A satire on dissension and political intrigue within Andrew Jackson's administration, surrounding the Spring 1831 resignations of several members of his Cabinet. In the center Jackson sits in a collapsing chair, labeled "The Hickory Chair is coming to pieces at last." Seated on the arm of his chair is a rat with the head of Postmaster General William T. Barry. On the floor before him is a pile of resignations with a broken clay pipe, and a brazier. He sweeps with a broom at a number of rats scurrying at his feet, and in the act knocks over the "Altar of Reform" toppling a winged ass also holding a broom. The rats have heads of (from left to right) Secretary of State Martin Van Buren, Secretary of War John H.Eaton, "D. I. O."(?), Navy Secretary John Branch, and Treasury Secretary Samuel D. Ingham. John Calhoun is a terrier which menaces the Van Buren rat. Van Buren, threatened by an eagle while attempting to climb the "Ladder of Political Preferment" whose rungs are labeled with the names of the states, says, "If I could only humbug that Eagle and climb up this ladder." Calhoun: "You don't get up if I can help it." Eaton: "I'm off to the Indians." Branch: "This from the greatest and best of men." Ingham: "Is this the reward of my Patriotic disinterestedness." In a doorway marked "Skool of Reform" appears a man in a visored cap and fur-trimmed coat saying, "There's Clay, and this is all Clays doings." Daniel Webster and Henry Clay (with raised arms) look in through a window. Webster: "That Terrier has nullified the whole Concern." Clay: "Famine! War! Pestilence!"|Cock of the Walk fecit. (Edward Williams Clay).|Entered . . . 1831 by E.W. Clay.|Publd by E.W. Clay, S.E. corner of Walnut and 4th St. Philada.|The print appears to have been derived from William James Hubbard's portrait of Jackson, or from Albert Newsam's 1830 lithograph reproducing the painting. A pencil sketch believed by Davison to be Clay's sketch for the print is in the National Portrait Gallery in Washington. The Library's impression of ".0001" was deposited for copyright on May 5, 1831. Davison also lists a second edition of the print. Two anonymous versions of the print, possibly derived from ".00001," were published under the title "The Rats leaving a falling house." (See 1831-2).|Title appears as it is written on the item.|Davison, no. 32 (sketch), 56 and 57.|Murrell, p. 109-110.|Weitenkampf, p. 24.|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 1831-1.

Another show of Northern optimism in the early months of the Lincoln administration. Uncle Sam approaches from the left holding a bayonet, causing five Southern soldiers to flee in panic to the right. In their haste to retreat the Confederates drop their flag, muskets, a hat, and a boot. A black child and two black men, one fiddling, watch with obvious glee from the background. Prominent in the center foreground are a mound marked "76" bearing an American flag and a crowing cock. In the background are the Capitol at Washington (left) and the palmetto trees of South Carolina (right).|Entered . . . by W. Wiswell . . . Ohio, June 8th 1861.|The Library's copy of the print is the copyright deposit impression.|Title appears as it is written on the item.|Weitenkampf, p. 132.|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 1861-28.

Another mock bank note parodying the "shinplasters" of the 1837 panic. Such small-denomination notes were based on the division of the Spanish dollar, the dominant specie of the time. Hence they were issued in sums of 6 (more accurately 6 1/4), 25, 50, and 75 cents. These fractional notes proliferated during the Panic of 1837 with the emergency suspension of specie (i.e., money in coin) payments by New York banks on May 10 of that year. "Treasury Note" and "Fifty Cents Shin Plaster" (nos. 1837-9 and -11) also use the bank note format to comment on the dismal state of American finances. Unlike these, however, "Humbug Glory Bank" is actually the same size as a real note. The note is payable to "Tumble Bug Benton," Missouri senator and hard-money advocate Thomas Hart Benton, and is signed by "Cunning Reuben [Whitney, anti-Bank adviser to Jackson and Van Buren] Cash'r" and "Honest Amos [Kendall, Postmaster General and influential advisor to Van Buren] Pres't." It shows several coins with the head of Andrew Jackson at left, a jackass with the title "Roman Firmness," a hickory leaf (alluding to Jackson's nickname "Old Hickory"), and a vignette showing Jackson's hat, clay pipe, spectacles, hickory stick, and veto (of the 1832 bill to recharter the Bank of the United States) in a blaze of light. Above is a quote from Jackson's March 1837 farewell address to the American people, "I leave this great people prosperous and happy."|Copyrighted by Anthony Fleetwood, 1837.|Published at 89 Nassau Str. New York.|Signed facetiously: Martin Van Buren Sc.|The print was deposited for copyright on August 21, 1837, by Anthony Fleetwood, and published at the same address (89 Nassau Street) as "Capitol Fashions" (no. 1837-1), also an etching. The Library's impression (the copyright deposit proof) is printed on extremely thin tissue.|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 1837-10.

