The print is a fragment of a larger lithograph entitled "Invasion of Cuba," composed of two panels, applauding American "filibustering" expeditions to liberate Cuba from Spain. (See also "The Great Naval Blockade of Round Island" and "Genl Lopez the Cuban Patriot Getting His Cash," nos. 1849-5 and 1850-10.) "Invasion of Cuba" evidently appeared in the wake of Lopez's second failed invasion of Cuba in August 1851. The left panel, "The Expedition," expresses sympathy with American intervention there in defiance of Great Britain. Our panel criticizes the Fillmore administration's conciliatory attitude toward Cuba, and alignment of the island's Spanish rule with the Catholic Church and other conservative powers in Europe. Spanish governor Jose Gutierez de la Concha sits on a throne in the center of a crowded scene, his left foot on the face of the recumbent female figure of Cuba, as he decorates American consul A. F. Owen, who kneels at left. In the right foreground American Secretary of State Daniel Webster holds a "Secret Treaty with Spain" in one hand and behind his back clasps hands with Britain, represented by a lion in sailor's costume. Nearby stands a fox in uniform, probably representing France. To the right of the throne stand various prelates, bishops, and the pope, along with several beasts wearing crowns. On the left of the throne are ministers with star-shaped heads, in a state of agitation. In the left foreground Brother Jonathan, smoking a cigar and waving a saber, carries off a Cuban flag. Above Gutierez's throne are several smaller scenes of Spanish atrocities. On the left is the execution by a Cuban firing squad of American volunteers under W. H. Crittenden in Havana, August 16, 1851. The captive Americans are bound and kneeling. In the center, expedition commander Narciso Lopez is garroted by a black man, as he sits in a chair decorated with a small cross (an anti-Catholic reference). The scene on the right shows two ships, one American and one Cuban, and has the date August 13. It may represent the capture of Crittenden's retreating forces on the high seas. Below the print is the caustic commentary: "Our Consul at Havana decorated by Don Quixote with the Order of the Golden Fleeze for his Neutrality in the Cuba Question under the Applause of the Absolute Powers! The Stars in Consternation. Jonathan runs off swearing: 'Cuba must be smoked' anyhow!"|Signed with monogram: AW.|Title appears as it is written on the item.|Murrell, p. 188-189 (reproduces the complete print).|Weitenkampf, p. 104.|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 1851-4.

The course examines the earliest emergence of stories about King Arthur and the Knights of the Round Table in the context of the first wave of British Imperialism and the expanded powers of the Catholic Church during the twelfth and thirteenth centuries. The morphology of Arthurian romance will be set off against original historical documents and chronicle sources for the English conquests in Brittany, Wales, Scotland, and Ireland to understand the ways in which these new attitudes towards Empire were being mythologized. Authors will include Bede, Geoffrey of Monmouth, Chrétien de Troyes, Marie de France, Gerald of Wales, together with some lesser known works like the Perilous Graveyard, the Knight with the Sword, and Perlesvaus, or the High History of the Holy Graal. Special attention will be paid to how the narrative material of the story gets transformed according to the particular religious and political agendas of each new author.

A dramatic prison scene, intended to contrast the clemency of New York's Whig governor William H. Seward with the vindictiveness of the Democrat-controlled New York City prison administration. In the interior of the Halls of Justice, popularly known as "the Tombs," a grim jailer stands blocking the approach of a Catholic priest toward a small cell, saying "You can't Enter." The priest, holding a crucifix and rosary beads, presents a paper marked "Admit the Bearer. W H Seward" and replies, "Here is my authority from Govr. Seward for admission. I shall now see the wretched man." Meanwhile, in his cell, the "wretched man"--actually, convicted murderer John Caldwell Colt--kneels in prayer, a Bible beside him. He implores, "Must I die without seeing my Priest? How cruel to prevent me from making My peace with my God!" The print may be based on an actual incident. Interestingly, though, in the closing months of his administration Seward refused to pardon Colt, despite considerable political pressure to do so. Colt cheated the hangman by taking his own life on the day of his scheduled execution.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 70.|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 1842-1.

A crude but charming comic send-up of 1876 Republican campaign strategy. Democratic candidate Samuel J. Tilden and an unidentified man stand fishing on the left bank of a river, their basket overflowing with their catch. On the opposite bank stand Rutherford B. Hayes and Republican incumbent Ulysses S. Grant, obviously less successful. Grant advises Hayes, "I guess that reform bait won't work this side. Better try an anti-Catholic worm." Since both the Democratic and Republican platforms in 1876 stressed reform, Hayes's campaign sought to stir up anti-Catholic prejudice against Tilden.|Copyrighted and Pub'd by P. Jesse 116 Nassau St. N.Y.|Signed: F.G. Del.|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 1876-7.

