• What were the major factors contributing to U.S. territorial expansion in the 1840s?
• Why did the expansion of slavery become the most divisive political issue in the 1840s and 1850s?
• What combination of issues and events fueled the creation of the Republican Party in the 1850s?
• What enabled Lincoln to emerge as president from the divisive party politics of the 1850s?
• What were the final steps on the road to secession?
In 1855, Thomas Crawford, one of the era’s most prominent American sculptors, was asked to design a statue to adorn the Capitol’s dome, still under construction in Washington, D.C. He proposed a statue of Freedom, a female figure wearing a liberty cap. Secretary of War Jefferson Davis of Mississippi, one of the country’s largest slaveholders, objected to Crawford’s plan. A familiar symbol in the colonial era, the liberty cap had fallen into disfavor among some Americans after becoming closely identified with the French Revolution. Davis’s disapproval, however, rested on other grounds. Ancient Romans, he noted, regarded the cap as “the badge of the freed slave.” Its use, he feared, might suggest that there was a connection between the slaves’ longing for freedom and the liberty of free-born Americans. Davis ordered the liberty cap replaced with a less controversial military symbol, a feathered helmet.
Crawford died in Italy, where he had spent most of his career, in 1857. Two years later, the colossal Statue of Freedom, which weighed 15,000 pounds, was transported to the United States in several pieces and assembled at a Maryland foundry under the direction of Philip Reed, a slave craftsman. In 1863, it was installed atop the Capitol, where it can still be seen today. By the time it was put in place, the country was immersed in the Civil War and Jefferson Davis had become president of the Confederate States of America. The dispute over the Statue of Freedom offers a small illustration of how, by the mid-1850s, nearly every public question was being swept up into the gathering storm over slavery.
The original and final designs for Thomas Crawford’s Statue of Freedom for the dome of the Capitol building. Secretary of War Jefferson Davis of Mississippi insisted that the liberty cap in the first design, a symbol of the emancipated slave in ancient Rome, be replaced.
In the 1840s, slavery moved to the center stage of American politics. It did so not in the moral language or with the immediatist program of abolitionism, but as a result of the nation’s territorial expansion. By 1840, with the completion of Indian removal, virtually all the land east of the Mississippi River was in white hands. The depression that began in 1837 sparked a large migration of settlers further west. Some headed to Oregon, whose Willamette Valley was reputed to be one of the continent’s most beautiful and fertile regions. Until the 1840s, the American presence in the area had been limited to a few fur traders and explorers. But between 1840 and 1845, some 5,000 emigrants made the difficult 2,000-mile journey by wagon train to Oregon from jumping-off places on the banks of the Missouri River. By 1860, nearly 300,000 men, women, and children had braved disease, starvation, the natural barrier of the Rocky Mountains, and occasional Indian attacks to travel overland to Oregon and California.
During most of the 1840s, the United States and Great Britain jointly administered Oregon, and Utah was part of Mexico. This did not stop Americans from settling in either region. National boundaries meant little to those who moved west. The 1840s witnessed an intensification of the old belief that God intended the American nation to reach all the way to the Pacific Ocean. As noted in Chapter 9, the term that became a shorthand for this expansionist spirit was “manifest destiny.”
A rare photograph of wagons on their wap to Oregon during the 1840s.
American Progress. This 1872 painting by John Cast, commissioned by the author of a travel guide to the Pacific coast, reflects the ebullient spirit of manifest destiny. A female figure descended from earlier representations of the goddess of liberty wears the star of empire and leads the movement westward while Indians retreat before her. Symbols of civilization abound: the eastern city in the upper right corner, railroads, fenced animals, stagecoaches, and telegraph wires and a “school book” held by the central figure.
1. How does Gast explain the conquest of the West by white Americans?
2. What elements of Indian-white relations does the artist leave out?