7th Grade Historical Literacy consists of two 43 minute class periods. Writing is one 43 minute block and reading is another. The teacher has picked themes based on social studies standards, and a read-aloud novel based on social studies serves as the mentor text for writing and reading skills. More social studies content is addressed in reading through teaching nonfiction reading skills and discussion.
Standards reflect CCSS ELA, Reading, and Social Studies Standards.

The 7th grade poetry unit gives an in depth approach to poetry involving the four strands within the core. I've included worksheets, rubrics, and answers keys where applicable. I have also used literature examples from the core.

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)

A satire on enforcement of the "gag-rule" in the House of Representatives, prohibiting discussion of the question of slavery. Growing antislavery sentiment in the North coincided with increased resentment by southern congressmen of such discussion as meddlesome and insulting to their constituencies. The print may relate to John Quincy Adams's opposition to passage of the resolution in 1838, or (more likely) to his continued frustration in attempting to force the slavery issue through presentation of northern constituents' petitions in 1839. In December 1839 a new "gag rule" was passed by the House forbidding debate, reading, printing of, or even reference to any petition on the subject of abolition. Here Adams cowers prostrate on a pile composed of petitions, a copy of the abolitionist newspaper the "Emancipator," and a resolution to recognize Haiti. He says "I cannot stand Thomson's [sic] frown." South Carolina representative Waddy Thompson, Jr., a Whig defender of slavery, glowers at him from behind a sack and two casks, saying "Sir the South loses caste whenever she suffers this subject to be discussed here; it must be indignantly frowned down." Two blacks crouch behind Thompson, one saying "de dem Bobolishn is down flat!" Weitenkampf cites an impression with an imprint naming Robinson as printer and publisher, this line being apparently trimmed from the Library's impression. The drawing style and handling of the figures strongly suggest that "Abolition Frowned Down" is by the same Robinson artist as the anonymous "Called to Account" and "Symptoms of a Duel" (nos. 1839-10 and -11).|Drawn by HD?|Entd . . . 1839 by H.R. Robinson . . . Southn. Dist. of N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 59.|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 1839-12.

A folding comic puzzle in which the heads of Confederate General P.G.T. Beauregard and a donkey switch bodies. An example of mass of anti-Beauregard material published in the north after the outbreak of hostilities leading to Civil War.|Published by Samuel Upham, 310 Chestnut Street, Philadelphia. Entered according to Act of Congress, in the year 1861, by Samuel C. Upham, 310 Chestnut St., Philadelphia, in the Clerk's Office of the District Court of the United States, in and of the Eastern District of Pennsylvania.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A racist attack on Democratic vice-presidential candidate Richard M. Johnson. The Kentucky Congressman's nomination, in May 1835, as Van Buren's running-mate for the 1836 election raised eyebrows even among party faithful, because of Johnson's common-law marriage to a mulatto woman, Julia Chinn, by whom he fathered two daughters. The artist ridicules Johnson's domestic situation, and the Democrats' constituency as well. Seated in a chair with his hand over his face, a visibly distraught Johnson lets a copy of James Watson Webb's "New York Courier and Enquirer" fall to the floor and moans, "When I read the scurrilous attacks in the Newspapers on the Mother of my Children, pardon me, my friends if I give way to feelings!!! My dear Girls, bring me your Mother's picture, that I may show it to my friends here." On the right are his two daughters, Adaline and Imogene, wearing elegant evening dresses. One presents a painting of a black woman wearing a turban, and says, "Here it is Pa, but don't take on so." The second daughter says, "Poor dear Pa, how much he is affected." A man behind them exclaims, "Pickle! Pop!! and Ginger!!! Can the slayer of Tecumseh be thus overcome like a summer cloud! fire and furies. oh!" Johnson is reported to have slain the Indian chief Tecumseh. Flanking Johnson are a gaunt abolitionist (right) and a black man. The abolitionist holds a copy of the "Emancipator," a Hartford, Connecticut newspaper, and says, "Be comforted Richard; all of us abolitionists will support thee." The black man pledges, ". . . de honor of a Gentlemen dat all de Gentlemen of Colour will support you." On the far left is a stout postmaster who says, "Your Excellency, I am sure all of us Postmasters and deputies will stick to you; if you promise to keep us in office." The print seems to date from early in the campaign of 1836. Johnson's wife Julia Chinn died in 1833. Adaline, one of the two daughters pictured, died in February 1836. Although Weitenkampf dates the print at 1840, when Johnson was again Van Buren's running-mate, the presence of both daughters and the drawing style are persuasive evidence for an 1836 date.|Probably published by Henry R. Robinson, New York.|Title appears as it is written on the item.|Weitenkampf, p. 63.|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 1836-15.

