An advertising calendar for a lithographic printing firm, decorated with Unionist symbols and motifs. The calendar for 1863 and the first 6 months of 1864 is surrounded with an elaborate framework of floral and acanthus ornament, surmounted by the figure of Columbia or Liberty. The figure is closely based on Thomas Crawford's statue of Freedom on the U.S. Capitol. She stands holding shield and sword, and wearing a robe emblazoned with stars and an eagle headdress with a crown of stars. At her right are symbols of progress, industry, and culture: a locomotive, a plough with a sheaf of grain, a statue, and a printing press. At her left are artifacts of war such as tents, cannons, arms, and an eagle. Flanking the calendar itself are two vignettes. On the left is a peacetime scene, with a farmer holding a scythe as two field hands harvest grain behind him. On the right a soldier with a rifle stands before a battlefield. Two putti appear in the acanthus scrolls below.|Ehrgott, Forbriger & Co. Lithographers, Cincinnati.|Entered . . . 1862 by Ehrgott, Forbriger & Co. . . . Ohio.|The Library's copy of the calendar was deposited for copyright on January 3, 1863.|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 1862-17.

An advertising calendar for a lithographic printer, with various patriotic motifs and a subtle commentary on the Emancipation Proclamation. The calendar, for 1863, is set within an elaborate architectural framework. The whole is draped with an enormous flag which hangs down from an enthroned Columbia at top. Columbia sits holding a sword and shield, an eagle on her left, and a globe and the Constitution at her feet. Further left are a plough, scythe, and wheat sheaves. On the right appear symbols of progress and industry including a telescope, locomotive, anvil and hammer, millstone and gear wheel, and bales and barrels of goods. On the middle register are symbols of the arts, sciences, and learning, including an easel painting, palette and brushes, musical instruments, books, urns, and a tapestry. On the far left a seaman mans a cannon before a backdrop of sails and smokestacks. On the right an infantryman stands guard with his dog before an encampment. At the bottom are two scenes. The scene on the left shows three black children and a white child, who watches idly as one of the three stands on a cotton bale and whitewashes over a placard reading "1862." Another black child, kneeling on a crude wooden block with chains attached to it (an allusion to slavery), holds the bucket of whitewash, and the third blows soap bubbles. In the scene on the right the roles are reversed: as the white child works, the three black children are idle. Standing on a pedestal labeled "Emancipation," the white boy inscribes the date "1863" on a panel. He holds a portfolio under his arm. A black child sits on a classical cornice at left, holding a small bucket of paint while one of his companions reclines on the ground. The third black child sits fiddling on a fallen column nearby. A small hourglass appears in a vignette below the calendar. |Ehrgott, Forbriger & Co. Lith. Cincinnati.|Entered . . . 1862 by Ehrgott, Forbriger & Co. . . . Ohio.|The Library's impression of the calendar was deposited for copyright on January 3, 1863. |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 1862-18.

Once more the House of Representatives investigation of Treasury practices under the Van Buren administration in connection with the Swartwout embezzlement scandal. (See above nos. 1839-6 through -9.) The print must have appeared in January or February, after the House of Representatives voted to form its select investigative committee by ballot. Speaker of the House James K. Polk, perceived as a friend of the administration, was prevented by a Whig majority in the House from appointing the committee himself, as was customary. Here a kneeling, bespectacled Polk is berated by Satan (who could represent Van Buren). Satan: "What does this mean? How came you to let that Committee be chosen by ballot? Don't you know we're undone? Was it for this I made you Chancellor of the Exchequer? Did not you engage to do all our work? and manage the House for my interest? and here's that cursed [Whig Congressman Henry A.] Wise with his Committee breaking in to our Head Quarters! I'll cashier you!!" Polk: "Dread Sir! be not too wratful with your servant; I did my very best. You know I have not the influence I once had; I'm sure I turned & twisted & did all a man could. Pray try me but once more; See if I don't carry your Sub-Treasury Bill for you, & if that passes you know we are all made!" "Called to Account" is most probably by the same artist as "Symptoms of a Duel" (no. 1839-10).|Drawn by HD?|Entd . . . 1839 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt & 11-1/2 Wall st. N. Y.|Title appears as it is written on the item.|Weitenkampf, p. 57.|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 1839-11.

