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.

A satire, puzzling in its precise meaning, on the ascendance of the radical wing of the Whig party in New York's gubernatorial election of 1846. Influential radical journalist Horace Greeley dances a jig to the music of an ensemble of raccoon musicians. He is called "One of the "Young" Bo-hoys" because of his support of successful liberal Whig candidate John Young, who defeated Democratic incumbent governor Silas Wright. Greeley exults, "Where's Webbs 30,000 men in Buckram now?" a defiant reference to conservative Whig editor James Watson Webb. (Shakespeare's Falstaff brags about men in buckram in "Henry IV," Part One.) The raccoons, symbolizing Henry Clay's supporters in the 1844 election, are optimistic about the outlook for the next presidential race. Violinist: "Play up Clays Grand March for 1848!" Horn player: "Don't commit yourself Brother Coon!" Drummer: "We are always committed to Harry of the West!" Cellist: "I go that-he is the only man for our side of the House!" Flutist: "10,000 for Young! what a change in a year!" Trumpeter: "Wait until spring & you will see another great Victory brother!" On the far right a coon holds up sheet music entitled "For [ex-governor Silas] Wright is a used up man."|Entered . . . 1846 by H.R. Robinson.|Robinson's Lith. 142 Nassau St. N.Y.|T.B. Peterson Agent 98 Chesnut St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 87.|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 1846-14.

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.

The Senate's February 1847 resolution barring reporters and editors of the "Washington Union" from the Senate floor and gallery was the basis for the artist's demeaning portrayal of the newspaper's powerful editor Thomas Ritchie. In the February 9 edition of the "Union," the mouthpiece or "organ" of the Polk administration, Ritchie strongly criticized congressional opposition to President Polk's efforts to raise additional regiments of troops for the Mexican War. His characterization of the bill's defeat as "another Mexican victory" outraged many legislators, particularly South Carolinian John C. Calhoun, who accused him of libeling the Senate. Here Ritchie, clad as a jester and holding a copy of the "Union," is literally kicked toward the left by a group of angry senators. Ritchie seems to be either kicking or falling onto a small pipe organ (double-entendre for his paper's bias) which displays sheet music for "Clar De Kitchen." The title of this popular minstrel tune is here probably a swipe at the "Kitchen Cabinet," a derisive name given by opposition critics since Jackson's time to the President's informal advisors. The organ topples to the left, alarming James K. Polk, who exclaims, "Oh my poor "Organ," I'm afraid this kicking will put you sadly out of tune!" Ritchie, thumbing his nose (one assumes toward the senators) assures him, "If [Polk's Democratic predecessors] Jackson & Van Buren survived the proscriptive edicts of the Senate, surely we have no reason to consider Ourselves demolished! "in Union is strength," Nous Verrons!!" Senators Daniel Webster and John C. Calhoun (center, each with a boot on Ritchie) exclaim: "You may say that your account with us is "footed" up!" and "We'll teach you to play more respectful tunes when in our presence!" Between them stands another senator holding a copy of the expulsion resolution; he says, "I move for the expulsion of the Kings fool from the floor of the house!" This is seconded by several others. Also present are senators David Levy Yulee and James Diament Westcott, Jr., Democrats who voted for the resolution. Yulee (to the right of Calhoun, his back to the viewer), the Florida legislator who introduced the expulsion resolution, says,"I think Wescott, we've given him a lesson he won't forget!" Westcott agrees, "Aye, aye, Yulee, you, Calhoun, Butler & Myself may look out for some big licks!" (The four Democrats were in fact the targets of particularly strong editorial attacks by Ritchie). A third man (who may be intended to be Senator Andrew P. Butler, but bears no resemblance to him) concurs, "Nous Verrons! as the poor fool says!"|Robinson Lith 142 Nassau St. N.Y.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 89.|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 1847-1.

