A small card bearing a vitriolic indictment of the Confederacy. The artist particularly attacks the the institution of slavery, the foundation of Southern economy. A large shield is flanked by two figures: a planter (left) and a slave. The planter wears spurs and a broad-brimmed hat and smokes a cigar. The slave is clad only in breeches, and his hands are manacled. Above the shield are two crossed flags, the Confederate flag and one bearing a skull and crossbones and the number 290. Between the flags are a rooster and a streamer with the motto "servitudo esto perpetua." On the shield are images associated with the South: a mint julep, a bottle of "Old Rye," a pistol and dagger, a whip and manacles, cotton, tobacco, and sugar plants, and slaves hoeing. In the background left, dominated by the palmetto tree of South Carolina, three planters, one holding a whip, play cards at a table. Beyond, two men duel with pistols. On the right, a female slave is auctioned as two slave children stand by and a black woman watches from a cabin doorway.|G.H. Heap Inv. [i.e., published].|H.H. Tilley Del. et Sc.|Title appears as it is written on the item.|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 1862-13.

This course will explore food in modern American history as a story of industrialization and globalization. Lectures, readings, and discussions will emphasize the historical dimensions of—and debates about—slave plantations and factory farm labor; industrial processing and technologies of food preservation; the political economy and ecology of global commodity chains; the vagaries of nutritional science; food restrictions and reform movements; food surpluses and famines; cooking traditions and innovations; the emergence of restaurants, supermarkets, fast food, and slow food. The core concern of the course will be to understand the increasingly pervasive influence of the American model of food production and consumption patterns.

On May 27, 1861, Benjamin Butler, commander of the Union army in Virginia and North Carolina, decreed that slaves who fled to Union lines were legitimate "contraband of war," and were not subject to return to their Confederate owners. The declaration precipitated scores of escapes to Union lines around Fortress Monroe, Butler's headquarters in Virginia. In this crudely drawn caricature, a slave stands before the Union fort taunting his plantation master. The planter (right) waves his whip and cries, "Come back you black rascal." The slave replies, "Can't come back nohow massa Dis chile's contraban." Hordes of other slaves are seen leaving the fields and heading toward the fort.|Title appears as it is written on the item.|Weitenkampf, p. 126.|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 1861-37.

A somewhat puzzling commentary on two issues: slavery and economic protectionism. The date of the print is uncertain, but it may have appeared as part of the reaction against the Walker Tariff of 1846. A Northern bias is expressed on both issues. The text is abolitionist on the one hand and laments the absence of federal protection for American industry on the other. The author of the piece (which is less a cartoon than an arrangement of didactic tableaux) presents through his characters a number of reasoned arguments on the respective economics of slave and free industry and suggests a parallel between the hardships posed by the lack of protection for American manufacturers and the plight of the slaves. The irony of the piece rests on the fact that only the Southern slaveholder, whose interests were best served by the 1846 tariff, enjoys the shade of the symbolic Liberty Tree, which looms up in the foreground. Slave owner, fanned by a Negro slave: "Surrounded by Slaves & basking at ease by their labor we can have a clearer conception of the value of Liberty." Man borne in a litter by slaves: "Rather than submit to be a slave I would make our State a cemetery of Freemen." Slaves working under the whip of an overseer at right: "I had as lief work as not. If I had my own time to do it in." and "Who likes to be bound down to a Massa." Another: "Give me my own Country before Slavery." Further right a group of slaves converse: "Poor Sampson is dead!" "Is there nothing we can do?" "How many poor fellows heads have been stuck upon poles!" "The American People will come to a sense of Justice." "If they won't liberate "us," let our Children be free." "Our rejoicing on Bobalition days shew we are not the savages the white people take us to be." "And should our children be free when they are born they might learn the habits of industry & for hire do more work than any of our brethren are now willing to do." "We must be away Massa will see us." In the right background is a steam sawmill whose proprietor frets over his slaves, who run off saying, "Let's have a play spell" and "I'll be off." The owner laments, "What shall I do with my Slaves, they cost me more than their income, and they are more plague than profit, & if I could devise any means to get rid of them, what a triumph it would be--how can it be done without being a serious evil." The left half of the composition represents the North. Near the Liberty Tree two farmers converse: "I would not have a Slave to till my soil, to carry me, to fan me, to tremble when I wake for all the wealth that sinews bought & sold have earnt." "No! dear as freedom is, & in my heart's just estimation prized above all price I'd rather be myself the slave & wear the bonds than fasten them on him." Nearby a group of gentlemen speak: "O America! vast--wide--extended; a population increasing almost past calculation, embracing within thy limits some of almost every nation a refuge for the weary & distressed a home for the free; But O Slavery!! where will be thy bounds?" "Slaves cannot breathe in England, if their lungs receive 'its air' that moment they are free-- they touch 'that Country & their Shackles fall." In the background is a textile mill. Outside are several groups of mill girls. Their conversations concern the tariff and its effects: "What a noise the Southerners have been making about the Tariff." "I hope it is all over now." Second group: "I think if they will protect us Girls from the operation of foreign legislation as well as seamen against Pirates, we can make cloth as cheap as any body." "I dont believe English Girls can do more than we can." "The machinery went well to day." "I wove seventy yards." "I have got so as to tend three Looms." A third group: "I wonder what effect the taking the duty off Linen will have?" "Well in proportion as linen is used there will be less Cotton." "I Guess it will set the poor Irishmen to raising Flax." In the center, beyond the tree, a man on horseback leads a black woman carrying a bundle toward the right or Southern side of the print.|Title appears as it is written on the item.|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 1846-13.

A sheet music cover with a comic scene of escaping slaves, produced around the time of Union general Benjamin F. Butler's declaration of such fugitives as contraband of war. (See "The (Fort) Monroe Doctrine," no. 1861-37.) The song was composed by Septimus Winner, and dedicated to Butler. Four black men tumble down a grassy knoll, pursued by a planter or overseer who hastens down the steps behind. The music cover was deposited for copyright on August 7, 1861.|Philadelphia. Published by Lee & Walker 722 Chesnut St.|Thomas Sinclair's Lith. Phila.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-38.