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J. Kenji López-Alt

2019-03-22T14:33:46Z

Reify-tech: Copyedit cleanups; Remove WP:OVERLINKING

'''James Kenji López-Alt''', known as '''Kenji''', is an American [[chef]] and [[Food writing|food writer]].<ref>{{Cite news|url=http://www.eater.com/2015/9/3/9242641/fall-2015-cookbooks-home-cooking|title=Fall 2015's Best Cookbooks: Cooking Pros Bring It Home|work=Eater|access-date=2017-12-27}}</ref><ref>{{Cite news|url=https://www.wired.com/2015/09/ultimate-book-science-nerds-cook/|title=The Ultimate Book for Science Nerds Who Cook|last=Pearlstein|first=Joanna|work=WIRED|access-date=2017-12-27|language=en-US}}</ref><ref>{{Cite news|url=https://www.bostonglobe.com/lifestyle/food-dining/2015/10/20/side-science/R9T2htbijbQ3pfaOovQejN/story.html|title=A SIDE OF SCIENCE - The Boston Globe|work=BostonGlobe.com|access-date=2017-12-27}}</ref><ref name="NY-OKE">{{Cite news|url=https://www.newyorker.com/books/page-turner/kenji-lopez-alt-food-lab-cookbook|title=Kenji López-Alt’s Obsessive Kitchen Experiments|last=Killingsworth|first=Silvia|date=2015-10-03|work=The New Yorker|access-date=2017-12-27|issn=0028-792X}}</ref>

==Background==
López-Alt graduated from [[MIT]] in 2002, where he majored in architecture. He is the son of Harvard geneticist and immunologist [[Frederick Alt]], who had combined his surname with that of his wife Adriana López, a PhD MIT graduate. {{Asof|2019}}, Kenji resides in [[San Mateo, California]], after previously living in New York City and Boston.<ref>{{Cite news|url=http://www.sfchronicle.com/food/article/Mr-Wizard-s-Food-Lab-J-Kenji-L-pez-Alt-s-6493538.php|title=Mr. Wizard’s Food Lab: J. Kenji López-Alt’s unlikely path to stardom|work=San Francisco Chronicle|access-date=2017-12-27}}</ref>

==Career==
López-Alt worked with several Boston chefs including [[Barbara Lynch (restaurateur)|Barbara Lynch]] and [[Ken Oringer]].<ref>{{Cite web|url=https://slice.mit.edu/2010/04/28/alumnus-chef-one-ups-ok-maybe-two-ups-kfc/|title=Alumnus Chef One-Ups (OK, Maybe Two-Ups) KFC|last=|first=|date=|website=slice.mit.edu|language=en|archive-url=|archive-date=|dead-url=|access-date=2017-12-27}}</ref> He went on to work as a test cook and editor at ''[[Cook's Illustrated]]'' magazine and [[America's Test Kitchen]].<ref name="NY-OKE" /> He was the Managing Culinary Director and is the Chief Culinary Consultant of "[[Serious Eats]]", a food blog,<ref>{{Cite web|url=http://www.seriouseats.com/masthead|title=Masthead|last=|first=|date=|website=www.seriouseats.com|language=en|archive-url=|archive-date=|dead-url=|access-date=2017-12-27}}</ref> where he authors the James Beard Award-nominated column "The Food Lab".<ref>{{Cite web|url=http://www.jamesbeard.org/blog/complete-2015-jbf-award-nominees|title=The Complete 2015 JBF Award Nominees|website=www.jamesbeard.org|language=en|access-date=2017-12-27}}</ref> He is also a columnist for [[Cooking Light]].<ref>{{Cite news|url=http://simmerandboil.cookinglight.com/author/kenji-lopez-alt/|title=Kenji Lopez-Alt|last=|first=|date=|work=Cooking Light|access-date=2017-12-27|archive-url=|archive-date=|dead-url=|language=en}}</ref>

==Publishing==
His first book, ''[[The Food Lab: Better Home Cooking Through Science]]'', was published in September 2015 by [[W. W. Norton & Company]].<ref>{{Cite web|url=http://books.wwnorton.com/books/The-Food-Lab/|title=The Food Lab|last=|first=|date=|website=books.wwnorton.com|archive-url=|archive-date=|dead-url=|access-date=2017-12-27}}</ref> It was a [[New York Times]] Bestseller<ref>{{Cite news|url=https://www.nytimes.com/books/best-sellers/2015/12/20/advice-how-to-and-miscellaneous/|title=Advice, How-To & Miscellaneous Books - Best Sellers - December 20, 2015|last=|first=|date=|work=The New York Times|access-date=2017-12-27|archive-url=|archive-date=|dead-url=|language=en}}</ref> and won the 2016 [[James Beard Foundation Award]] for General Cooking,<ref>{{Cite web|url=https://www.jamesbeard.org/blog/2016-book-broadcast-and-journalism-awards-complete-winner-recap|title=The 2016 Book, Broadcast, and Journalism Awards: Complete Winner Recap|website=www.jamesbeard.org|language=en|access-date=2017-12-27}}</ref> as well as the [[International Association of Culinary Professionals]] awards for Best American Cookbook and Cookbook of the Year.<ref>{{Cite news|url=https://www.iacp.com/awards/cookbook/winners/|title=Winners - IACP|work=IACP|access-date=2017-12-27|language=en-US}}</ref>

López-Alt is working on a follow-up to ''The Food Lab'', due in 2020. He is also working with Gianna Ruggiero on a children’s picture book.<ref>{{cite web |url=http://www.kenjilopezalt.com/ |title= Website announcment|accessdate=January 27, 2019}}</ref>

==Business==
López-Alt opened the Wursthall Restaurant & Bierhaus in [[San Mateo, California]], with partners Adam Simpson and [[Tyson Mao]].<ref>{{Cite news|url=https://sf.eater.com/2017/6/20/15836106/wurst-hall-kenji-lopez-alt-san-mateo-restaurant|title=Internet Food Guru J. Kenji Lopez-Alt Opening Real Life Beer and Sausage Hall|work=Eater SF|access-date=2017-12-27}}</ref> A second location, in [[San Jose, California|San Jose]], was announced in November 2018, and is expected to open in 2019.<ref>{{cite web |last1=Pershan |first1=Caleb |title=A Second Beer Hall From Recipe Expert J. Kenji López-Alt Is on the Way |url=https://sf.eater.com/2018/11/30/18119792/wursthall-opening-san-jose-location-beer-restaurant-kenji-lopez-alt |accessdate=January 27, 2019}}</ref>

He is an investor in Backhaus Bakery, which is owned by Anne Moser; a new location is due to open in San Mateo in 2019.{{cn|date=March 2019}}

== References ==
{{reflist}}

==External links==
* {{Official website|http://www.kenjilopezalt.com/}}
* [https://twitter.com/kenjilopezalt| Twitter account]

{{DEFAULTSORT:Lopez-Alt, J. Kenji}}
[[Category:Year of birth missing (living people)]]
[[Category:Living people]]
[[Category:American chefs]]
[[Category:Food writers]]
[[Category:American bloggers]]
[[Category:Massachusetts Institute of Technology alumni]]
[[Category:American restaurateurs]]
[[Category:Male chefs]]
[[Category:Cuisine of the San Francisco Bay Area]]
[[Category:Businesspeople from the San Francisco Bay Area]]
[[Category:James Beard Foundation Award winners]]

High-occupancy toll lane

2017-03-26T01:01:16Z

Reify-tech: +{{Road types}}

[[File:I-15 Express Lanes.jpg|thumb|right|350px|[[FasTrak]] high-occupancy toll (HOT) lanes along [[Interstate 15 in California|Interstate 15]] southbound near [[Escondido, California]]. Note the variable fee.]]

A '''high-occupancy toll lane''' (or '''HOT lane''') is a type of [[traffic lane]] or [[roadway]] that is available to [[high-occupancy vehicle]]s and other exempt vehicles without charge; other vehicles are required to pay a [[road pricing|variable fee]] that is adjusted in response to demand. Unlike [[toll road]]s, drivers have an option to use general purpose lanes, on which a fee is not charged. '''Express toll lanes''', which are less common, operate along similar lines, but do not exempt high-occupancy vehicles.

==History==
The concept developed from [[high-occupancy vehicle lane]] (HOV) systems in order to increase use of the available capacity. Most implementations are currently in the USA.

The first practical implementation was [[California]]'s formerly private toll [[91 Express Lanes]], in [[Orange County, California]], in 1995, followed in 1996 by [[Interstate 15 in California|Interstate 15]] north of [[San Diego]].<ref>{{cite web |author = Dave Downey | date= 2007-01-07|url=http://www.nctimes.com/articles/2007/01/08/news/top_stories/1707192359.txt|title = The HOT lane hype |publisher= The North County Times| accessdate=2008-07-15}}</ref><ref>{{cite web|author= Metropolitan Transportation Commission|url=http://www.mtc.ca.gov/planning/hov/faq.htm|title=High-Occupancy-Vehicle (HOV) and High-Occupancy/Toll (HOT) Lanes: Frequently Asked Questions |accessdate=2008-03-01}}</ref> According to the [[Texas A&M University|Texas A&M]] Transportation Institute, by 2012 there were 294 corridor-miles of HOT/Express lanes in operation in the United States and 163 corridor-miles under construction.<ref>{{cite web|url=http://www.uli.org/wp-content/uploads/2013/03/When-the-Road-Price-is-Right_web_F.pdf|title=When the Road Price Is Right – Land Use, Tolls, and Congestion Pricing|author=[[Urban Land Institute]] (ULI) |publisher=Urban Land Institute|year=2013|accessdate=2013-04-09}} See Figure 2, pp.6</ref>

==Design==
[[File:Switchable FasTrak transponder.jpg|right|thumb|An in-vehicle, switchable FasTrak transponder fitted to the dashboard of vehicles for use in [[Los Angeles metropolitan area|Greater Los Angeles]], [[California|CA]], [[United States|US]].]]
Some systems are reversible, operating in one direction during the morning commute and in the reverse direction during the evening commute. It is typically collected using and [[electronic toll collection]] systems, [[automatic number plate recognition]] or at manned [[Toll house|toll booth]]s. Exempt vehicles typically include those with at least two, three or four occupants, those that use approved alternative fuels, motorcycles, transit vehicles and emergency vehicles.<ref>{{cite web|url=http://peachpass.com/about/exempt-vehicles|title=Exempt Vehicles}}</ref>

The fee, which is displayed prominently at entry points to the lanes, is adjusted in response to demand to regulate the traffic volume and thereby provided a guaranteed minimum traffic speed and [[level of service]].<ref>[http://www.virginiahotlanes.com/faqs/ FAQ - VA I-495 HOT Lanes] Retrieved October 6, 2009</ref><ref>[http://www.brook.edu/views/op-ed/downs/20020510.htm Brookings Institution economic study on HOT Lanes]</ref><ref>[http://www.i-95expresstolllanes.com/faq/ MD I-95 Express Toll Lanes] Retrieved October 6, 2009</ref> <ref>{{cite web|url=http://www.nvta.org/content.asp?sl=459&contentid=468|title=Northern Virginia Transportation Alliance}}</ref><ref>{{cite web|url=http://www.planetizen.com/node/2985|title=Golden Gate Bridge for variable toll}}</ref>

The Los Angeles [[Metro ExpressLanes]] HOT system requires vehicles to be fitted with manually "switchable" transponders where the driver selects the number of occupants, based on which the appropriate fee is charged.<ref name="metro-express-lanes-faq-fastrak">{{cite web | url=https://www.metroexpresslanes.net/en/faq/fastrak.shtml | title=FAQs: FasTrak | publisher=[[Los Angeles County Metropolitan Transportation Authority]] | work=[[Metro ExpressLanes]] | accessdate=March 3, 2013}}</ref><ref name="metro-express-lanes-faq-driving">{{cite web | url=https://www.metroexpresslanes.net/en/faq/driving.shtml | title=FAQs: Driving Metro ExpressLanes | publisher=Los Angeles County Metropolitan Transportation Authority | work=Metro ExpressLanes | accessdate=March 3, 2013}}</ref> [[California Highway Patrol]] officers have in-vehicle devices which display the declared occupancy of a vehicle, which they can verify visually and [[Traffic ticket|cite]] any driver(s) with fewer occupants than declared (and tolled for).<ref name="metro-expresslanes-rules-of-the-road">{{cite AV media | url=https://www.youtube.com/watch?v=ucSZTxlXpg4&t=1m57s | title=Metro ExpressLanes: Rules of the Road | publisher=Los Angeles County Metropolitan Transportation Authority | date=July 24, 2012 | medium=YouTube | minutes=2}}</ref> The new system proved itself to be highly effective in reducing the rate of lane-use violations, with it falling to 40-50% of the violation rates of other comparable [[California|CA]] highways, from more than 20-25% (nearly one out of four or five) to just 10% (one in ten). Other transportation officials in [[California]] took note of this, subsequently leading to the [[San Francisco Bay Area|Bay Area]] officials of [[Alameda County, California|Alameda County]] to adopt a similar system for the (then) planned [[Interstate 580 (California)|Interstate 580]].<ref>{{cite web | url=http://www.mercurynews.com/bay-area-news/ci_26133543/carpoolers-must-use-fastrak-toll-lanes-under-new | title=Bay Area carpoolers must use FasTrak in express lanes under new law | first=Gary | last=Richards | publisher=San Jose Mercury News | date=2014-07-11 | accessdate=2015-07-05}}</ref>

==Funding and construction==
Implementation of these systems can be prohibitively expensive, due to the initial construction required—particularly with regard to providing access to and from the express toll lanes at interchanges. However, the long-term benefits—the decrease in delay to able motorists and increased funding for the transportation agency—may outweigh the costs. To offset costs of construction, many transportation agencies lease public roads to a private institution. As a result, construction may be partially or fully funded by the private institution, which receives all of the income from tolling for a specified period of time.<ref name=i495>[http://www.vamegaprojects.com/about-megaprojects/i495-hot-lanes/ About I-495 HOT Lanes] Retrieved August 31, 2009</ref><ref>[http://www.itsdocs.fhwa.dot.gov/JPODOCS/REPTS_TE/13668.html A Guide for HOT Lane Development (FHWA, 2003)]</ref>

