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.

This site presents papers of members of Congress, Supreme Court justices, and key federal law cases. Learn about the Revolution and the creation of the U.S. by investigating the papers of our earliest lawmakers -- Jefferson, Madison, Monroe, and others. See Calhoun's speech against the Compromise of 1850 and Webster's notes for his speech in favor of it, General MacArthur's Old Soldiers Never Die address to Congress (April 1951), and more.

This 1946 federal court ruling marked a victory for Mexican Americans and chipped away at the separate but equal doctrine, declaring segregated schools based on national origin unconstitutional.

Does Democracy Matter in My Life?- Own It! Handbook is the guide book for a transformative after-school, trauma-informed enrichment program. It provides five  lessons & activities about essential elements of American democracy since the 1780s. Own It! also nurtures academic skills, personal growth and leadership. It uses history to connect our past to our future, as part of the Own Your History® (OYH) Collection. But Own It! is not “school” and it differs from traditional approaches to history.  Own It! helps students learn more about themselves, as well as their community and the country. Own It! enhances students’ engagement in being creative, making things happen, and  achieving goals. Its mission is to help them step up and enrich their lives, especially by understanding that they live in history. 

Born in Baltimore, Maryland, Thurgood Marshall graduated from the Howard University School of Law in 1933. He established a private legal practice in Baltimore before founding the NAACP Legal Defense and Educational Fund. In that position, he argued several cases before the Supreme Court, including Brown v. Board of Education, which held that racial segregation in public education is a violation of the Equal Protection Clause. In 1967, President Lyndon B. Johnson successfully nominated Marshall to succeed retiring Associate Justice Tom C. Clark. He was confirmed on August 30, 1967. Marshall served as Associate Justice of the Supreme Court of the United States from 1967 until 1991. Marshall was the Court's 96th justice and its first African-American justice.

One of three similar prints published by Oliver Evans Woods, reflecting grave northern fears of British and French interference on behalf of the Confederacy in the Civil War. (See also "The Pending Conflict" and "The Pending Contest," nos. 1864-2 and 1864-3.) The controversy centered on the "Alabama" and other warships built and fitted out for the Confederates in England. French Emperor Napoleon III's military operations in Mexico in 1862 and 1863 were also perceived as dangerous to the North. The print actually appeared in the summer of 1863, when Southern diplomatic overtures to France and England threatened to result in international recognition for the Confederacy. In the center Jefferson Davis--here called "Secesh"--raises a club labeled "Pirate Alabama" over the head of a brawny Union soldier whose arms are constricted by the Constitution, and around whose waist and legs coils a poisonous snake. Davis tramples on an American flag. At right stands a leering John Bull, who holds a pile of clubs in reserve for Davis. Behind him is a prancing Napoleon III, also watching the contest. In the distance two ships burn on the ocean. Napoleon: "Whip him, Secesh, and when I get Mexico, I'll help you whip him again." John Bull: "Down with him, Secesh--burn his Ships--destroy his Commerce--England has plenty more such clubs for you." Secesh: "I'll fix him--I'll kill him." Soldier: "The flag of my country trampled under foot--the ships of my country burning on the ocean--while I stand here entangled in the coils of this foul Copperhead, and so bound up by Constitutional restraints, that I am unable to put forth my true strength in their behalf." The "restraints" mentioned may refer to opposition on constitutional grounds to Lincoln's use of what he considered valid presidential war powers. The cartoon may have been specifically occasioned by the Supreme Court's review in the "Prize Cases" of 1863 of the legality of the Union blockade. "Copperhead" was the derogatory term used for anti-Lincoln or anti-Republican advocates of a negotiated reconciliation with the South.|Published by Oliver Evans Woods, Philadelphia.|The Library's impression of the print was deposited for copyright on July 1, 1863.|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 1863-10.

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.

This segment from American Experience: Simple Justice captures the legal issues and opening arguments in Brown v. Board of Education.

Students have the right to have fun in this lesson in which they create a PowerPoint presentation about civil rights and the Supreme Court.