Nast, Thomas Illustrator, Journalist. Born in Bavaria in 1840, Nast emigrated to New York City with his mother and sister in 1846 and his father followed them in 1850.  Nast&amp;rsquo;s early artistic influences were historical painter Theodore Kaufmann, with whom he began his first formal study; Alfred Fredericks, whose studio was nearby and who became a mentor to Nash and helped him gain entry to the Academy of Design, as well as Frank Leslie, the publisher of &lt;cite&gt;Frank Leslie&amp;rsquo;s Illustrated Weekly Newspaper&lt;/cite&gt; who hired the sixteen-year old Nast for five dollars a week.  At Frank Leslie&amp;rsquo;s, Nast befriended Pfaffians Sol Eytinge, Richard H. Stoddard, Charles Halpine (Miles O&amp;rsquo;Reilly), George Arnold, Frank Bellew, and Fitz-James O&amp;rsquo;Brien (Paine 21-22).  He also studied the illustrations in the British magazine &lt;cite&gt;Punch&lt;/cite&gt;; he was particularly interested in the social satire present in John Tenniel&amp;rsquo;s cartoons.

Recent biographer, Fiona Deans Halloran, writes of his connection to Pfaff&#039;s noting that &quot;drinking beers at Pfaff&#039;s, Nast socialized with a wide variety of New York&#039;s literati.  That social world embracced Nast as a sort of pet.  From it, he learned about art, writing, reporting, and the connections that underlay business relationships&quot; (40).  Thomas Gunn, who was well-connected in the Pfaffian circle, wrote frequently about Nast and kept meticulous records of the evolution of Nast&#039;s relationship with Sallie Edwards, who would eventually become his wife (cf. Gunn vol. 11, 105).  Scholar Louis Starr Starr writes that in March 1861, Nast, a &quot;familiar face,&quot; at Pfaff&#039;s Cave, was absent.  &quot;The roly-poly fledgling of the New York Illustrated News, Nast was in Washington for Lincoln&#039;s inauguration (3).  He was also a member of &quot;the artists&#039; contingent of the Bohemian brigade&quot; who gained the &quot;widest renown&quot; and had tangential connections to Pfaff&#039;s (Starr 9, 354).

By 1862 Nast realized a long-held dream and joined the artistic staff at &lt;cite&gt;Harper&amp;rsquo;s Weekly&lt;/cite&gt; where he remained for twenty-five years.  Many of his cartoons from this period relate to the Civil War. In addition to contributing caricatures to lesser-known periodicals &lt;cite&gt;Phunny Phellow&lt;/cite&gt;, the &lt;cite&gt;Riverside Magazine for Young People&lt;/cite&gt;, and &lt;cite&gt;Mrs. Grundy&lt;/cite&gt;, Nast also illustrated books like Mary Mapes Dodge&amp;rsquo;s &lt;cite&gt;Hans Brinker: or, the Silver Skates&lt;/cite&gt;, Defoe&amp;rsquo;s &lt;cite&gt;Robinson Crusoe&lt;/cite&gt;, Clement Clarke Moore&amp;rsquo;s &lt;cite&gt;A Visit from Saint Nicholas&lt;/cite&gt;, several of Dickens&amp;rsquo; works, and the work of regional humorists like Petroleum V. Nasby.  From 1864 to 1884, Nast drew satirical, topical caricatures that commented on political and social events like the &amp;quot;Boss&amp;quot; Tweed-Tammany Hall scandal. Nast is remembered for crafting symbolic political caricatures such as Uncle Sam, Miss Columbia, the Tammany tiger, and mascots for political parties (the Republican elephant and the Democratic donkey).  He is also credited with popularizing images of Santa Claus. The five children he had with wife Sarah Edwards served as models for Nast&amp;rsquo;s Christmas pictures.  Plagued by debt near the end of his life, Nast accepted the position of U.S. Consul in Guayaquil, Ecuador from President Theodore Roosevelt in 1902.  He contracted yellow fever there and died at the age of sixty-two (Piscitelli).

