Entered according to Act of Congress in the year 1864 by M.E. Goodwin in the Clerk's Off. in the Dist. Court of the United States for the Southern Dist. of N.Y. Designed by R.D. Goodwin.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Another venomous attack on the Lincoln administration by the artist of "The Commander-in-Chief Conciliating the Soldier's Votes, no. 1864-31," and "The Sportsman Upset by the Recoil of His Own Gun," (no. 1864-32). Here Lincoln and his cabinet are shown in a disorderly backstage set, preparing for a production of Shakespeare's "Othello." Lincoln (center) in blackface plays the title role. He recites, "O, that the slave had forty thousand lives! I am not valiant neither:--But why should honour outlive honesty? Let it go all." Behind Lincoln two men, one with his leg over a chair, comment on Lincoln's reading. "Not quite appropriately costumed, is he?" comments the first. The second replies, "Costumed, my dear Sir? Never was such enthusiasm for art:--Blacked himself all over to play the part, Sir!" These may be Republicans Charles Sumner and Thaddeus Stevens. Before them is a wastebasket of discarded documents, including the Constitution, Crittenden Compromise, Monroe Doctrine, "Webster's Speeches," "Decisions of Supreme Court," and "Douglass." At left five ballerinas stand beneath a playbill advertising "Treasury Department, A New Way to Pay Old Debts . . . Raising the Wind . . . Ballet Divertissement." Near their feet is a pile of silver and plate, "Properties of the White House." They listen to a fiddler who, with his back turned to the viewer, stands lecturing before them. At right Secretary of War Edwin Mcm.asters Stanton instructs a small troop of Union soldiers waiting in the wings to ". . . remember, you're to go on in the procession in the first Act and afterwards in the Farce of the Election." One soldier protests, "Now, see here, Boss that isn't fair. We were engaged to do the leading business." Nearby an obviously inebriated Secretary of State William Seward sits at a table with a bottle, muttering, "Sh--shomethin's matt'r er my little bell: The darned thing won't ring anyway cĚ_Ąonfixit'." Seward reportedly once boasted that he could have any individual arrested merely by ringing a bell. He was widely criticized for his arbitrary imprisonment of numerous civilians during the war. On the floor near Seward sits Lincoln's running mate Andrew Johnson, a straw dummy, with a label around his ankle, "To be left till called for." At far right Navy Secretary Gideon Welles slumbers, holding a paper marked "Naval Engagement, Sleeping Beauty, All's Well That Ends Well." In the background abolitionist editor Horace Greeley bumbles about moving scenery and complaining, "O bother! I can't manage these cussed things." Union general Benjamin F. Butler (directly behind Lincoln), dressed as Falstaff, recites, "We that take purses, go by the moon and seven stars; and not by Phoebus! I would to God, thou and I knew where a commodity of good names were to be bought!" He holds a sign "Benefit . . . Falstaff . . . Beauty and the Beast." By this time Butler had achieved notoriety as a dissolute plunderer. To Butler's right a man (who might be the stage manager) orders the crew, "Get ready to shift there 'ere Flats for the Temple of Liberty." The artist of this and nos. 1864-30 and -31 was an exceptionally able draftsman. Judging from the acidity of these satires, he may have been a Southerner, perhaps a Baltimorean. The only satires of the time that compare in artistic quality and political venom are those of Adalbert Volck.|Signed with monogram: CAL?|Title appears as it is written on the item.|Weitenkampf, p. 141.|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 1864-32.

Another swipe at Whig candidate Winfield Scott's manipulation by antislavery Whigs Seward and Greeley. Here, Scott is a fly caught in a large web, spun by spiders Greeley (left) and Seward (right). Scott exclaims, "I think I've got myself into a hobble!" Greeley, hanging from a thread, decides, "I must hurry up & cover him with our slime as fast as possible!" Seward adds, "I hope he won't break through before I get him secured!" At lower left, Massachusetts Whig Daniel Webster and New York editor James Watson Webb look on. Webster remarks, "What an extraordinary web, Webb!" Webb replies, "Yes it's one of that crafty old spider Seward's and he has caught a large fly who wont get out Scot free--Can't you stir it up a little, Webster!"|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. 204.|Weitenkampf, p. 107.|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 1852-30.

