An illustrated election ticket for the presidential campaign of 1836. Oddly, the ticket lists Ohio's Democratic electors for Van Buren while making a vicious and obscene slur on the wife of his running-mate Richard M. Johnson. It seems to reflect the widespread internal dissatisfaction with the party's choice of Johnson as vice-presidential candidate. The image is of a black woman, supposedly Johnson's mulatto mistress Julia Chinn. She sits on a small knoll holding a bag, and says, "Let ebery good dimicrat vote for my husband, and den he shall hab his sheer ub de surplum rebbenu wat is in my bag." Evidently "surplum rebbenu" refers (at least on one level) to the Distribution Act, popularly known as the Surplus Bill, providing for the distribution of surplus federal revenue among the states. The bill was signed by Andrew Jackson in June 1836, to aid Van Buren's campaign. (See "Caucus on the Surplus Bill," no. 1836-9 ). Beneath her are the words "She plucks Dick [i.e. Johnson]--and Dick plucks you--and Van [Buren] plucks Dick." Below the title are two quotes, possibly campaign cries, "Go it, ye Cripples!" and "The people will it!!!" Three other Democratic tickets, apparently from the same press, are also included here (see nos. 1836-16, -17, and -19).|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 1836-18.

Northern rejoicing at the end of the Civil War often took the form of vengeful if imaginary portrayals of the execution of Confederate president Jefferson Davis. Here abolitionist martyr John Brown rises from the grave to confront Davis, although in actuality the latter had nothing to do with Brown's 1859 execution. Brown points an accusing finger at Davis, who sits imprisoned in a birdcage hanging from a gallows. Davis wears a dress and bonnet, and holds a sour apple. Below, black men and women, resembling comic minstrel figures, frolic about. (For Davis's female attire, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11.) Since the beginning of the war Union soldiers had sung about "hanging Jeff Davis from a sour apple tree." Davis's actual punishment was imprisonment at Fortress Monroe after his capture on May 10, 1865.|Entered . . . 1865 by G. Querner . . . D.C.|Title appears as it is written on the item.|"Image of America," p. 81.|"The Confederate Image," p. 89.|Weitenkampf, p. 148.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1865-16.

Life Story: Sarah “Madam C.J.” Breedlove Walker (1867-1919): Entrepreneurship, Philanthropy, and Black Beauty Culture
The story of America’s first self-made black female millionaire and how she built a beauty empire that celebrated and empowered black women.

A mock triumphal procession ridiculing "Loco Foco" or radical Democratic support of candidates James K. Polk and George M. Dallas. The Loco Focos are portrayed as ragged Irishmen, carrying the two candidates on a rail. Polk, holding tight to the rail, remarks, "It appears to me, friend Dallas that there is a wonderful democratic simplicity in the honors which are paid us!" Dallas, holding tight to Polk, replies, "It is true, friend Polk, that, on this occasion we shall find no difficulty in bearing our blushing honors meekly." One of the rail bearers exclaims, "Glory to those whom the people delight to honor!!!" The procession is led by a man in knee-breeches holding a weathervane with a tiny figure of incumbent President John Tyler on its tip. The man complains, "Bedad, I can't carry you [i.e., Tyler] if you turn with every flaw of wind." Two blacks, playing fife and drums, bring up the rear.|Entered . . . 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 of the print was deposited for copyright on July 5, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 82.|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 1844-31.

In May 1905 Robert S. Abbott started publishing the Chicago Defender. The paper attacked racial injustice, particularly lynching in the south. The Defender did not use the words “Negro” or “black” in its pages. Instead, African Americans were referred to as “the Race” and black men and women as “Race men and Race women.” Many places in the south effectively banned the paper, especially when, during World War I, Abbott actively tried to convince southern blacks to migrate to the north. Abbott managed to get railroad porters to carry his papers south and he ran articles, editorials, cartoons -even train schedules and job listings to convince the Defender’s southern readers to come north. The “Great Northern Migration,” as it was called in the Defender, resulted in more than one million blacks migrating north, about 100,000 of them coming to Chicago. The Defender was passed from person to person, and read aloud in barbershops and churches. It is estimated that at its height each paper sold was read by four to five African Americans, putting its readership at over 500,000 people each week.