References & Biographical Resources\n";
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&lt;article data-history-node-id=&quot;59021&quot; about=&quot;/node/59021&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/59021&quot;&gt;&quot;Appletons&amp;#039; Cyclopaedia of American Biography, Volume IV, Lodge-Pickens.&quot; In &lt;em&gt;Appletons&amp;#039; Cyclopaedia of American Biography, Volume IV, Lodge-Pickens&lt;/em&gt;, edited by Wilson, James Grant and John Fiske. New York: D. Appleton &amp;amp; Co., 1888.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 480-481, 480(ill.)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/57914&quot;&gt;Bellew, Frank. &lt;em&gt;Thomas Nast: His Period and His Pictures&lt;/em&gt;. New York: Macmillan, 1904.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55872&quot;&gt;Derby, J.C. &lt;em&gt;Fifty Years among Authors, Books and Publishers&lt;/em&gt;. New York: G. W. Carleton and Co., 1884.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Derby quotes James Parton&#039;s &quot;Triumphs of Enterprise&quot; for his account of the beginning of Nast&#039;s career (696-97).In “Triumphs of Enterprise” James Parton provides details about the beginning of Nast’s career: “Being remarkably short for his age, and of a boyish expression of countenance, the publisher looked at him with astonishment. ’What, my boy,’ said he, ’so you think you can draw well enough for my paper, do you?’ ’I would like to try,’ said the youth” (qtd. in J. Derby 696).&lt;/p&gt;
&lt;p&gt;Leslie gave Nast the task of capturing the image of the waterfront as the Hoboken ferry was docking: “This was putting the lad to a severe test. Mr. Leslie . . . had not expectation of the ’little fellow’s’ doing it, and gave him the job merely for the purpose of bringing home to his youthful mind the absurdity of his application. The young artist repaired immediately to the ferry-house, where he at once proceeded to the performance of the difficult task assigned to him. He struck boldly, however, upon the paper, and produced a sketch, which, though far from correct, abounded in those graphic and vigorous touches so needful in popular illustration. Mr. Leslie saw at a glance its merits and defects, and at once made a place for him in his establishment&quot; (qtd. in J. Derby 696-697).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 696-697]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56269&quot;&gt;&quot;[Editorial Comments].&quot; &lt;em&gt;New-York Saturday Press&lt;/em&gt;, April 14, 1866, 4.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56280&quot;&gt;Figaro [Clapp, Henry Jr.]. &quot;Dramatic Feuilleton.&quot; &lt;em&gt;New-York Saturday Press&lt;/em&gt;, April 17, 1866, 4.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60713&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 11.&quot; &lt;em&gt;Diaries, Vol. 11&lt;/em&gt;(1859).&lt;/a&gt;
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&lt;a href=&quot;/node/60714&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 12.&quot; &lt;em&gt;Diaries, Vol. 12&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;a href=&quot;/node/60715&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 13.&quot; &lt;em&gt;Diaries, Vol. 13&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60724&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 14.&quot; &lt;em&gt;Diaries, Vol. 14&lt;/em&gt;(1860).&lt;/a&gt;
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&lt;a href=&quot;/node/60732&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 15.&quot; &lt;em&gt;Diaries, Vol. 15&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;a href=&quot;/node/60716&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 16.&quot; &lt;em&gt;Diaries, Vol. 16&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60725&quot; about=&quot;/node/60725&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60725&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 17.&quot; &lt;em&gt;Diaries, Vol. 17&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60711&quot; about=&quot;/node/60711&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60711&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 18.