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.

This course examines the modern definition of freedom, and the obligations that people accept in honoring it. It investigates how these obligations are captured in the principles of our political associations. This course also studies how the centrality of freedom plays out in the political thought of such authors as Hobbes, Locke, Rousseau, Burke and Montesquieu, as well as debating which notions of freedom inspire and sustain the American experiment by careful reading of the documents and arguments of the founding of the United States.
This course is part of the Concourse program at MIT.

A sheet music cover, illustrated with the personification of Liberty in the form of the helmeted goddess Minerva. Her helmet is adorned with a laurel wreath and four large plumes. With her left arm she supports a shield and a spear with liberty cap and holds a scroll with the publisher's imprint in her right. A small star with the price of the sheet appears in the lower right of the composition. The design illustrates music written and composed by George Boweryem. |Boston. Oliver Ditson & Co. 277 Washington St.|Entered . . . 1858 by E.A. Daggott . . . New York.|New-York. Published by Horace Waters, 333 Broadway.|Signed: Stackpole sculpsit.|The Library's copy was deposited for copyright on October 16, 1858.|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 1858-4.

The artist registers the widespread American sympathy with certain revolutionary movements in Europe. More specifically, the print extols Louis Kossuth, the Hungarian patriot who led an 1848 revolt against the Austrian imperial domination of Hungary. Kossuth (center) comes to the aid of Liberty (fallen, at left) against Austria, which is shown as a three-headed monster. The monster represents an alliance of "Throne and Altar," i.e., the monarchy and the papacy. Its three heads are those of a dragon with clerical hat and papal tiara (the Vatican), a wolf with a crown (Austria?), and a bear with an eastern crown (probably Russia, Austria's ally). Around the monster's neck is a pendant with the Jesuit insignia. Kossuth steps from a railing into the ring, wielding the sword of "Eloquence" and confronting the monster with the shield of "Truth," which reflects the face of a prelate (probably Pope Pius IX). Kossuth also carries a flag with a liberty cap surrounded by stars, the liberty cap being just above his head. The hero is cheered on by representatives of various nations, waving their respective flags and watching from behind the railing. These include (left to right) an American, an Italian, and a Frenchman who carries a flag of the revolution of 1793. Liberty meanwhile has fallen. Her sword lay broken on the ground while her left foot still presses on the monster's tail. She raises her hand toward Kossuth in an imploring gesture. |1851 or early 1852. Probably drawn by "AW".|The Library's impression of the print is inscribed with a note (probably contemporary) in pencil saying, "Fight for us." |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 1852-1.

An illustrated sheet music cover for a song by George W. Babcock (Thomas Comer, composer) and dedicated to Samuel R. Spinney, Esq. The design shows Columbia or American Liberty (center) wearing a gorgon's head on her breast and a Phrygian cap ornamented with stars. She holds a shield and an American flag. On the ground to the right is an eagle with arrows and a streamer with the motto "E Pluribus Unum." On the left is a kneeling female figure, presumably representing Learning or History, holding a laurel wreath and a large book. She motions with her left hand and looks toward Columbia. Behind, in a bare mountainous landscape under a cloudy sky, sits a classical temple-like building with a dome supported by a large peristyle lantern.|A variant copy (cover only with different image) is in P&P LOT 10615-34; LC-USZ62-89295.|Boston. Published by Oliver Ditson & Co. 277 Washington St.|Entered . . . 1858 by O. Ditson & Co.|John H. Bufford's Lith.|The Library's copy of the sheet music was deposited for copyright on December 8, 1858.|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 1858-5.

An illustrated cover for sheet music celebrating the South Carolina state convention on December 20, 1860, where an ordinance of secession was passed unanimously, thereby severing the state's ties with the Union. The song is "respectfully dedicated to the signers of the Ordinance of Secession." The cover illustration shows the interior of the crowded hall, where on a stage several of the 169 delegates are gathered around the secession document. Above them hangs the flag of South Carolina, with a palmetto appearing under an arch. Above the arch is an allegorical mural with a palmetto tree in the center, under which Music (or Poetry, holding a lyre), Liberty, and a third female figure repose. The central vignette is flanked by a farmer (left) and sailor with an anchor. Two additional allegorical figures appear in niches on either side of the stage.|A. Grunevald del.|Lith. by August Hoen & Co. Baltimore.|Title appears as it is written on the item.|"The Confederate Image," p. 10-11.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-2.

