In this video from ThinkTV Dayton, learn about Harriet Beecher Stowe and the basis of her famous book, Uncle Tom's Cabin, that documented racial injustice before the Civil War.

An illustrated sheet music cover for an antislavery song, dedicated to abolitionist spokesman Henry Ward Beecher. The illustration features a roundel illustration of the burning of the Free State Hotel in Lawrence, Kansas, by a proslavery mob in May 1856. The roundel is flanked by a standing Indian (left) and a settler, seated and holding a musket and Bible. The settler is probably meant to represent one of the emigrants recruited by associations like the New England Emigrant Aid Company to settle in Kansas in hopes of insuring its emergence as a free state.|A variant copy (cover only, with slightly different image) is in P&P LOT 10615-11; LC-USZ62-53600.|Boston. Published by Oliver Ditson Washington St.|Designed and engraved by Greene & Walker Boston.|Entered . . . 1856 by O. Ditson.|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 1856-10.

The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. He singles out for indictment radical abolitionist William Lloyd Garrison, Pennsylvania Free Soil advocate David Wilmot, New York journalist Horace Greeley, and Southern states' rights spokesman Senator John C. Calhoun. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Wilmot: "Bubble, bubble, toil and trouble! / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. / Til we divided be!" Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / Niggars strong as goats / Cut your master's throats / Abolition boil! / We divide the spoil." Greeley: "Bubble, buble [sic], toil and trouble! / Fourierism / War and schism / Till disunion come!" In the background, stands the aging John Calhoun. He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants!"|Entered . . . 1850 by J. Baillie.|Published by James Bailley, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 101.|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 1850-7.

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.

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.

Another satire on Van Buren's alliance with extremists, here personified by radical abolitionist Abby Folsom. Van Buren's emergence as candidate of the Free Soil party in the 1848 presidential race was viewed as a reversal of his earlier administration stand on the issue. By invoking the specter of Benedict Arnold here the artist may also be criticizing Van Buren's repudiation of the regular Democratic party. On the left the ghost of Revolutionary War turncoat Benedict Arnold has emerged from his grave. He points threateningly toward "Abby Fulsome" (center) and Van Buren (right), and says, "Why hast thou disquieted me, to bring me up? Behold the Government is rent from thee, & is given to thy neighbor, even to [Democratic presidential nominee Lewis] "Cass." The Buffaloes will be delivered into the hand of thine enemies, & thou and thy Son shall be with me." The print must date between Van Buren's nomination at the Free Soil party convention, held in early August 1848 at Buffalo, N.Y., and Zachary Taylor's electoral victory over Cass in November. Van Buren and "Fulsome" recoil in horror at the sight of the spirit. Folsom observes, "An old man cometh up and he is covered with a mantle." Van Buren responds, "Our sufferings "is" intolerable." The quote was a well-known grammatical lapse of Van Buren's, widely exploited by the opposition during his term of office.|Entered . . . 1848 by J. Baillie. |Probably drawn by H. Bucholzer.|Published by James Baillie, 87th St. near 3d Avenue N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 90.|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 1848-58.