The attached close reading activities go with the novel The Call of the Wild by Jack London and are aligned to 9-12 CC ELA standards and focus on analyzing word choices, interpreting literary techniques, and determining themes.  Full Text: https://www.gutenberg.org/files/215/215-h/215-h.htm Audio Link: https://www.youtube.com/playlist?list=PLVuRdoIItQC9ER0sqT4CTUV1uu7pi1JDK 

In this problem-based learning module, students will use their knowledge of the ancient Roman Empire and will work to analyze critical theories historians agree contributed to the fall of Rome. Students will then work to compare the problems faced by the Romans with problems citizens of the United States still largely face today. Through this investigation, students should recognize how modern technology, government agencies, laws and resources help to solve societal problems that could have once destroyed an empire. With this new understanding, students should work to present a solution to a major problem that plagued the Roman Empire during the years leading up to its collapse.

Jennifer Connell was called the “Worst Aunt Ever” on Twitter after she sued her cousin’s son over a broken wrist. The story, full of misinformation and inaccuracies, went viral. This video and accompanying lesson plan helps students learn how to fact-check a sensational story using a technique called lateral reading.

This lesson is not under an open license; however it is provided free for educational services.

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.

A grim commentary on the extraordinary measures taken by some Americans to evade military service during the Civil War. A man in shirtsleeves (center) has just had his right hand mutilated by a woman who stands at left, holding a hammer and knife. On a stump before the woman lies the man's severed index finger. "Oh Lord! Oh Lord! how it hurts," howls the man, as he dances about holding his bleeding hand. On the right, another man with an amputated finger extends his hand and reassures him, "Tˆü_ˆüąwont hurt but a minute and then you can get one of those." He refers to a certificate in his left hand, signed by "Dr. Syntax," certifying that "I have examined Adam Cowherd, Esq. and find that he has lost the first finger of his right hand. He affirms that it was cut off while digging post holes. I recommend that he be sent to the Army or to Fort Lafayette." During the Civil War, Fort Lafayette was used as a prison for political offenders.|Entered . . . 1862, by Wm. E.S. Trowbridge . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on August 27, 1862.|Title appears as it is written on the item.|Wm. E.S. Trowbridge, del.|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 1862-6.

In this lesson plan, students will create informative presentations using Canva on a topic of their choice or assigned by the teacher. They will learn how to use Canva’s design tools to create visually appealing slides that effectively convey their message. Once their presentations are complete, students will present their work to the class, practicing public speaking and communication skills. This activity combines creativity with technology and enhances students' ability to organize and present information.

Sharply critical of both the Democratic and Whig choice of presidential candidates in 1852, the artist laments the nomination of two soldiers, Winfield Scott (center) and Franklin Pierce (far right), in preference to several more "capable" statesmen who appear at left. The latter are (left to right): Samuel Houston, John J. Crittenden, Thomas Hart Benton, Millard Fillmore, John Bell, Lewis Cass, Stephen A. Douglas, and Daniel Webster. Most prominent in the group are Fillmore, Cass, and Webster, who also sought the presidential nomination in 1852. Fillmore: "I have sought more anxiously to do what was right; than what would please, and feel no disappointment, at finding that my Conduct has, rendered me an unavailable candidate." Cass: "We have been partizans where we differed in opinions as to the best means of promoting the prosperity and happiness of our native land, but we cast aside, party when we stood Shoulder, to Shoulder, for the Constitution & the Union." Webster: "It is not our fortune to be, or to have been successful Millitary Chieftains. We are nothing but painstaking, hardworking, drudging Civilians, giving our life, and health, and strength, to the maintenance of the Constitution and upholding the liberties of our country." Columbia, draped in stars and stripes and grasping the hands of Scott and Pierce, responds: "I acknowledge your noble services, worth and Constant devotion most Illustrious sons, and that you have the long experience, Sound sense and practical wisdom which fit you to receive the highest honor in my power to bestow, but you are "not Available." " "Availability," in the contemporary lexicon, meant the quality of broad popular appeal. Scott and Pierce were both distinguished in the Mexican War. Scott, holding a liberty staff and Phrygian cap, proclaims: "You see Gentlemen it is "availability" that is required and that is "my" qualification." Pierce holds a shield adorned with stars and stripes, adding, "I am a "Great" man and have done the country "Great" Service! I never knew it before; but it "must be so;" for the Convention has declared it, and the Democracy affirm it." Before his nomination by the Democratic convention of 1852, Pierce was a relatively little known New Hampshire attorney--a fact which Whig publicists tended to exaggerate. Pierce had, after all, served as a two-term congressman and senator from New Hampshire.|Lith. & pub. by Nathaniel Currier, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 880.|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 1852-14.