Son of ex-slaves, Abbott passed from small-town obscurity to national preeminence, due neither to great wealth nor hereditary status, but by sheer character, determination and imagination. He was a crusading journalist, who ultimately developed into a national leader, and, in the process, became a millionaire. As a newspaper editor, he influenced and molded the opinions of millions of Negroes in the United States, and therefore his career is of unique interest—indeed, his extraordinary achievement is a triumphant American success story.

The roots of greatness should be sought in a man’s formative years. Until now, most Negroes who have achieved anything noteworthy seemingly have no traceable background—notably Booker T. Washington and George Washington Carver—and like Topsy seem merely to have “growed up.” But Abbott’s accomplishments represent continuity of family enterprise and perseverance. However, the purpose of this volume is not at all genealogical. Essentially, this is a biography of a people, for Abbott’s life and times spanned the most triumphant period of the Negro in the United States. Born three years after the promulgation of the Emancipation Proclamation, he lived to see and chronicle the spectacular progress of his people.

In the burgeoning economic times of the 1920s, with hundreds of new products and the growth of advertising, the Defender became an economic success and Abbott became one of the first African American millionaires.

This collection of Liberia maps includes twenty examples from the American Colonization Society (ACS), organized in 1817 to resettle free black Americans in West Africa. These maps show early settlements in Liberia, indigenous political subdivisions, and some of the building lots that were assigned to settlers. This on-line presentation also includes other nineteenth-century maps of Liberia.

Grade Level is 7.6 using the Flesch-Kincaid readability test.

This is the challenging and inspired true story of a little girl who was determined to learn to read, and who went on to be a teacher, the founder of a college, an adviser to statesmen, and a great humanitarian. Mary McLeod Bethune was the fifteenth child of hardworking and god fearing parents. She was the first of their children to be born free. Her ancestry was wholly of African origin, a point of pride throughout her life.

Mrs. Bethune worked untiringly to restore—through education—her people's faith in the magnificent heritage that is rightfully theirs. During the many years of and tribulation, she refused to give up her fondest dream—her own school for Negro children. And, as a shining monument to her hard work and faith, she has given to black youth the thriving institution of Bethune- Cookman College in Daytona Beach, Florida.

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.

A pro-Whig satire on the presidential campaign of 1840. Martin Van Buren is neck-deep in the waters of "Salt River," a colloquial term for political misfortune or failure. He sinks under the weight of boxes marked "Tariff," "Hooe's Trial," "Negro Suffrage," "Sub Treasury," and "Standing Army of 200,000 Men," surmounted by a crown with a hand holding a purse. His hat, filled with newspapers friendly to the administration, floats away. Whig candidate William Henry Harrison paddles downstream on a barrel of hard cider. On the shore behind him is a shed labeled "Humane Society's Apparatus for the Recovery of Drowned Persons." Van Buren: "Oh that I could shake off this load! I am sinking deeper and deeper into the quicksand of Loco Focoism! Help! Ming! Riel! Slam! Bang! Help!" (He names New York Democratic figures Alexander Ming and Levi Slamm.) Harrison: "It's a pity to let the poor fellow drown; I had an idea of making him Inspector of Cabbages of Kinderhook for that's all he's good for; but I think he will sink. Oh what a weight!"|Entered . . . 1840 by J. Childs. |Published by J. Childs no. 90 Nassau St. N.Y.|Signed with monogram: EWC (Edward Williams Clay).|The Library's impression was deposited for copyright on August 31, 1840. Printed in the lower margin is "Price 25 Cents."|Title appears as it is written on the item.|Weitenkampf, p. 65.|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 1840-55.