An imaginative but puzzling commentary on sectional tensions over slavery between New England abolitionists and southern agrarian slaveholders. In his sweeping satire the artist also portrays a considerable hostility toward blacks as existing among various ethnic groups, including the Germans, French, Irish, and Scots. The title and main conceit here play on the differing regional cuisine: Cod-Fish as the staple of the North and, for the South, "Hopping-John," which he identifies as "Stewed Rice, Cow-Peas, & Bacon a Noble & invigorating dish much in Vogue," and "Johnny-Cake" or "Indian Corn-Bread the stamina of the South." A crowd has gathered at a wharf to witness a confrontation between a man draped from head to foot with cod-fish and onions and a wealthy southerner (center). The former grips the hand of a black youth (far right) and declares "Massachusetts never will relax in her demand, for this gentleman and friend of mine [i.e., the black man], enjoying his rights & protection, in the true spirit and meaning of the Constitution of the United States." A young woman stands at the man's side, her arm around his, and reassures the black youth, "Poor Soul Sir will do all he can to save you, from these wretched varmints." The southerner, who is dressed in white breeches, riding boots, and coat, reacts angrily, waving his riding crop, "There lies your path! be off at once, with that Black Villain for we are resolutely determined to permit no innovations in our Constitution and Sacred Laws at the hazard of Life & Fortune." A stout man in a long coat to the left chimes in on the southerner's behalf, "Why you must be a downright Ass to presume that our Sacred Constitution and Laws can be altered to suit your nonsensical Cod-Fish and Onion Notions." The black man, who is barefoot, says to his protector, "Ole Massa I tink wee best go way kase dees Bockara is blongst foh make Swonga dat fashion. But dem hadn't ought foh call you ole ho! Dem is too Cubbitch to gie me right!" Various comments come from the crowd. An Irishman: "Tunder & turf de darn Nagur has nie call wid de Repeal My honey." The Repeal movement was a source of strife in Ireland at the time (see "O'Connell's Call and Pat's Reply," no. 1843-1.) A Frenchman: "Vous etes bougres black dem rasskal. Je ne parle wis un Diable." A German or Dutchman: "Verdam black baese quiesta. Der fisch isch more schtink auer saur-Crout und kase!" A club-wielding Scotsman: "A'l noke ye doon ye black veelain gin ye 'mak anither wee whimper." Another man: "Hold your jabbering You black Son of a ----." Several slaves and their master appear at far left. The slaves remark, "Please ole massa let me gie that Yankee Nigga one Punch in e gut," "Ole Massa Chase it foh ebery body gwine free," and "Hold you mout you is one dam fool." In the foreground sits a large cannon with mottoes inscribed: "Pro Patria" and "Animis opibusque parati." Beneath the cannon a pile of spilled coins, "Our Blood & Treasure."|James Akin of South Carolina Lithographer, Philadelphia, April 1845.|Published at no. 18 Prune St. Philad.|Title appears as it is written on the item.|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 1845-6.

This kit provides teachers, college faculty and other educators with the materials needed to engage students in a dynamic and constructivist process of learning how antiwar movements have been perceived by the people in the United States and how the U.S. media has constructed that public perception. The subject areas covered include U.S. history, African-American studies, labor studies, Latino studies, media studies, Native American studies, peace studies, sociology and womenŒ_ΏŁ_ studies among many others.

A portrayal of the nocturnal raid on the Charleston post office by a mob of citizens and the burning of abolitionist mails found there in July 1835. Mail sacks are handed through a forced window of the ransacked post office, torn open and bundles of newspapers such as "The Liberator," the Boston "Atlas" and "Commercial Gazette" removed and strewn about. At left, in an open square before a church, a crowd surrounds a bonfire. A sign reading "$20,000 Reward for Tappan" hangs on the wall of the post office, referring to the bounty placed by the city of New Orleans on the head of Arthur Tappan, founder and president of the American Anti-Slavery Society.|The Library's impression of "New Method of Assorting the Mail" was printed on the same sheet as another abolitionist print, "Southern Ideas of Liberty" (no. 1835-3), and may have been part of a series with that title.|Title appears as it is written on the item.|Weitenkampf, p. 38.|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 1835-2.