A caricature of President Martin Van Buren issued during the Panic of 1837, strongly critical of his continuation of predecessor Andrew Jackson's hard-money policies. Particular reference is made to the Specie Circular, a highly unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver (i.e., "specie") in payment for public lands. Designed to curb speculation, the measure was blamed by administration critics for draining the economy of hard money and precipitating the 1837 crisis. Hearkening back to the anti-Jackson "King Andrew the First" (no. 1833-4), the artist portrays Van Buren as a monarch in a princely cloak, treading on the Constitution. He is crowned "in the name of Belzebub . . . Ragamuffin king" by a demon. Van Buren's cloak is trimmed with "shinplasters," the colloquial term for the often worthless small-denomination bank notes which proliferated during the panic. Van Buren says, "I like this cloak amazingly, for now I shall be able to put into execution my Designs without being observed by every quizing, prying Whig. I'm obliged to keep close since my Safety Fund is blown . . ." Under the Safety Fund law, passed during Van Buren's term as governor of New York, banks were required to contribute to a fund used to liquidate the obligations of banks that failed. The fund was quickly exhausted during the panic. On the walls are pictures of "Bequests of the Late Incumbent" (Andrew Jackson), including "The Hickory Stick," worshipped by the masses like the brazen serpent in the Old Testament, Jackson's spectacles and clay pipe, his hat, the Safety Fund balloon in flames, and "the Last Gold Coin," minted in 1829 (the year Jackson first took office). On the wall at right is a headless statue of Jackson holding a "veto" in his right hand (an allusion to Jackson's 1832 veto of a bill to recharter the Bank of the United States). Visible through a window is a street scene where a crowd mobs a theater exhibiting "a Real Gold Coin." Beneath Van Buren's feet are several documents, including the Specie Circular and "petitions," the missives from New York bankers and merchants which deluged the White House calling for repeal of the Circular. A document labeled "Indian claims" refers to another unpopular Jackson legacy: the numerous grievances by tribes like the Cherokees and Seminoles regarding unfair and inhumane government treaties by which they were being displaced and deprived of their lands.|Copyright secured according to law by F.J. Winston.|Published at 89 Nassau St. NY.|Signed: Forbes Delt.|The Library's impression of the print was deposited for copyright on August 29, 1837, and published at the same address as Anthony Fleetwood's "6 Cents. Humbug Glory Bank" (no. 1837-10).|Title appears as it is written on the item.|Weitenkampf, p. 49.|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 1837-1.

Students will examine how technology is changing or eliminated careers that currently exist. Students will draw conclusions and develop hypotheses about these current careers and the changes that could possibly occur based on technology.

J.L. Magee, publisher, 305 Walnut Str. Philad. Entered according to Act of Congress A.D. 1865, by J.L. Magee in the Clerk's Office of the District Court 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)

The short story "The Cask of Amontillado," by Edgar Allan Poe is an effective venue for teaching English I literary terms. The following lesson plan is designed to engage the reader in a deeper than superficial reading of the text. It is also designed to elicit discussion and written critical-thinking responses. This lesson assumes that the literary terms have already been introduced. However, if they have not, the teacher may use this lesson to introduce these terms in the context of the literature.

