This activity asks students to read and compare the language of two oral histories, asking them to think about prejudice, stigma and fundamental rights and freedoms.
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American Government is designed to meet the scope and sequence requirements of the single-semester American government course. This title includes innovative features designed to enhance student learning, including Insider Perspective features and a Get Connected Module that shows students how they can get engaged in the political process. The book provides an important opportunity for students to learn the core concepts of American government and understand how those concepts apply to their lives and the world around them. American Government includes updated information on the 2016 presidential election.Senior Contributing AuthorsGlen Krutz (Content Lead), University of OklahomaSylvie Waskiewicz, PhD (Lead Editor)
This course covers American Government: the Constitution, the branches of government (Presidency, Congress, Judiciary) and how politics works: elections, voting, parties, campaigning, policy making. In addition weęll look at how the media, interest groups, public opinion polls and political self-identification (are you liberal or conservative, Democrat or Republican or something else?) impact politics and political choices. Weęll also cover the basics in economic, social and foreign policy and bring in current issues and show how they illustrate the process.
The Pre-Revolutionary Period and the Roots of the American Political TraditionThe Articles of ConfederationThe Development of the ConstitutionThe Ratification of the ConstitutionConstitutional Change
This course provides a basic history of American social, economic, and political development from the colonial period through the Civil War. It examines the colonial heritages of Spanish and British America; the American Revolution and its impact; the establishment and growth of the new nation; and the Civil War, its background, character, and impact. Readings include writings of the period by J. Winthrop, T. Paine, T. Jefferson, J. Madison, W. H. Garrison, G. Fitzhugh, H. B. Stowe, and A. Lincoln.
Another venomous attack on the Lincoln administration by the artist of "The Commander-in-Chief Conciliating the Soldier's Votes, no. 1864-31," and "The Sportsman Upset by the Recoil of His Own Gun," (no. 1864-32). Here Lincoln and his cabinet are shown in a disorderly backstage set, preparing for a production of Shakespeare's "Othello." Lincoln (center) in blackface plays the title role. He recites, "O, that the slave had forty thousand lives! I am not valiant neither:--But why should honour outlive honesty? Let it go all." Behind Lincoln two men, one with his leg over a chair, comment on Lincoln's reading. "Not quite appropriately costumed, is he?" comments the first. The second replies, "Costumed, my dear Sir? Never was such enthusiasm for art:--Blacked himself all over to play the part, Sir!" These may be Republicans Charles Sumner and Thaddeus Stevens. Before them is a wastebasket of discarded documents, including the Constitution, Crittenden Compromise, Monroe Doctrine, "Webster's Speeches," "Decisions of Supreme Court," and "Douglass." At left five ballerinas stand beneath a playbill advertising "Treasury Department, A New Way to Pay Old Debts . . . Raising the Wind . . . Ballet Divertissement." Near their feet is a pile of silver and plate, "Properties of the White House." They listen to a fiddler who, with his back turned to the viewer, stands lecturing before them. At right Secretary of War Edwin Mcm.asters Stanton instructs a small troop of Union soldiers waiting in the wings to ". . . remember, you're to go on in the procession in the first Act and afterwards in the Farce of the Election." One soldier protests, "Now, see here, Boss that isn't fair. We were engaged to do the leading business." Nearby an obviously inebriated Secretary of State William Seward sits at a table with a bottle, muttering, "Sh--shomethin's matt'r er my little bell: The darned thing won't ring anyway cĚ_Ąonfixit'." Seward reportedly once boasted that he could have any individual arrested merely by ringing a bell. He was widely criticized for his arbitrary imprisonment of numerous civilians during the war. On the floor near Seward sits Lincoln's running mate Andrew Johnson, a straw dummy, with a label around his ankle, "To be left till called for." At far right Navy Secretary Gideon Welles slumbers, holding a paper marked "Naval Engagement, Sleeping Beauty, All's Well That Ends Well." In the background abolitionist editor Horace Greeley bumbles about moving scenery and complaining, "O bother! I can't manage these cussed things." Union general Benjamin F. Butler (directly behind Lincoln), dressed as Falstaff, recites, "We that take purses, go by the moon and seven stars; and not by Phoebus! I would to God, thou and I knew where a commodity of good names were to be bought!" He holds a sign "Benefit . . . Falstaff . . . Beauty and the Beast." By this time Butler had achieved notoriety as a dissolute plunderer. To Butler's right a man (who might be the stage manager) orders the crew, "Get ready to shift there 'ere Flats for the Temple of Liberty." The artist of this and nos. 1864-30 and -31 was an exceptionally able draftsman. Judging from the acidity of these satires, he may have been a Southerner, perhaps a Baltimorean. The only satires of the time that compare in artistic quality and political venom are those of Adalbert Volck.|Signed with monogram: CAL?|Title appears as it is written on the item.|Weitenkampf, p. 141.|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 1864-32.