A slanderous portrayal of Democratic tactics against Whig presidential candidate William Henry Harrison. The supposedly insidious and high-living Van Buren and his minions suffer by comparison to the Whig candidate, here portrayed as rustic and plainspoken. Harrison is shown dressed in buckskins and standing near a plough on his Ohio farm. A contingent of Democrats have arrived in an elegant coach at left. The visitors are (left to right) Francis Preston Blair, Amos Kendall, John Calhoun, and Martin Van Buren. Blair remarks to Kendall, "I will state in my paper that we found him drinking Rye Whiskey and that will kill him with the Temperance men and reading Abolition tracts settles him in the South. Our readers you know will swallow anything. I must make the most of this interview as our case is desperate indeed." Kendall responds, "Why he is quite a natural. He dont suspect us to be Spies . . . We may be able to furnish you with something clever for the Globe [i.e., Blair's newspaper the Washington "Globe]."" Calhoun protests to Van Buren, "Matty this is a dirty job. I don't like it." Van Buren says, "As I live that is old Harrison himself the old fool. After the many opportunities he has had of enriching himself to live in a log cabin and plough his own ground. Now look at me who never pulled a trigger, or chased an Indian unless by proxy: I roll in riches, and live in splendour, dine with kings, make my sons princes, enrich my friends, punish my enemies, and laugh in my sleeve at the dear People whom I gull." Harrison greets them with, "Gentlemen you seem fatigued, If you will accept of the fare of a log cabin, with a Western farmer's cheer, you are welcome. I have no champagne but can give you a mug of good cider, with some ham and eggs, and good clean beds. I am a plain backwoodsman, I have cleared some land, killed some Indians, and made the Red Coats fly in my time."|Printed & published by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 64.|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 1840-36.

A Northern-produced satire, expressing strongly anti-abolitionist sentiments. A large pair of bare feet, obviously those of a black man, protrude from beneath a Phrygian cap adorned with the word "Liberty," several stars, and an eagle with arrows and olive branch from the seal of the United States. Weitenkampf very plausibly suggests that the print is by Baker, whose work for the Bufford lithography firm is similar in style. Compare Baker's emphatically anti-Lincoln "Columbia Demands Her Children!" (no. 1864-34).|Entered . . . 1864 by J.E. Cutler in the District Court of . . . Mass.|Probably drawn by Joseph E. Baker, Boston.|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 1864-36.

New York "Tribune" editor Horace Greeley is ridiculed for vacillating between support of candidates Martin Van Buren and Zachary Taylor in the presidential election of 1848. Greeley balances precariously on a tightrope labeled "Mason & Dickson's Line," which is stretched across Salt River. He holds a balancing pole with a bust of Van Buren on one end and Zachary Taylor on the other. His foot rests upon a stool which in turn rests upon a loaf of "Bran Bread" (a well-known Greeley preference) poised on edge on the wire. He comments, "O crackee! it is as hard work for me to define my position as it was for Taylor to define his," referring to Taylor's stubborn refusal to take a public stand on major issues. Below, immersed in the proverbial river of political disaster, is Henry Clay, defeated candidate for the Whig presidential nomination. Clay complains, "Alas! my Whig brethren! to this complexion must we all come at last!" To the right, on shore, a bespectacled man (possibly an abolitionist) reads aloud from a book: "On slipp'ry heights, I see them stand / While briny billows roll below." Further upstream a man dressed in tattered clothes rides a donkey which trails a placard advertising, "Ground & lofty tumbling Mr. Greely's first appearance in that Character." Greeley wears his characteristic pale frock coat and carries a copy of the "Tribune" in his pocket.|Entered . . . 1848 by J. Baillie. |Lith & published by James Baillie, 87th St. near 3d Avenue N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 94.|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 1848-54.

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.

Whig presidential candidate Winfield Scott and his party pursue an abolitionist course leading toward Salt River and political doom. New York senator and antislavery advocate William Seward appears as a poodle which leads the blindfolded Scott and his entourage of three asses with the heads of prominent abolitionists David Wilmot, Joshua Reed Giddings, and Horace Greeley. They pass a signpost pointing toward Salt River (ahead) and Washington (in the opposite direction). Seward: "Place the utmost confidence in me gentlemen asses . . . for when was I ever known to betray those with whom I was associated!" Scott: "It seems to me that I scent a strange saltness in the air!" Wilmot carries a "Free Soil" burden and is ridden by a black man. The slave exclaims, "Whew Massa Scott! up here you can see de riber shining in de sun!" Ass Giddings bears a sack marked "Abolition," while behind him Greeley carries a load marked "Higher Law." Greeley complains, "Here I am again upon my winding way. I would be glad to get off on my own hook, but this is my only chance for office, and I should like to get hold of another short term." A man on a hill in the background points toward Washington, exclaiming, "Ho there! Ho there! yonder lies your course! you're going astray! They are deaf as a post, or a set of obstinate jack asses!" (Under the man's feet the name "Seward" was inscribed but later obliterated.)|Published by John Childs, 64 Nassau St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 108.|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 1852-32.

