him.

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Plate Number Four—This cartoon "Winding Off the Tangled Skein," published in Harper's Weekly, on March 30, 1861, recalls the days of doubt and waiting which preceded the firing on Sumter and the first call for troops.

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Plate Number Five—This cartoon, "The Spirit of '76," published in Vanity Fair, on May 4, 1861, breathes the spirit which prompted the great uprising of the North when the truth was brought home to its people that a war between the sections was not to be avoided. It shows the President watering a flower bed with the "Spirit of '76," and remarking to Columbia, who watches his work: "Ain't there a nice crop! There's the hardy Bunker Hill flower, the Seventh Regiment pink, the firebug tulip. That tri-colored flower grows near Independence Hall. The western blossoms and prairie flowers will soon begin to shoot."

"What charming plant is this?" asks Columbia, pointing to a miniature gallows.

"That is rare in this country," answers the President. "It will blossom soon and bear the Jeffersonia Davisiana."

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Plate Number Six—This cartoon, "The Situation," published in Harper's Weekly, on July 13, 1861, reminds one that the advocates of compromise were numerous and noisy until well toward the close of the war. Here Lincoln is depicted as a constable in the act of arresting Davis. "I've got you now, Jeff," are his words as he lays hold of his prisoner. "Guess you have," is the reply of Davis. "Well, now let us compromise."

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Plate Number Seven—This cartoon, "Got the Right Weapon at Last," published in Harper's Weekly, on October 19, 1861, has for its subject the first of the national loans which assured a successful prosecution of the greatest war in history. Jay Cooke, who still lives, was the agent through whose patriotic and sagacious efforts most of these loans found takers, and he it was to whom Grant, in the closing days of the war, sent this message: "Tell him for me that it is to him more than to any other man that our people will be indebted for the continued life of the nation."

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Plate Number Eight—This cartoon, without title, published in Vanity Fair, on November 16, 1861, has for its subject the Union's relations with foreign powers. It depicts the President, guarding with sword and cannon a pond filled with trout (the Confederacy) in which three boys—England, France and Spain—are anxious to cast their lines. "Boys, I reckon I wouldn't," is his significant comment.

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Plate Number Nine—This cartoon, "Up a Tree—Colonel Bull and the Yankee Coon," was published in Punch on January 11, 1862. The artist, whose point-of-view is one of contemptuous ridicule, inspired by the Mason and Slidell incident, and having in mind Davy Crockett's familiar story of Colonel Scott and the coon, depicts that animal with the head of Lincoln, crouched on the limb of a friendly tree, and gazing furtively down on John Bull, armed with a blunderbuss and about to fire, whereat the following dialogue ensues:

Coon—"Air you in arnest, Colonel?"

Colonel Bull—"I am."

Coon—"Don't fire—I'll come down."

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Plate Number Ten—This cartoon, "Sinbad Lincoln and the Old Man of the Sea," published in Frank Leslie's Illustrated Newspaper, on May 3, 1862, shows the President as Sinbad carrying on his shoulders the Old Man of the Sea—Gideon Welles, whose course as Secretary of the Navy was then the cause of much ill-natured comment. We had no navy when the war began, and Welles had to create one. His way of doing it provoked much opposition, but he had always the confidence of the President, and so good a judge as the late Charles A. Dana has told us that though "there was no noise in the street when he went along, he was a wise, strong man, who understood his duty, and who was patient, laborious and intelligent at his task." The generous growth of hair which the artist has given Welles was not his own. Instead he wore a wig, which was parted in the middle, the hair falling down on each side, and it was, perhaps, from his peculiar appearance that the idea originated that he was old-fashioned in his methods.

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Plate Number Eleven—This cartoon, "The New Orleans Plum," published in Punch on May 24, 1862, deals with the capture of that city, and with it the mouth of the Mississippi—one of the first decisive victories of the war. The artist, borrowing from the old nursery tale, showed Lincoln seated in a corner and plucking a plum from the generous pudding in his lap. Possibly for fear that his design might not be perfectly clear to the British mind, the artist appended to it the legend: "Big Lincoln Horner, up in a corner, thinking of humble pie, found under his thumb, a New Orleans plum, and said,'What a cute Yankee am I!'"

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Plate Number Twelve—This cartoon, "The Latest