On 12 September 1787, during the final days of the Constitutional Convention, George Mason of Virginia expressed the desire that the Constitution be prefaced by a Bill of Rights. Elbridge Gerry of Massachusetts proposed a motion to form a committee to incorporate such a declaration of rights; however the motion was defeated. This lesson examines the First Congress's addition of a Bill of Rights as the first ten amendments to the Constitution.
In this lesson, students will examine a copy of twelve possible amendments to the United States Constitution as originally sent to the states for their ratification in September of 1789. Students will debate and vote on which of these amendments they would ratify and compare their resulting “Bill of Rights” to the ten amendments ratified by ten states that have since been known by this name.
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 caricature of President Martin Van Buren issued during the Panic of 1837, strongly critical of his continuation of predecessor Andrew Jackson's hard-money policies. Particular reference is made to the Specie Circular, a highly unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver (i.e., "specie") in payment for public lands. Designed to curb speculation, the measure was blamed by administration critics for draining the economy of hard money and precipitating the 1837 crisis. Hearkening back to the anti-Jackson "King Andrew the First" (no. 1833-4), the artist portrays Van Buren as a monarch in a princely cloak, treading on the Constitution. He is crowned "in the name of Belzebub . . . Ragamuffin king" by a demon. Van Buren's cloak is trimmed with "shinplasters," the colloquial term for the often worthless small-denomination bank notes which proliferated during the panic. Van Buren says, "I like this cloak amazingly, for now I shall be able to put into execution my Designs without being observed by every quizing, prying Whig. I'm obliged to keep close since my Safety Fund is blown . . ." Under the Safety Fund law, passed during Van Buren's term as governor of New York, banks were required to contribute to a fund used to liquidate the obligations of banks that failed. The fund was quickly exhausted during the panic. On the walls are pictures of "Bequests of the Late Incumbent" (Andrew Jackson), including "The Hickory Stick," worshipped by the masses like the brazen serpent in the Old Testament, Jackson's spectacles and clay pipe, his hat, the Safety Fund balloon in flames, and "the Last Gold Coin," minted in 1829 (the year Jackson first took office). On the wall at right is a headless statue of Jackson holding a "veto" in his right hand (an allusion to Jackson's 1832 veto of a bill to recharter the Bank of the United States). Visible through a window is a street scene where a crowd mobs a theater exhibiting "a Real Gold Coin." Beneath Van Buren's feet are several documents, including the Specie Circular and "petitions," the missives from New York bankers and merchants which deluged the White House calling for repeal of the Circular. A document labeled "Indian claims" refers to another unpopular Jackson legacy: the numerous grievances by tribes like the Cherokees and Seminoles regarding unfair and inhumane government treaties by which they were being displaced and deprived of their lands.|Copyright secured according to law by F.J. Winston.|Published at 89 Nassau St. NY.|Signed: Forbes Delt.|The Library's impression of the print was deposited for copyright on August 29, 1837, and published at the same address as Anthony Fleetwood's "6 Cents. Humbug Glory Bank" (no. 1837-10).|Title appears as it is written on the item.|Weitenkampf, p. 49.|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 1837-1.
This site includes documents from the Continental Congress, the Constitutional Convention and ratification debates, and the first two federal congresses. These documents record American history in the words of those who built our government.
This lesson asks students to visualize the Civil War by studying dozens of period photographs, and illustrates how the Civil War threatened the very purpose of the Constitution as stated in the Preamble. This lesson correlates to the National History Standards and the National Standards for Civics and Social Sciences. It also has cross-curricular connections with history, American studies, and language arts.
By reading and re-reading the Constitutional passages closely combined with classroom discussion about it, students will explore the questions Monk raises and perhaps even pursue additional avenues of inquiry. When combined with writing about the passage and teacher feedback, students will form a deeper appreciation not only of MonkŐs argument and the value of struggling with complex text, but of the Preamble of the Constitution itself. This close reading exemplar is intended to model how teachers can support their students as they undergo the kind of careful reading the Common Core State Standards require. Teachers are encouraged to take these exemplars and modify them to suit the needs of their students.