A diverse group of abolitionists try to drag an unwilling black man toward the left with a large gaff hook. Holding the hook are (left to right) an old hag, a Quaker man, and two other homely men. The hag declares, "How perverse our dear colored brother is, I shall break my wind if I pull much longer." The Quaker says, "Verily it is hard work to set this Ethiopian at liberty. I fear we must break his back before we can succeed." A woman behind him enjoins "Pull on brethren till you have broken every yoke." Another young woman (center) asks the black, "Don't you feel the blessings of liberty?" The black protests, "Bress my soul, Massa Robolition, why you kidnap me 'way from Massa Clay? Let poor nigger go 'bout his bizness, and hab his own way dis once, and I berry glad." The black struggles to join Henry Clay and Horace Greeley, on the right, who stand with hands joined. The elderly Clay stands leaning on his cane. Greeley, in top hat and white coat, points toward the right and advises Clay, "Don't look behind you, friend Harry, but come and see my crack article on the Tariff." Weitenkampf dates the cartoon 1851, on the basis of the reference to Greeley's support of trade protectionism. The apparent double entendre of the word "hook" in the title is puzzling.|Probably drawn by H. Bucholzer.|Published by Nathaniel Currier, New York?|Title appears as it is written on the item.|Weitenkampf, p. 102.|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 1851-7.

Democratic candidate James Buchanan, as a buck deer, crosses the finish line of a racecourse ahead of competitors Millard Fillmore and John C. Fremont. Spectators cheer in the stands behind. Fillmore appears as an emaciated horse, fallen on the course. Next, Fremont follows close on the heels of Buchanan. Fremont stands astride two horses: one with the head of New York "Tribune" editor Horace Greeley and the other the "wooly nag" of abolitionism. The latter here more closely resembles a filly than a nag. Greeley: "Monte why didn't you lean more on the wooly horse--you gave me all your weight--never mind we've beat the grey Filly [i.e., Fillmore] next time we'ill head off that hard old Buck." Fremont: "Get out--hang you and the Wooly Horse--I could beat that broken down silver grey "Filly" and the old Buck too--had I gone on my own hook." Fillmore: "Oh! Oh! why did'nt I stay in sweet Italy with my friend King Bomba and the lazy Neapolitans--Then I should not have been blowen up like a Bag of wind in this Chase." Buchanan: "Never mind Gentn. I could not "help" beating you, the American Nation wished it so--I will send you all to Ostend--and I promise you that I will have no Tailors in my white House. [As a youth Fillmore had been apprenticed to a tailor.] Mercy on me! to think that this Glorious People should be almost Pierced to Death [a reference to unpopular Democratic incumbent Franklin Pierce] by War and making Free States in this land of Liberty by a set of Fashion inventores 'I'll none of it.'"|Probably drawn by John L. Magee.|Published by John Childs, 84 So. 3rd St. 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 1856-18.

Whig nominee Zachary Taylor's reluctance to clearly declare his political views was an issue eagerly exploited by the opposition in the 1848 campaign. Here the artist shows phrenologist Orson S. Fowler probing the candidate's skull to determine his "principles," as New York "Tribune" editor Horace Greeley (left) takes notes. Greeley asks, "What for a Prsident would he make?" Fowler replies, "he says he is 'Incompetent,' & so say his developments." Taylor (center) sits grumbling, "When I get to Washington I will turn [Postmaster General] Cave Johnson out, and put a good Military man in his place, This paying 7.50 for "dead letters," is too much for me to stand." Beginning in late July the "dead letter" issue was a source of great popular amusement at Taylor's expense. After Taylor's nomination in early June, he was sent a letter by John Morehead offering him the candidacy. In an economizing move, Taylor had recently instructed the local postmaster in Baton Rouge not to forward to him any letters on which postage was not prepaid. Consequently, Morehead's notification of nomination was among the mail that landed in the dead letter office in Washington, and after several weeks cost Taylor $7.50 to have retrieved. Among the long list of Taylor's characteristics that Greeley and Fowler have compiled are: "A Quick Fiery Temper," "A lack of self respect," and "Disregard for things Sacred." Each of these falls under a broader category, such as "Combativeness," which is accompanied by a number designating its degree of "development." The number six indicates an ideal level of development, anything lower being deficient. Seven, the highest possible score, was excessive. Here Taylor scores a seven in "Combativeness," but only receives a one for "Self Esteem." In "Firmness" he receives a fourteen, making him remarkably "Obstinate & Mulish." Shelved on the back wall at right are specimens of heads and skulls, including those of Martin Van Buren, James Watson Webb, Henry Clay, and a black man. Posted on the left is a sign advertising "Fowler & Wells. Phrenologists, 131 Nassau St. Clinton Hall, N. York."|Drawn by "W.J.C."|Entered . . . 1848 by H.R. Robinson.|Lithd. & published by H.R. Robinson-31 Park Row New York.|Title appears as it is written on the item.|Lorant, p. 19.|Weitenkampf, p. 93-94.|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 1848-24.