==Criticisms==
[[File:Miami traffic jam, I-95 North rush hour.jpg|thumb|right|Afternoon rush hour in Miami, where tolled express lanes have become congested and "closed".]]
Because HOT lanes and ETLs are often constructed within the existing road space, they are criticized as being an [[Ecotax|environmental tax]] or solely beneficial to higher-income individuals ("[[Lexus]] lanes"), since one toll category is charged the same rate regardless of socioeconomic status and the [[working poor]] thus suffer greater financial burden.<ref>{{cite web|date=2014-06-23|url=http://wlrn.org/post/are-lexus-lanes-really-lexus-lanes|title=Are Lexus Lanes Really Lexus Lanes?|publisher=WLRN|first=Kenny |last=Malone| accessdate=2015-04-28}}</ref> Supporters of HOT lanes counter with the fact that because they encourage the use of public transit and ride sharing, they reduce demand and provide [[Win-win game|a benefit for all]]. They also counter concerns about heavy impact against the working poor by pointing to the fact that the rich have many ways to ease their commute, such as buying a home closer to where they work.<ref>[http://www.mtc.ca.gov/planning/hov/faq.htm MTC Planning - HOV/HOT Lanes] Retrieved October 6, 2009</ref>

==Examples==
*[[Metro ExpressLanes]]
*[[Virginia HOT lanes]]

==See also==
*[[Road space rationing]]
*[[Transportation Demand Management|Transportation demand management]]
*[[List of toll roads in the United States]]

==References==
{{reflist|30em}}

==External links==
*{{cite paper|url=http://www.nctr.usf.edu/wp-content/uploads/2014/10/JPT_17.3_Newark.pdf|title=HOT for Transit? Transit’s Experience of High-Occupancy Toll Lanes|year=2014|publisher=National Centre for Transit Research (Center for Neighborhood Technology) at the University of South Florida}}
*[http://roadpricing.blogspot.co.uk/search/label/HOT%20lanes Various HOT lane articles] on website dedicated to road pricing
*{{cite web|url=http://www.dot.ca.gov/newtech/researchreports/preliminary_investigations/docs/HOV_and_HOT_Lanes_Preliminary_Investigation_03-25-13.pdf|title=Impacts of Increasing Vehicle-Occupancy Requirements on HOV/HOT Lanes|year=2013|publisher=Caltrans Traffic Operations}}
*{{cite web|url=http://www.gao.gov/assets/590/587833.pdf|title=Review of Road Pricing to Reduce Congestion|year=2012|publisher=U.S. Government Accountability Office}} - includes evaluation of 21 HOT lane projects in the U.S.
*{{cite paper|url=http://www.trforum.org/journal/downloads/2012v51n2_04_HighOccupancyToll.pdf|title=High Occupancy Toll lane Performance Under Alternative Pricing Policies|date=2012|publisher=Transportation Research Forum}}
*{{cite web|url=http://www.citylab.com/commute/2012/02/lukewarm-report-card-high-occupancy-toll-lanes/1120/|title=A Lukewarm Report Card for High-Occupancy Toll Lanes|work=City Labs|date=2012-02-02}}
*{{cite paper|url=http://trid.trb.org/view.aspx?id=1163375|title=An evaluation of a high occupnacy toll (HOT) lane demonstrator project in San Diego|publisher=Association for European Transport|date=1998}}

{{Road types}}

[[Category:Electronic toll collection]]
[[Category:Intelligent transportation systems]]
[[Category:Road congestion charge schemes]]
[[Category:Toll roads]]

Kunstraub von Boston

2016-02-21T23:58:43Z

Reify-tech: Cleanup page layout and captions

{{good article}}
[[File:Empty Frames at Isabella Stewart Gardner Museum.jpg|thumb|right|An empty frame remains where ''[[The Storm on the Sea of Galilee]]'' was once displayed|alt=An empty frame hanging on a wall in the museum]]
In the early hours of March 18, 1990, an '''[[art theft]] occurred at the [[Isabella Stewart Gardner Museum]]''' in [[Boston]], [[Massachusetts]]. A pair of men disguised as [[Boston Police Department|Boston police officers]] tricked the museum security guards into granting them access to the building. They proceeded to tie up the guards and loot the museum for over an hour before escaping in their vehicle. Thirteen works of art were stolen worth an estimated $500 million, making it the largest private property theft in history. Despite efforts by the [[Federal Bureau of Investigation]] and multiple probes across the world, no arrests have been made and no artwork has yet been recovered. The case remains open and unsolved, with the museum offering a [[Bounty (reward)|reward]] of $5 million for information leading to recovery of the art.

The stolen works were originally purchased by art collector [[Isabella Stewart Gardner]] (1840–1924) and intended to be left on permanent display at the museum with the rest of her collection. Since the collection and its layout are permanent, empty frames remain hanging both in homage to the missing works and as placeholders for when they are returned. The choice of paintings stolen puzzles experts, especially since more valuable artwork was untouched. Among the stolen works was ''[[The Concert (Vermeer)|The Concert]]'', one of only 34 known works by [[Johannes Vermeer|Vermeer]] and thought to be the most valuable unrecovered painting at over $200 million. Also missing is ''[[The Storm on the Sea of Galilee]]'', [[Rembrandt]]'s only known [[seascape]]. Other works by Rembrandt, [[Edgar Degas|Degas]], [[Édouard Manet|Manet]], and [[Govaert Flinck|Flinck]] were also stolen.

According to the FBI, the stolen artwork was moved through the region and offered for sale in [[Philadelphia]] during the early 2000s. They believe the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]]. They also claim to have identified two suspects, although they have not been publicly identified and are now deceased. Boston gangster Bobby Donati has been cited as a possible collaborator in the heist. He was murdered in 1991 as a result of ongoing gang wars. Significant evidence suggests that [[Hartford]], [[Connecticut]] gangster Robert Gentile knows the location of the works, although he denies involvement.

== Robbery ==
[[File:ISGardnerMuseum.JPG|thumb|left|In March 1990, the Isabella Stewart Gardner Museum looked similar to its appearance in 2008|alt=refer to caption]]
Around midnight on Sunday morning, March 18, 1990, a red [[Dodge Daytona]] pulled up near the side entrance of the Isabella Stewart Gardner Museum along Palace Road.<ref name ="Smithsonian" /><ref name=searchcont /> Two men with fake police uniforms waited for at least an hour in the car, perhaps trying to avoid being noticed by people leaving a [[St. Patrick's Day]] party nearby.<ref name = abathstory>{{cite news |url= http://www.bostonglobe.com/metro/2013/03/10/guard-who-opened-door-robbers-notorious-gardner-museum-heist-under-suspicion-years-later/1TUiDyi1GbcnBgQT64oISP/story.html |title= Decades after the Gardner heist, police focus on guard |first= Stephen |last= Kurkjian |work= Boston Globe |date= March 2013}}</ref> Later at around 1:00{{nbsp}}a.m., security guard Richard Abath returned to the front desk after patrolling the museum to switch positions with the other security guard. The two guards were the only people in the building. At this time, Abath opened and quickly shut the Palace Road door, claiming he was trained to do this to ensure the door was locked. He claimed security logs from other nights would show that he had done this many times previously. The FBI has seized the logs, but has not commented on the issue further.<ref name = abathstory />

At 1:24{{nbsp}}a.m., one of the two men outside pushed the buzzer near the door and told Abath they were policemen that heard of a disturbance in the courtyard, and requested to be let inside. Abath knew he should not let uninvited guests inside, but he was unsure on whether the rule applied to police officers. He could see the men and believed them to be police officers based on their uniforms. With his partner on patrol, Abath decided to buzz in the men.<ref name = abathstory /> When the intruders arrived at the main security desk, one of them told Abath that he looked familiar and there was a default warrant out for his arrest. Abath stepped out from behind his desk, where the only alarm button to alert police could be accessed. He was quickly asked for his ID, ordered to face the wall, and then handcuffed. Abath believed the arrest was a misunderstanding, until he realized he hadn't been frisked before being cuffed, and one officer's mustache was made of wax.<ref name = abathstory /> The second security guard arrived minutes later and was also handcuffed, after which he asked the intruders why he was being arrested. The thieves explained that they were not being arrested, but rather this was a robbery, and proceeded to take the guards to the museum's basement. They handcuffed the guards to pipes and wrapped duct tape around their hands, feet, and heads.<ref name=insider>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

Since the museum was equipped with motion detectors, the thieves' movements throughout the museum were recorded. After tying up the guards, the thieves went upstairs to the Dutch Room. As one of them approached [[Rembrandt]]'s ''Self-Portrait'' (1629), a local alarm sounded, which they immediately smashed. They pulled the painting off the wall and attempted to take the wooden panel out of its heavy frame. Unsuccessful at the attempt, they left the painting on the floor. They cut Rembrandt's ''[[The Storm on the Sea of Galilee]]'' out of the frame, as well as ''[[A Lady and Gentleman in Black]]''. They also removed [[Vermeer]]'s ''[[The Concert (Vermeer)|The Concert]]'' and [[Govaert Flinck]]'s ''[[Landscape with an Obelisk]]'' from their frames. Additionally, they also took a Chinese bronze [[Gu (vessel)|gu]] from the [[Shang Dynasty]].<ref name=insider />

Elsewhere in the museum, they stole five [[Degas]] drawings and an eagle [[finial]]. The finial lay at the top of a [[Napoleon]]ic flag, which they attempted to unscrew from the wall, but failed.<ref name=livescience /> [[Manet]]'s ''[[Chez Tortoni]]'' was also stolen from its location in the Blue Room. Motion detector records show that the only footsteps detected in the Blue Room that night were at 12:27{{nbsp}}a.m. and again at 12:53{{nbsp}}a.m. These times match to when Abath said he passed through on patrol. The frame for the painting was found on security chief Lyle W. Grindle's chair near the front desk.<ref name = abathstory /> The thieves made two trips to their car with artwork during the theft, which lasted 81 minutes. Before leaving, they visited the guards once more, telling them "You’ll be hearing from us in about a year," although they were never heard from again.<ref name ="Smithsonian" /> The guards remained handcuffed until police arrived at 8:15{{nbsp}}a.m. later that morning.<ref name=insider />

== Stolen artwork ==
[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen artwork from the museum|alt=Paper document about the announcement of the robbery]]
Altogether, thirteen pieces were stolen at an estimated loss of $500 million, making the robbery the largest private property theft in history.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Empty frames remain hanging in the museum, both in homage to the missing works and as placeholders for when they are returned.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref> One of the paintings, ''The Concert'', was Gardner's first major acquisition and one of only 34 known Vermeer works in the world.<ref name=fbigallery /> It is thought to be the most valuable unrecovered stolen painting, with a value estimated at over $200 million.<ref name="stolen">{{cite web|title=PBS – Stolen|url=http://www.pbs.org/independentlens/stolen/index.html|website=PBS.org|accessdate=12 February 2016}}</ref> Another painting, ''The Storm on the Sea of Galilee'', is Rembrandt's only known [[seascape]].<ref name ="Smithsonian">{{cite web | url=http://www.smithsonianmag.com/arts-culture/ripped.html?c=y&page=1 | title =Ripped from the Walls (and the Headlines) | author =Robert M. Poole | work =[[Smithsonian (magazine)|Smithsonian]] | date =July 2005}}</ref> The bronze finial was taken from the top of a [[Napoleon]]ic flag, possibly appearing like [[gold]] to the thieves.<ref name=fbigallery /> The museum is offering a $100,000 reward for this piece alone.<ref name=theftnews>{{cite web |title= Official Gardner Museum Site – Theft News|url=http://www.gardnermuseum.org/news/theft|publisher=Isabella Stewart Garndner Museum|accessdate= October 8, 2015}}</ref>

The museum stresses that the paintings be kept in good condition by whoever has them. Museum director, Anne Hawley has stated that the works should be kept in a stable environment of 50% humidity and 70°F. Additionally, they should be kept away from light and stored in acid-free paper. Hawley also noted to avoid rolling the paintings, which will crack the paint. If these guidelines are not followed, the paintings could be damaged and drop in value. More repainting would need to be done too, which hurts the paintings' integrity.<ref name ="Smithsonian" />

The following are the thirteen stolen works, all of which are still missing.<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref><ref name=fbigallery>{{cite web |title= FBI – Have You Seen These?|url=https://www.fbi.gov/news/stories/2013/march/reward-offered-for-return-of-stolen-gardner-museum-artwork/image/hi-res|publisher= Federal Bureau of Investigation |accessdate= September 8, 2015}}</ref><ref name=livescience>{{cite web |title= Lost Art: Photos of the Paintings Stolen from Gardner Museum|url=http://www.livescience.com/51808-photos-paintings-stolen-from-gardner-museum.html|publisher=LiveScience|accessdate= October 8, 2015}}</ref>
<gallery class="center" mode=nolines >
File:Vermeer The concert.JPG|alt=refer to caption|[[The Concert (Vermeer)|''The Concert'']] by [[Vermeer]] ({{circa}} 1664–1666)
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|alt=refer to caption|''[[The Storm on the Sea of Galilee]]'' by [[Rembrandt]] (1633)
File:A lady and gentleman in black, by Rembrandt.jpg|alt=refer to caption|''[[A Lady and Gentleman in Black]]'' by Rembrandt{{efn|name=fn1|The museum believes ''A Lady and Gentleman in Black'' to be a Rembrandt; however some scholars, including the Rembrandt Research Project in Amsterdam, say it is not.<ref name=insider />}} (1633)
File:Rembrandt Harmensz. van Rijn 076.jpg|alt=refer to caption|''[[Landscape with an Obelisk]]'' by [[Govert Flinck]]{{efn|name=fn2|''Landscape with an Obelisk'' was formerly attributed to Rembrandt until being associated with his pupil, Flinck.<ref>{{cite book|last=Vigderman|first=Patricia|title=The Memory Palace of Isabella Stewart Gardner Museum|url=http://books.google.com/books?id=ZP_0f2uIlN0C&pg=PA151|publisher=Hol Art Books|isbn=978-1-936102-24-2|page=151}}</ref>}} (1638)
File:Édouard Manet Chez Tortoni.jpg|alt=refer to caption|''[[Chez Tortoni]]'' by [[Édouard Manet]] ({{circa}} 1878–1880)
File:La Sortie de Pesage by E Degas.jpg|alt=refer to caption|''La Sortie de Pesage'' by [[Degas]] (date unknown)
File:Rembrandt - Self portrait etching - ISGM.jpg|alt=refer to caption|''Self-Portrait''{{efn|name=fn3|This ''Self-Portrait'' is postage-stamp sized. Not to be confused with Rembrandt's ''Self-Portrait'' (1629) oil painting also at the museum, which the thieves attempted to steal but did not take.<ref name=insider />}} by Rembrandt ({{circa}}1634)
File:Degas - Cortege aux Environs de Florence.jpg|alt=refer to caption|''Cortege aux Environs de Florence'' by Degas ({{circa}} 1857–1860)
File:Degas - Program for an artistic soiree 1.jpg|alt=refer to caption|''Program for an Artistic Soirée 1'' by Degas (1884)
File:Degas - Program for an artistic soiree 2.jpg|alt=refer to caption|''Program for an Artistic Soirée 2'' by Degas (1884)
File:Degas Three Mounted Jockeys.jpg|alt=refer to caption|''Three Mounted Jockeys'' by Degas ({{circa}} 1885–1888)
File:Ku robbed from Isabella Stewart Gardner Musuem.gif|alt=refer to caption|An ancient Chinese [[Gu (vessel)|gu]] ({{circa}} 1200-1100 BCE){{efn|name=fn4|The gu is dated during the [[Shang Dynasty]]}}
File:Finial robbed from Isabella Stewart Gardner Museum.jpg|alt=refer to caption|A bronze eagle [[finial]] ({{circa}} 1813–1814)
</gallery>