A team of middle school teachers developed an integrated unit spanning math, social studies and ELA, and focused the unit centering on the life of Galileo, including some of his investigations, his beliefs based on evidence, and his conflicts with the Catholic church.

One of James Gordon Bennett's perennial editorial campaigns against the Catholic bishop of New York John Hughes is the subject of "Jamie & the Bishop." On the left Scottish-born "Jamie" Bennett, a quill pen behind his ear, shoots a clyster at the archbishop, saying, "Hoot awa mon, this is the best weapon in the College of Pharmacy, & mickle dirty water can I fling with it mon!" "Dirty water" is probably a reference to the notoriously squalid form of journalism practiced by Bennett in his newspaper, the New York "Herald." Hughes retaliates with a swing of his crozier, saying, "With all the power of Holy Church will I assail thee, most reprobate & contemptible viper." Behind Hughes stands an Irishman, a gin bottle in his pocket and club in his hand. He growls, "Be Jasus shtand back! your honor's worship, & let me have a shlap at him wid the shillaly!" Bennett is offered support by another Scotsman, who scratches his back against a nearby lamp-post, "Wait a bit, Jamie, till I've scratched my bock & I'll lend yees a hand, mon."|Entered . . . 1844 by James Baillie.|Lithography & print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Signed: H. Bucholzer.|Title appears as it is written on the item.|The Library's impression of the print was deposited for copyright on July 5, 1844.|Weitenkampf, p. 83-84.|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 1844-30.

This video provides a brief history of Latin American Liberation Theology and explains why the Vatican condemned it.

An anti-religious satire attacking most of the major denominations of the nineteenth century, including Catholics, Episcopalians, Calvinists, Universalists, Methodists, Baptists, and Quakers. The artist parodies their respective religious beliefs and/or forms of intolerance. A chimera-like beast is shown, with seven heads, each representing one denomination. It also has wings, a forked fishtail, and the leg of a human. The various heads speak. Pope of Rome: "Heretical! Heterogeneal! Heterodox! I! am what I am!" Episcopalians: "Exterminate the Heretics!" Calvinists: "The Degree of Fate has fixed our Destinies." Universalists: "God will not punish us for what he does therefore we shall all be saved." Methodists: "Glory! We ha'nt got much larnin. Glory." Baptists: "I must be immersed or I shall be Damned." Friends or Quakers: We are Friends to all but the Heterodox." Below the title are lines from the Book of Revelation, "The Beast that was, and is not, and yet is."|Designed by A.M. Bouton.|Entered . . . 1835 by A.M. Bouton . . . Southern District of New York.|The Library's impression was deposited for copyright on April 10, 1835. Weitenkampf misreads the artist's name as "Benton."|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 1835-5.

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 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.

An illustrated sheet music cover glorifying the nativist cause, produced shortly after the bloody anti-Catholic riots in Kensington, Philadelphia, of May 1844. The song was composed and arranged by James W. Porter, with words by "a Native," and "respectfully dedicated to the American Republicans of the United States." The American Republican party worked for the restriction of immigration and the defense of American education and government against "Papism," or the influence of the Catholic Church. The illustration shows what was later to become a popular nativist symbol: a tattered American flag, attached loosely to a staff. According to the text it was "The glorious Flag under which the Americans assembled in Kensington on the memorable 3rd, 6th & 7th May 1844." (See also "The Three Days of May 1844. Columbia Mourns her Citizens Slain," no. 1844-50). Allegedly mutilated by Irish rioters during the tumult, the flag came to symbolize the threat to America which nativists believed was posed by Catholic immigrants.|Entered . . . 1844 by James Porter Senr.|The Library's impression of the music-sheet was deposited for copyright on May 22, 1844.|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 1844-51.

A memorial to nativist casualties of the violent clashes occurring between anti-foreigner "Native Americans" and Irish-American Catholics in Kensington, Philadelphia, May 6 through 8, 1844. The female figure of Columbia holds a large, billowing American flag near a broken column on which she places a wreath. On the column are the names of those Native Americans killed during the attacks on Catholic homes and institutions. At the top of the list, circled by Columbia's wreath, is the name of George Schiffler, the first and most famous of the nativist martyrs. Other names inscribed on the column are: Wright, Rhinedollar, Greble, Stillwell, Hammitt, Ramsey, and Cox. To the right of Columbia is an American eagle supporting a shield with the names of the wounded, including: Peale (the artist?), Whitecar, Lescher, Young, Wiseman, Willman, Schufelbaugh, Yocum, Ardis, Boggs, Ford, Bartleson, and Ort. Above the figure floats a streamer with the print's title. Below a similar banner reads "Deceased----We Revere Their Memory---Wounded---We Cherish And Reward Them---."|Entered . . . 1844 by Colon & Adriance.|Signed: On Stone by Wash (Washington) Peale.|The Library's impression of the print was filed for copyright on July 1, 1844.|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 1844-50.