The battle for the presidency between Greeley and incumbent Ulysses S. Grant is portrayed here in biblical terms. In a mountainous desert landscape Greeley, as David armed with a slingshot loaded with quill and inkwell and grasping a copy of his newspaper the New York "Tribune," confronts a giant Grant. The latter wields a lance, a sword, and a shield. In his shadow stands a black youth attendant. From the heights on either side of the scene two supporting armies watch, and in the center a small grotesque figure peeks from behind a rock. A domed building, intended to represent the U.S. Capitol, is visible in the distance. In the lower margin are excerpts from the story of David and Goliath taken from the Book of Samuel. The print is numbered in the stone "Picture No.11," suggesting that it is part of a series. The publisher, Merinsky, issued a pro-Greeley campaign banner, also somewhat unconventional in conception. (See no. 1872-5.)|Entered . . . 1872 by S. Merinsky. |Lith. by Svobodin Merinsky.|Published and for sale, 319 Pearl St. N.Y.|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 1872-6.

A figurative portrayal of Whig candidate Winfield Scott's failure in the 1852 presidential contest, attributed by the artist to his alliance with abolitionist interests. Scott is hoisted aloft via a pulley system by various influential supporters, including (left to right): an unidentified man, New York "Times" editor Henry J. Raymond, black abolitionist Frederick Douglass, Boston editor and abolitionist William Lloyd Garrison, Pennsylvania representative David Wilmot, and New York senator William Seward. They try to haul him up to the "President's Chair," which sits on a gallows-like structure, but the rope snaps owing to the "Free Soil" and "Abolition" weights chained to Scott's waist. Scott's supporters fall in unison to the left. Raymond: "You might have known them cussed weights would break the rope!" Seward:"Thus the noble Cesar fell, and you and I & all of us fell down and bloody Locofocoism flourished over us!" Scott (falling): "It may be the effect of my imagination, but it certainly feels as if something has given way!" At left, New York "Tribune" editor Horace Greeley rides a swaybacked horse carrying a "Tariff" bundle. He shouts to Scott, "Hold on General where you are just one minute till I come to help you!" Another man runs after Greeley crying, "Whoa! whoa! I say Greely don't ride that poor old nag to death!" Entering from the right-hand corner are a black man and his wife. The wife points at Scott and says, "Law! Mr. Cesar it seems to me dat de Gemman is gevine de wrong way."|Pubd. 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. 205.|Weitenkampf, p. 108-109.|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 1852-31.

An election-year satire favoring Free Soil candidate Martin Van Buren in the 1848 presidential contest. A long-legged John Van Buren carries his father piggyback through Salt River, heading toward the White House on the far shore. "Matty" says, "Thanks to your long legs, John, I believe that I shall pass over this Jordan dry shod." The younger Van Buren assures his father, "Hold on Dad & I'll put you through." Meanwhile, abolitionist editor Horace Greeley and candidates Taylor and Clay are having a more difficult time fording the river. Clay is immersed head first, leaving only his legs visible. Taylor is neck-deep in the water. Greeley yells to Kentucky Whig leader Cassius M. Clay, seated on the near bank, "Help, Cassius, or I Sink." Clay replies, "Can't come there, Horace, I risked my life in Mexico, & I don't like to do it again." (Cassius Clay was a hero of the recent Mexican War).|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near Third Avenue, New York.|Signed with reversed initials: H.B. (H. Bucholzer).|Title appears as it is written on the item.|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 1848-29.

