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Two or three ingenious designs mark the issuance of letters-of-marque and reprisal by Jefferson Davis, the President. of the so-called Confederate States of America, on the 17th of April, 1861. The result of this proclamation was that an eager host sprang forward to obtain its benefits, and enrich themselves by plundering under the cover of law and public justice. Hence, the "Black Flag." (No. 9.) Sometimes the flag is blue,-"The bonnie blue flag that bears a single star," -the flag held in particular affection by the troops of South Carolina and Virginia, and therefore the flag which made battles harder for the North and easier for the South. (No. 10.)

One of these envelopes bears a parody on "J. D. His marque," as follows: "J. D. His mark," and in addition the caricature of J. D. receiving a kick from A. L. -an unmistakable mark. Inelegant though these caricatures are, their use shows the contempt in which the Confederacy was held, and there could be no question about the patriotism of the man who used, for instance, the envelope presenting the following variation of the above subject, wherein the kick is administered by Uncle Sam. (No. 11.) The picture hardly needs the pun in the motto to make it more effective.

Each new step in the progress of the rebellion is announced by the envelope artist. We have seen in the illustration of the palmetto flag his recognition of the first State to secede. Florida consummated her apostasy soon after, and immediately the Federal property at Pensacola was seized by the rebels, but Fort Pickens was saved from their hands by the gallant and determined resistance of Lieutenant Slem

mer.

"A Rebel Attack on Pickins," and its futility, are set forth in the cartoon of a Confederate officer gnawing bones.

Events crowded each other quickly; early February saw the organization of the Confederate States of America, the adoption of a constitution, the selection of a flag, and the election of executive officers -men shrewd, resolute, and firm, familiar with the principles and machinery of government in cabinet, and also (in the case of Mr. Davis, at least) familiar with the conduct and command of an army in

the field. Readers whose memories reach back to those days will recall the vauntings of ex-Senator Wigfall, of Texas, constant and enthusiastic as they were, concerning the future achievements of the rebel President. (No. 12.) The envelopes depict Mr. Wigfall in a moment of conviction, describing Mr. Davis at the head of a victorious Confederate army, sacking Washington, driving Mr. Lincoln and his cabinet in hot haste from the Capitol, then striking terror into the North, blockading ports, capturing ships, and burning cities. The only fault with these impassioned predictions was that they were never verified.

But these boastings were typical of the prevalent sentiment and utterances in the seceding States. The Richmond Inquirer declared that President Davis would "soon march a triumphant army through North Carolina and Virginia into Washington," and three months later the envelopes give us a striking commentary on the foregoing prophecies. (No. 13.)

Meanwhile Congress spent the winter in discussing schemes of compromise. "In general, the attitude of the North was such that the seceders cherished a strong hope of accomplishing their purpose without war," writes John Fiske. He adds: “A great many people at the North seemed ready to surrender almost anything to avoid bloodshed; all sorts of weak suggestions were made by men usually bold and firm." A rebuke to these pusillanimous and mercenary expedients is offered in the following characterization of the Peace Convention of 1861 as an "Infernal Machine Found at Washington." The envelope pictures the Speaker's desk with a scroll labeled "Compromise" half unrolled, thus disclosing "Southern Rights," "Crittenden," "Vallandigham," "Copperheads," and other names suggestive, to the active patriots at least, of half-heartedness. Also, the constant changes rung on me alone" served to convey reproof to the supineness of the North at this time, as well as to caricature the modest demand of President Davis in his first message to the Confederate Congress, March 1861, saying, "All we ask is to be let alone." "The Boo-hooing Boy" depicts Jeff Davis crying, "I should think I might be let alone." But a more effective cartoon is

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one of Jeff Davis shaking a tree of fruit which he intends gathering into a "Secession" basket; eight apples have fallen to the ground and another, one labeled "Virginia," is just falling. One can see that he covets such fruit as New York and Illinois, when Winfield Scott calls from the distance, "Leave that tree, you rascal!" To which Jeff replies, "Let me alone, won't you? I want nothing but the rights of my section." (No. 14.)

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The ancient commonwealth of Virginia hesitated long as to the policy she would pursue in reference to secession. Many potent considerations bound her to the old Union with which all her most glorious and honorable associations were connected. The stormy debates on the subject were recognized on the envelopes. Virginia in 1776" was "Mother of Statesmen." But "Virginia in 1861" presents a scene of wild disorder. When, however, Virginia seceded, on the 18th of April, a solid block of forty counties in the western part of the State broke away because of loyal sentiment toward the Union. This event brought out an envelope with the taunt, "Dictator Jeff finding he cannot have the whole of Virginia concludes to take only a part." And again, we see the wolf (J. D.) carrying off the chickens (Tennessee and Virginia) by the light of the moon, "To Dixie's Land." (No. 15.)