A comic illustrated Whig campaign song sheet, showing Uncle Sam banishing the Democrats from the White House, to make way for Zachary Taylor. The eighteen-stanza song, sung to the tune of "Yankee Doodle," extolls Taylor's patriotism and deplores the evils of the Polk administration. Accordingly, the picture shows Polk and his cabinet fleeing with bundles marked "Spoils," "To Patch Up a Fortune" (carried by Secretary of War William A Marcy, wearing a trouser patch inscribed "50" on the seat of his pants; see "Executive Mercy/Marcy and the Bambers," no. 1838-5), and "One of the Walkers" (no doubt Polk's Secretary of the Treasury Robert J. Walker). They are chased by an oddly dressed Uncle Sam (center), who wears a hat with a "76" on it and knee-breeches. To the right of Uncle Sam stands Zachary Taylor, holding the "Lease to Uncle Sam's Farm from March 4th '49 to Mar. 4th '53." At left Democratic presidential candidate Lewis Cass has one leg over a fence, as he tries to climb onto the White House grounds unnoticed. Uncle Sam warns him, "You look very pretty, Mr. Gass, but you can't come in; I've had so many of your sort already that I hardly know my own farm."|Entered . . . 1848 by T. Horton.|New-York. Published by Horton & Co. Engravers and Publishers, 60 Nassau Street.|The Library's impression of the song sheet was deposited for copyright on July 13, 1848.|Title appears as it is written on the item.|Wood-engraving signed: T. Horton Del.|Weitenkampf, p. 97.|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 1848-14.

A mild election-year cartoon portraying Whig presidential candidate Winfield Scott (left) as a turkey and Democrat Franklin Pierce (right) as a gamecock. The two face each other from opposite sides of "Mason & Dixon's Line." Scott orders Pierce to "Get out the way fellow! I want the whole of the road!" Pierce crows back, "Cock a doodle doo----ooo! Don't you wish you may get it! But you can't get over this line." Scott's chances in the South were considered poor because of his association with antislavery interests.|Published by John Childs, 84 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 209.|Weitenkampf, p. 109.|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 1852-19.

An anti-Jackson broadside issued during the 1824 presidential election campaign. The text strongly criticizes Jackson's anti-tariff platform and condemns him and William Coleman as advocates of British interests. The author also praises Henry Clay's support of American home industry. The illustrations symbolically represent Industry, Commerce, and Agriculture. The first shows a man at a loom, with the motto "National Industry is National Wealth" below. The central vignette shows a sailing ship with "John Quincy Adams of Washington" across its stern, and flags reading "Free Trade & Sailors Rights" and "No Colonial Subjection" flying from its masts. On the right is a view of a man plowing a field, a liberty pole with a banner inscribed "Speed the Plough," and, in the distance, a small cottage. Below is the motto "Agriculture is the Source of Prosperity."|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 1824-3.

An example typical of the rash of patriotic Unionist prints exalting the American flag, that appeared at the outset of the Civil War. (See also nos. 1861-19 through 1861-21.) "Our Country's Flag" is a handsomely drawn illustration appearing on a sheet music cover for a song composed by G. Gumpert, and dedicated to President Lincoln. A Union soldier stands before an encampment, holding the staff of a large American flag. To the left is a tripod of rifles and visible beyond are a sentry, several tents, and a cannon. On either side of the central scene is a trophy of military implements.|Entered . . . 1861 by G. Andre & Co . . . Pennsylvania.|G. Andre & Co. 1104 Chestnut St. Philada.|James Queen Del. & Lith.|Peter S. Duval & Son Lith. Phila.|The Library's impression was deposited for copyright on May 25, 1861.|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 1861-18.

Cover illustration for a patriotic song composed by George F. Cole, copyrighted in 1836. A young American seaman, holding an American flag with his right hand and raising his hat aloft with his left, stands on a shore with a harbor and fort (possibly Baltimore's Fort McHenry) behind him. The illustration is probably by John Penniman, son of John Ritto Penniman, who was apprenticed to Baltimore lithographer Moses Swett as early as 1830.|Designed and drawn on stone by J. Penniman, 9, Howard St.|Title appears as it is written on the item.|Andrews, p. 147-170.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-1.