The second in a series of anti-Lincoln satires by Bromley & Co. This number was deposited for copyright on July 1, 1864. The artist conjures up a ludicrous vision of the supposed consequences of racial equality in America in this attack on the Republican espousal of equal rights. The scene takes place in a park-like setting with a fountain in the shape of a boy on a dolphin and a large bridge in the background. A black woman (left), "Miss Dinah, Arabella, Aramintha Squash," is presented by abolitionist senator Charles Sumner to President Lincoln. Lincoln bows and says, "I shall be proud to number among my intimate friends any member of the Squash family, especially the little Squashes." The woman responds, "Ise 'quainted wid Missus Linkum I is, washed for her 'fore de hebenly Miscegenation times was cum. Dont do nuffin now but gallevant 'round wid de white gemmen! . . . " A second mixed couple sit at a small table (center) eating ice cream. The black woman says, "Ah! Horace its-its-its bully 'specially de cream." Her companion, Republican editor Horace Greeley, answers, "Ah! my dear Miss Snowball we have at last reached our political and social Paradise. Isn't it extatic?" To the right a white woman embraces a black dandy, saying, "Oh! You dear creature. I am so agitated! Go and ask Pa." He replies, "Lubly Julia Anna, name de day, when Brodder Beecher [abolitionist clergyman Henry Ward Beecher] shall make us one!" At the far right a second white woman sits on the lap of a plump black man reminding him, "Adolphus, now you'll be sure to come to my lecture tomorrow night, wont you?" He assures her, "Ill be there Honey, on de front seat, sure!" A German onlooker (far right) remarks, "Mine Got. vat a guntry, vat a beebles!" A well-dressed man with a monocle exclaims, "Most hextwadinary! Aw neva witnessed the like in all me life, if I did dem me!" An Irishwoman pulls a carriage holding a black baby and complains, "And is it to drag naggur babies that I left old Ireland? Bad luck to me." In the center a Negro family rides in a carriage driven by a white man with two white footmen. The father lifts his hat and says, "Phillis de-ah dars Sumner. We must not cut him if he is walking." Their driver comments, "Gla-a-ang there 240s! White driver, white footmen, niggers inside, my heys! I wanted a sitiwation when I took this one." The term "miscegenation" was coined during the 1864 presidential campaign to discredit the Republicans, who were charged with fostering the intermingling of the races. In the lower margin are prices and instructions for ordering various numbers of copies of the print. A single copy cost twenty-five cents "post paid."|Entered . . . 1864 by Bromly & Co. . . . New York.|Title appears as it is written on the item.|Weitenkampf, p. 141-142.|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 1864-38.

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.