;Notes
{{reflist|group=nb}}
{{notelist}}

== Investigation ==
[[File:Sketches of Suspects Isabella Stewart Gardner Museum Theft.jpg|thumb|left|Sketches of the suspects|alt=refer to caption]]
The [[Federal Bureau of Investigation]] took control of the case on the grounds that the artwork could likely cross state lines.<ref name=nydn /> They have conducted hundreds of interviews with probes stretching across the world involving [[Scotland Yard]], [[Japan]]ese and [[France|French]] authorities, private investigators, museum directors, and art dealers.<ref name ="Smithsonian" /> The FBI believes the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. Some of the art may have been offered for sale in Philadelphia in the early 2000s, including ''The Storm on the Sea of Galilee''; however, their knowledge of what happened to the works after the attempted sale is limited.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref name=fbipress1>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref><ref name=searchcont /> The FBI stated it believed to know the identity of the thieves in 2013, but in 2015 announced that they were now deceased. They have declined to identify the individuals.<ref>{{cite web|title=FBI says two suspects who stole $500m in art from Boston museum are dead|url=http://www.theguardian.com/artanddesign/2015/aug/07/fbi-isabella-stewart-gardner-museum-art-theft-suspects-dead|website=The Guardian|accessdate=12 August 2015}}</ref>

No single motive or pattern has emerged through the thousands of pages of evidence gathered.<ref name ="Smithsonian" /> The selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane /> The FBI's lead agent assigned to the case, Geoffrey J. Kelly, finds it difficult to understand why this assortment of items was stolen despite the thieves being in the museum for enough time to take whatever they wished. On their way to the finial, the thieves passed by two [[Raphael]]s and a [[Botticelli]] painting.<ref name=insider /> [[Titian]]'s ''[[The Rape of Europa (Titian)|The Rape of Europa]]'', which is one of the museum's most well-known and valuable pieces, was not stolen.<ref name=insider /> Due to the brutish ways the criminals handled the robbery, cutting the painting from their frames and smashing frames for two Degas sketches, investigators believe the thieves were amateur criminals, not experts commissioned to steal particular works.<ref name = abathstory /> Some investigators believe the works were destroyed, explaining why they have not reappeared.<ref name="Smithsonian" /> Theories on the theft include that it was organized the [[Irish Republican Army]] in order to raise money or bargain for the release of imprisoned comrades. Another theory states [[Whitey Bulger]] as the ringleader of the theft. At the time of the heist, he was Boston's top crime boss and an FBI informant.<ref name ="Smithsonian" />

The museum first offered a [[Bounty (reward)|reward]] of $1 million, but that was later increased to $5 million in 1997.<ref name ="Smithsonian" /> The reward is for "information that leads directly to the recovery of all of [their] items in good condition",<ref name=fbipress1 /> which remains on offer more than a quarter-century later.<ref name ="Smithsonian" /> Federal authorities have stated they will not charge anyone who voluntarily turns in the artwork, but anyone caught knowingly in possession of stolen items could be prosecuted.<ref name=suffolk_globe /><ref name=searchcont /> The thieves cannot face charges because the five-year statute of limitations have expired.<ref name=searchcont>{{cite web|last1=Murphy|first1=Shelley|title=Search for artworks from Gardner heist continues 25 years later|url=https://www.bostonglobe.com/metro/2015/03/17/gardner-museum-art-heist-one-boston-most-enduring-mysteries-years-later/9U3tp1kJMa4Zn4uClI1cdM/story.html|website=bostonglobe.com|accessdate=12 February 2016}}</ref>

=== Leads ===
In 1994, the museum director Anne Hawley received a letter that promised the return of the pieces for $2.6 million. If interested, the museum had to get the ''[[The Boston Globe]]'' to publish a coded message in a business story. The message was published, but the writer disappeared after law enforcement got involved.<ref name=nydn />

Late one night in 1997, ''[[Boston Herald]]'' reporter Tom Mashberg was driven to a warehouse in [[Red Hook, Brooklyn]] by William Youngworth to see what was purported to be ''The Storm on the Sea of Galilee''. Youngworth was a career criminal and associate to New England art thief Myles Connor Jr.<ref name=nydn /> Mashberg had been investigating the theft and was briefly allowed to view the painting with a flashlight. He was given a vial of paint chips for authenticity. These were later confirmed by experts to be fragments of Dutch 17th century origin—but not from the stolen painting.<ref name ="Smithsonian" /> It was never concretely determined to be real or fake, and the FBI quit speaking to Youngworth after not making any progress.<ref name=nydn /> The painting has since disappeared.<ref name ="Smithsonian" />

On August 6, 2015, police released a video from the night before the theft, that is believed to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist. The video appears to show Abath buzzing the unidentified man into the museum twice within a few minutes. The man stayed for about three minutes in the lobby, then returned to a car and drove off.<ref>{{cite web|title=New video shows possible dry run for Gardner Museum art Heist|url=http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox|website=boston.com|accessdate=12 February 2016}}</ref> Police say the video opens new lines of investigation, and ''[[The New York Times]]'' points out that it draws new attention to Abath as a potential collaborator.<ref>{{cite web|last1=Jones|first1=Jonathan|title=Is America's greatest art heist about to be solved?|url=http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/07/americas-greatest-art-heist-solved-isabella-stewart-gardner-museum|website=The Guardian|accessdate=12 February 2016}}</ref> However, the guards have previously been interviewed and deemed too unimaginative to have pulled off the heist.<ref name ="Smithsonian" />

[[File:Suffolk Downs.jpg|thumb|right|[[Suffolk Downs]] was searched in December 2015, but no evidence was found.|alt=Suffolk Downs]]
In December 2015, over 20 FBI agents conducted a search of the [[Suffolk Downs]] [[horse racing]] track in [[East Boston]], acting on a tip that the stolen works were stashed there. Agents searched the horse stables, parts of the grandstand that have been closed since the early 1990s, and drilled open two stand-up safes. There were rumors among Suffolk Downs employees in the 1990s that the racetrack was a temporary hiding location for the paintings. The search at the racetrack did not reveal any of the stolen works.<ref name=suffolk_globe>{{cite web|last1=Kurkjian|first1=Stephen|title=Search of Suffolk Downs for Gardner Museum masterpieces came up empty – The Boston Globe|url=https://www.bostonglobe.com/metro/2015/12/27/search-suffolk-downs-for-gardner-museum-masterpieces-came-empty/H1iiRlZopLFfxOkM9Nm41J/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=7 January 2016}}</ref>

=== Potential collaborators ===
Boston [[gangster]] Bobby Donati may have been involved in the heist. New England art thief Myles J. Connor Jr., in prison at the time of the robbery, has stated that he and associate Bobby Donati eyed the museum in the 1980s and Donati oversaw the operation.<ref name ="Smithsonian" /> Shortly before the robbery, Donati was seen at a night club with a sack of police uniforms.<ref name=nydn /> Donati worked under Boston crime boss [[Vincent M. Ferrara|Vincent Ferrara]], and visited him in prison in the early 1990s. When Ferrara asked about the robbery, Donati said he "buried the stuff" and will find a way to negotiate his release. Donati was murdered in 1991 as a result of ongoing gang wars.<ref name=nydn />

[[Hartford]], [[Connecticut]] gangster Robert "Bobby the Cook" Gentile has been suggested on multiple occasions as knowing the location of the Gardner works.<ref name=suffolk_globe /><ref name=courant /> In May 2012, FBI agents searched Gentile's home in [[Manchester, Connecticut|Manchester]], Connecticut. They did not find any stolen works, despite searching his preferred hiding spot beneath a false floor with the help of his son. However, in the basement, they found a sheet of paper listing what each stolen piece might draw on the [[black market]].<ref name=suffolk_globe /> In January 2016, the FBI contrived gun charges against Gentile to force him to reveal the location of the missing works. During a hearing, a federal prosecutor revealed significant evidence tying Gentile to the crime. The prosecutor stated that Gentile and mob partner Robert Guarente attempted to use the return of two stolen pieces to reduce a prison sentence for one of their associates. Guarente's wife told investigators in early 2015 that her husband once had possession of some of the art, and gave two paintings to Gentile before Guarente died of cancer in 2004. Also, while in federal prison during 2013–2014, Gentile told at least three people he had knowledge of the stolen art. In 2015, Gentile submitted to a [[polygraph|lie detector]] test, denying advanced knowledge of the heist or ever possessing any paintings. The result showed a 0.1% chance that he was truthful.<ref name=courant>{{cite web|last1=Mahoney|first1=Edmund H.|title=Prosecutors Reveal More Evidence They Say Ties Robert Gentile To Gardner Museum Robbery|url=http://www.courant.com/news/connecticut/hc-robert-gentile-gardner-museum-art-heist-0107-20160106-story.html|website=courant.com|publisher=Hartford Courant|accessdate=7 January 2016}}</ref> According to Gentile's lawyer, federal agents are convinced that Gentile has the stolen works.<ref name=suffolk_globe />

When the museum raised its bounty in 1997, Myles J Connor Jr. said he could locate the missing artwork in exchange for [[legal immunity]]. Authorities rejected his offer. Connor now believes that the Gardner works have passed into other, unknown hands. “I was probably told, but I don’t remember,” he said, blaming a heart attack that affected his memory.<ref name ="Smithsonian" /> Louis Royce, another Boston area gangster, claims he is still owed 15% for devising the plan for two fake policemen to request access to the museum at night.<ref name=nydn>{{cite web|last1=Connelly|first1=Sherryl|title=Possible leads in $500M Boston museum robbery in 1990|url=http://www.nydailynews.com/news/crime/leads-500m-boston-museum-robbery-1990-article-1.2115903|website=NY Daily News|publisher=NY Daily News|accessdate=8 January 2016}}</ref>

== In popular culture ==
Due to the high profile of the museum theft, it has been referenced and parodied in many different works. The theft was the subject of the 2005 documentary ''Stolen'', which first appeared in a slightly different version on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> The more well-known paintings have been referenced in multiple TV shows, including ''[[The Blacklist (TV series)|The Blacklist]]'' episode "The Courier",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2013/10/starring_role_for_boston_on_new_hit_blacklist |title=Starring role for Boston on new hit Blacklist |first=Mark |last=Perigard |date= October 30, 2013 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[The Simpsons]]'' episode "[[American History X-cellent]]",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2010/04/%E2%80%98simpsons%E2%80%99_cracks_case_gardner_heist |title='Simpsons' crack case of Gardner heist |date= April 13, 2010 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[Drunk History]]'' episode "Boston",<ref>{{cite web|url=http://www.cc.com/video-clips/uo66zq/drunk-history-art-heist---uncensored|title=Art Heist – Uncensored Drunk History Video Clip – Comedy Central |first=Mark |last=Perigard |date= July 30, 2013 |publisher=Comedy Central|accessdate=December 1, 2015}}</ref> and ''[[American Greed]]''.<ref>{{cite web|url=http://www.cnbc.com/id/100000093|title=American Greed – Unsolved $300 Million Art Heist |date= October 14, 2012 |publisher=CNBC|accessdate=December 11, 2015}}</ref> Two books were written by former investigators including ''Artful Deception'' (2012) by James J McGovern and ''Stolen Masterpiece Tracker'' (2006) by Thomas McShane.<ref name=globe_mar2013>{{cite web|last1=Valencia|first1=Milton|title=Observers, investigators say now is time to find Gardner art before it is lost – The Boston Globe|url=https://www.bostonglobe.com/metro/2013/03/24/observers-investigators-say-now-time-find-gardner-art-before-lost/Z4HQc74zz6ek7QWOcZvNsO/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=8 January 2016}}</ref> Stephen Kurkjian, a recurrent Boston Globe reporter on the case has written a book about his experience titled ''Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist''.<ref name=nydn />

== See also ==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

== References ==
{{Reflist|30em}}

== External links ==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Kunstraub von Boston

2016-02-04T22:14:16Z

Reify-tech: /* Stolen artwork */ ce

[[File:Empty Frames at Isabella Stewart Gardner Museum.jpg|thumb|right|300px|An empty frame remains where ''[[The Storm on the Sea of Galilee]]'' was once displayed]]
The '''Isabella Stewart Gardner Museum theft''' was an [[art theft]] that occurred in the early hours of March 18, 1990, at the [[Isabella Stewart Gardner Museum]] in [[Boston]], [[Massachusetts]]. A pair of men disguised as [[Boston Police Department|Boston police officers]] tricked the museum security guards into granting them access to the building. They proceeded to tie up the guards and loot the museum for over an hour before escaping in their vehicle. Thirteen works of art were stolen worth an estimated $500 million, making it the largest private property theft in history. Despite efforts by the [[Federal Bureau of Investigation]] and multiple probes across the world, no arrests have been made and no artwork has yet been recovered. The case remains open and unsolved, with the museum offering a [[Bounty (reward)|reward]] of $5 million for information leading to recovery of the art.