The satire imputes to the Democrats of 1848, led by candidate Lewis Cass, the corrupt practices of the Van Buren-era party. The artist also criticizes Whig repudiation of stalwart party leader Henry Clay in favor of the independent Zachary Taylor in its 1848 presidential nomination. Cass stands at the head of a table before a paper marked "Democratic Platform," addressing his "Cabinet" composed of old-line Democrats including (left to right) Van Buren's postmaster general Amos Kendall, his treasury secretary Levi Woodbury, former Van Buren Senate allies John Calhoun and Thomas Hart Benton, and Democratic senators Sam Houston and William Allen. Cass: "Gentlemen, we stand on the Democratic "Platform," that is, to "Reward our Friends," rewarding of enemies & deserting of Friends is what caused the breaking up of the Whig Party." Kendall, with a document "Post-Office Reform" before him: "Mr. President, I think you had better state to the gentlemen present what our Principles are & what we intend to carry out." Woodbury, holding a rolled document titled "New Hampshire" says: "The Whig Party ought to be broke up for ever, for putting aside "Clay" & sticking a man in his place that has no principle or Party." South Carolina Senator Calhoun, writing a paper "Free Trade S.C." comments: "I think after all the northern "Dough Faces" must feel rather "flat," to think we won't go their "bastard whig ticket." rather green that." Benton adds: "Feel "flat," why they are used to that, they always have their own way, Except upon "Election day!'" "Houston, with "Missouri Claims," agrees: "Yes, & the day after the "Election" they say it was a dam'd "Locofoco cheat, &" that the Irish & Dutch "both Voted against them." "Senator Allen concludes: "Gentleman, I agree with you all, we must turn out every man that does not stand on the "Platform," it will not do to have any spies in our camp."|Entered . . . 1848 by H.R. Robinson. |Lith. & pubd. by H.R. Robinson 51 Park Row N. York (adjoining Lovejoy's Hotel & directly opposite the Park Fountain)|Probably drawn by "W.J.C.".|Title appears as it is written on the item.|Weitenkampf, p. 92.|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 1848-33.

The Castle of Otranto is often referred to as the first Gothic novel. Which is fair enough, so far as it goes; Walpole’s novel did establish many key features of this genre, which has been popular with readers ever since The Castle of Otranto was first published on Christmas Eve, 1764. Like the Gothic novels, plays, stories, and films that followed it, The Castle of Otranto teases us by suggesting that the rules of the everyday world do not always apply, that sometimes only a supernatural explanation can account for everything we see. That idea—which runs against the grain of the assumption that the modern novel is all about realism—runs through books like Anne Radcliffe’s The Mysteries of Udolpho, Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, Stephanie Meyer’s Twilight series and thousands more works of fiction, be they written as stories or novels, or filmed for cinema or television.

A satire condemning the duplicity and conspiracy of the "Bucktail" faction of New York Democrats in their April 1824 ouster of New York's ex-governor DeWitt Clinton from his post as canal commissioner. The Library's impression of the print has the missing letters in the names of the figures filled in by hand. Twelve men stand in a room, with a platform, table, and lamp on the right. On the left G[ardiner] is about to exit saying, "I will run home and ask the people how they will like it before I give my vote." To the left of the platform P[ierson] says to B[ourne], "I hope we shall give you a united vote for the removal of Mr. Clinton I have long wished an opportunity to have revenge on him for blowing up the old Burr Conspiracy." B[ourne]: "I am delighted with the prospect! Clinton has always been my devil--it will be impossible to pull him down to our level if we do not dishonor him. I recommend secrecy as success depends upon our taking the members by surprise at the moment of adjournment." Others in the room speak (counterclockwise, from the far left): S[eama]n: "I beg of you to pause ere you adopt any more lobby measures--we were sent here for public good--yet all our measures have for their object individual benefit. This base deed will produce a reaction and may make him Governor. The republican party so justly famed for justice and liberality will in their haste to free themselves from this odium forget and forgive everything." M[ors]e: "The North river squad think the Canal a benefit to ourside [sic] of the City and they will therefore disapprove our dishonoring its founder." D[rake]: "I wish I could be excused from voting, my conscience tells me it is wrong my judgment tells me it will dishonor the State--but the lobby requires it and it must be done." H[yatt]: "I vote here against the measure but if a majority of this meeting decide in its favor I will vote for it in the house tomorrow as my creed is the majority must rule." B[enedict]: "It is inconsistant with a Soldiers honor to build up or pull down any man to gratify angry or sordid passions --besides this lobby influence must be check'd or it will ruin the State." [Henry] W[heaton]: "I will support the measure to punish him for the injury he did our profession by recommending the fee bill and extending the jurisdiction of the judges." [Clarkson] C[rolius]: "I will support the measure in hopes of appeasing the wrath of the Bucktails altho' I fear they are too hard baked to be gull'd in this way. Besides My Insurance Co. & the lobby." W[ar]d: "My vote shall be given for this removal because he is the author of all our troubles about the electoral law. When Govr. he recommended to the Legislature the restoration of the peoples rights." T[own]: "It is true he has been my Benefactor and I ought to shudder at the deed but three months tuition in the hands of the lobby does away these squeamish feelings." Above, in a cloud, is Columbia with an American flag and an eagle, saying, "I renounce them and their ways."|Title appears as it is written on the item.|Murrell, p. 98.|Weitenkampf, p. 21.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1824-1.