Again Van Buren's flirtation with radical interests is portrayed as his downfall. As in "The Modern Colossus" (no. 1848-56) antislavery activist Abby Folsom (here "Abby Fulsome") is prominently featured. Here she witnesses Van Buren's flight from various foes, each depicted as an animal. In pursuit of Van Buren are Zachary Taylor (as an alligator), and senators Thomas Hart Benton (a bull), John C. Calhoun (a lion), and Daniel Webster (an elephant). Taylor vows, "I'll swallow him directly," while Webster says, "Let me put my foot on him." A crane "Poke," actually incumbent Democratic President James K. Polk, swoops toward the fleeing fox from the sky. On the left stand editor Horace Greeley, Folsom, and longtime Van Buren ally Benjamin F. Butler. Greeley tells the fox to "Run under my white coat Matty. It will not be the first time that it has covered a fox. But, cheer up, for there is still balm in Gilead. You shall be the candidate of the Fourierites [i.e., members of the reform movement championed by Greeley]." Folsom laments, "Now that he has doubled on his track & come over to us, what a pity that we can't save him!" Butler exclaims, "Alas! Alas! is this the end of my devotedness, my martyrdom, & above all, my state preaching?" Van Buren replies, "It's no use friends, my cake is all dough, as my face used to be. Why did you drag me out of my hole to be tormented thus." "Doughface" was a name given northern friends of slave interests, which Van Buren was perceived to have been during his administration.|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near 3d. Avenue N.Y.|Signed with initials: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Weitenkampf, p. 89-90.|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 1848-57.

The Free Soil sympathies of the cartoonist are evident in his portrayal of the 1848 presidential contest as a race between the three major candidates. The contenders are on the course. Whig candidate Zachary Taylor (left) rides a bloodhound with a collar reading "Buena Vista." The bloodhound is a reminder of the public outcry over Taylor's controversial use of dogs against the Indians in the Second Seminole War. The Battle of Buena Vista was one of Taylor's most decisive but costly victories in the Mexican War. A pouch of "Dead Letters mes up & then we can go ahead." A crowd of men look on from behind the rail, most of them shouting for Van Buren. Among the disgruntled is (third from left) Isaiah Rynders, a New York City political leader, who curses Taylor's poor performance, "Damn that Bloodhound! how he lags." An unidentified companion responds, pointing to Van Buren, "Just as I told you Rynders." Further right stand editor James Watson Webb and another man, who lament, "This sacrificing "Principles" for "Men" has availed me nothing," and "Damn it, Webb, we're both done brown!" Webb backed Taylor's bid for the presidency, although the candidate persistently refused to avow Whig party principles. The disappointed pair form a marked contrast to the jubilant Horace Greeley (far right), who waves his hat in the air and jeers, "Where's Webb's 30,000 men in Buckram now?" (See "One of the Young B'Hoys in Ecstasies," no. 1846-14.)|Entered . . . 1848 by H.R. Robinson.|Lithd. & publd. by H.R. Robinson 31 Park Row N. York. Adjoining Lovjoy's Hotel (Opposite the Park Fountain).|Signed with initials: W.J.C.|Title appears as it is written on the item.|Weitenkampf, p. 96.|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 1848-37.

Address--Bromley & Co. Box 4265 New York City.|There is a later state of this print in the Library of Congress with the full title and imprint, PC/US - 1864.B8687, no. 1a (B size). See American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-37.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