This lesson plan casts students in the role of politically active citizens in 1787, when the Federal Convention in Philadelphia presented the nation with a new model of government. Students, using primary documents from American Memory, produce a broadside in which they argue for or against replacing the Articles of Confederation with the new model of the Constitution.
This lesson focuses on the drafting of the United States Constitution during the Federal Convention of 1787 in Philadelphia. Students will analyze an unidentified historical document and draw conclusions about what this document was for, who created it, and why. After the document is identified as George Washington’s annotated copy of the Committee of Style’s draft constitution, students will compare its text to that of an earlier draft by the Committee of Detail to understand the evolution of the final document.
Constitutional issues come to life in this Emmy Award-winning series. Key political, legal, and media professionals engage in spontaneous and heated debates on controversial issues such as campaign spending, the right to die, school prayer, and immigration reform. This series will deepen understanding of the life and power of this enduring document and its impact on history and current affairs, while bringing biases and misconceptions to light. A video instructional series on the American Constitution for college and high school classrooms and adult learners; 13 one-hour video programs.
This Web Site provides a twelve-step guide to understanding the Constitutional Convention. The fundamental difficulty facing teachers and students of the Constitutional Convention of 1787 is how to make sense of the vast and complex material. The resources on this site help teachers teach the Convention and engage students with the conversation and arguments that took place over its four months. Primary sources, artwork, a dramatic reading and lesson plans are included.
This lesson explores the important Constitutional mechanism providing for the separation of powers of government among three branches so that each branch checks the other two. Lesson plans use the New Deal to help teach this concept.
This lesson plan examines Constitutional issues surrounding the resignation of President Nixon and looks at the specific question: Should the Watergate Special Prosecutor seek an indictment of the former President?
Democracy in America, a video course in civics, covers topics of civic knowledge, skills, and dispositions recommended by The Civics Framework for the National Assessment of Educational Progress developed by the U.S. Department of Education. The 15 half-hour video programs, hosted by national television correspondent Rene Poussaint, and related print and Web site materials provide inservice and preservice teachers with both cognitive and experiential learning in civics education. A video course for high school, college and adult learners.
The Supreme Court's opinion in Brown II reflects the struggle between federal and state governments on how and when school desegregation would occur.
This collection of excerpts from legislation and court decisions documents key phases of the legal struggle to gain and implement equal education.
This site examines Americans' attempt to make one from many in three pivotal decades: the 1770s, 1850s, and 1920s. Each decade is framed by an introductory essay with links to key topics and primary documents, including the Declaration of Independence, newspapers, and the rhetoric of the Revolution; reform, cultures of the North and South, religion, and popular movements; and prohibition, Broadway, evangelical Protestantism, and the Roaring Twenties. The exhibits and projects on this site invite visitors to construct their own understanding of what it means to be an American by reflecting on some of the ways in which people have attempted to define the national character and mission.
English III, American Literature, explores the literature of America from the narratives of the early colonists to the foundational documents of our forefathers, and the literature of our modern times. In English III, you will gain a firm grasp of the various literary periods throughout American history as well as the ability to analyze different genres and styles of notable American authors. As you progress through the course, you will gain an appreciation for American literature and an understanding of how the literature of the day acted as a reflection of the historical period from which it evolved. This course will also give you the opportunity to hone your own writing skills as you identify the characteristics of effective writing for a variety of different purposes and audiences.