A derisive view of Andrew Jackson's reluctant, politically-minded endorsement of the Distribution Act, or "Surplus Bill," a measure authorizing distribution of surplus federal funds among the states. Facing the prospect of an almost certain Congressional override should he veto the bill, Jackson signed it on June 23, 1836, abetting Vice-President Van Buren's bid for the presidency that year. The cartoon shows Jackson (right), Van Buren (left) and Van Buren running-mate Richard M. Johnson, seated at a table pondering the bill. Jackson (with a quill in his teeth, and a spittoon or brazier by his feet): What the devil shall I do Matty, with this Bill? if I veto it the cursed Whigs are strong enough to pass it!! Van Buren (head in hand): We are in a bad box General; I'm dead against giving away a dollar, but as you say, needs must when the devil drives!! Kendall/Johnson: It's hard to part with our Surplus, but the people are too strong for us!! The print is evidently a reversed copy of a print by the same title published by H. R. Robinson in June 1836 at 48 Courtlandt Street.|Printed & publ by H.R. Robinson, 52 Cortlandt Strt. N-York.|Title appears as it is written on the item.|Davison, no. 71.|Weitenkampf, p. 41.|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 1836-9.

STUDENT ACTIVITY - 5th - TX/NCThis is a distance-learning lesson students can complete at home.In this lesson, the student will formulate and interpret cause-and-effect relationships using a 3-column chart to organize their ideas. The student will apply the concept of "cause" as something that always happens first, and the effect as the resulting outcome (or what happens second).This activity was created by Out Teach (out-teach.org), a nonprofit providing outdoor experiential learning to transform Science education for students in under-served communities.

A mild satire on Jackson and his Cabinet, portraying in imaginative terms a White House reception of popular French dancer and actress Madame Celeste. Seated in chairs in a White House parlor are six cabinet members. In the center Jackson sits behind a table, as "Door Keeper" Jimmy O'Neal (standing) presents Madame Celeste. The cabinet members are (left to right): Secretary of the Navy Mahlon Dickerson, Attorney General Benjamin F. Butler, Secretary of War Lewis Cass, Postmaster General Amos Kendall, Treasury Secretary Levi Woodbury, and Vice-President Martin Van Buren. Each figure's remarks are an amusing reflection of his own character or reputation. Dickerson: I never felt the inconvenience of being a bachelor untill now. what I have lost!! she as gracefull as a Seventy-four under full sail. Cass: This is a very strange introduction to the Cabinet when weighty matters are under discussion; but it does not become me to complain. Jimmy O'Neal: O' she'll bother them all by the powers faith, except my friend Kendal he has no soule for a pretty woman... Celeste: Mon General, if it is "glory enough" to serve under you "ma foi" vat is my grand satisfaction to see you wis de Grand Cabinet of dis Grand Nation here assamble. Jackson: Charming Creature. I've not lost all my penchant for pretty women .... Kendall: I wonder how the General could ever prefer the heels to the head. He never learnt that from me. But the least said the soonest mended. Woodbury: She has grace enough to dance all the surplus Revenue out of the Treasury Hasn't she, Mr. Attorney general? Butler: She is well enough, but I have conscientious scruples on these matters. Van Buren: Pooh pooh Butler, this is not the age for scruples of any kind. I like her rapid movements, her quick changes, her gracefull transitions. She is of my school ..." Weitenkampf's association of the cartoon with the Peggy Eaton affair of 1831, where several cabinet members resigned, is mistaken since the cabinet shown here consists of later appointees. The print appears from the style and monogram to be the work of lithographic draftsman Albert Hoffay.|Entered . . . 1836 by H.R. Robinson.|Published April 1836 by H.R. Robinson 48 Cortlandt St. N.Y.|Signed: A.H. (A.A. Hoffay?).|Title appears as it is written on the item.|Century, p. 40.|Weitenkampf, p. 40.|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 1836-6.