The strongly racist character of the Democratic presidential campaign of 1868 is displayed full-blown in this elaborate attack on Reconstruction and Republican support of Negro rights. Horses with the heads of Democratic candidate Horatio Seymour and running mate Francis P. Blair, Jr., pull a fine, ornate carriage in a race with a rude wagon drawn by asses with the heads of Republican candidates Ulysses S. Grant and Schuyler Colfax. The Democratic carriage pulls ahead in the race, heading toward a cheering crowd and a series of floral arches held by young maidens. The U.S. Capitol is visible beyond. In the carriage are four allegorical figures: Liberty, holding the Constitution and a banner which reads "Our Glorious Union Dˆü_ˆüąistinct, like the Billows, One, Like the Sea' This is a White Man's Government!"; Navigation, holding a miniature ship; Agriculture, holding sheaves of wheat and a scythe; and Labor, represented by a bearded man with a hammer and flywheel. In contrast to the Democratic vehicle, the Republican wagon has stalled before a pile of rocks and a cemetery strewn with bones representing "100,000,000 White Lives, the Price of Nigger Freedom!" Its wheels are blocked by a large stone "Killing Taxation" and a skeleton. Other stones represent "Ruined Commerce," "$30,000,000 stolen from the Treasury," and "Negro Supremacy." In the wagon are the grim reaper, Pennsylvania representative and abolitionist Thaddeus Stevens, an unidentified man, a black woman, and an idle black man. Stevens: "Colfax pulls like the d----l but old tangleleg [i.e., Grant] aint worth a d----n! Push at the tailboard, Ben!" Massachusetts representative and former Civil War general Benjamin F. Butler, pushing the wagon from the rear, replies, "I am pushing, Thad! but we are stuck. Seymour is a mile ahead now." Silver spoons protrude from Butler's pocket. (For the origins of Butler's nickname "Silver Spoons," see "The Radical Party on a Heavy Grade," no. 1868-14.) The black woman reassures Stevens, "Don't worry you'sef, honey, or you'll peg out afore we get de paeket for Seymour's in de White House and we's good for Salt River [colloquialism for political disaster]." The black man asks, "War's dis wagon gwine wid dis member ob Congress. I'd jes like to know?" The unidentified man remarks, "The Democracy would not take me so I thought I'd come back & stick by you Uncle Thad, and we'll all go to H-ll together!" Death announces, "My friends 1,000,000 slaughtered soldiers block the wheels--you fooled them, and they now impede your progress!" At bottom right a group of bummers, a term referring to party hangers-on, carpetbaggers, and other disreputable characters, stand in line to buy tickets to Salt River. At left New York "Tribune" editor Horace Greeley invites abolitionist preacher Henry Ward Beecher to play the thimblerig. Nearby a black couple in rags express their desire to return to their former master. At top right, next to the U.S. Capitol, a group of black youths in striped outfits dance and tumble about. In the lower right margin are prices and information regarding ordering copies of the print by mail. "Price 25 cents mailed. 5 for $1.00. 60 for $10.00, 100 for $16.00. Nothing sent C.O.D. Express charges paid by Parties ordering. Address: Bromley & Co. Box 4265. New York City.|Entered . . . l868 by Bromley & Co. . . . New York|Title appears as it is written on the item.|Lorant, p. 303.|Weitenkampf, p. 157.|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 1868-15.

A virulent attack on the four conservative Rhode Island legislators who broke with the Law and Order Party to support a Democratic movement to free imprisoned radical Thomas Wilson Dorr. (On the Dorrite Rebellion see also "Trouble in the Spartan Ranks, Tyrants Prostrate Liberty Triumphant," and "The Four Traitors, Who Most Infamously Sold Themselves," nos. 1843-6, 1844-19, and 1845-4). The broadside's text comes from a July 1845 letter from John Whipple, a prominent Providence, R.I., Whig, assailing the "cold-blooded treachery" of Charles Jackson, Samuel F. Man, James Fowler Simmons, and Lemuel H. Arnold in their support of the "liberation" ticket in the spring elections of 1845. Whipple alleges political opportunism and personal ambition as their motive, and offers a lengthy rebuttal to aspersions cast on his own political character by Lemuel Arnold. He also compares Lemuel Arnold to Revolutionary War traitor Benedict Arnold. The woodcut illustration shows a chariot drawn by Cerberus, the three-headed hound of hell, and by a cow with the head of Thomas Wilson Dorr. Driving the chariot is a bespectacled demon with the legs of a goat. Entwined about his body is a snake, and he wields a whip and a pitchfork. The demon is probably James F. Simmons, who was elected governor on the Democrats' liberation ticket. His tail is grasped by Lemuel Arnold, who sits behind him holding a staff with a banner "Office." Behind Arnold sit three other figures: a woman (indicating the prominence of women in the Dorrite cause), a man blowing a horn (another conspirator?), and a uniformed officer, either Napoleon Bonaparte or Benedict Arnold. On the back of the chariot rides a man with a bottle in his pocket, waving a newspaper, the "Tribune," and a stovepipe hat. This may be Horace Greeley, editor of the New York "Tribune," although his usual alignment with the Whigs makes his role here questionable. Below the image are the quotations, "We stoop to Conquer" and "Better to reign in Hell than serve in Heaven" (Satan's famous remark from "Paradise Lost)." The chariot is decorated with snakes and a shield and anchor with a death's head on the central panel. The unidentified publisher of the broadside adds, in a colophon, "I have been at considerable trouble, in obtaining a drawing and engraving of "The Worthies;" and would particularly inform my friends, that I shall ever consider myself alone, personally, responsible for all that I shall publish . . . ." Although Marvin Gettleman, in his study of the Dorrite rebellion, dates the broadside March 1845, Whipple clearly states in his letter, "it is now July."|Title appears as it is written on the item.|Gettleman, p. 171n.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-5.