The stolen works were originally purchased by art collector [[Isabella Stewart Gardner]] (1840-1924) and intended to be left on permanent display at the museum with the rest of her collection. Since the collection and its layout are permanent, empty frames remain hanging both in homage to the missing works and as placeholders for when they are returned. The choice of paintings stolen puzzles experts, especially since more valuable artwork was untouched. Among the stolen works was ''[[The Concert (Vermeer)|The Concert]]'', one of only 34 known works by [[Johannes Vermeer|Vermeer]] and thought to be the most valuable unrecovered painting at over $200 million. Also missing is ''[[The Storm on the Sea of Galilee]]'', [[Rembrandt]]'s only known seascape. Other works by Rembrandt, [[Edgar Degas|Degas]], [[Édouard Manet|Manet]], and [[Govaert Flinck|Flinck]] were also stolen.

According to the FBI, the stolen artwork was moved through the region and offered for sale in [[Philadelphia]] during the early 2000s. They believe the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]]. They also claim to have identified two suspects, although they have not been publicly identified and are now deceased. Boston gangster Bobby Donati has been cited as a possible collaborator in the heist. He was murdered in 1991 as a result of ongoing gang wars. Significant evidence suggests that [[Hartford]], [[Connecticut]] gangster Robert Gentile knows the location of the works, although he denies involvement.

==Robbery==
[[File:ISGardnerMuseum.JPG|thumb|left|240px|The Isabella Stewart Gardner Museum]]
Around 12:00AM on Sunday, March 18, 1990, a car pulled up near the side entrance of the Isabella Stewart Gardner Museum along Palace Road.<ref name ="Smithsonian"/> Two men with fake police uniforms waited for at least an hour in the car, perhaps trying to avoid being noticed by people leaving a [[St. Patrick's Day]] party nearby.<ref name = abathstory>{{cite news |url= http://www.bostonglobe.com/metro/2013/03/10/guard-who-opened-door-robbers-notorious-gardner-museum-heist-under-suspicion-years-later/1TUiDyi1GbcnBgQT64oISP/story.html |title= Decades after the Gardner heist, police focus on guard |first= Stephen |last= Kurkjian |work= Boston Globe |date= March 2013}}</ref> Later at around 1:00AM, security guard Richard Abath returned to the front desk after patrolling the museum to switch positions with the other security guard. The two guards were the only people in the building. At this time, Abath opened and quickly shut the Palace Road door, claiming he “did it to make sure...that the door was securely locked...[he] was trained to do it that way.” He claimed security logs would show that he tested the door on other nights as well. The FBI seized the logs, but has declined to comment on what they show.<ref name = abathstory/>

At 1:24 AM, one of the two men outside pressed the buzzer near the door and ordered: "Police! Let us in. We heard about a disturbance in the courtyard." Abath knew he should not let uninvited guests inside, but he was unsure on whether the rule applied to police officers. “There they stood," Abath said in his manuscript, "two of Boston’s finest waving at me through the glass. Hats, coats, badges, they looked like cops." With his partner on patrol, Abath decided to buzz in the men.<ref name = abathstory/> When the intruders arrived at the main security desk, one of them told Abath "You look familiar...I think we have a default warrant out for you." Abath stepped out from behind his desk, where he had access to the only alarm button in the museum to alert police. He was quickly asked for his ID, ordered to stand facing a wall, and then handcuffed. Abath believed the arrest was a misunderstanding, until he realized he hadn't been frisked before being cuffed, and one officer's mustache was made of wax.<ref name = abathstory/> The second security guard arrived minutes later and was also put in handcuffs. He asked the intruders "Why are you arresting me?" "You're not being arrested," was the reply. "This is a robbery. Don't give us any problems and you won't get hurt." The thieves proceeded to bring the guards to the museum's basement, where they handcuffed them to pipes and wrapped duct tape around the their hands, feet, and heads, leaving nose holes for breathing.<ref name=insider>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

Since the museum was equipped with motion detectors, the thieves' movements throughout the museum were recorded. After tying up the guards, the thieves went upstairs to the Dutch Room. As one of them approached a Rembrandt painting, a local alarm sounded, which they immediately smashed. They pulled [[Rembrandt]]'s ''Self-Portrait'' (1629) off the wall and tried to take the wooden panel out of the heavy frame. Unsuccessful at the attempt, they left the painting on the floor. Next they cut Rembrandt's ''[[The Storm on the Sea of Galilee]]'' out of the frame, as well as ''[[A Lady and Gentleman in Black]]''. They removed [[Vermeer]]'s ''[[The Concert (Vermeer)|The Concert]]'' from its frame and [[Govaert Flinck]]'s ''[[Landscape with an Obelisk]]''. Additionally, they also took a Chinese bronze [[Gu (vessel)|gu]] from the [[Shang Dynasty]].<ref name=insider/>

Elsewhere in the museum, not far from a portrait of [[Isabella Stewart Gardner]], they removed five [[Degas]] drawings and a [[finial]] in the form of an eagle. The finial lay at the top of a [[Napoleon|Napoleonic]] flag, which they attempted to unscrew from the wall, but failed.<ref name=livescience/> To get to the flag, they passed by two [[Raphael]]s and a [[Botticelli]] painting.<ref name=insider/> [[Manet]]'s ''[[Chez Tortoni]]'' was also stolen from its location in the Blue Room. Motion detector records show that the only footsteps detected in the Blue Room that night were at 12:27 and again at 12:53 a.m. These times match to when Abath said he passed through on patrol. The frame for the painting was found on security chief Lyle W. Grindle's chair near the front desk.<ref name = abathstory/>

In total, the theft lasted 81 minutes. Before leaving, they visited the guards once more, telling them "You’ll be hearing from us in about a year," although they were never heard from again.<ref name ="Smithsonian"/> The guards remained tied and handcuffed until the police arrived at 8:15 AM later that morning.<ref name=insider/>

==Stolen artwork==
[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen artwork from the museum]]
Altogether, thirteen pieces were stolen at an estimated loss of $500 million, making the robbery the largest private property theft in history.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Empty frames remain hanging in the museum, both in homage to the missing works and as placeholders for when they are returned.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref> One of the paintings, ''The Concert'', was Gardner's first major acquisition and one of only 34 known Vermeer works in the world.<ref name=fbigallery/> It is thought to be the most valuable unrecovered stolen painting, with a value estimated at over $200 million.<ref>[http://www.pbs.org/independentlens/stolen/index.html Stolen], a documentary about the theft of ''The Concert'', from the PBS website.</ref> Another painting, ''The Storm on the Sea of Galilee'', is Rembrandt's only known [[seascape]].<ref name ="Smithsonian">{{cite web | url=http://www.smithsonianmag.com/arts-culture/ripped.html?c=y&page=1 | title =Ripped from the Walls (and the Headlines) | author =Robert M. Poole | work =[[Smithsonian (magazine)|Smithsonian]] | date =July 2005}}</ref> The bronze finial was taken from the top of a [[Napoleon|Napoleonic]] flag, possibly appearing like [[gold]] to the thieves.<ref name=fbigallery/> The museum is offering a $100,000 reward for this piece alone.<ref name=theftnews>{{cite web |title= Official Gardner Museum Site - Theft News|url=http://www.gardnermuseum.org/news/theft|publisher=Isabella Stewart Garndner Museum|accessdate= October 8, 2015}}</ref>

The museum stresses that the paintings be kept in good condition by whoever has them. Museum director, Anne Hawley, stated “the works should be kept at a steady humidity of 50%—not more or less—and a steady temperature of around 70°F. They need a stable environment...They should be kept away from light and they should be wrapped in acid-free paper.” Hawley also noted to avoid rolling the paintings, which will crack the paint, “otherwise the paintings will be compromised and their value decreased. The more repainting that needs to be done when they are returned, the worse it will be for the integrity of the paintings."<ref name ="Smithsonian"/>

The following are the thirteen stolen works, all of which are still missing.<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref><ref name=fbigallery>{{cite web |title= FBI - Have You Seen These?|url=https://www.fbi.gov/news/stories/2013/march/reward-offered-for-return-of-stolen-gardner-museum-artwork/image/hi-res|publisher= Federal Bureau of Investigation |accessdate= September 8, 2015}}</ref><ref name=livescience>{{cite web |title= Lost Art: Photos of the Paintings Stolen from Gardner Museum|url=http://www.livescience.com/51808-photos-paintings-stolen-from-gardner-museum.html|publisher=LiveScience|accessdate= October 8, 2015}}</ref>
<gallery class="center" mode=nolines perrow=7>
File:Vermeer The concert.JPG|[[The Concert (Vermeer)|''The Concert'']] by [[Vermeer]] ({{circa}} 1664-1666)
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|''[[The Storm on the Sea of Galilee]]'' by [[Rembrandt]] (1633)
File:A lady and gentleman in black, by Rembrandt.jpg|''[[A Lady and Gentleman in Black]]'' by Rembrandt{{efn|name=fn1|The museum believes ''A Lady and Gentleman in Black'' to be a Rembrandt; however some scholars, including the Rembrandt Research Project in Amsterdam, say it is not.<ref name=insider/>}} (1633)
File:Rembrandt Harmensz. van Rijn 076.jpg|''[[Landscape with an Obelisk]]'' by [[Govert Flinck]]{{efn|name=fn2|''Landscape with an Obelisk'' was formerly attributed to Rembrandt until being associated with his pupil, Flinck.<ref>{{cite book|last=Vigderman|first=Patricia|title=The Memory Palace of Isabella Stewart Gardner Museum|url=http://books.google.com/books?id=ZP_0f2uIlN0C&pg=PA151|publisher=Hol Art Books|isbn=978-1-936102-24-2|page=151}}</ref>}} (1638)
File:Édouard Manet Chez Tortoni.jpg|''[[Chez Tortoni]]'' by [[Édouard Manet]] ({{circa}} 1878–1880)
File:La Sortie de Pesage by E Degas.jpg|''La Sortie de Pesage'' by [[Degas]] (date unknown)
File:Rembrandt_-_Self_portrait_etching_-_ISGM.jpg|''Self-Portrait''{{efn|name=fn3|This ''Self-Portrait'' is postage-stamp sized. Not to be confused with Rembrandt's ''Self-Portrait'' (1629) oil painting also at the museum, which the thieves attempted to steal but did not take.<ref name=insider/>}} by Rembrandt ({{circa}}1634)
File:Degas_-_Cortege_aux_Environs_de_Florence.jpg|''Cortege aux Environs de Florence'' by Degas ({{circa}} 1857-1860)
File:Degas_-_Program_for_an_artistic_soiree_1.jpg|''Program for an Artistic Soirée 1'' by Degas (1884)
File:Degas_-_Program_for_an_artistic_soiree_2.jpg|''Program for an Artistic Soirée 2'' by Degas (1884)
File:Degas_Three_Mounted_Jockeys.jpg|''Three Mounted Jockeys'' by Degas ({{circa}} 1885-1888)
File:Ku_robbed_from_Isabella_Stewart_Gardner_Musuem.gif|An ancient Chinese [[Gu (vessel)|gu]] ({{circa}} 1200-1100 BCE){{efn|name=fn4|The gu is dated during the [[Shang Dynasty]]}}
File:Finial_robbed_from_Isabella_Stewart_Gardner_Museum.jpg|A bronze eagle [[finial]] ({{circa}} 1813-1814)
</gallery>

;Notes
{{reflist|group=nb}}
{{notelist}}

==Investigation==
[[File:Sketches of Suspects Isabella Stewart Gardner Museum Theft.jpg|thumb|left|200px|Sketches of the suspects]]
The [[Federal Bureau of Investigation]] took control of the case on the grounds that the artwork could likely cross state lines.<ref name=nydn/> They have conducted hundreds of interviews with probes stretching across the world involving [[Scotland Yard]], [[Japan|Japanese]] and [[France|French]] authorities, private investigators, museum directors, and art dealers.<ref name ="Smithsonian"/> The FBI believes the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. Some of the art may have been offered for sale in Philadelphia in the early 2000s; however, their knowledge of what happened to the works after the attempted sale is limited.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref name=fbipress1>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref> The FBI stated it believed to know the identity of the thieves in 2013, but in 2015 announced that they were now deceased. They have declined to identify the individuals.<ref>{{cite web|title=FBI says two suspects who stole $500m in art from Boston museum are dead|url=http://www.theguardian.com/artanddesign/2015/aug/07/fbi-isabella-stewart-gardner-museum-art-theft-suspects-dead|website=The Guardian|accessdate=12 August 2015}}</ref> The museum first offered a [[Bounty (reward)|reward]] of $1 million, but that was later increased to $5 million in 1997.<ref name ="Smithsonian"/> The reward is for "information that leads directly to the recovery of all of [their] items in good condition",<ref name=fbipress1/> which remains on offer more than a quarter-century later.<ref name ="Smithsonian"/> Federal authorities have stated they will not charge anyone who voluntarily turns in the artwork.<ref name=suffolk_globe/>

No single motive or pattern has emerged through the thousands of pages of evidence gathered.<ref name ="Smithsonian"/> The selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane/> Geoffrey J. Kelly, the FBI's lead agent assigned to the case, stated "It’s difficult to understand why the thieves took what they did, an eclectic collection...They were certainly in the museum long enough to take whatever they wanted."<ref name=insider/> [[Titian]]'s ''[[The Rape of Europa (Titian)|The Rape of Europa]]'', which is one of the museum's most well-known and valuable pieces, was not stolen.<ref name=insider/> Due to the brutish ways the criminals handled the robbery, cutting the painting from their frames and smashing frames for two Degas sketches, investigators believe the thieves were amateur criminals, not experts commissioned to steal particular works.<ref name = abathstory/> Some investigators believe the works were destroyed, explaining why they have not reappeared.<Ref name="Smithsonian"/> Theories on the theft include that it was organized the [[Irish Republican Army]] in order to raise money or bargain for the release of imprisoned comrades. Another theory states [[Whitey Bulger]] as the ringleader of the theft. At the time of the heist, he was Boston's top crime boss and an FBI informant.<ref name ="Smithsonian"/>