A Whig campaign ribbon, produced for the Young Men's National Convention held in Baltimore in May. At the top in a corona of stars is a fasces. Below it an eagle holds a streamer with the words "Union for the Sake of the Union" above a bust portrait of William Henry Harrison. Above the candidate's head are rays of light with the words "Our Country's Hope," and on his sides are flags, with the names of his military victories "Tippecanoe" and "Thames," and two cannons. At the bottom is a log cabin with a plough, farm implements, sheaved wheat, and a beehive. The cabin's door is partially ajar and bears the optimistic words "To Let in 1841."|Published by J.S. Horton, corner Baltimore and South St., Baltimore, Md.|Signed: G.W.D.|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 1840-10.

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.

One of the rare illustrated sheet music covers issued under the Confederacy. Published by the composer in Richmond, this edition features a Confederate soldier who kneels on one knee holding a large flag with the words, "God save the South." A cavalryman, he wears high boots and a plumed hat and holds a drawn sword in his right hand. A cannonball lies in the grass before him. In the distance soldiers fire a cannon toward an advancing troop of infantry. Few illustrated music sheets were issued in the South either before or during the war, as the lithography industry was in a relatively undeveloped state there.|Antered [sic] . . . by C. T. De Coeniel Richmond Va.|Lith. by Ernest Crehen 146 Main St.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1862-2.

Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

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.

An illustrated broadside pertaining to the controversy surrounding settlement of the State of New York's War of 1812 financial claims against former governor Daniel D. Tompkins. It was established that the ex-governor was indebted to the state to the sum of $120,000, but a disupte arose between Tompkins and State Comptroller Archibald McIntyre over the valid amount of Tompkins's own claims against the state. The broadside probably dates from 1820, when Tompkins's nomination by the "Bucktail" faction of New York Democrats as candidate for governor gave the issue new importance. The author of the broadside uses the nursery rhyme "The House That Jack Built" in his attack on Tompkins and his supporters. A sequence of six small woodcuts illustrates the verses, showing the House (the New York State Treasury), the malt (the $120,000 debt), the rat (Tompkins), the cat (McIntyre), the dog (the Bucktails), and "the men that'll beat the dog" (the farmers--possibly the Clintonians who opposed Tompkins with their own gubernatorial candidate, incumbent DeWitt Clinton). A seventh vignette shows a fox eyeing grapes on a tree, from Aesop's fable, perhaps suggesting the failure of Tompkins's counterclaim, although the figure 605,000 in the title far exceeds the $130,000 sought by the former governor.|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 1820-1.

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 cryptic satire possibly dealing with some facet of the 1844 presidential campaign. The print features two unsuccessful aspirants for the Democratic presidential nomination: Martin Van Buren and Richard M. Johnson. In an interior a bearded man wearing a plaid vest attends a steam boiler (left), watching as several others are lathered and shaved by various steam-powered apparatuses. Around a large bowl of shaving lather sit (left to right) Van Buren, an unidentified young man, New York "Herald" editor James Gordon Bennett, and Richard M. Johnson. Over Johnson's head is a plaque advertising "Patent Tetragmenon formosum for turning grey hair black . . . ," perhaps a swipe at the ages of the veteran candidates (Johnson was sixty-three, Van Buren sixty-two). Another plaque, at left, reads "Rowlands Essence of Steam. For Promoting the Growth of Whiskers. Sold here." In the foreground sit a gentleman and a seaman, both being shaved by machines that they operate by foot pedals. The mariner's hat hangs from a peg on the wall above his head. On the floor near the gentleman are his hat and cane, and a muzzled dog. The cartoon has resisted interpretation. Murrell and Weitenkampf both suggest a date in the 1830s, but Davison's tentative 1844 is more convincing in terms of subject and on stylistic grounds.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Willis & Probst Lith. 2, Wall St. N.Y.|Davison, no. 178.|Murrell, p. 150.|Weitenkampf, p. 53.|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 1844-44.