Henry Clay's November 1847 address to a public meeting in Lexington, Kentucky, condemning the Polk administration's prosecution of the Mexican War and opposing the pondered annexation of all of Mexican territory is the subject of the artist's attack. Clay's speech was widely published and was endorsed by influential New York editor Horace Greeley. Here the Whig statesman's pacifism is depicted as insincere and politically motivated, and Greeley is shown as unpatriotic. A two-faced Clay hands a pair of pistols to his son Lt. Col. Henry Clay (in uniform, far left). The younger Clay was an officer in the Mexican War and was killed at Vera Cruz in February 1847. The elder Clay says, "Take these pistols, my son, & use them honorably. May they do good execution on the foes of your country." On the other side he addresses Greeley and several others, vowing, "Down with this War-making Administration! Down with the Army who rob & kill our innocent friends the Mexicans!" Greeley (center, in pale frock coat) holds a copy of his New York "Tribune," publishing Clay's speech. His reply is, "Hurra! Hurra! These are the good old days of the Hartford Convention! It warms the very bran bread in my stomach to hear thee! Glorious Harry of the West!" The Hartford Convention, held in 1815, was an early secessionist movement in the Northeast. "Bran bread" was a well-known dietary preference of Greeley's. Behind Greeley is a cadaverous man (possibly William Lloyd Garrison, editor of the "Liberator&1), who says, "This is nuts for us. Another spoke in the non-resistance wheel!" Beside him another unidentified man, wearing plaid trousers patched in several places, throws up his hands and exclaims, "Mercy on me! what shall I do? Here I have been waiting 20 years for an office under the Whigs, & old Harry has knocked us all into the shape of a three cocked Hat." On the right stands bewhiskered New York "Courier and Enquirer" editor James Watson Webb. Outraged, he raises his fist and shouts, "What the devil is this? What success can we expect when we go against the country, and trample on the ashes of our slain Heroes?" Webb, though a Whig, supported the Mexican War brought about by the Democratic Polk administration. He is told by a smaller man, "Peace, Colonel! You'll spoil all. Don't you know it is necessary to decry the war in order to make out that Scott & Taylor are doing more harm than good, and thus keep them out of the Presidential chair, which must be filled by Harry of the West. You know our case is desperate, and so Harry must do something desperate for his own sake." On the far right a carpenter holds up a wooden peg and announces, "Gentlemen, I've made a new Wooden leg for Santa Anna. You can appoint a Clay-Whig Committee to present it to him, with a suitable address." Gen. Antonio Lopez de Santa Anna, the commander of Mexican forces, had left his wooden leg behind in his retreat from the Battle of Cerro Gordo.|Entered . . . 1847 by J. Baillie.|Lith. & published by James Baillie, 87th. Str. near 3d. Avenue, N.Y.|Probably drawn by John L. Magee.|The Library's copy of the print was deposited for copyright on November 29, 1847.|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 1847-5.

Lincoln, Abraham. Abraham Lincoln papers: Series 2. General Correspondence. -1864: Horace Greeley to Abraham Lincoln, August 1, 1862 Clipping of Letter; endorsed by Lincoln. August 1, 1862.Manuscript/Mixed Material. https://www.loc.gov/item/mal4233500/.

The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. He singles out for indictment radical abolitionist William Lloyd Garrison, Pennsylvania Free Soil advocate David Wilmot, New York journalist Horace Greeley, and Southern states' rights spokesman Senator John C. Calhoun. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Wilmot: "Bubble, bubble, toil and trouble! / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. / Til we divided be!" Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / Niggars strong as goats / Cut your master's throats / Abolition boil! / We divide the spoil." Greeley: "Bubble, buble [sic], toil and trouble! / Fourierism / War and schism / Till disunion come!" In the background, stands the aging John Calhoun. He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants!"|Entered . . . 1850 by J. Baillie.|Published by James Bailley, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 101.|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 1850-7.