===Leads===
In 1994, the museum director Anne Hawley received a letter that promised the return of the pieces for $2.6 million. If interested, the museum had to get the ''The Boston Globe'' to publish a coded message in a business story. The message was published, but the writer disappeared after law enforcement got involved.<ref name=nydn/>

Late one night in 1997, ''[[Boston Herald]]'' reporter Tom Mashberg was driven to a warehouse in [[Red Hook, Brooklyn|Red Hook]] by William Youngworth to see what was purported to be ''The Storm on the Sea of Galilee''. Youngworth was a career criminal and associate to New England art thief Myles Connor Jr.<ref name=nydn/> Mashberg had been covering the theft and was allowed to view the painting briefly by flashlight. For authenticity he was given a vial of paint chips that were later confirmed by experts to be Dutch fragments from the 17th century—but not from the Rembrandt seascape.<ref name ="Smithsonian"/> It was never concretely determined to be real or fake, and the FBI quit speaking to Youngworth after not making any progress.<ref name=nydn/> The painting has since disappeared.<ref name ="Smithsonian"/>

On August 6, 2015, police released a video from the night before the theft, that is believed to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist. The video appears to show Abath buzzing the unidentified man into the museum twice within a few minutes. The man stayed for about three minutes in the lobby, then returned to a car and drove off.<ref>[http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox New video shows possible dry run for Gardner Museum art heist]</ref> Police say the video opens new lines of investigation, and ''[[The New York Times]]'' points out that it draws new attention to Abath as a potential collaborator.<ref>Jonathan Jones, [http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/07/americas-greatest-art-heist-solved-isabella-stewart-gardner-museum Is America's greatest art heist about to be solved?], The Guardian, 7 August 2015.</ref> However, the guards have previously been interviewed and deemed too unimaginative to have pulled off the heist.<ref name ="Smithsonian"/>

[[File:Suffolk_Downs.jpg|thumb|right|240px|[[Suffolk Downs]] was searched in December 2015. No evidence was found.]]
In December 2015, over 20 FBI agents conducted a search of the [[Suffolk Downs]] [[horse racing]] track in [[East Boston]], acting on a tip that the stolen works were stashed there. Agents searched the horse stables, parts of the grandstand that have been closed since the early 1990s, and drilled open two stand-up safes. There were rumors among Suffolk Downs employees in the 1990s that the racetrack was a temporary hiding location for the paintings. The search at the racetrack did not reveal any of the stolen works.<ref name=suffolk_globe>{{cite web|last1=Kurkjian|first1=Stephen|title=Search of Suffolk Downs for Gardner Museum masterpieces came up empty - The Boston Globe|url=https://www.bostonglobe.com/metro/2015/12/27/search-suffolk-downs-for-gardner-museum-masterpieces-came-empty/H1iiRlZopLFfxOkM9Nm41J/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=7 January 2016}}</ref>

===Potential collaborators===
Boston [[gangster]] Bobby Donati may have been involved in the heist. New England art thief Myles J. Connor Jr., in prison at the time of the robbery, has stated that he and associate Bobby Donati eyed the museum in the 1980s and Donati oversaw the operation.<ref name ="Smithsonian"/> Shortly before the robbery, Donati was seen at a night club with a sack of police uniforms.<ref name=nydn/> Donati worked under Boston crime boss Vincent Ferrara, and visited him in prison in the early 1990s. When Ferrara asked about the robbery, Donati said he "buried the stuff" and will find a way to negotiate his release. Donati was murdered in 1991 as a result of ongoing gang wars.<ref name=nydn/>

[[Hartford]], [[Connecticut]] gangster Robert "Bobby the Cook" Gentile has been suggested on multiple occasions as knowing the location of the Gardner works.<ref name=suffolk_globe/><ref name=courant/> In May 2012, FBI agents searched Gentile's home in [[Manchester, Connecticut|Manchester]], Connecticut. They did not find any stolen works, despite searching his preferred hiding spot beneath a false floor with the help of his son. However, in the basement, they found a sheet of paper listing what each stolen piece might draw on the [[black market]].<ref name=suffolk_globe/> In January 2016, the FBI contrived gun charges against Gentile to force him to reveal the location of the missing works. During a hearing, a federal prosecutor revealed significant evidence tying Gentile to the crime. The prosecutor stated that Gentile and mob partner Robert Guarente attempted to use the return of two stolen pieces to reduce a prison sentence for one of their associates. Guarente's wife told investigators in early 2015 that her husband once had possession of some of the art, and gave two paintings to Gentile before Guarente died of cancer in 2004. Also, while in federal prison during 2013-2014, Gentile told at least three people he had knowledge of the stolen art. In 2015, Gentile submitted to a [[polygraph|lie detector]] test, denying advanced knowledge of the heist or ever possessing any paintings. The result showed a 0.1% chance that he was truthful.<ref name=courant>{{cite web|last1=Mahoney|first1=Edmund H.|title=Prosecutors Reveal More Evidence They Say Ties Robert Gentile To Gardner Museum Robbery|url=http://www.courant.com/news/connecticut/hc-robert-gentile-gardner-museum-art-heist-0107-20160106-story.html|website=courant.com|publisher=Hartford Courant|accessdate=7 January 2016}}</ref> According to Gentile's lawyer, federal agents are convinced that Gentile has the stolen works.<ref name=suffolk_globe/>

When the museum raised its bounty in 1997, Myles J Connor Jr. said he could locate the missing artwork in exchange for [[legal immunity]]. Authorities rejected his offer. Connor now believes that the Gardner works have passed into other, unknown hands. “I was probably told, but I don’t remember,” he said, blaming a heart attack that affected his memory.<ref name ="Smithsonian"/> Louis Royce, another Boston area gangster, claims he is still owed 15% for devising the plan for two fake policemen to request access to the museum at night.<ref name=nydn>{{cite web|last1=Connelly|first1=Sherryl|title=Possible leads in $500M Boston museum robbery in 1990|url=http://www.nydailynews.com/news/crime/leads-500m-boston-museum-robbery-1990-article-1.2115903|website=NY Daily News|publisher=NY Daily News|accessdate=8 January 2016}}</ref>

==In popular culture==
Due to the high profile of the museum theft, it has been referenced and parodied in many different works. The theft was the subject of the 2005 documentary ''Stolen'', which first appeared in a slightly different version on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> The more well-known paintings have been referenced in multiple TV shows, including ''[[The Blacklist (TV series)|The Blacklist]]'' episode "The Courier",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2013/10/starring_role_for_boston_on_new_hit_blacklist |title=Starring role for Boston on new hit Blacklist |first=Mark |last=Perigard |date= October 30, 2013 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[The Simpsons]]'' episode "[[American History X-cellent]]",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2010/04/%E2%80%98simpsons%E2%80%99_cracks_case_gardner_heist |title='Simpsons' crack case of Gardner heist |date= April 13, 2010 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[Drunk History]]'' episode "Boston",<ref>{{cite web|url=http://www.cc.com/video-clips/uo66zq/drunk-history-art-heist---uncensored|title=Art Heist - Uncensored Drunk History Video Clip - Comedy Central |first=Mark |last=Perigard |date= July 30, 2013 |publisher=Comedy Central|accessdate=December 1, 2015}}</ref> ''[[American Greed]]'',<ref>{{cite web|url=http://www.cnbc.com/id/100000093|title=American Greed - Unsolved $300 Million Art Heist |date= October 14, 2012 |publisher=CNBC|accessdate=December 11, 2015}}</ref> and ''[[The Venture Bros.]]'' episode "Victor. Echo. November."{{Citation needed|date=July 2011}} Two books were written by former investigators including ''Artful Deception'' (2012) by James J McGovern and ''Stolen Masterpiece Tracker'' (2006) by Thomas McShane.<ref name=globe_mar2013>{{cite web|last1=Valencia|first1=Milton|title=Observers, investigators say now is time to find Gardner art before it is lost - The Boston Globe|url=https://www.bostonglobe.com/metro/2013/03/24/observers-investigators-say-now-time-find-gardner-art-before-lost/Z4HQc74zz6ek7QWOcZvNsO/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=8 January 2016}}</ref> Stephen Kurkjian, a recurrent Boston Globe reporter on the case has written a book about his experience titled ''Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist''.<ref name=nydn/>

==See also==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

==References==
{{Reflist|30em}}

==External links==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Kunstraub von Boston

2016-02-04T22:10:20Z

Reify-tech: /* Stolen artwork */ ce

[[File:Empty Frames at Isabella Stewart Gardner Museum.jpg|thumb|right|300px|An empty frame remains where ''[[The Storm on the Sea of Galilee]]'' was once displayed]]
The '''Isabella Stewart Gardner Museum theft''' was an [[art theft]] that occurred in the early hours of March 18, 1990, at the [[Isabella Stewart Gardner Museum]] in [[Boston]], [[Massachusetts]]. A pair of men disguised as [[Boston Police Department|Boston police officers]] tricked the museum security guards into granting them access to the building. They proceeded to tie up the guards and loot the museum for over an hour before escaping in their vehicle. Thirteen works of art were stolen worth an estimated $500 million, making it the largest private property theft in history. Despite efforts by the [[Federal Bureau of Investigation]] and multiple probes across the world, no arrests have been made and no artwork has yet been recovered. The case remains open and unsolved, with the museum offering a [[Bounty (reward)|reward]] of $5 million for information leading to recovery of the art.

The stolen works were originally purchased by art collector [[Isabella Stewart Gardner]] (1840-1924) and intended to be left on permanent display at the museum with the rest of her collection. Since the collection and its layout are permanent, empty frames remain hanging both in homage to the missing works and as placeholders for when they are returned. The choice of paintings stolen puzzles experts, especially since more valuable artwork was untouched. Among the stolen works was ''[[The Concert (Vermeer)|The Concert]]'', one of only 34 known works by [[Johannes Vermeer|Vermeer]] and thought to be the most valuable unrecovered painting at over $200 million. Also missing is ''[[The Storm on the Sea of Galilee]]'', [[Rembrandt]]'s only known seascape. Other works by Rembrandt, [[Edgar Degas|Degas]], [[Édouard Manet|Manet]], and [[Govaert Flinck|Flinck]] were also stolen.

According to the FBI, the stolen artwork was moved through the region and offered for sale in [[Philadelphia]] during the early 2000s. They believe the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]]. They also claim to have identified two suspects, although they have not been publicly identified and are now deceased. Boston gangster Bobby Donati has been cited as a possible collaborator in the heist. He was murdered in 1991 as a result of ongoing gang wars. Significant evidence suggests that [[Hartford]], [[Connecticut]] gangster Robert Gentile knows the location of the works, although he denies involvement.

==Robbery==
[[File:ISGardnerMuseum.JPG|thumb|left|240px|The Isabella Stewart Gardner Museum]]
Around 12:00AM on Sunday, March 18, 1990, a car pulled up near the side entrance of the Isabella Stewart Gardner Museum along Palace Road.<ref name ="Smithsonian"/> Two men with fake police uniforms waited for at least an hour in the car, perhaps trying to avoid being noticed by people leaving a [[St. Patrick's Day]] party nearby.<ref name = abathstory>{{cite news |url= http://www.bostonglobe.com/metro/2013/03/10/guard-who-opened-door-robbers-notorious-gardner-museum-heist-under-suspicion-years-later/1TUiDyi1GbcnBgQT64oISP/story.html |title= Decades after the Gardner heist, police focus on guard |first= Stephen |last= Kurkjian |work= Boston Globe |date= March 2013}}</ref> Later at around 1:00AM, security guard Richard Abath returned to the front desk after patrolling the museum to switch positions with the other security guard. The two guards were the only people in the building. At this time, Abath opened and quickly shut the Palace Road door, claiming he “did it to make sure...that the door was securely locked...[he] was trained to do it that way.” He claimed security logs would show that he tested the door on other nights as well. The FBI seized the logs, but has declined to comment on what they show.<ref name = abathstory/>

At 1:24 AM, one of the two men outside pressed the buzzer near the door and ordered: "Police! Let us in. We heard about a disturbance in the courtyard." Abath knew he should not let uninvited guests inside, but he was unsure on whether the rule applied to police officers. “There they stood," Abath said in his manuscript, "two of Boston’s finest waving at me through the glass. Hats, coats, badges, they looked like cops." With his partner on patrol, Abath decided to buzz in the men.<ref name = abathstory/> When the intruders arrived at the main security desk, one of them told Abath "You look familiar...I think we have a default warrant out for you." Abath stepped out from behind his desk, where he had access to the only alarm button in the museum to alert police. He was quickly asked for his ID, ordered to stand facing a wall, and then handcuffed. Abath believed the arrest was a misunderstanding, until he realized he hadn't been frisked before being cuffed, and one officer's mustache was made of wax.<ref name = abathstory/> The second security guard arrived minutes later and was also put in handcuffs. He asked the intruders "Why are you arresting me?" "You're not being arrested," was the reply. "This is a robbery. Don't give us any problems and you won't get hurt." The thieves proceeded to bring the guards to the museum's basement, where they handcuffed them to pipes and wrapped duct tape around the their hands, feet, and heads, leaving nose holes for breathing.<ref name=insider>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

Since the museum was equipped with motion detectors, the thieves' movements throughout the museum were recorded. After tying up the guards, the thieves went upstairs to the Dutch Room. As one of them approached a Rembrandt painting, a local alarm sounded, which they immediately smashed. They pulled [[Rembrandt]]'s ''Self-Portrait'' (1629) off the wall and tried to take the wooden panel out of the heavy frame. Unsuccessful at the attempt, they left the painting on the floor. Next they cut Rembrandt's ''[[The Storm on the Sea of Galilee]]'' out of the frame, as well as ''[[A Lady and Gentleman in Black]]''. They removed [[Vermeer]]'s ''[[The Concert (Vermeer)|The Concert]]'' from its frame and [[Govaert Flinck]]'s ''[[Landscape with an Obelisk]]''. Additionally, they also took a Chinese bronze [[Gu (vessel)|gu]] from the [[Shang Dynasty]].<ref name=insider/>

Elsewhere in the museum, not far from a portrait of [[Isabella Stewart Gardner]], they removed five [[Degas]] drawings and a [[finial]] in the form of an eagle. The finial lay at the top of a [[Napoleon|Napoleonic]] flag, which they attempted to unscrew from the wall, but failed.<ref name=livescience/> To get to the flag, they passed by two [[Raphael]]s and a [[Botticelli]] painting.<ref name=insider/> [[Manet]]'s ''[[Chez Tortoni]]'' was also stolen from its location in the Blue Room. Motion detector records show that the only footsteps detected in the Blue Room that night were at 12:27 and again at 12:53 a.m. These times match to when Abath said he passed through on patrol. The frame for the painting was found on security chief Lyle W. Grindle's chair near the front desk.<ref name = abathstory/>