New York governor Horatio Seymour's famous "My Friends" speech, delivered from the steps of New York's City Hall during the draft riots, was widely misrepresented in the press. On the basis of reports such as this, Seymour was viewed as a disloyal "Copperhead" agitator. The riots, which took place between July 11 and 16, 1863, broke out as a result of the Enrollment Act, which was highly discriminatory to the lower classes. (On this see "Wanted a Substitute," no. 1863-13). Although not an enthusiast of President Lincoln's war policies, Seymour actually rushed to the scene of the riots and tried to restore order. Here Seymour stands on the City Hall steps, addressing a motley crowd of armed rioters, most of them Irish. In the foreground one rioter holds the head of a black man in a noose, while three other black men hang from a tree in the background. (In reality, the rioters sacked and looted a Negro orphan asylum and hanged black men from lampposts.) Behind Seymour stand three men, including (left to right) a fool (no doubt a newspaper editor) wearing a cap labeled "Express," former mayor Fernando Wood (whose top hat fails to conceal a pair of devil's horns), and a man resembling Tammany boss Peter B. Sweeny, with a hat tagged "4-11-44." Below the scene is the dialogue: A Friendly Voice: "Governor, we want you to stay here." Horatio Seymour: "I am going to stay here, MíŰy Friends'" Second Rioter: "Faith and the Governor will stay with us." Horatio Seymour: "I am your fíŰriend;" and the fíŰriend' of your families." Third Rioter: "Arrah, Jemmy, and who said he cared about the DíŰirty Nagurs'?" Fourth Rioter: "How about the draft Saymere?" Governor: "I have ordered the president to stop the draft!" Chorus: "Be jabes, he's a 'broth of a boy." Weitenkampf, probably correctly, attributes the drawing for the print to Henry L. Stephens. It may have been published in connection with the New York "Tribune," whose building is prominent in the background. The "Tribune's" editor, Horace Greeley, was among Seymour's most vocal critics. |Probably drawn by Henry L. Stephens, New York.|Title appears as it is written on the item.|Weitenkampf, p. 138.|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 1863-12.

A satire on the pretensions and general decadence of the American local militia during the Jacksonian era. A man on a witness stand (far left) is questioned by a court-martial. Several officers sit around a table, some talking, others dozing. On the wall behind the table is a large clock, and a shelf holding gigantic military hats and a large sword inscribed with the motto "Ducit Amor Patriae" ("Guided by patriotism"). At the far right two black men converse: "Cuff who dat fat ossifer?" "I don't know percicely--but I guess it mus be Col Pluck or some sich great man." The fat officer to whom they refer sits in a chair at left with a list of witnesses. In his back pocket is a pamphlet "Trial of Col. Pluck." Two of his fellow officers question the defendant: "Colonel you will please to tell this honourable Court what you know of this business." "In the first place then I would tell this Honourable court that I'm no Col.--I was a Col. but when the Militia got so low as to injure me in my profession I resigned." "What is your profession?" "A self-taught "gentleman--"When I was quite a boy I showed considerable genius for this profession & have followed nothing else for six or seven years past." A dozing officer at the table remarks, "He had ought to be rammed into a six pounder & picked out at the touch hole." Another, sitting directly below the inscribed sword, says, "Two dollar a day besides the honour isn't so bad! but the plage of it is, it wont last more than six months." Another complains, ""I've got such a cold in my head that my nose seems inclined to run away. If it is not at hand when I want to blow it I'll have it tried by a "court martial." On the far right a man comments, "Poor young man! so much has been said in his favour that they may do nothing more than shoot him. But I fear the worst & hope he is prepared to hear the awful--the overwhelming sentence "Deserving the Censure of This Honourable Court" with a soldier-like fortitude."|Drawn by David Claypool Johnston.|Published by Kimball, 72 Washington St. Boston.|Title appears as it is written on the item.|Weitenkampf and Malcolm Johnson date the print tentatively 1835. Its similarity to "Antimasonic Convention in Valdimor" (no. 1832-1), however, and the reference to Colonel Pluck (see no. 1825-2) suggest an earlier date.|Johnson, no. 148.|Weitenkampf, p. 39.|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 1832-3.

A selection of Library of Congress primary sources exploring the history and civil rights legacy of the NAACP. This set also includes a Teacher s Guide with historical context and teaching suggestions.