A pro-Republican campaign print casting Lincoln as peacemaker, and as the hope for reconciliation between the North and South. The top half of the composition represents the North and the bottom the South. In the center, Lincoln rides forth on a prancing horse, as a group of farmers at the left wave their hats and cheer, "All is right now! hurrah!" Below him is a streamer "Union Henceforth Now and For Ever." On the right the upper scene, in the North, shows a "Northern Fanatic" in a jail "Imprisonment for Life." Above the jail is a gallows, "Higher Law." The prisoner is jeered by a crowd, saying, "That serves them [him?] right." The bottom right scene in the South shows a "Southern Fanatic" jailed while several onlookers say, "They won't do any more mischief." In the center, to the left, a weary Jefferson Davis begins to dismount from his horse. Below him are two clasped hands, with the title "After a Little While."|Lith. by Chas. Magnus, N.Y.|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 1864-29.

The presidential campaign of 1836 viewed as a card game by a satirist in sympathy with the Whigs. Opposing candidates Martin Van Buren (Democrat) and William Henry Harrison (Whig) face each other across a card table. Behind Van Buren stands his vice-presidential running mate Richard M. Johnson. Behind Harrison is incumbent President Andrew Jackson, who smokes a clay pipe and stands on tip-toes to spy on Harrison's hand. With his left hand he signals to Van Buren. Jackson: "What a h---ll of a hand old Harrison's got. I'm afraid Martin and Dick Johnson will go off with a flea in their ear." Johnson: "The old general is making signs that Harrison has the two highest trump cards and low. Martin he'll catch your Jack and then the jig's up! You'd better beg." Van Buren: "I ask one." Harrison: "Take it! now look out for your Jack!" On the wall above the table is a painting of the Battle of the Thames, one of Harrison's celebrated military victories a well as the occasion on which Johnson is reported to have slain the Indian chief Tecumseh. The print is probably by Robinson draughtsman Edward W. Clay, judging from its similarity to his "Grand Match Between the Kinderhook Poney ..." (no. 1836-14) and other signed work of the period.|Entered . . . 1836 by H.R. Robinson.|Published May 1836 by the proprietor H.R. Robinson, 48 Cortlandt St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 44.|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 1836-11.

The major figures in American national politics in 1838 are gently satirized, each characterized as riding a favorite issue or "hobbyhorse." At the lead (far left) is President Martin Van Buren, riding a horse "Sub-Treasury," which he calls his "Old Hickory nag." The artist refers to Van Buren's independent treasury program, a system whereby federal funds were to be administered by revenue-collecting agencies or local "sub-treasuries" rather than by a national bank. The Independent Treasury Bill was perceived as an outgrowth of predecessor Jackson's anti-Bank program. Another hobbyhorse, "United States Bank" (center), is shared by Whig senators Henry Clay and Daniel Webster, leaders of congressional opposition to Jackson and Van Buren's respective fiscal agendas. Clay says, "Either you or I must get off Dan, for this horse wont carry double!" Webster responds, "Dash my Whig if I get off Hal!" Directly behind Van Buren Democratic Senator Thomas Hart Benton rides a horse "Specie Currency," an allusion to Benton's championing of hard money economics. Benton was identified with administration efforts to curb the use of currency in favor of "specie" or coin, and to increase the ratio of gold to silver in circulation. He says, "My Golden Poney carries more weight than any of them!" Behind Clay and Webster is South Carolina senator John C. Calhoun, advocate of state's rights and the driver of Southern nullification of the "Tariff of Abominations." On the right are William Henry Harrison, in military uniform and riding an "Anti-Masonic" hobby, and Massachusetts Congressman John Quincy Adams on his "Abolition" mount. Harrison's horse is named after the party which supported his 1836 bid for the Presidency. When he says, ". . . unless there is another Morgan abduction, I'm afraid he'll [the horse] lose his wind!" he alludes to the suspicious 1826 death of William Morgan (purportedly at the hands of Masons) which fueled considerable anti-Masonic sentiment in the United States. Adams laments, "This horse, instead of being my Topaz, is my Ebony." |Entd . . . 1838 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Signed with monogram: C (Edward Williams Clay).|The print was registered for copyright on March 16, 1838.|Title appears as it is written on the item.|Blaisdell and Selz, no. 16.|Davison, no. 104.|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 1838-1.