In total, the theft lasted 81 minutes. Before leaving, they visited the guards once more, telling them "You’ll be hearing from us in about a year," although they were never heard from again.<ref name ="Smithsonian"/> The guards remained tied and handcuffed until the police arrived at 8:15 AM later that morning.<ref name=insider/>

==Stolen artwork==
[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen artwork from the museum]]
Altogether, thirteen pieces were stolen at an estimated loss of $500 million, making the robbery the largest private property theft in history.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Empty frames remain hanging in the museum, both in homage to the missing works and as placeholders for when they are returned.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref> One of the paintings, ''The Concert'', was Gardner's first major acquisition and one of only 34 known Vermeer works in the world.<ref name=fbigallery/> It is thought to be the most valuable unrecovered stolen painting, with a value estimated at over $200 million.<ref>[http://www.pbs.org/independentlens/stolen/index.html Stolen], a documentary about the theft of ''The Concert'', from the PBS website.</ref> Another painting, ''The Storm on the Sea of Galilee'', is Rembrandt's only known [[seascape]].<ref name ="Smithsonian">{{cite web | url=http://www.smithsonianmag.com/arts-culture/ripped.html?c=y&page=1 | title =Ripped from the Walls (and the Headlines) | author =Robert M. Poole | work =[[Smithsonian (magazine)|Smithsonian]] | date =July 2005}}</ref> The bronze finial was taken from the top of a [[Napoleon|Napoleonic]] flag, possibly appearing like [[gold]] to the thieves.<ref name=fbigallery/> The museum is offering a $100,000 reward for this piece alone.<ref name=theftnews>{{cite web |title= Official Gardner Museum Site - Theft News|url=http://www.gardnermuseum.org/news/theft|publisher=Isabella Stewart Garndner Museum|accessdate= October 8, 2015}}</ref>

The museum stresses that the paintings be kept in good condition by whoever has them. Museum director, Anne Hawley, stated “the works should be kept at a steady humidity of 50%—not more or less—and a steady temperature of around 70°F. They need a stable environment...They should be kept away from light and they should be wrapped in acid-free paper.” Hawley also noted to avoid rolling the paintings, which will crack the paint, “otherwise the paintings will be compromised and their value decreased. The more repainting that needs to be done when they are returned, the worse it will be for the integrity of the paintings."<ref name ="Smithsonian"/>

The following are the thirteen stolen works, all of which are still missing.<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref><ref name=fbigallery>{{cite web |title= FBI - Have You Seen These?|url=https://www.fbi.gov/news/stories/2013/march/reward-offered-for-return-of-stolen-gardner-museum-artwork/image/hi-res|publisher= Federal Bureau of Investigation |accessdate= September 8, 2015}}</ref><ref name=livescience>{{cite web |title= Lost Art: Photos of the Paintings Stolen from Gardner Museum|url=http://www.livescience.com/51808-photos-paintings-stolen-from-gardner-museum.html|publisher=LiveScience|accessdate= October 8, 2015}}</ref>
<gallery class="center" mode=nolines perrow=7>
File:Vermeer The concert.JPG|[[The Concert (Vermeer)|''The Concert'']] by [[Vermeer]] ({{circa}} 1664-1666)
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|''[[The Storm on the Sea of Galilee]]'' by [[Rembrandt]] (1633)
File:A lady and gentleman in black, by Rembrandt.jpg|''[[A Lady and Gentleman in Black]]'' by Rembrandt{{efn|name=fn1|The museum believes ''A Lady and Gentleman in Black'' to be a Rembrandt, however some scholars, including the Rembrandt Research Project in Amsterdam, say it is not.<ref name=insider/>}} (1633)
File:Rembrandt Harmensz. van Rijn 076.jpg|''[[Landscape with an Obelisk]]'' by [[Govert Flinck]]{{efn|name=fn2|''Landscape with an Obelisk'' was formerly attributed to Rembrandt until being associated with his pupil, Flinck.<ref>{{cite book|last=Vigderman|first=Patricia|title=The Memory Palace of Isabella Stewart Gardner Museum|url=http://books.google.com/books?id=ZP_0f2uIlN0C&pg=PA151|publisher=Hol Art Books|isbn=978-1-936102-24-2|page=151}}</ref>}} (1638)
File:Édouard Manet Chez Tortoni.jpg|''[[Chez Tortoni]]'' by [[Édouard Manet]] ({{circa}} 1878–1880)
File:La Sortie de Pesage by E Degas.jpg|''La Sortie de Pesage'' by [[Degas]] (date unknown)
File:Rembrandt_-_Self_portrait_etching_-_ISGM.jpg|''Self-Portrait''{{efn|name=fn3|The ''Self-Portrait'' is postage-stamped size. Not to be confused with Rembrandt's ''Self-Portrait'' (1629) oil painting also at the museum, which the thieves attempted to steal but were unsuccessful.<ref name=insider/>}} by Rembrant ({{circa}}1634)
File:Degas_-_Cortege_aux_Environs_de_Florence.jpg|''Cortege aux Environs de Florence'' by Degas ({{circa}} 1857-1860)
File:Degas_-_Program_for_an_artistic_soiree_1.jpg|''Program for an Artistic Soirée 1'' by Degas (1884)
File:Degas_-_Program_for_an_artistic_soiree_2.jpg|''Program for an Artistic Soirée 2'' by Degas (1884)
File:Degas_Three_Mounted_Jockeys.jpg|''Three Mounted Jockeys'' by Degas ({{circa}} 1885-1888)
File:Ku_robbed_from_Isabella_Stewart_Gardner_Musuem.gif|An ancient Chinese [[Gu (vessel)|gu]] ({{circa}} 1200-1100 BC){{efn|name=fn4|The gu is dated during the [[Shang Dynasty]]}}
File:Finial_robbed_from_Isabella_Stewart_Gardner_Museum.jpg|A bronze eagle [[finial]] ({{circa}} 1813-1814)
</gallery>

;Notes
{{reflist|group=nb}}
{{notelist}}

==Investigation==
[[File:Sketches of Suspects Isabella Stewart Gardner Museum Theft.jpg|thumb|left|200px|Sketches of the suspects]]
The [[Federal Bureau of Investigation]] took control of the case on the grounds that the artwork could likely cross state lines.<ref name=nydn/> They have conducted hundreds of interviews with probes stretching across the world involving [[Scotland Yard]], [[Japan|Japanese]] and [[France|French]] authorities, private investigators, museum directors, and art dealers.<ref name ="Smithsonian"/> The FBI believes the thieves were members of a [[Organized crime|criminal organization]] based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. Some of the art may have been offered for sale in Philadelphia in the early 2000s; however, their knowledge of what happened to the works after the attempted sale is limited.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref name=fbipress1>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref> The FBI stated it believed to know the identity of the thieves in 2013, but in 2015 announced that they were now deceased. They have declined to identify the individuals.<ref>{{cite web|title=FBI says two suspects who stole $500m in art from Boston museum are dead|url=http://www.theguardian.com/artanddesign/2015/aug/07/fbi-isabella-stewart-gardner-museum-art-theft-suspects-dead|website=The Guardian|accessdate=12 August 2015}}</ref> The museum first offered a [[Bounty (reward)|reward]] of $1 million, but that was later increased to $5 million in 1997.<ref name ="Smithsonian"/> The reward is for "information that leads directly to the recovery of all of [their] items in good condition",<ref name=fbipress1/> which remains on offer more than a quarter-century later.<ref name ="Smithsonian"/> Federal authorities have stated they will not charge anyone who voluntarily turns in the artwork.<ref name=suffolk_globe/>

No single motive or pattern has emerged through the thousands of pages of evidence gathered.<ref name ="Smithsonian"/> The selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane/> Geoffrey J. Kelly, the FBI's lead agent assigned to the case, stated "It’s difficult to understand why the thieves took what they did, an eclectic collection...They were certainly in the museum long enough to take whatever they wanted."<ref name=insider/> [[Titian]]'s ''[[The Rape of Europa (Titian)|The Rape of Europa]]'', which is one of the museum's most well-known and valuable pieces, was not stolen.<ref name=insider/> Due to the brutish ways the criminals handled the robbery, cutting the painting from their frames and smashing frames for two Degas sketches, investigators believe the thieves were amateur criminals, not experts commissioned to steal particular works.<ref name = abathstory/> Some investigators believe the works were destroyed, explaining why they have not reappeared.<Ref name="Smithsonian"/> Theories on the theft include that it was organized the [[Irish Republican Army]] in order to raise money or bargain for the release of imprisoned comrades. Another theory states [[Whitey Bulger]] as the ringleader of the theft. At the time of the heist, he was Boston's top crime boss and an FBI informant.<ref name ="Smithsonian"/>

===Leads===
In 1994, the museum director Anne Hawley received a letter that promised the return of the pieces for $2.6 million. If interested, the museum had to get the ''The Boston Globe'' to publish a coded message in a business story. The message was published, but the writer disappeared after law enforcement got involved.<ref name=nydn/>

Late one night in 1997, ''[[Boston Herald]]'' reporter Tom Mashberg was driven to a warehouse in [[Red Hook, Brooklyn|Red Hook]] by William Youngworth to see what was purported to be ''The Storm on the Sea of Galilee''. Youngworth was a career criminal and associate to New England art thief Myles Connor Jr.<ref name=nydn/> Mashberg had been covering the theft and was allowed to view the painting briefly by flashlight. For authenticity he was given a vial of paint chips that were later confirmed by experts to be Dutch fragments from the 17th century—but not from the Rembrandt seascape.<ref name ="Smithsonian"/> It was never concretely determined to be real or fake, and the FBI quit speaking to Youngworth after not making any progress.<ref name=nydn/> The painting has since disappeared.<ref name ="Smithsonian"/>

On August 6, 2015, police released a video from the night before the theft, that is believed to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist. The video appears to show Abath buzzing the unidentified man into the museum twice within a few minutes. The man stayed for about three minutes in the lobby, then returned to a car and drove off.<ref>[http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox New video shows possible dry run for Gardner Museum art heist]</ref> Police say the video opens new lines of investigation, and ''[[The New York Times]]'' points out that it draws new attention to Abath as a potential collaborator.<ref>Jonathan Jones, [http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/07/americas-greatest-art-heist-solved-isabella-stewart-gardner-museum Is America's greatest art heist about to be solved?], The Guardian, 7 August 2015.</ref> However, the guards have previously been interviewed and deemed too unimaginative to have pulled off the heist.<ref name ="Smithsonian"/>

[[File:Suffolk_Downs.jpg|thumb|right|240px|[[Suffolk Downs]] was searched in December 2015. No evidence was found.]]
In December 2015, over 20 FBI agents conducted a search of the [[Suffolk Downs]] [[horse racing]] track in [[East Boston]], acting on a tip that the stolen works were stashed there. Agents searched the horse stables, parts of the grandstand that have been closed since the early 1990s, and drilled open two stand-up safes. There were rumors among Suffolk Downs employees in the 1990s that the racetrack was a temporary hiding location for the paintings. The search at the racetrack did not reveal any of the stolen works.<ref name=suffolk_globe>{{cite web|last1=Kurkjian|first1=Stephen|title=Search of Suffolk Downs for Gardner Museum masterpieces came up empty - The Boston Globe|url=https://www.bostonglobe.com/metro/2015/12/27/search-suffolk-downs-for-gardner-museum-masterpieces-came-empty/H1iiRlZopLFfxOkM9Nm41J/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=7 January 2016}}</ref>

===Potential collaborators===
Boston [[gangster]] Bobby Donati may have been involved in the heist. New England art thief Myles J. Connor Jr., in prison at the time of the robbery, has stated that he and associate Bobby Donati eyed the museum in the 1980s and Donati oversaw the operation.<ref name ="Smithsonian"/> Shortly before the robbery, Donati was seen at a night club with a sack of police uniforms.<ref name=nydn/> Donati worked under Boston crime boss Vincent Ferrara, and visited him in prison in the early 1990s. When Ferrara asked about the robbery, Donati said he "buried the stuff" and will find a way to negotiate his release. Donati was murdered in 1991 as a result of ongoing gang wars.<ref name=nydn/>

[[Hartford]], [[Connecticut]] gangster Robert "Bobby the Cook" Gentile has been suggested on multiple occasions as knowing the location of the Gardner works.<ref name=suffolk_globe/><ref name=courant/> In May 2012, FBI agents searched Gentile's home in [[Manchester, Connecticut|Manchester]], Connecticut. They did not find any stolen works, despite searching his preferred hiding spot beneath a false floor with the help of his son. However, in the basement, they found a sheet of paper listing what each stolen piece might draw on the [[black market]].<ref name=suffolk_globe/> In January 2016, the FBI contrived gun charges against Gentile to force him to reveal the location of the missing works. During a hearing, a federal prosecutor revealed significant evidence tying Gentile to the crime. The prosecutor stated that Gentile and mob partner Robert Guarente attempted to use the return of two stolen pieces to reduce a prison sentence for one of their associates. Guarente's wife told investigators in early 2015 that her husband once had possession of some of the art, and gave two paintings to Gentile before Guarente died of cancer in 2004. Also, while in federal prison during 2013-2014, Gentile told at least three people he had knowledge of the stolen art. In 2015, Gentile submitted to a [[polygraph|lie detector]] test, denying advanced knowledge of the heist or ever possessing any paintings. The result showed a 0.1% chance that he was truthful.<ref name=courant>{{cite web|last1=Mahoney|first1=Edmund H.|title=Prosecutors Reveal More Evidence They Say Ties Robert Gentile To Gardner Museum Robbery|url=http://www.courant.com/news/connecticut/hc-robert-gentile-gardner-museum-art-heist-0107-20160106-story.html|website=courant.com|publisher=Hartford Courant|accessdate=7 January 2016}}</ref> According to Gentile's lawyer, federal agents are convinced that Gentile has the stolen works.<ref name=suffolk_globe/>