The presidential aspirations of Whig general Winfield Scott during the 1852 election are again belittled. Scott, in a tattered uniform and supporting himself on a crutch, extends his feathered cap toward the figure of Columbia or Liberty, who stands in the doorway of the "Capitol" holding a liberty cap and staff. Liberty asks Brother Jonathan, who is seated on a small mound beside the doorway, "Jonathan? what does that old fellow want." Jonathan replies, pointing toward Scott, "He's come for his Ticket for--Soup!!" In the background at left is the White House, which has been relabeled "Soup House." (For the origin of the soup joke, see "Distinguished Military Operations with a Hasty Bowl of Soup, "no. 1846-15.)|Drawn by John L. Magee.|Pub. at the Office of Yankee Notions 98 Nassau St. N.Y.|Thomas W. Strong Lith. 98 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 106.|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 1852-17.

How do counter narratives in our communities demonstrate that the historic ideals of liberty and equality born in the Enlightenment have become increasingly accessible to more communities today through the efforts of individuals or organizations?

This unit will examine the traditional themes of the European Enlightenment such as liberty and justice. Students will then explore how the same thinkers who left a legacy of proposed freedoms also created systemic discrimination for many communities. After engaging with primary sources and examining the history of imperialism, students will review news stories funded by the Pulitzer Center that connect this legacy to current global events. Ultimately students will create their own projects highlighting a narrative in their own community that counters traditional Enlightenment legacies. The idea is to identify and report on the disruptors to the past stereotypes.

A crude allegorical woodcut, bold in design and probably produced for a banner or similar type of display. In the center is a peristyle Temple with an altar on which the figure of Liberty rises from a flame. The figure holds the "Bill of Rights," a staff and a liberty cap. The altar is inscribed "Preserved by Concord." To the left is a man with a horse, offering wheat; on the right an Indian with a buck deer offers an animal pelt. Behind the temple are thirteen stars. Above is an eagle with shield, olive branch and lightning bolts, and a streamer with the slogan "The Union Must and Shall Be Preserved." Two pedestals with figures flank the image. On the far left is Justice, on the right Minerva. |Copyrighted by Jared Bell, New York, 1834.|The print was deposited for copyright by Jared Bell in the District Court of the Southern District of New York on April 2, 1834.|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 1834-2.|Exhibited in: Creating the United States, Library of Congress, 2008.

This lesson uses secondary and primary sources as well as statistical historical records to understand, interpret and apply the core elements of the United States Declaration of Independence to its origins and in modern American society.

This lesson uses secondary and primary sources as well as statistical historical records to understand, interpret and apply the core elements of the United States Declaration of Independence to its origins and in modern American society.

A tobacco label produced for C.S. Allen & Company, bearing a patriotic emblem of the mutuality of Liberty and the Union--clearly designed to appeal to Northern sentiments. The two ideals are personified by women. The title notwithstanding, one of them (on the left) appears to be a young girl and the other a mature woman. They are framed in an ornate oval surmounted by an eagle with a shield.|Entered . . . 1863 by C.S. Allen & Co. Segar Manrs.|Milton Bradley lith. Springfield, Mass.|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 1863-3.

 U.S. History is designed to meet the scope and sequence requirements of most introductory courses. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience). U.S. History covers key forces that form the American experience, with particular attention to issues of race, class, and gender.Senior Contributing AuthorsP. Scott Corbett, Ventura CollegeVolker Janssen, California State University, FullertonJohn M. Lund, Keene State CollegeTodd Pfannestiel, Clarion UniversityPaul Vickery, Oral Roberts UniversitySylvie Waskiewicz

U.S. History is designed for a two-semester American history sequence. It is traditional in coverage, following a roughly chronological outline, and using a balanced approach that includes political, economic, social, and cultural developments. At the same time, the book includes a number of innovative and interactive features designed to enhance student learning. Instructors can also customize the book, adapting it to the approach that works best in their classroom.

Poster promoting President Franklin Delano Roosevelt's four freedoms, showing a globe, two books, and the hand and torch from the Statue of Liberty. Exhibited in: American Responses to Nazi Book Burning, U.S. Holocaust Memorial Museum, Washington, D.C., 2003.

Allegory showing the figure of Liberty pointing to a crucifix hanging on a wall in church and towards German soldiers looting the church as Allied soldiers advance on the Germans.