Throughout this unit on Narrative of the Life of Frederick Douglass, students practice the same six skills with greater scaffolding and modeling at the beginning, and more independence toward the middle and end. The tasks include: 1. writing to an essential question to access background knowledge; 2. using context clues and root words to determine word meaning; 3. close reading with the aid of a glossary; 4. taking notes one of two graphic organizers (sequence of events and/or empathy map); 5. re-reading to answer text dependent questions; and 6. summarizing the chapter.

The second of two satires by Chambers on events surrounding the killing of Maine Congressman Jonathan Cilley by Kentucky Representative William J. Graves in a February 24, 1838, duel. (See also "Scene in Washington. Sunday Feby. 25.," no. 1838-17.) Whig editor James Watson Webb was largely blamed for provoking the match. Here the artist ridicules Webb's claim, published in the "New York American," that he initially intended to persuade Cilley to face him instead of Graves. Should Cilley have refused, Webb allegedly planned to shoot him in the right arm, preventing the duel. In a ludicrous scene, Chambers shows Webb rehearsing his plan in Gadsby's Hotel in Washington with accomplices Daniel Jackson (far left) and one Major Morell. The two hold the arms of a seated black minstrel "Boots," who stands in for Cilley, as Webb aims his pistol at the victim. Jackson: "I will enter first, as I once belonged to the Party, he will not suspect me: I will talk about Indian Contracts, Blankets &c. till a chance offers to sieze him, or knock him down: when you Maj: and the Col. [Webb] must rush in and do your parts: am I not 'a second Daniel.'" Morell (here identified as "Maj. Sturgeon"): "For fear he should be armed Dan, I will fill a gauze Bag full of Red Pepper, to dash in his face. Webb (armed with two pistols, aiming one at "Boots"): Be sure you hold him fast, as I am told he is not to be trifled with, when I will say, 'Sir, you must fight "me; this is my quarrel:'" if he refuses to do so, or say that I am a "Gentleman," I will shatter his right Arm by G**!!!!!" Boots: "Ah you sure he no loaded? O! massa Col. if your kurige hold um out, t'will be a scene ob de biggest kind ob interestariety." The print's title continues: "And rehearsed with the assistance of Boots, in front of Gadsby's large Mirror, by these Chivalric individuals; shewing the exact attitude the "Hero" of the "Piece Was" to take, to shatter a man's right arm, like a "Gentleman." Drawn by permission & sanctioned by the famous "Earl" of "Dartmoor," the Grand Knight Templar of this New Code of Honor!!!!" (Dartmoor was an English prison notorious for its barbaric conditions.) As in "Scene in Washington," Webb is accompanied by a turkey in full plumage, a reference to his flamboyant and pompous personality. Here a spider web (a punning clue to his name, which is otherwise not given in the print) stretches from his left arm to his side.|Entered . . . 1838 by W. Chambers . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on March 31, 1838.|Title appears as it is written on the item.|Weitenkampf, p. 55-56.|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 1838-18.

An extremely crude and somewhat obscure satire on Union general Ambrose E. Burnside's controversial suspension of the Chicago "Times" because of "disloyal and incendiary statements." The anti-Lincoln paper was temporarily closed by order of Burnside, the military commander of the Department of the Ohio, in June 1863. This order was quickly rescinded by President Lincoln. Nichols's satire is crowded and confusing. Burnside stands in the center in a tattered uniform stamped repeatedly "Chicago Times." A gavel or mallet rests on his head. A ragged black officer "Chief of Staff" stands beside him asking, "Wah! Brudder what dat on your head an back an what you doing here?" Burnside replies, "Well "Alias" I've been prowling about here and stole the Cock of the walk, then I went into the Times Ofice to get some pie (pi) and their devil [i.e., printer's devil or apprentice?] scratched and tore me and left his mark all over my back. Then Drummond put this injuntion on my head and told me to stand here and look at this goddess a spell [i.e., the figure of Civil Justice who appears at left] and it rather skeers me." At left is the goddess of Civil Justice holding a sword marked "Civil Liberty First" and scales. She stands on a large book inscribed "Drummond's State Platform." Behind her is a telegraph line which flashes the words "Back out Ambrose--A. Lincoln." Several onlookers are also present. One (far right) shouts, "Hurah," as a newsboy carrying the Chicago "Times" rushes up announcing, "Eres the Times Morning Edition. dugham-stealers got Injunctioned." The print must have appeared in the midst of the "Times" controversy, as the Library's impression was deposited for copyright on June 30, 1863.|Entered . . . 1863 by E.W.T. Nichols . . . Mass.|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 1863-6.