When the museum raised its bounty in 1997, Myles J Connor Jr. said he could locate the missing artwork in exchange for [[legal immunity]]. Authorities rejected his offer. Connor now believes that the Gardner works have passed into other, unknown hands. “I was probably told, but I don’t remember,” he said, blaming a heart attack that affected his memory.<ref name ="Smithsonian"/> Louis Royce, another Boston area gangster, claims he is still owed 15% for devising the plan for two fake policemen to request access to the museum at night.<ref name=nydn>{{cite web|last1=Connelly|first1=Sherryl|title=Possible leads in $500M Boston museum robbery in 1990|url=http://www.nydailynews.com/news/crime/leads-500m-boston-museum-robbery-1990-article-1.2115903|website=NY Daily News|publisher=NY Daily News|accessdate=8 January 2016}}</ref>

==In popular culture==
Due to the high profile of the museum theft, it has been referenced and parodied in many different works. The theft was the subject of the 2005 documentary ''Stolen'', which first appeared in a slightly different version on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> The more well-known paintings have been referenced in multiple TV shows, including ''[[The Blacklist (TV series)|The Blacklist]]'' episode "The Courier",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2013/10/starring_role_for_boston_on_new_hit_blacklist |title=Starring role for Boston on new hit Blacklist |first=Mark |last=Perigard |date= October 30, 2013 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[The Simpsons]]'' episode "[[American History X-cellent]]",<ref>{{cite web |url=http://www.bostonherald.com/entertainment/television/television_news/2010/04/%E2%80%98simpsons%E2%80%99_cracks_case_gardner_heist |title='Simpsons' crack case of Gardner heist |date= April 13, 2010 |publisher=Boston Herald|accessdate=December 9, 2015}}</ref> ''[[Drunk History]]'' episode "Boston",<ref>{{cite web|url=http://www.cc.com/video-clips/uo66zq/drunk-history-art-heist---uncensored|title=Art Heist - Uncensored Drunk History Video Clip - Comedy Central |first=Mark |last=Perigard |date= July 30, 2013 |publisher=Comedy Central|accessdate=December 1, 2015}}</ref> ''[[American Greed]]'',<ref>{{cite web|url=http://www.cnbc.com/id/100000093|title=American Greed - Unsolved $300 Million Art Heist |date= October 14, 2012 |publisher=CNBC|accessdate=December 11, 2015}}</ref> and ''[[The Venture Bros.]]'' episode "Victor. Echo. November."{{Citation needed|date=July 2011}} Two books were written by former investigators including ''Artful Deception'' (2012) by James J McGovern and ''Stolen Masterpiece Tracker'' (2006) by Thomas McShane.<ref name=globe_mar2013>{{cite web|last1=Valencia|first1=Milton|title=Observers, investigators say now is time to find Gardner art before it is lost - The Boston Globe|url=https://www.bostonglobe.com/metro/2013/03/24/observers-investigators-say-now-time-find-gardner-art-before-lost/Z4HQc74zz6ek7QWOcZvNsO/story.html|website=BostonGlobe.com|publisher=The Boston Globe|accessdate=8 January 2016}}</ref> Stephen Kurkjian, a recurrent Boston Globe reporter on the case has written a book about his experience titled ''Master Thieves: The Boston Gangsters Who Pulled Off the World’s Greatest Art Heist''.<ref name=nydn/>

==See also==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

==References==
{{Reflist|30em}}

==External links==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Carolwood Pacific Railroad

2015-09-18T19:49:03Z

Reify-tech: Copyedit cleanups

{{more footnotes|date=September 2015}}
The '''Carolwood Pacific Railroad''' was a {{RailGauge|7.25in}} gauge, [[live steam]] [[backyard railroad]], built by the [[United States|American]] [[animated film]] [[Film producer|producer]] and [[animator]], [[Walt Disney]] (1901–1966) in the backyard (garden) of his home in [[Los Angeles, California]].
{{Infobox rail
|railroad_name= Carolwood Pacific Railroad
|logo_filename =
|logo_size =
|system_map = waltlayout.gif
|map_caption = The original layout of Disney's backyard railroad. The "barn" is the small building at top left. Lillian Disney had the tracks removed several years after Walt's death and donated them to the Los Angeles Live Steamers, a group of steam train enthusiasts. The house, the footprint of which is shown here, was demolished in the late 1990s and replaced.
|map_size =
|marks = CP
|image =
|image_size =
|image_caption =
|locale = [[Los Angeles, California]]
|start_year = 1950
|end_year = 1953
|predecessor_line =
|successor_line =
|gauge = {{RailGauge|7.25in}}
|length = {{convert|1/2|mi|1}}
|hq_city = [[Holmby Hills, Los Angeles, California]]
}}
Walt Disney's uncle, Michael Martin, had been a [[steam locomotive]] [[Railroad engineer|engineer]]. As a teenager in [[Missouri]], Disney had a summer job selling newspapers, candy, fruit, and soda on the [[Atchison, Topeka, and Santa Fe Railway]]. Disney loved the uniform, the trains, the candy, and the chance to see the country.

It was Disney's lifelong fascination with the railroad that in 1950 led to the building of the Carolwood Pacific Railroad (and even before that, a huge [[Lionel Corporation|Lionel]] layout in a room adjacent to his office at the Studio).

With his daughters and their friends happily in tow in his backyard, Disney would ride on his {{convert|1/2|mi|km|1|abbr=off|adj=on|sp=us}}-long, 1/8 scale miniature railroad. This inspired him to include a railroad as the backbone of his family-oriented [[Disneyland]] theme park, which opened in [[Anaheim, California]] in 1955.

Today, [[railroad]]s and [[monorail]]s are featured at many [[Walt Disney Company]] theme parks worldwide.

== Backyard railroad ==
In 1949, Walt Disney moved his family to 355 N. Carolwood Drive, adjacent to the still city-owned [[bridle trail]] and stream, in the [[Holmby Hills, Los Angeles, California|Holmby Hills district]] of [[Los Angeles, California]]. Inspired by his animators [[Ward Kimball]] and [[Ollie Johnston]] who had [[backyard railroad]]s, Disney launched construction of a [[Rail transport modelling scales|1/8 scale]] [[live steam]] locomotive, rolling stock such as gondolas and a [[caboose]], trackage, and a small storage barn modeled in miniature from one in [[Marceline, Missouri]] of his youth.{{cn|date=September 2015}}

The locomotive was patterned after the [[Central Pacific 173|Central Pacific #173]], a historic wood-burning engine brought aboard ship from the East Coast "[[around the Horn]]" and assembled in California to begin construction of the transcontinental railroad eastward through the Rocky Mountains.{{cn|date=September 2015}} To keep the initials identical on the CP #173, he named his railroad the "Carolwood Pacific", in reference to his residential location on Carolwood Drive.

A total length of {{convert|2615|ft|m|0}} of railway track circled the house, [[Loop line (railway)|looped]] and crossed, with turnouts, [[Grade (slope)|gradients]], a [[trestle]] {{convert|46|ft|m|0|adj=on}} long, [[overpass]]es, and an [[Embankment (transportation)|elevated dirt berm]]. Lillian Disney was supportive of her husband's train hobby, although she [[veto]]ed a track through her flower beds, causing him instead to install a {{convert|90|ft|m|abbr=on}} "S" curved [[tunnel]] beneath them.

== Steam locomotive ==
Disney admired the beautiful proportions and overall appearance of [[Central Pacific 173|Central Pacific Railroad's steam locomotive #173]], which became the [[prototype]] of the 1/8 scale "[[live steam]]' working model fabricated by [[Roger E. Broggie]] in the [[List of assets owned by Disney#Studio Entertainment|Walt Disney Studios]] machine shop. Southern Pacific draftsman David L Joslyn provided the sixth-scale drawings, based on the CP 173's specifications which were found in a warehouse of the railroad's old company records, and Disney himself spent many hours building parts for this engine, such as the [[smoke stack]], the flagpoles, and other small parts.{{cn|date=September 2015}} However, most of the precision [[machining]] was done by studio technicians. On each side of the cab, the locomotive was labeled ''Lilly Belle'' to honor his wife Lillian Disney.

Like the prototype, the working live steam locomotive was an "American" type with a [[4-4-0]] ([[Whyte notation]]) wheel arrangement. A miniature live steam engine of this type is large enough for the [[Railroad engineer|engineer]] to ride upon the [[Tender locomotive|tender]], and can pull many cars carrying passengers around the track. The [[caboose]] was used for carrying the [[brakeman]], and special attention was paid to its interior by Disney, who fabricated many of its details, including miniature magazines cut from back issue order forms pasted on cardboard then feathered at the edges, and a miniature cast iron [[pot-bellied stove]] which he advertised for sale in model railroad magazines.{{cn|date=September 2015}}

== Walt Disney's barn ==
{{main|Walt Disney's Carolwood Barn}}
Walt Disney controlled the track of his backyard Carolwood Pacific Railroad from a special [[Walt Disney's Carolwood Barn|barn]]. The barn served as the storage facility for his [[rolling stock]]. It was also the central headquarters for the railroad's operations, with a central control console which included a fully functional signal system utilizing the [[Railway signalling|block signalling]] lights on the control panel indicate the presence of a train in a particular track segment and update the signals accordingly.

The barn was also a place where Disney retreated when needing to relax or develop new ideas.{{cn|date=September 2015}}

== A predecessor to Disney theme parks ==
[[Image:LillybelleDland.jpg|thumb|The ''Lilly Belle'' on display at Disneyland Main Station in 1993; the caboose's woodwork was done entirely by Walt himself.]]
:''Herbie'' ([[Herbert Ryman]]), ''I just want it to look like nothing else in the world. And it should be surrounded by a train.'' —Walt Disney{{cn|date=September 2015}}

The first train officially ran on the Carolwood Pacific Railroad on May 15, 1950. Disney used the train to entertain his daughters, their friends, and the children of friends who would visit for dinner, and sometimes the adults themselves. Soon the whole neighborhood was showing up to the house on weekends for train rides. He spent thousands of hours working on and tinkering with his train.

The backyard railroad is credited with being part of his inspiration for the creation of [[Disneyland]], first of the Walt Disney company [[theme parks]]. The first designs included a full-scale live steam railroad that circled the park, a design feature which was retained in each iteration and was finally built around the finished project in [[Anaheim, California]]. The existence of the Carolwood Pacific Railroad in Disney's backyard first became widely known to the outside world in the publicity relating to the opening of Disneyland in 1955. In an episode of the Disneyland television show detailing the "behind the scenes" creation of cartoons, sections of track were placed temporarily in various locations within the studios, and Disney aboard the ''Lilly Belle'' was filmed transporting the audience as a "vehicle" to establish new locations.{{cn|date=September 2015}} To this day, folks will swear that there are little engines which transport cast members throughout the theme park.{{dubious|date=September 2015}}{{cn|date=September 2015}}

Walt Disney personally owned Retlaw ("Walter", spelled backwards) which operated the Santa Fe and Disneyland Railroad franchise, as well as the facsimile steamboat ''Mark Twain'' at Disneyland.{{cn|date=September 2015}} Cast members of the railroad, the Viewliner, and later the Monorail, had their paychecks personally signed by him. His attention to the Carolwood Pacific waned with his operation of his new full sized toy trains. Retlaw was the very last holdout franchise to concede ownership and sell to the Disneyland Resort.{{cn|date=September 2015}}

More than 50 years since Disneyland opened, Disney's love of railroads has become an integral part of the Disney tradition. In addition to the original Disneyland in California, there are now railroads circling the [[Magic Kingdom]] in Florida, [[Disneyland Paris]] in France, and [[Hong Kong Disneyland]] in Hong Kong, as well as a scenic train ride attraction at [[Tokyo Disneyland]] in Japan.

Disney's fascination with mass transportation led to the now eponymous [[Disneyland Monorail System]] attraction, and its full fledged transportation system sister [[Walt Disney World Monorail System]] in Florida which serve as a true form of mass transportation serving more than five million guests annually.{{cn|date=September 2015}}

== Legacy ==
[[Image:Dlrrlilli.JPG|thumb|right|Replica of the ''Lilly Belle'', put on display in Main Street Station after the original was removed. This engine was intended to be a 4-6-0 for the Carolwood Pacific, but the project was abandoned when work started on Disneyland. It was finished by Roger Broggie Jr. in 1995 as a display-only engine.]]
When the Holmby Hills home was later re-sold, Walt Disney's historic barn was about to be demolished to make room for a mansion of maximum square footage. In 1998, through the efforts of the Walt Disney Family Foundation and others, the barn was purchased by Disney's heirs and relocated on permanent loan to an enclave within the [[Los Angeles Live Steamers Railroad Museum|Los Angeles Live Steamers (LALS) Railroad Museum]] at [[Griffith Park]] in [[Los Angeles]].

With the exception of a [[cedar shake]] roof which was replaced with fire-safe shingles, 98% of the barn is original.{{cn|date=September 2015}} Disney shaved in the mirror and basin, washed his hands with the [[Boraxo]] dispenser, and sharpened his pencils with the grinder on display. He telephoned the house on the antique butterstamp{{elucidate|date=September 2015}} phone, and operated the track switches from the control board near the telegraph key.

The [[Walt Disney's Carolwood Barn|Carolwood Pacific Historical Society]] docents and volunteers open the barn to the public for self-guided tours and are on hand to answer questions. Inside are displays of Walt Disney's trains, plus artifacts from Disneyland, LALS (of which Walt was a member), and other Disney railroad-related memorabilia. The barn is open to the public only at the east entrance to 5200 Zoo Drive, on the third Sunday of each month from 11am until 3pm.

The LALS mainline track is about {{convert|1.5|mi|km}} in length, allowing member model railroaders to operate, enjoy, and then store their own equipment. Because it is an enclosed private club located on public property, LALS must periodically provide free rides to the general public.{{cn|date=September 2015}} The public entrance on the west is open Saturdays and Sundays from 11am until 3pm, unless there is a private special event. To enjoy trains rides provided by LALS, guests of Walt's Barn must first exit and then walk along Zoo Drive to the west entrance.

Since 2009, Carolwood's ''Lilly Belle'' and much of the railroad's rolling stock has been on display at the [[Walt Disney Family Museum]] in San Francisco, along with thousands of other artifacts of Disney's life and career.