An anti-Jackson satire, critical of the President's federal treasury policy and of Vice-President Van Buren's influence on the administration's fiscal program. The print specifically attacks Jackson's plan to discontinue federal deposits in the Bank of the United States, and his "experiment" of placing them in selected state banks instead. The artist employs the image of a ship, a contemporary symbol of commerce, to forecast the ruination of American trade as a result of these measures. Jackson stands on a platform near the stern of the ship "Experiment," wielding a whip over eight crewmen who sit at spinning wheels. The ship is moored and upturned barrels sit on top of each of its three masts. A broom is tied to the foremost one, indicating that it is for sale. Rats scurry about the deck. Martin Van Buren stands behind Jackson near a padlocked door to the hold marked "Deposits" and "No Bank." A second ship burns in the distance. The various sailors comment: "Shiver my timbers Bob, if we ain't overrun with these blasted "Rats --" they eat up all our rations! I wish old Veto there, would drive 'em all overboard with little Martin at the head of them." "I say Jack I'm damn'd if this is like getting fifteen dollars a month is it?" "No, No, Shipmate, curse these spinning Jennies, its work only fit for lubbers and old women." "There is the old Constitution burning up! Her owners having no further occasion for her and cant afford to keep her in repair!" "Well what's the use of a Ship war? She's meant to protect "Commerce," but we've got none to protect!" Jackson: "No grumbling you lazy dogs! Perish commerce! perish trade! Andrew Jackson knows what's best for the Country, By the Eternal, Don't I Martin?" Van Buren: "To be sure you do if you mind what I tell you - Don't give up the ship General or I shall not succeed you!"|New York. Published by Anthony Imbert No 104 Broadway. |Title appears as it is written on the item.|Weitenkampf, p. 30.|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 1833-8.
Students read AviŐs "Nothing But the Truth" and examine the First Amendment and student rights, and then decide whether the rights of the novel's protagonist, Philip, are violated.
This online lesson provides perspectives from Native American community members and their supporters, images, news footage, an interactive timeline, and other sources about an important campaign to secure the treaty rights and sovereignty of Native Nations of the Pacific Northwest. Scroll to begin an exploration of the actions Native Nations took to address injustices.
In this video segment from The Supreme Court, learn about the 1883 Supreme Court decision that marked the end of federal protections for individuals in states and the beginning of Jim Crow segregation.
This lesson encourages students to analyze historic documents related to two fugitive slave cases and determine the impact events of the period 1850 to 1860 had on them. The Henry Garnett and Moses Honner cases demonstrates the political crisis in the 1850s arising over the issue of slavery and the necessity for the enactment of the 13th, 14th, and 15th Amendments to the U.S. Constitution. This lesson correlates to the National History Standards and the National Standards for Civics and Social Sciences.
An illustrated sheet music cover for a Unionist song, "God and Our Union," composed by Leopold Meignen with words by Louis Dela. The illustration features four maidens, each representing a section of the United States--North, South, East and West. The maidens stand around an altar and point to a scroll, the "Constitution of North America," which they unroll. Rising from the altar are two Corinthian columns supporting an arch, over which is draped a large American flag. Atop the arch sits an eagle. In the space between the columns appears a large, gleaming anchor, symbol of hope. The scene is surrounded by dark clouds through which an eye appears. The vigilant eye was a familiar Masonic symbol, and a device adopted by the Wide-Awake Clubs of 1860. (See "Free Speech, Free Soil, Free Men," no. 1860-14.) Here it probably refers to the song's assertion of divine watchfulness over the Union.|Entered . . . 1860 by Beck & Lawton. |Philada. Published by Beck & Lawton, S.E. Cor. 7th & Chestnut St. Boston by Oliver Ditson & Co. N. York by S.T. Gordon. H. Cartwright in Wheeling. Cincinnati by John Church.|Schnabel & Finkeldey lith. 218 Walnut Street. Philadelphia.|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 1860-2.
A sheet music cover illustrated with an allegorical vignette incorporating the arms of the state of South Carolina. The quickstep was composed by Geo. F. Cole for the Washington Light Infantry and dedicated by the troop to the Savannah Republican Blues, Chatham Artillery, Georgia Hussars, and Volunteer Guards and to the Columbia Richland Rifle Corps and Governors Guards. According to the text it was "played on the Occasion of the reception of the above Companies in Charleston Feb 22nd 1850." The vignette features an arch, "Constitution," resting on three columns labeled "Wisdom," "Justice," and "Moderation." The arch stands in the shadow of a palmetto, South Carolina being known as the Palmetto State. In the left background is a mountainous landscape with a viaduct crossed by a locomotive. On the right, a farmer ploughs his field and ships sail on the water.|Entered . . . 1850 by Wm. Hall & Son. |Lith. of Wm. Endicott & Co. N.Y.|Music composed by Geo. F. Cole for the Washington Light Infantry; published by George F. Cole, Charleston, S.C.|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 1850-1.
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.
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 Dü_üąistinct, 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.
This 18-minute video lesson gives a basic overview of U.S. history from Jamestown to the Civil War. [History playlist: Lesson 1 of 26]