Thomas Nast is legendary for his political cartoons, but he’s also responsible for the jolly St. Nick we know today
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You could call it the face that launched a thousand Christmas letters. Appearing on January 3, 1863, in the illustrated magazine Harper’s Weekly, two images cemented the nation’s obsession with a jolly old elf. The first drawing shows Santa distributing presents in a Union Army camp. Lest any reader question Santa’s allegiance in the Civil War, he wears a jacket patterned with stars and pants colored in stripes. In his hands, he holds a puppet toy with a rope around its neck, its features like those of Confederate president Jefferson Davis.
A second illustration features Santa in his sleigh, then going down a chimney, all in the periphery. At the center, divided into separate circles, are a woman praying on her knees and a soldier leaning against a tree. “In these two drawings, Christmas became a Union holiday and Santa a Union local deity,” writes Adam Gopnik in a 1997 issue of the New Yorker. “It gave Christmas to the North—gave to the Union cause an aura of domestic sentiment, and even sentimentality.”
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