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ble and clearly defined in the spirit of that declaration which rests the right to govern on the consent of the governed, but because I foresaw that the wickedness of the North would precipitate a war upon us. Those who supposed that the exercise of this right of separation could not produce war, have had cause to be convinced that they had credited their recent associates of the North with a moderation, a sagacity, a morality they did not possess. You have been involved in a war waged for the gratification of the lust of power and of aggrandizement, for your conquest and your subjugation, with a malignant ferocity and with a disregard and a contempt of the usages of civilization, entirely unequalled in history. Such, I have ever warned you, were the characteristics of the Northern people--of those with whom our ancestors entered into a Union of consent, and with whom they formed a constitutional compact. And yet, such was the attachment of our people for that Union, such their devotion to it, that those who desired preparation to be made for the inevitable conflict, were denounced as men who only wished to destroy the Union. After what has happened during the last two years, my only wonder is that we consented to live for so long a time in association with such miscreants, and have loved so much a government rotten to the core. Were it ever to be proposed again to enter into a Union with such a people, I could no more consent to do it than to trust myself in a den of thieves.

The issue then being: will you be slaves; will you consent to be robbed of your property; to be reduced to provincial dependence; will you renounce the exercise of those rights with which you were born and which were transmitted to you by your fathers?

The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.