appeared — the Richmond Enquirer published some more extreme demands which were not in the Democratic platform. Lincoln’s reelection managers took Nast’s cartoon, added “The Rebel Terms of Peace,” and made more than a million copies as campaign posters. In combination with General William T. Sherman’s capture of Atlanta on September 1 and General Phil Sheridan’s victory in the Shenandoah Valley on October 19, “A Traitor’s Peace” probably was the single most effective visual campaign advertisement in any American Presidential election before or since. Nast played an important role during the presidential election in 1868, and Ulysses S. Grant attributed his victory to "the sword of Sheridan and the pencil of Thomas Nast." In the 1872 presidential campaign, Nast's ridicule of Horace Greeley's candidacy was especially merciless. After Grant's victory in 1872, Mark Twain wrote the artist a letter saying: "Nast, you more than any other man have won a prodigious victory for Grant—I mean, rather, for Civilization and Progress." Nast became a close friend of President Grant and the two families shared regular dinners until Grant's death in 1885. Nast and his wife moved to Morristown, New Jersey in 1872 and there they raised a family that eventually numbered five children. In 1873, Nast toured the United States as a lecturer and a sketch-artist. His activity on the lecture circuit made him wealthy. Nast was for many years a staunch Republican. Nast opposed inflation of the currency, notably with his famous rag-baby cartoons, and he played an important part in securing Rutherford B. Hayes' ultimate victory in the presidential election in 1876. Hayes later remarked that Nast was "the most powerful, single-handed aid [he] had", but Nast quickly became disillusioned with President Hayes, whose lenient policy towards the South in removing federal troops he opposed. The death of the Weeklys publisher, Fletcher Harper, in 1877 resulted in a changed relationship between Nast and his editor George William Curtis. His cartoons appeared less frequently, and he was not given free rein to criticize Hayes or his policies. Beginning in the late 1860s, Nast and Curtis had frequently differed on political matters and particularly on the role of cartoons in political discourse. Curtis believed that the powerful weapon of caricature should be reserved for "the Ku-Klux Democracy" of the opposition party, and did not approve of Nast's cartoons assailing Republicans such as Carl Schurz and Charles Sumner who opposed policies of