A polemic applauding Democratic support of the Dorrite cause in Rhode Island. (See also "Trouble in the Spartan Ranks," and "The Great Political Car and Last Load of Patriots," nos. 1843-6 and 1845-5). In the spring of 1842 Thomas Wilson Dorr led an abortive revolt against the Charter government of Rhode Island, attempting to force liberalization of suffrage and reapportionment of legislative representation. The rebellion failed, and Dorr was convicted of treason and imprisoned in June 1844. His imprisonment generated considerable sympathy for him among Democrats even outside his own state. The rebellion, in fact, became a minor issue in the presidential campaign of 1844. James K. Polk was supportive of the need for reform in Rhode Island while his opponent, Whig candidate Henry Clay, condemned the Dorrites' "wanton defiance of established authority." "Tyrants Prostrate" is a pro-Dorr statement, praising the support of the movement by Democratic candidates Polk and Dallas while portraying Whigs Henry Clay, Theodore Frelinghuysen, and Daniel Webster as the agents of wealthy or religious interests. The locus of the cartoon is Dorr's prison cell. (He had been sentenced to life at hard labor and solitary confinement at the state prison at Providence.) Dorr (center, in shirtsleeves) stands and raises his manacled hands, proclaiming, "The process of this Court does not reach the man within, From this sentence of the Court I appeal to the People of our State and our Country!" Polk (left) and Dallas (far left) stand with joined hands. Dallas vows, "As sure as a God of Justice rules on high he will be free." Polk holds a hammer and pliers, apparently for use on Dorr's chains, and says, "The people will speak in tones of thunder yet, they brook no old King's charter, to enchain true patriots!" On the right stand Henry Clay, his running-mate Theodore Frelinghuysen (in clerical robes), and Daniel Webster. Clay raises his arm and declares, "Alas! alas! when Dorr is free King Charles charter will be destroyed, and with it the last British form of Government in these States. and the last hope of our Aristocracy for the people will have triumphed!" In his right hand is a document "Tariff," a token of his support of protection for American manufactures during the 1844 campaign. Frelinghuysen protests to Clay, "Ah my master say not so for then Church and State will never be united!" Daniel Webster responds with, "Yes they will If we join the American Party, and raise a Protestant succession on the ruins of Popery." The party to which he refers was nativist and anti-Catholic in ideology. Overhead flies the genius of Fame, carrying a crown for Dorr and trumpeting: Speed the sound O'er all your plains / The Martyr's freed from shameful chains! / Around his brow will freemen twine / A glorious wreath of myrtle vine! / Our Polk obey the people's call; / The Tyrant sees his shackles fall! / And every son of Liberty / Shout long live Dorr the great the Free! "Tyrants Prostrate" must have appeared during the 1844 election campaign. Dorr was in fact released from prison in June of the following year.|Drawn by H. Bucholzer.|Entered . . . 1844 by J. Baillie.|Lith. of & pubd. by James Baillie 118 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 81-82.|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 1844-19.

The abolitionist Republican presidential ticket and its supporters in the press are the targets of the cartoon. Candidate Fremont, wearing an emigrant's smock and carrying a cross (an allusion to his rumored Catholicism), is in the driver's seat of a wagon drawn by the "wooly nag" of abolitionism. On the nag's back sit (left to right): New York "Tribune" editor Horace Greeley, James Gordon Bennett of the "Herald," and Henry J. Raymond of the "New York Times." Holding onto the back of the wagon is "Courier & Enquirer" editor James Watson Webb. The wagon also carries Fremont's wife Jessie, who holds a parasol and leans on a sack marked "Bleeding Kansas Fund," a reference to hostilities in Kansas between antislavery and proslavery advocates. The wagon has reached the "Union Tollgate" (left), which is tended by Brother Jonathan and an unidentified man. Jonathan warns, "No Sir-ee! you cant come any such load over us." Greeley: "Come my good People open the Gate its all right! We are the true 'Union' Party because we all ride on the wooly Horse." Bennett: "Ever since I mounted behind the old white Coated Philosopher [i.e., Greeley] I find that everything he says can be re-lied on." Raymond: "Except when he calls me "'little Villain'" and then he can't be re-lied on." Fremont laments: "There seems to be something in the road, but those fellows on the Horse, will swear me through anything; so I'll keep mum." Webb: "Hurry up there Horace! or [Southern Democratic Preston S.?] Brooks will be running his Express Train into us; I've had one ride on his Cowcatcher lately, and I don't want another." A ragged boy shouts to the driver, "Cut behind!"|For sale by Nathaniel Currier at No. 2 Spruce St. N.Y.|Probably drawn by Louis Maurer.|Title appears as it is written on the item.|Gale, no. 4643.|Murrell, p. 185.|Weitenkampf, p. 117.|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 1856-21.