A Whig cartoon spoofing Democratic claims of Western support for Van Buren during the election of 1840. Pursued by animals from the "Alleghany Mountains" and the Mississippi River, including among others a buffalo, alligator, beaver, turtle, and fox, Van Buren flees to the right saying, "This is going for me with a vengeance! I wish I was safe at Kinderhook! [his birthplace and family home was Kinderhook, New York] for I am a used up man!" A parchment "Sub-Treasury Bill" has fallen at his feet, referring to the independent treasury plan, the centerpiece of Van Buren's fiscal program.|Entered . . . 1840 by J. Childs.|Published by John Childs, 90 Nassau St. N.Y.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 61.|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 1840-53.

E. W. Clay's apocalyptic allegory has public opinion as a giant lever, tilting decisively in favor of the Whigs late in the presidential campaign of 1840. In a symbolic landscape masses of people climb onto the lever, which then nudges the great ball of "Loco Focoism" over a precipice. In the sky appears an eagle with a shield, arrows, and olive branches, holding a banner with the commentary: "With a log cabin and barrel of hard Cider for a fulcrum, public opinion for a "lever," with old Tip on the tip end the ball of Locofocoism will be rolled into oblivion and a gallant soldier raised to the white house. March 4th 1841." In the distance is a recently cleared field, the White House, and the Capitol. Van Buren and several others topple from the giant ball, on which also appears a strong box inscribed "Sub Treasury." A crowd of erstwhile supporters flee from the edge of the chasm, leaving behind "Treasury Notes." The print probably appeared in September 1840, since the Library's impression was deposited for copyright on September 24. Nancy Davison and Frank Weitenkampf both attribute the print to Edward W. Clay. This is supported by stylistic comparison with his other 1840 cartoons. The "W.C." signature appears to be a truncated form of his "EWC" monogram.|Entered . . . 1840 by J. Childs.|Published by John Childs, 90 Nassau Street New York.|Signed: W.C. inv. (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 133.|Lorant, p. 158-159.|Weitenkampf, p. 66.|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 1840-58.

The large, bold woodcut image of a supplicant male slave in chains appears on the 1837 broadside publication of John Greenleaf Whittier's antislavery poem, "Our Countrymen in Chains." The design was originally adopted as the seal of the Society for the Abolition of Slavery in England in the 1780s, and appeared on several medallions for the society made by Josiah Wedgwood as early as 1787. Here, in addition to Whittier's poem, the appeal to conscience against slavery continues with two further quotes. The first is the scriptural warning, "He that stealeth a man and selleth him, or if he be found in his hand, he shall surely be put to death. "Exod[us] XXI, 16." Next the claim, "England has 800,000 Slaves, and she has made them free. America has 2,250,000! and she holds them fast!!!!" The broadside is advertised at "Price Two Cents Single; or $1.00 per hundred.|N.Y. sold at the Anti-Slavery Office, 144 Nassau St. 1837.|Title appears as it is written on the item.|Wedgwood Portraits and the American Revolution, p. 116-117.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-16.