A satirical view of the scramble among newly elected President James K. Polk's 1844 campaign supporters, or "patriots," for "their beans," i.e., patronage and other official favors. Polk (upper right) sits in the Presidential Chair, his hands folded and apparently oblivious to the activity around him. From behind the chair Andrew Jackson prompts him, "That's right Jemmy, Non Committal. By the Eternal you're a chip of the old block." To Polk's right a group of homely women present a petition and ask, "Can't you do something for us? we are poor weak women in great danger of being seduced! We want a proclamation in behalf of our Moral Reform Society." Below him John Beauchamp Jones and Francis Preston Blair, editors of influential rival newspapers, the "Madisonian" and the "Globe," fight for the privilege of being the administration organ. In the center an Irishman, hat in hand, approaches Polk and asks, "Plaze yer honor's worship, can't ye do somethin' for me? I was bor-r-n in Boston and rared in New-Yor-r-k, be the howly St. Patrick, and nivver a bit of an office have I had yet." Nearby, a German or Dutchman walks away in disgust shouting, "Dod rot this administration! I've lost my sittivation that Tyler give me, that was worth $15 a year! Dod rot 'em, I say!" In the foreground Secretary of State James Buchanan asks a small, ragged figure, "What Office do you expect, my man?" The man, a Rhode Islander, responds, " . . . I was an Officer with Govr. Dorr, and I should like to be an Officer agin; but I ain't perticklar, if you haint got no office may be you've got some old Clothes to give me!" Dorr was the leader of an abortive revolution in Rhode Island in 1842. (See Trouble in the Spartan Ranks, no. 1843-6). At left South Carolinian John C. Calhoun, a frustrated aspirant for the 1844 Democratic nomination, rides off on a velocipede saying, "Let this Poke manage two stools if he can, I'll cut my stick, and be off for the sunny south." Above, in the background, members of the "Empire Club" wave their hats and fire a cannon. They may represent the expansionist platform on which Polk campaigned, which many Whigs feared would provoke war with Mexico. In the left foreground is a motley militia troop carrying a banner "For Oregon!! Liberty! or Death!!!" Their leader proclaims, "Follow me brave soldiers, strike but one blow, and Oregon is ours!" Polk's campaign platform favored reannexation of the Oregon Territory.|Entered . . . 1845 by J. Baillie. |Lith. & pub. by James Baillie 118 Nassau St. N.Y.|Probably drawn by Edward Williams Clay.|The Library's impression was deposited for copyright on March 24, 1845.|Title appears as it is written on the item.|Weitenkampf, p. 85|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 1845-3.

This collection uses primary sources to explore the politics of the Gilded Age. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

A satire on the reverse impact of John Binns's anti-Jackson "coffin handbill" campaign during the presidential race of 1828. Editor-publisher Binns supports on his back a large load of coffins, upon which are figures of Henry Clay (left) and incumbent President John Quincy Adams (right). Binns: "I must have an extra dose of Treasury-pap, or down go the Coffins Harry, for I feel faint already." Clay: "Hold on Jonny Q--for I find that the people are too much for us, and I'm sinking with Jack and his Coffins!" Adams (grasping the presidential chair): "I'll hang on to the Chair Harry, in spite of Coffin hand-bills Harris's letter Panama mission or the wishes of the People."|The print may have been produced in Philadelphia by James Akin, judging from similarities in the handling of the aquatint, attenuation of the figures, and lettering to his "Caucus Curs in Full Yell . . ." (no. 1824-2).|Title appears as it is written on the item.|Century, p. 36.|Munsing, no. 37.|Weitenkampf, p. 21.|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 1828-3.