Although slightly different in format, this appears to be the fourth in the Bromley series of anti-Republican satires. As in no. 2 of the series, "Miscegenation or the Millenium of Abolitionism" (no. 1864-39), the artist plays on Northern fears of racial intermingling. Here, white men are dancing and flirting with black women in a large hall. Above the musicians' stage hangs a portrait of Abraham Lincoln. At right hangs a banner "Universal Freedom, One Constitution, One Destiny. Abraham Lincoln Prest." The text below further describes the scene: " The Miscegenation Ball at the Headquarters of the Lincoln Central Campaign Club, Corner of Broadway and Twenty Third Street New York Sept. 22d. 1864 being a perfect fac simile of the room &c. &c. (From the New York World Sept. 23d. 1864). No sooner were the formal proceedings and speeches hurried through with, than the room was cleared for a "negro ball," which then and there took place! Some members of the "Central Lincoln Club" left the room before the mystical and circling rites of languishing glance and mazy dance commenced. But that Many remained is also true. This fact We Certify, "that on the floor during the progress of the ball were many of the accredited leaders of the Black Republican party, thus testifying their faith by works in the hall and headquarters of their political gathering. There were Republican Office-Holders, and prominent men of various degrees, and at least one Presidential Elector On The Republican Ticket. |Entered . . . 1864 by Bromley & Co. . . . New York.|Lith. Kimmel & Forster 25th & 256 Canal Street N.Y.|Signed: Thomas(?).|Title appears as it is written on the item.|Weitenkampf, p. 142.|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 1864-40.

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.

A satire on the competition between rival editors Horace Greeley and James Gordon Bennett for New York post office printing contracts. The artist also comments on the circulation wars between Bennett's "New York Herald" and Greeley's relatively new paper the "Tribune, "and on latter's editorial support of abolition. Clay shows Greeley (at left) outdistanced by James Gordon Bennett, who rides a black steed with a pouch marked "Black Mail." The pouch may be a reference to some aspect of Bennett's scandal-mongering journalism or to accusations of extortion made against Bennett by British lecturer Silk Buckingham in 1843. Greeley wears his characteristic frock coat, stove-pipe hat, knee-breeches, and boots. The Scottish-born Bennett wears a tam o'shanter, tartan sash, and kilt. The artist exaggerates his cross-eyed squint. Greeley laments, "I'm afraid my two hundred dollars is lost, as well as the Post Office printing!" In December 1842, Greeley was sued for libel by novelist James Fenimore Cooper. In the trial, reported in detail in the "Tribune," the plaintiff was awarded a judgment of $200 against Greeley. Bennett exclaims, "I shall distance the Squash [i.e., Greeley] if he don't pull foot!" Both men race toward the New York Post Office, in front of which stands a man in a hat and long coat--probably the postmaster. The man says, "The largest circulation gets it!" At the left stand two black men, one with a paper marked "Emancipation" in his pocket, the other holding a copy of the "Tribune." The first says, "Brother Greely rideth like one possessed! He reminds me of Death on a pale Horse!" The second, "My presumption is dat de debil himself helps dat dam Bennett!" The essentially racist portrayal of the two blacks is reminiscent of Clay's much earlier "Life in Philadelphia" series. (See Munsing, pp. 28-29.) Davison dates the print about 1841. The first issue of Greeley's newspaper appeared in April of that year. The editor's reference to his $200 loss, however, suggests that Clay's drawing did not appear until after the Cooper lawsuit of December 1842.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 162.|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 1843-4.

Seeking a middle course between the issues of the annexation of Texas on one hand and abolitionism on the other, Van Buren lost the support of southern Democrats, including elderly statesman Andrew Jackson. Here the artist portrays Van Buren as a dog with a fox's bushy tail, leading his master (Jackson) astray. Jackson says, "Matty! Matty! it strikes me that you are leading me wrong--By the eternal! we shan't find Texas here." Van Buren insists, "We must take a middle course, boos. Salt river is on one side, and abolitionism is on the other." To their left is a man wearing striped pants and holding by their tails two dogs with the heads of James Polk and George Dallas. The man may be Brother Jonathan (as Weitenkampf suggests) or, judging from his boldly striped trousers, a representative of Loco Foco Democrats. He says to Jackson, "Here, Almighty sir! are a couple of pups well broken, who will come when you whistle for them & go where you wish. "That dog" has too much fox in him." Polk and Dallas were chosen Democratic nominees in late May.|Entered . . . 1844 by James Baillie.|Lithography & print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on August 7, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 73.|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 1844-38.