An allegorical illustration on the cover of a patriotic song, dedicated to the "National Guards of Philadelphia." A pronouncedly decollete Columbia or Liberty figure sits astride a bald eagle which flies over the globe. The eagle clutches lightning bolts and an olive branch in its talons, while Columbia holds a scroll (probably the Constitution) and an American flag.|Entered . . . 1859 by Lewis Dela . . . Pennsylvania.|Lewis N. Rosenthal Lith. Phila.|Philadelphia, Lee & Walker, 722 Chestnut Street.|The Library's copy of the music cover was deposited for copyright on September 15, 1859.|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 1859-2.

An advertisement announcing publication of the "American Citizen," a short-lived nativist newspaper. The broadside is illustrated with an elaborate and venomous anti-Catholic scene. At left a temple of Liberty stands on a mound labeled "Constitution and Laws." At the foot of the hill is a gathering of native Americans, including sailors, farmers, soldiers, and a Revolutionary War veteran. They hold banners emblazoned with such mottoes as "The Bible The Cornerstone of Liberty," "Beware of Foreign Influence," "None But Americans Shall Rule America," and "Education, Morality, and Religion." Other banners bear the names of sites of great revolutionary battles. In the background are a harbor with ships and the skyline of a city. In contrast, an unruly contingent of foreigners, mostly Irish, alight from a newly landed ship at right. The ship, "from Cork," bears the papal coat of arms. The foreigners carry banners reading, "We Are Bound to Carry Out the Pious Intentions of His Holiness the Pope," "Americans Shant Rule Us!!" and "Fradom of Spache and Action!" Among them are several clerics, a drunken mother with several children, and a few unkempt ruffians. One of the newcomers (lower right) beats a man with a club. In the distance, across the ocean, the basilica of St. Peter's in Rome is visible. From it issues a giant basilisk wearing the pope's crown, which is seized by a large hand from above. A commentary is provided in the lengthy continuation of the title: "Already the enemies of our dearest institutions, like the foreign spies in the Trojan horse of old, are within our gates. They are disgorging themselves upon us, at the rate of Hundreds of Thousands Every Year! They aim at nothing short of conquest and supremacy over us." Below the illustration the text states that the "American Patriot" favors "protection of American Mechanics Against Foreign Pauper Labor. Foreigners having a residence in the country of 21 years before voting, Our present Free School System, and Carrying out the laws of the State, as regards sending back Foreign Paupers and Criminals." The paper opposes "Papal Agression & Roman Catholicism, Foreigners holding office, Raising Foreign Military Companies in the United States, Nunneries and Jesuits, To being taxed for the support of Foreign paupers millions of dollars yearly To secret Foreign Orders in the U.S." |The Patriot is published by J.E. Farwell & Co., 32 Congress St., Boston, and for sale at the Periodical Depots in this place.|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 1852-3.

A patriotic, Unionist sheet music illustration. Liberty stands on a pedestal, wearing a Phrygian cap, a white tunic over a long gown emblazoned with stars, and a red sash. She holds a sword in her right hand and a staff with American flag in her left.|Entered according to Act of Congress by Charles S. Stoddard.|Gilmour & Dean, Litho.|The Library's copy of the music sheet was deposited for copyright by Charles S. Stoddard on April 18, 1862.|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 1862-4.

An illustrated sheet music cover for a patriotic song by Freeman Scott. The title appears on a striped shield with laurel and oak branches below and a flag, liberty pole and cap, spears, and bundled fasces (symbolic of unity) behind.|Entered . . . 1850 by M. Keller & J. Neff . . . Eastern District of Philadelphia.|Philadelphia Mathias Keller & J. Neff . . . Baltimore W. C. Peters.|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 1850-3.

An illustrated sheet music cover for a Whig campaign song, "The American Marseillaise," composed by Benjamin Cahill to mark the July 4, 1844, Boston Clay rally. In keeping with the title and the occasion of the piece the artist evokes the memory of the Revolution, and draws a parallel between George Washington and Whig presidential candidate Henry Clay. Oval medallion portraits of Washington (left) and Clay (right) are suspended by ribbons decorated with wreaths or leaf clusters. From each oval hang the tendrils of a vine. The ribbons are held by an eagle (center) and are labeled "Pater et Fili" (i.e., father and son), referring to Washington and Clay respectively. Below the eagle is a view of Boston and its harbor with the Bunker Hill Monument obelisk (its size considerably exaggerated) surrounded by crowds of troops and people.|Entered . . . 1844 by B. Cahill.|The Library's copy of the cover was deposited for copyright on July 3, 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 1844-11.