Hart Benton as a dog threatening the cat Webster, who is now standing on a book "Constitution" atop a chair. 5. "This is the Cow, Whit the crumpled Horn, That tossed the Dog . . ." shows Henry Clay as a cow tossing Benton aloft. 6. "This is the Maiden all forlorn, That milked the Cow, . . ." John C. Calhoun as a milkmaid laments over a spilled bucket "Nullification" as the cow runs away with a sheet marked "Tariff." The reference is to Calhoun's role in the nullification crisis of 1832-33, and Clay's compromise tariff which temporarily resolved the conflict. 7. "This is the Man, all tattered and torn, That kissed the Maiden . . ." has Martin Van Buren in old Dutch clothing, wheeling a barrow of cabbages, saying "Here's your fine Kinderhook Early York Kabbitches." (Van Buren's home was in Kinderhook, New York.) 8. "This is the Priest all shaven and shorn, That married the Man . . ." Washington "Globe" editor Francis Preston Blair in liturgical vestment presides over the wedding of Calhoun and Van Buren, ridiculing the unlikely political alliance forged in 1840. 9. "This is the Cock of the walk, that crowed in the morn, That waked the Priest all shaven and shorn, . . ." A rooster with the head of William Henry Harrison stands on a globe "Ohio" as the sun rises behind it.|Davison lists a version of the print with the Childs address at 90 Nassau Street.|Entered . . . 1840 by John Childs.|Pub. by John Childs 119 Fulton St. New York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 155.|Murrell, p. 141 (earlier version).|Weitenkampf, p. 62-63.|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 1840-48.

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.

This is a self-service online workshop for teachers who use primary documents to help students see the impact and ongoing relevance of the Constitution. It requires little advance preparation and provides everything needed, including a vocabulary list, document analysis worksheets, and historical documents -- John Marshall's Supreme Court nomination (1801), proclamation to New Orleans (1803), Lincoln's telegram to Grant (1864), Johnson oath photo (1963), and more.

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.

In this activity, students will examine the original and final drafts of the Constitution and evaluate the significance of the selection of the words "We the People."