&quot; &lt;em&gt;Diaries, Vol. 18&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60718&quot; about=&quot;/node/60718&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60718&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 19.&quot; &lt;em&gt;Diaries, Vol. 19&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60717&quot; about=&quot;/node/60717&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60717&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 20.&quot; &lt;em&gt;Diaries, Vol. 20&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60726&quot; about=&quot;/node/60726&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60726&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 21.&quot; &lt;em&gt;Diaries, Vol. 21&lt;/em&gt;(1862).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60727&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 22.&quot; &lt;em&gt;Diaries, Vol. 22&lt;/em&gt;(1863).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60720&quot; about=&quot;/node/60720&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/60720&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 9.&quot; &lt;em&gt;Diaries, Vol. 9&lt;/em&gt;(1857).&lt;/a&gt;
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&lt;a href=&quot;/node/60173&quot;&gt;Lause, Mark A. &lt;em&gt;The Antebellum Crisis and America&amp;#039;s First Bohemians&lt;/em&gt;. Kent, OH: Kent State University Press, 2009.&lt;/a&gt;
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&lt;a href=&quot;/node/59760&quot;&gt;Lukens, Henry Clay. &quot;American Literary Comedians.&quot; &lt;em&gt;Harper&amp;#039;s New Monthly Magazine&lt;/em&gt;, April 1, 1890, 783-797.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 792]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56556&quot;&gt;Odell, George C.D. &lt;em&gt;Annals of the New York Stage: Volume VIII (1865-1870)&lt;/em&gt;. New York:Columbia University Press, 1936.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Nast drew &quot;new and original&quot; caricatures for the book that accompanied Fox&#039;s &lt;cite&gt;Volume II of Humpty Dumpty&lt;/cite&gt; that played at the Olympic Theatre in the 1868-69 season (433).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 433]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55921&quot;&gt;Paine, Albert Bigelow. &lt;em&gt;Thomas Nast: His Period and His Pictures&lt;/em&gt;. New York: Macmillan, 1904.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Nast&#039;s involvement with the Pfaff&#039;s bohemians is discussed in the larger context of his work for the popular New York-based magazine &lt;cite&gt;Frank Leslie&#039;s Illustrated Paper&lt;/cite&gt;. Paine writes, &quot;The Leslie editorial office was frequented by most of the illustrators and writers of that period. Miss Croly, who signed herself &#039;Jenny June&#039;, was often there. Also came Richard Henry Stoddard, then in the fulness of early manhood and power; Mortimer Thompson, whose pen-name was &#039;Doesticks&#039;; and all the rest of that blithe and talented crew. &#039;Doesticks&#039; was regularly employed on the Tribune, but did frequent assignments for Leslie&#039;s, and Eytinge or Nast, sometimes both, accompanied him. Often in their rounds they brought up at Pfaff&#039;s beer-cellar, on Broadway near Bleecker Street--a bohemian resort, long since vanished and now become historic. Here they would find &#039;Miles O&#039;Reilly&#039;, George Arnold, Frank Bellew, Fitz-James O&#039;Brien and a host of other good fellows. The boy was happy to be seen in this crowd of notables and felt that he was getting on. In turn, they doubtless found the &#039;fat little Dutch boy&#039; amusing. They took him to theaters and other cozy resorts and &#039;showed him the town&#039;. It was not so big a town then, but one feels, somehow, that there was more comradeship, more characteristic personality, more of the feeling and flavor of art than we find here to-day&quot; (21-22).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 21-22,79(ill),107(ill),114(ill),141(ill),273(ill),280(ill),365(ill),434(ill),549(ill),550(ill)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55766&quot;&gt;Parry, Albert. &quot;Garrets and Pretenders: A History of Bohemianism in America.&quot; &lt;em&gt;Garrets and Pretenders: A History of Bohemianism in America&lt;/em&gt;(1933).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Parry reprints Nasts&#039;s sketch from &lt;cite&gt;Harper&#039;s Weekly&lt;/cite&gt;, September 9, 1882, &quot;Thomas Nast on Oscar Wilde&#039;s Criticism of American Stoves&quot; on p. 145.Parry also reprints &quot;Low Jinks Cartoon: &#039;The Poet Lariat Contest&#039;&quot; by Thomas Nast from &lt;cite&gt;The Annals of the Bohemian Club&lt;/cite&gt;, San Francisco, Vol. 3, 1887-1895 p. 223.&lt;/p&gt;
