Pictorial outrage over the Emancipation Proclamation was muted until the 1864 presidential campaign. Perhaps the most incendiary and explicitly racist was a series of four large prints published by the anti-Lincoln lithography firm Bromley & Co., in collaboration with the pro-Democratic party New York World newspaper. The prints exploited fear among many whites about the impact of emancipation on northern society—fear exacerbated by a hoax campaign pamphlet supposedly published by the Republican party that promoted “miscegenation,” a new word referring to interracial marriage. This print in the series envisioned a future where racial hierarchies were reversed (whites drive black passengers and care for black children) and where integration was required in public and sexual relations.