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The misfortunes of the Old Dominion are admirably depicted by representing the State as a crippled old woman. her back is the fighting-ground of the rival armies; men carrying the Stars and Stripes are clambering up one side by means of ladders, while men with the Confederate flag are clambering up the other side in the same manner. Over the cartoon is the declaration of Governor Pickens, "You may plant your seeds in peace, for old Virginia will have to bear the brunt of the battle." Underneath the figure are the words: "Poor old simple Virginia." (No. 16.)

A little later in the progress of events, a new element in the misfortunes of the State appears in these words, added to the above, "While Massa tends to de fightin' dis hot weather, dis counterband darkie and his fambly will spend de summer down to Ole P'int Comfort." During the

months of June and July of that eventful year, Mr. Dana of the New York Tribune adopted as a standing head-line a phrase used by a special contributor, and thus "On to Richmond!" became the catchword of popular clamor for immediate action by the North. The next envelope here illustrated recalls that, and also the tragic fate of the young hero, Ellsworth, on the first invasion of "the sacred soil of Virginia" in May. Sometimes the picturesque zouave, representing a peculiar arm of the service, whose name, discipline, and history constitute one of the military novelties of the nineteenth century, marched "To Washington via Baltimore," and as the war progressed he was bound" To the End of the Rebellion." (No. 17.)

During the summer appeared cartoons of the Secession wolf offering to lead Kentacky or "any other State" out of the Union. (No. 18.)

The problem of the Border States was one of the most difficult with which the Government had to deal. A concrete example is furnished by the following conception: A cat (Governor Magoffin's neutrality) holds the cock of the walk (Uncle Sam), while the Confederate cat (J. D.) kills off Uncle Sam's chickens. The position of Missouri in the field of war was extremely important. While the majority of her people were decidedly opposed to secession, the State Government favored it. Hence the following cartoons. A picture of a caldron over a fire, and a cat using the tip of her tail for tasting, is explained: Missouri, tasting Secession Soup, gets burnt, and thinks she won't go in." Another, expressive of the desire of the Confederacy, represents Jeff Davis bound for the White House, in the distance. He is mounted on a mule and seated at the extreme rear of the animal. Miss Ouri, like little Sallie Waters of the old rhymes, sits weeping by the roadside, and Jeff is saying patronizingly, "Why don't you get on behind? (No. 19.)

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There is always "gall in the ink" of the multitude of designs typifying the spirit of Secession. "The First Secessionist" is the Devil, with horned head, scaly body, and fluky tail. The Devil, from a

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A monkey surgeon with a Secession saw is amputating the tail of a mouse.

With his eye on Washington, Jeff Davis, in cocked hat and military dress of scrupulous exactness, is unconscious of the way he sits in his saddle, or in what direction his lean nag "Secession" is carrying him. Secession Cavalry" are Confederate officers perched on backs of negroes running along briskly.

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The field of classic mythology is rarely laid under tribute by these envelope artists, yet here is a significant allusion. "The Hercules of 1861" is General Scott wielding the "Union" club against the hydra-headed monster "Secession." The several heads bear such names as Toombs, Stephens, Davis, Beauregard, Twiggs, Pickens, and Floyd. (No. 20.)

One of the best of the cartoons expressive of the contempt in which the Confederate Government was held at the North, represents Alexander H. Stephens, who was the Speaker of the House of the Southern Confederacy in 1861. The figure is a monkey, the face a caricature of that of Stephens. His familiar gray great-coat hangs over the chair, and lying beside him is his cocked hat, with an adornment added in the way of a peacock feather. (No. 21.)

The "Secession Trap," with John Bull getting his foot in it, reminds us that the bitter feeling against England in those days sought frequent expression.

Soon after the organization of the Confederacy, an important step was taken to obtain its recognition as an established government by England and France. A set of commissioners went abroad to try to effect that desirable result. Their argument to England was based upon the assertion that England must have cotton; and in that overwhelming want, which could be satisfied by no other countries than the Southern States, lay the absolute necessity that England should recognize the new government and enter into a treaty of commerce with it. This was the

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spirit of Southern utterance before the war, when, in 1858, John Henry Hammond said in the Senate "You dare not make war on cotton. No power on earth dares make war on it. Cotton is King!" borrowing the telling metaphor from the title of David Christy's book published in 1855-" Cotton is King; or, Slavery in the Light of Political Economy." In the envelope illustration of this theme, the poetaster adds his screed to the work of the caricaturist. (No. 22.)

