This elaborate double-page cartoon by Thomas Nast depicts the Orange
Day Riot between Protestant and Catholic Irish-Americans, which occurred
in New York City in July 1871.
In
early July 1871, the Loyal Order of Orange, an organization of
Protestant Irish-Americans in New York City, requested a parade permit
from the city. They intended to display their ethnic and religious
pride by commemorating the victory in 1690 of William of Orange, the new
Protestant king of England, over the deposed James II and his mainly
Catholic supporters at the Battle of the Boyne. The city's Irish
Catholic associations lodged protests in order to halt the parade,
arguing that the celebration offended Catholic Irish-Americans, and
citing the Protestants behavior on the previous year when the marchers
taunted Irish Catholic street crews with insulting songs and curses.
On
July 10, Superintendent James J. Kelso of the Metropolitan Police denied
the permit on the grounds that the parade would threaten public safety,
as well as the fact that obscene or violently derogatory language or
gestures in public were misdemeanors. Irish Catholics praised the
decision, and the police chief had the further support of William Tweed,
the political boss of Tammany Hall. Irish Protestants objected,
demanding equal treatment with the Catholics at whose St. Patrick's Day
parade Mayor Abraham Oakey Hall attended and for whose charities and
schools the Tweed Ring allocated public funds. Protestants warned
that cancellation of the parade would enhance the prospects of violent
Irish nationalists, like the Fenians. Governor John Hoffman, in
consultation with Mayor Hall and Boss Tweed, reversed the decision,
letting the parade proceed as planned.
Irish
Catholics were divided over how to respond, but some drilled in military
units in case of trouble. The governor ordered 5000 members of the
New York National Guard to safeguard the marchers and keep the public
order. One member of the Guard's 7th Regiment was Private Thomas
Nast, whose vantage point at 24th Street and Eighth Avenue allowed him
to sketch scenes of the ensuing melee, as well as the featured cartoon,
for Harper's Weekly.
The
parade began down Eighth Avenue from 29th Street at 2 p.m., with the Orangemen surrounded
by the guardsmen. Cheers for the Protestants clashed with jeers
from the Catholics, many of whom began throwing rocks, bottles, and
other projectiles. Guns were fired on both sides, and a confusing
battle scene unfolded. The parade, however, reformed and continued
forward to Cooper Union, where the marchers disbanded at 4
o'clock. The Orange Day Riot resulted in 60 civilians and two
guardsmen killed, and over 100 civilians, 22 policemen, and one
Orangeman injured. Irish Catholics hung Governor Hoffman in
effigy, called the riot "Slaughter on Eighth Avenue," and
turned out 20,000 strong for the funerals of the slain.
The
July 29 issue of Harper’s Weekly
(in print July 19) included a description of “The Tammany Riot”
which began by blaming Tweed, Hall, and other Tammany leaders for not
restraining their Irish-Catholic supporters. The
Orange Day Riot came in the
midst of The New
York Times
exposés on July 8, 20, and 22 of Tweed Ring corruption. Mayor
Hall had dismissed the allegations, claiming they would soon "blow
over." Here, cartoonist Nast uses the phase to tar and
feather the Tweed Ring as a whole.
The central arching
design fills a space marked by the curving horizon of “The Promised
Land. U. S. A.” stretching from California to Washington, D.C., to New
York. It portrays an enraged mob of stereotypical Irish-Catholic
ruffians charging a single unarmed Irish-Protestant parade marshal, as Uncle Sam draws his sword to
defend him.
Real and symbolic world figures, including (left to right) Queen
Victoria, John Bull, King Victor Emanuel of Italy, Emperor Franz Josef
of Austria, and Tsar Alexander II of Russia, turn away in fear and
disgust.
A
line above the central scene asks pointedly, “Has No Caste, No Sect,
No Nation, Any Rights That the Infallible Ultramontane Roman Irish
Catholic Is Bound to Respect[?]”
The use of “infallible” alludes to the recent announcement of
the doctrine of Papal Infallibility, while “Ultramontane” refers to
those supporting papal supremacy in the Church.
By contrast, Nast includes among the besieged world figures a
banner for prominent liberal Catholics who rejected papal supremacy,
Fathers Dollinger and Hyacinth.
Above the hypocritical phrase “Live and
Let Live” are fallen bodies, while images of a lynched black man and
the burning Colored Orphan Asylum incorporate memories of the bloody
1863 Civil War Draft Riots in New York City.
On the upper-left of the central picture an American flag flies
inverted (a symbol of distress) near a demolished public schoolhouse.
It is paralleled on the upper-right by a flag promoting Tammany
Hall, Irish-Catholics, and papal supremacy.
The
center panel on the right shows “The Unconditional Surrender” of
Tammany Ring officials, who grovel before ape-like Irish-Catholics. The
Tweed members are (clockwise from front left): Sheriff Matthew Brennan,
Peter Sweeny, Richard Connolly, John Hoffman, William Tweed, Abraham
Oakey Hall, and James Kelso. A parallel image on the left shows most of the same group
fawning on their knees
before Columbia, who draws her sword. Brennan and Kelso are
absent, replaced by Tom Fields in the back.
At
the bottom of the page, there are two
seven-verse poems constituting a dialogue of sorts between Columbia and the Irish-Catholic “Pat.” At the bottom center,
the Tweed Ring sits in chains, guarded by two rioters, while surrounded
by an Irish-Catholic crowd who jeer “Well What Are You Going To Do
About It?”--a question famously posed
by Tweed when the corruption charges against him and his cohorts
surfaced.
Harper’s
Weekly took out a boldface advertisement in the city's newspapers drawing attention
to “The Late Riot” and to a “Splendid Double Page by Thomas
Nast.” An editorial note in The
New York Times of July 20 recommended that: "Everybody
should see, and seeing, retain Nast’s great 'Riot Cartoons' on the
New Number of Harper's Weekly."
The artist work helped make the July 29 issue of Harper's Weekly
a sell-out, and raise the following week's issue by 86,000.
Robert C. Kennedy