&lt;p&gt;Parry writes that as &quot;Bohemianism&quot; moved away from its more scandalous associations of the Pfaff&#039;s days, many authors who would previously had nothing to do with Bohemianism felt &quot;safe&quot; contributing to the Philadelphia periodical &lt;cite&gt;Bohemia&lt;/cite&gt;, writing about non-Bohemian topics.In light of this change, Parry writes that &quot;A cartoon by Thomas Nast sent to &lt;cite&gt;Bohemia&lt;/cite&gt; a few days before his death felt a bit lonely in the fashionable company of all this Creme de Boheme&quot; (162).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 145(ill.),162,223(ill.)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60052&quot;&gt;Piscitelli, Felicia A. &quot;Thomas Nast.&quot; In &lt;em&gt;Dictionary of Literary Biography, Volume 188: American Book and Magazine Illustrators to 1920&lt;/em&gt;, edited by Steven E. Smith, Catherine A. Hastedt, and Donald H. Dyal. Detroit: Gale, 1998.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/60113&quot;&gt;Princeton University Digital Library. &quot;Thomas Nast Manuscript Collection, 1860-1922 (bulk 1860-1896): Finding Aid.&quot; &lt;em&gt;Thomas Nast Manuscript Collection, 1860-1922 (bulk 1860-1896): Finding Aid&lt;/em&gt;(1969).&lt;/a&gt;
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&lt;a href=&quot;/node/55757&quot;&gt;Starr, Louis Morris. &lt;em&gt;Bohemian Brigade; Civil War Newsmen in Action&lt;/em&gt;. New York: Knopf, 1954.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Starr writes that in March, 1861, Nast, a &quot;familiar face&quot; at Pfaff&#039;s Cave, was absent.Described by Starr as &quot;the roly-poly fledgling of the &lt;cite&gt;New York Illustrated News&lt;/cite&gt;, Nast was in Washingtonfor Lincoln&#039;s inauguration (3). &lt;/p&gt;
&lt;p&gt;Starr writes that in the days prior to the Civil War, like many others in New York, the &quot;Pfaffians were exposed increasingly to the clamour of a world beyond their ken.Something like a revolution was afoot in the realm of journalism, a revolution that would lift these light-hearted pranksters from their subterranean retreat ad whirl them in its vortex.Soon O&#039;Brien, Aldrich, Thomson, Williams, and Stedman, together with others in Clapp&#039;s happy coterie--Charles G. Halpine (who stammered to fame at Pfaff&#039;s, speaking inadvertantly of &#039;H-H-Harriet Beseecher Bestowe&#039;), William Conant Church, William Swinton, E.H. House, Charles Henry Webb, a couple of artists, Frank H. Bellew and Thomas Nast: in all more than half of the identifiable clientele at the Cave--would take the field along with hundreds of other youths of like mind to participate in the greatest undertaking in the history of journalism&quot; (9).&lt;/p&gt;
&lt;p&gt;During Byington&#039;s &quot;pilgrimage,&quot; during the fighting in Pennsylvania, other reporterse never got close enough to the battle to see the action.Nast got as close as Carlisle, thirty miles north of the action, where he &quot;sketched the shelling of the New York militia by a detachment of Confederates with a single battery.&quot; Afterwards, Nast was imprisoned in Harrisburg for being related by marriage to a women seen around town wearing a Confederate flag (209).&lt;/p&gt;
&lt;p&gt;Homer and Nast are described by Starr as the members of &quot;the artists&#039; contingent of the Bohemian brigade&quot; who gained the &quot;widest renown.&quot;Starr writes: &quot;Nast was the volatile politcal cartoonist whose influence survives most obviously in the form of the Democratic donkey, the Republican elephant, and the Tammany tiger, all of which he made famous in &lt;cite&gt;Harper&#039;s Weekly&lt;/cite&gt;&quot; (354).&lt;/p&gt;
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