An indignant James K. Polk takes issue with Massachusetts senator Daniel Webster's public attacks on his Texas policy. In 1844 Webster had been opposed to the annexation of Texas and in 1846 he criticized attacked the war with Mexico over Texas as highly unjustifiable. Webster's first public speech on the war was made in late June, and the print probably did not appear before that. In the center, Polk (left) confronts Webster, warning, "If you say the Mexican War is a War of my own makeing you tell a falshood!" Raising his fists, Webster retorts, "I did say it & say it again!" To the left of Polk stand Thomas Ritchie and James Watson Webb, newspaper editors supporting the administration. Webb holds a bottle of "Tom and Jerry" and a sponge, commenting, "Principles, not men!" The Whig editor had opposed the annexation of Texas, but once hostilities commenced he urged military action to bring about a speedy termination. Webb's insistence on "principles" reflects his uneasiness in an alliance with a Democratic administration which stood to gain politically from the conflict. Ritchie reassures Polk, "In Union [a double entendre referring to his newspaper the "Washington Union&1] there is strength, Nous Verrons!" To the right of Webster stand an unidentified man (probably another journalist) and Horace Greeley, editor of the New York "Tribune. "Greeley, who was severely critical of Polk's policies, holds a bottle of "Lemon Soda" and (like Webb) a sponge, and remarks, "I wish Dan had eaten more Graham bread he's too fat for Polk!" (Graham bread was a well-known Greeley dietary preference.) The unidentified man remarks, "A Daniel come to blows, if not Judgment." The sponges and bottles are apparently intended for the relief of the fighters, much as the port and the "Old Monongohala Whiskey" figured in Anthony Imbert's "Set to between Old Hickory and Bully Nick"(no. 1834-4), on which "The Issue Joined"seems to be based. The precise significance of the "Tom & Jerry" and "Lemon Soda" is unclear. "The Issue Joined"is executed in a style similar to that of Edward Williams Clay. The faces of the characters may in fact be attributable to Clay, but the drawing of the figures and costumes are not up to that artist's standard.|H.R. 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 1846-10.

The 1870 New York City charter, written by Tammany Hall political boss William Marcy Tweed and his associates, gave the "Tweed Ring" carte blanche to deplete the city's treasury. This cartoon, probably issued shortly after the charter's passage, is critical of the leeway given Tweed by some of New York's leading public figures. Tweed, as the Indian Tammany, raises his tomahawk to decapitate an unidentified man whose head lies on a stump. On his arm is tattooed a large "6," a reference to the Americus or "Big Six" Fire Company, which Tweed led in his earlier days. The victim moans, "Putty can't save me." Three severed heads already hang from Tweed's belt. Beside him an unidentified man standing beneath a hangman's rope remarks, "Bad noose for me." Behind a podium or railing in the background stands New York mayor A. Oakey Hall, who proclaims, "I am monarch of all I appoint." The new charter gave Hall authority to appoint all city officials. Governor John T. Hoffman, next to Hall, cries, "Save me from my friends." City Chamberlain Peter Barr Sweeny (right) holds a key and sits on a chest, vowing, "Upon this charter let us build." City Comptroller Richard B. Connolly rests his hand on a bag "New York City Treasury" and remarks, "Richard is himself again." At far left an unidentified man (possibly President Ulysses S. Grant) holding a pen asserts, "My voice is still for peace." ("Let us have peace" was Grant's 1868 campaign slogan.) A group of men including several New York journalists stand together at left, evidently prospective victims of Tweed's ax. Each holds a copy of his respective newspaper and comments. Joseph Howard, Jr., of the "Morning Star" (holding a bottle of "Soothing Syrup"): "I feel--I feel like the Morning Star." Manton Marble of the New York "World:" "I weep because there are no more worlds to lose." Marble was instrumental in exposing the "Tweed Ring." Charles Anderson Dana of the New York "Sun:" "The sun shines--but alas!--in vain." New York "Tribune" editor Horace Greeley and New York Congressman John Morrisey embrace. Morrisey: "I have fought--played cards--but cant get a hand in the treasury." Greeley: "This means business." On the basis of style the work can be attributed to the Currier & Ives shop.|Title appears as it is written on the item.|Weitenkampf, p. 162.|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 1871-2.

This curriculum kit helps to teach about the role of media in 28 U.S. elections ranging from 1800-2008. Over 160 media documents are included for decoding, including slides of posters, handbills and political cartoons; audio clips of songs and radio programs; and video clips of speeches, debates, comedy TV and political commercials. Students will learn how to analyze historical documents, the history of presidential campaigns, the crafting and marketing of campaign messages, and the impact of new technologies and new media on presidential campaigns.