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 August 1864 Democratic national convention in Chicago is unfavorably compared to the Republican convention in Baltimore in June of the same year. The artist is especially critical of prominent New York Peace Democrats Horatio Seymour and Fernando Wood. The party's espousal of a truce with the South is presented here as advantageous to the Confederacy and to Great Britain. The cartoon is divided into two panels: "Baltimore" (left) and "Chicago" (right). In Baltimore, Liberty says to the seated Lincoln, "My fate I trust in your hands go and do your Duty!" She is accompanied by the American eagle. Lincoln holds his Emancipation Proclamation. His platform is upheld by supporters (from left to right) Massachusetts senator Charles Sumner, Union general Ulysses S. Grant, and Union admiral David Glasgow Farragut. Behind them are a soldier and a man wearing a labor cap. At right, a dwarfish Democratic presidential candidate George B. McClellan is thrust onto a tiny round platform made of cheese by Copperhead leader Clement Laird Vallandigham. The reluctant McClellan entreats, "No Val: it is too bad, such a frail slippery box, I'll certainly break my neck!" Vallandigham tries to reassure him, saying, "Don't be afraid little Mac, I'll support you." The platform is supported by snakes, representing the Copperheads or Peace Democrats, one holding a Confederate flag of "Separation." Nearby a street tough in a top hat, smoking a cigar, holds up his fist and says, "Dam'n the Niggers," while an Irishman with a clay pipe observes, "Be jabbers what a select Company, ould Jonny Bull and all!" John Bull, the central figure, reads a pro-McClellan and Davis issue of the "London Times." At bottom left New York governor Horatio Seymour holds a plaque reading, "All ye desiring peace come one, come all. The War proved to be a failure." On the right New York congressman Fernando Wood, another prominent Copperhead, extends his hand to the viewer with the invitation "All true friends of Slaves and their Masters should join our Company." The print compares closely in drawing style, in format, and in its anti-Democratic bias to "Democracy. 1832. 1864." (no. 1864-23), published by Prang & Company. Both prints were probably drawn by the same artist.|Title appears as it is written on the item.|Weitenkampf, p. 144.|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 1864-23.

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.

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 general parody on the 1860 presidential contest, highlighting the impact of the Dred Scott decision on the race. That controversial decision, handed down in 1857 by Chief Justice Roger B. Taney, ruled that neither the federal government nor territorial governments could prohibit slavery in the territories. The burning question of the future of slavery in the United States was addressed by several of the contenders during the 1860 race. Here the four presidential candidates dance with members of their supposed respective constituencies. The music is fiddled by Dred Scott, the former slave whose suit precipitated the court's decision. Scott sits on a chair at center. In the upper left is Southern Democrat John C. Breckinridge. He is paired with Democratic incumbent and ally James Buchanan, depicted as a goat or (as he was nicknamed) "Buck." At the upper right Republican Abraham Lincoln prances arm-in-arm with a black woman, a pejorative reference to his party's alignment with the abolitionists. At lower right Constitutional Union party candidate John Bell dances with an Indian brave. This pairing is puzzling but may allude to Bell's brief flirtation with Native American interests. (For one instance of the use of the Indian as a nativist symbol see "Know Nothing Soap," no. 1854-3.) At lower left Stephen A. Douglas dances with a ragged Irishman. Associated with Douglas in several cartoons (see "The Undecided Political Prize Fight," no. 1860-22) the Irishman, here wearing a cross, may be intended as a reference to Douglas's backing among Irish immigrants and allegations of the candidate's Catholicism. "The Political Quadrille's" stylistic similarity to the "Undecided Political Prize Fight" and "Dividing The National Map" (nos. 1860-22 and 1860-24) suggests a common authorship. |Title appears as it is written on the item.|"The Lincoln Image," p. 42.|Weitenkampf, p. 123.|Wilson, p. 18-19.|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 1860-23.