The suspension of the exportation of cotton by the Federal blockade of the Southern States in 1861, produced an important and disastrous effect upon the immense manufacturing communities of the Old World, and the results were intense and varied. Though France and England never granted the Confederates recognition as an established nation, there was constant fear that they would. Louis Napoleon was unfriendly to the United States, and the Mason and Slidell affair demonstrated that the British Government seized the opportunity thus afforded to annoy the people of the United States. in a most critical and troublous moment. The envelopes betray this fear of foreign powers. (No. 23.) Again, John Bull, with a load of cotton on his shoulders, tries "a perilous feat of horsemanship -the attempt to ride at once two spirited steeds, "Union" and "Disunion." one, the British lion is bearing his queen, and approaching him is the Confederate cock bearing aloft the Confederate flag, surmounted by a skull and cross-bones. The rooster is demanding, "Now, won't you recognize us?" The words, "Victoria Rex thinks better of it, and won't recognize traitors or harbor pirate-eers" indicate satisfaction at England's partial reformation of attitude.

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Rudely literal as these glimpses of wartime days are, like an etching upon a tile, yet there is a quaint charm about them. Would you know how the Southern Clergy are so wonderfully assisted in finding Scriptural authority for Secession and Treason, and the divine ordination of slavery?" The envelope shows you Mephistopheles turning the Book for a clergyman in gown and surplice. Are you in doubt as to the popular hero of the hour?

His portrait is sure to appear. G. B. Mc- cause. The flowers of battle are not Clellan is "The Liberator of Western Virginia." (No. 24.)

Amid the drapery of flags, and the insignia of justice, General Scott's fine face is seen with laconic comment beneath, "The right man in the right place." When Scott, the bulldog, keeps guard over the choice morsel of meat labeled "Washington," no words are necessary to describe the discomfiture of the terrier (Davis) (No. 25), nor when Jeff finds all moves checkmated in the game of chess he' is playing with Scott.

The cock-eye of General B. F. Butler in his portrait speaks volumes.

Still another reminds us of the new definition of "contraband" furnished by General Butler at Fortress Monroe, Virginia, May 24, 1861, when the Confederate major claimed the rendition of three fugitive slaves. "I retain these negroes as contraband of war, and have set them to work inside the fortress." (No. 26.)

A jolly negro holding a black pickaninny is singing one of the popular Bowery songs of the day :

"Him fader's hope, Him mudder's joy, Him darling little Contraband boy!"

A contraband barricade of kneeling darkies armed with farm utensils are covered by the leveled bayonets of Federal troops behind them. As the Confederates approach, they are met with the Federal taunt, "Come and get your property."

66 A Southern Gorilla " recalls that dark phase of guerrilla warfare so disgraceful to those concerned. The words accompanying the picture are a supposedly popular Southern utterance:

O for a nigger, and O for a whip!

for a cocktail, and O for a nip!

O for a shot at old Greeley and Beecher!
O for a crack at a Yankee school-teacher!
O for a captain, and O for a ship!
O for a cargo of niggers each trip!
And so he kept O-ing for all he had not,
Not contented for owing for all that he'd got.

There is yet another phase of war-time to be spoken of here. Think of the heart sacrifice of a million Rachels, mothers, daughters, wives, sisters, and lovers, of those who gave their lives to the great

always crimson. Some of them are white as snow. One of them has its roots in the soil whereby the nation lives-the love of home, which is the origin of the love of country. The envelopes picture the scenes in camp on letter-days; also, the difficulties surrounding the writing of letters home.

The faithful watcher sewing by lamplight with constant thoughts for the absent ones, proved an inspiration to many a homesick soldier whose heart turned longingly to those at home. (No. 27.)

Here is an energetic woman tying her bonnet strings and announcing, "I have no one to send. I'll go myself and nurse the sick." Their names adorn no calendar of saints, but the benedictions of thousands of pain-weary, fevered, despairing men followed them.

The pretty dumpling of a woman with snowy neck and dimpled arms, standing at the pantry-table wielding the rollingpin and preparing a batch of pies for the oven, preaches a homely gospel of content and service-"If I cannot fight, I can feed those who do."

During all the four years of that sad and terrible struggle that engaged the energies of a nation, the envelopes made record of the great men, political institutions, administrations, parties, intrigues of politicians, theories and policies of government; in short, the things that men saw and talked about; that produced material for the newspapers; the threads out of which historians wove their varied records. Does all this driftwood floating on the surface seem a trivial expression of the tide of national life? It is more than that. It shows that arrayed on one side of the struggle was hatred of democracy, hatred of labor, hatred of the idea of human equality, and hatred of the rapidly growing free institutions of our country; on the other, love of country, love of the flag, love of human freedom.

And love is stronger than hate in any contest.

One far-off day in April, 1862, a Northern soldier plucked a rose of a hundred leaves, climbing to the height of twenty feet in the warm air of a Tennessee

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