A mini-museum devoted to Walt's love of railroads is located in the Villas at Wilderness Lodge, at [[Walt Disney World Resort]] in [[Orlando, Florida]].

Locomotive #2 ''Lilly Belle'' at Walt Disney World Resort is named in honor of its Carolwood Pacific namesake. On October 21, 2003, Walt Disney World railroad steam engine #3 was rededicated the ''Roger E. Broggie'' in honor of the late, longtime Disney [[Walt Disney Imagineering|Imagineer]], who had been named a [[Disney Legend]] in 1990. Broggie had [[Apprenticeship|apprenticed]] Walt as a [[machinist]] as they built the original ''Lilly Belle'' for Walt's backyard Carolwood Pacific Railroad.

{{As of|2015}}, when the house built to replace Disney's residence was on the market for $90 million, the tunnel from the railroad was still in place.{{cn|date=September 2015}}

== See also ==
* [[Rail transport in Disney Parks]]

== References ==
{{reflist}}
* Broggie, Michael, (1997, 2005) ''Walt Disney's Railroad Story: The Small-Scale Fascination That Led to a Full-Scale Kingdom'' Donning Company Publishers, Virginia Beach, Virginia, ISBN 1-56342-009-0.
* Thomas, Bob, (1994) ''Walt Disney: An American Original'', Disney Editions, ISBN 0-7868-6129-0.

== External links==
* [http://www.carolwood.com/ Carolwood Pacific Historical Society official website]
* [http://www.carolwood.org/ Carolwood Foundation (non-profit) official website]
* [http://www.burnsland.com/sdra/cprr.html Carolwood Pacific unofficial website]
* [http://ptucker.www4.50megs.com/Disney_Barn.htm Disney's Barn website]
* [http://www.lals.org/ Los Angeles Live Steamers official website]
* [http://www.disneylandtoday.com/Railroad/railroad.htm Disneyland Railroad today webpage]
* [http://www.startedbyamouse.com/features/railroads.shtml Magic Behind the Steam Trains Tour webpage]
* [http://www.hiddenmickeys.org/WDW/MagicKingdom/Secrets/General/Trains.html Hidden Mickey's Disney Train Secrets webpage]
* [http://www.justdisney.com/Features/disneyland_railroad/ History of the Disneyland Railroad]
* [http://www.mouseplanet.com/more/mm031126khl.htm Walt Disney World Dedication of Steam Engine # 3 ''Roger E. Broggie'']
* [http://www.sparetimelabs.com/animato/animato/rail/walt.html Walt's backyard railroad]

{{List of Disneyland railroads}}

{{coord missing|Los Angeles County, California}}

[[Category:Amusement rides based on rail transport]]
[[Category:Miniature railways in the United States]]
[[Category:Model railroads]]
[[Category:Walt Disney]]
[[Category:Walt Disney Parks and Resorts]]
[[Category:7¼ in gauge railways in the United States]]

Carolwood Pacific Railroad

2015-09-18T19:43:00Z

Reify-tech: Complete copyedit cleanup sweep; +Wikilinks; +{{cn}}; Moderate excessively adulatory and chummy tone

{{more footnotes|date=September 2015}}
The '''Carolwood Pacific Railroad''' was a {{RailGauge|7.25in}} gauge, [[live steam]] [[backyard railroad]], built by the [[United States|American]] [[animated film]] [[Film producer|producer]] and [[animator]], [[Walt Disney]] (1901–1966) in the backyard (garden) of his home in [[Los Angeles, California]].
{{Infobox rail
|railroad_name= Carolwood Pacific Railroad
|logo_filename =
|logo_size =
|system_map = waltlayout.gif
|map_caption = The original layout of Disney's backyard railroad. The "barn" is the small building at top left. Lillian Disney had the tracks removed several years after Walt's death and donated them to the Los Angeles Live Steamers, a group of steam train enthusiasts. The house, the footprint of which is shown here, was demolished in the late 1990s and replaced.
|map_size =
|marks = CP
|image =
|image_size =
|image_caption =
|locale = [[Los Angeles, California]]
|start_year = 1950
|end_year = 1953
|predecessor_line =
|successor_line =
|gauge = {{RailGauge|7.25in}}
|length = {{convert|1/2|mi|1}}
|hq_city = [[Holmby Hills, Los Angeles, California]]
}}
Walt Disney's uncle, Michael Martin, had been a [[steam locomotive]] [[Railroad engineer|engineer]]. As a teenager in [[Missouri]], Disney had a summer job selling newspapers, candy, fruit, and soda on the [[Atchison, Topeka, and Santa Fe Railway]]. Disney loved the uniform, the trains, the candy, and the chance to see the country.

It was Disney's lifelong fascination with the railroad that in 1950 led to the building of the Carolwood Pacific Railroad (and even before that, a huge [[Lionel Corporation|Lionel]] layout in a room adjacent to his office at the Studio).

With his daughters and their friends happily in tow in his backyard, Disney would ride on his {{convert|1/2|mi|km|1|abbr=off|adj=on|sp=us}}-long, 1/8 scale miniature railroad. This inspired him to include a railroad as the backbone of his family-oriented [[Disneyland]] theme park, which opened in [[Anaheim, California]] in 1955.

Today, [[railroad]]s and [[monorail]]s are featured at many [[Walt Disney Company]] theme parks worldwide.

== Backyard railroad ==
In 1949, Walt Disney moved his family to 355 N. Carolwood Drive, adjacent to the still city-owned [[bridle trail]] and stream, in the [[Holmby Hills, Los Angeles, California|Holmby Hills district]] of [[Los Angeles, California]]. Inspired by his animators [[Ward Kimball]] and [[Ollie Johnston]] who had [[backyard railroad]]s, Disney launched construction of a [[Rail transport modelling scales|1/8 scale]] [[live steam]] locomotive, rolling stock such as gondolas and a caboose, trackage, and a small railbarn modeled in miniature from the one in [[Marceline, Missouri]] of his youth.{{cn|date=September 2015}}

The locomotive was patterned after the [[Central Pacific 173|Central Pacific #173]], a historic wood-burning engine brought aboard ship from the East Coast "[[around the Horn]]" and assembled in California to begin construction of the transcontinental railroad eastward through the Rocky Mountains.{{cn|date=September 2015}} To keep the initials identical on the CP #173, he named his railroad the "Carolwood Pacific", in reference to his residential location on Carolwood Drive.

A total length of {{convert|2615|ft|m|0}} of railway track circled the house, [[Loop line (railway)|looped]] and crossed, with turnouts, [[Grade (slope)|gradients]], a [[trestle]] {{convert|46|ft|m|0|adj=on}} long, [[overpass]]es, and an [[Embankment (transportation)|elevated dirt berm]]. Lillian Disney was supportive of her husband's train hobby, although she [[veto]]ed a track through her flower beds, causing him instead to install a {{convert|90|ft|m|abbr=on}} "S" curved [[tunnel]] beneath them.

== Steam locomotive ==
Disney admired the beautiful proportions and overall appearance of [[Central Pacific 173|Central Pacific Railroad's steam locomotive #173]], which became the [[prototype]] of the 1/8 scale "[[live steam]]' working model fabricated by [[Roger E. Broggie]] in the [[List of assets owned by Disney#Studio Entertainment|Walt Disney Studios]] machine shop. Southern Pacific draftsman David L Joslyn provided the sixth-scale drawings, based on the CP 173's specifications which were found in a warehouse of the railroad's old company records, and Disney himself spent many hours building parts for this engine, such as the [[smoke stack]], the flagpoles, and other small parts.{{cn|date=September 2015}} However, most of the precision [[machining]] was done by studio technicians. On each side of the cab, the locomotive was labeled ''Lilly Belle'' to honor his wife Lillian Disney.

Like the prototype, the working live steam locomotive was an "American" type with a [[4-4-0]] ([[Whyte notation]]) wheel arrangement. A miniature live steam engine of this type is large enough for the [[Railroad engineer|engineer]] to ride upon the [[Tender locomotive|tender]], and can pull many cars carrying passengers around the track. The [[caboose]] was used for carrying the [[brakeman]], and special attention was paid to its interior by Disney, who fabricated many of its details, including miniature magazines cut from back issue order forms pasted on cardboard then feathered at the edges, and a miniature cast iron [[pot-bellied stove]] which he advertised for sale in model railroad magazines.{{cn|date=September 2015}}

== Walt Disney's barn ==
{{main|Walt Disney's Carolwood Barn}}
Walt Disney controlled the track of his backyard Carolwood Pacific Railroad from a special [[Walt Disney's Carolwood Barn|barn]]. The barn served as the storage facility for his [[rolling stock]]. It was also the central headquarters for the railroad's operations, with a central control console which included a fully functional signal system utilizing the [[Railway signalling|block signalling]] lights on the control panel indicate the presence of a train in a particular track segment and update the signals accordingly.

The barn was also a place where Disney retreated when needing to relax or develop new ideas.{{cn|date=September 2015}}

== A predecessor to Disney theme parks ==
[[Image:LillybelleDland.jpg|thumb|The ''Lilly Belle'' on display at Disneyland Main Station in 1993; the caboose's woodwork was done entirely by Walt himself.]]
:''Herbie'' ([[Herbert Ryman]]), ''I just want it to look like nothing else in the world. And it should be surrounded by a train.'' —Walt Disney{{cn|date=September 2015}}

The first train officially ran on the Carolwood Pacific Railroad on May 15, 1950. Disney used the train to entertain his daughters, their friends, and the children of friends who would visit for dinner, and sometimes the adults themselves. Soon the whole neighborhood was showing up to the house on weekends for train rides. He spent thousands of hours working on and tinkering with his train.

The backyard railroad is credited with being part of his inspiration for the creation of [[Disneyland]], first of the Walt Disney company [[theme parks]]. The first designs included a full-scale live steam railroad that circled the park, a design feature which was retained in each iteration and was finally built around the finished project in [[Anaheim, California]]. The existence of the Carolwood Pacific Railroad in Disney's backyard first became widely known to the outside world in the publicity relating to the opening of Disneyland in 1955. In an episode of the Disneyland television show detailing the "behind the scenes" creation of cartoons, sections of track were placed temporarily in various locations within the studios, and Disney aboard the ''Lilly Belle'' was filmed transporting the audience as a "vehicle" to establish new locations.{{cn|date=September 2015}} To this day, folks will swear that there are little engines which transport cast members throughout the theme park.{{dubious|date=September 2015}}{{cn|date=September 2015}}

Walt Disney personally owned Retlaw ("Walter", spelled backwards) which operated the Santa Fe and Disneyland Railroad franchise, as well as the facsimile steamboat ''Mark Twain'' at Disneyland.{{cn|date=September 2015}} Cast members of the railroad, the Viewliner, and later the Monorail, had their paychecks personally signed by him. His attention to the Carolwood Pacific waned with his operation of his new full sized toy trains. Retlaw was the very last holdout franchise to concede ownership and sell to the Disneyland Resort.{{cn|date=September 2015}}

More than 50 years since Disneyland opened, Disney's love of railroads has become an integral part of the Disney tradition. In addition to the original Disneyland in California, there are now railroads circling the [[Magic Kingdom]] in Florida, [[Disneyland Paris]] in France, and [[Hong Kong Disneyland]] in Hong Kong, as well as a scenic train ride attraction at [[Tokyo Disneyland]] in Japan.

Disney's fascination with mass transportation led to the now eponymous [[Disneyland Monorail System]] attraction, and its full fledged transportation system sister [[Walt Disney World Monorail System]] in Florida which serve as a true form of mass transportation serving more than five million guests annually.{{cn|date=September 2015}}

== Legacy ==
[[Image:Dlrrlilli.JPG|thumb|right|Replica of the ''Lilly Belle'', put on display in Main Street Station after the original was removed. This engine was intended to be a 4-6-0 for the Carolwood Pacific, but the project was abandoned when work started on Disneyland. It was finished by Roger Broggie Jr. in 1995 as a display-only engine.]]
When the Holmby Hills home was later re-sold, Walt Disney's historic barn was about to be demolished to make room for a mansion of maximum square footage. In 1998, through the efforts of the Walt Disney Family Foundation and others, the barn was purchased by Disney's heirs and relocated on permanent loan to an enclave within the [[Los Angeles Live Steamers Railroad Museum|Los Angeles Live Steamers (LALS) Railroad Museum]] at [[Griffith Park]] in [[Los Angeles]].

With the exception of a [[cedar shake]] roof which was replaced with fire-safe shingles, 98% of the barn is original.{{cn|date=September 2015}} Disney shaved in the mirror and basin, washed his hands with the [[Boraxo]] dispenser, and sharpened his pencils with the grinder on display. He telephoned the house on the antique butterstamp{{elucidate|date=September 2015}} phone, and operated the track switches from the control board near the telegraph key.

The [[Walt Disney's Carolwood Barn|Carolwood Pacific Historical Society]] docents and volunteers open the barn to the public for self-guided tours and are on hand to answer questions. Inside are displays of Walt Disney's trains, plus artifacts from Disneyland, LALS (of which Walt was a member), and other Disney railroad-related memorabilia. The barn is open to the public only at the east entrance to 5200 Zoo Drive, on the third Sunday of each month from 11am until 3pm.

The LALS mainline track is about {{convert|1.5|mi|km}} in length, allowing member model railroaders to operate, enjoy, and then store their own equipment. Because it is an enclosed private club located on public property, LALS must periodically provide free rides to the general public.{{cn|date=September 2015}} The public entrance on the west is open Saturdays and Sundays from 11am until 3pm, unless there is a private special event. To enjoy trains rides provided by LALS, guests of Walt's Barn must first exit and then walk along Zoo Drive to the west entrance.

Since 2009, Carolwood's ''Lilly Belle'' and much of the railroad's rolling stock has been on display at the [[Walt Disney Family Museum]] in San Francisco, along with thousands of other artifacts of Disney's life and career.

A mini-museum devoted to Walt's love of railroads is located in the Villas at Wilderness Lodge, at [[Walt Disney World Resort]] in [[Orlando, Florida]].

Locomotive #2 ''Lilly Belle'' at Walt Disney World Resort is named in honor of its Carolwood Pacific namesake. On October 21, 2003, Walt Disney World railroad steam engine #3 was rededicated the ''Roger E. Broggie'' in honor of the late, longtime Disney [[Walt Disney Imagineering|Imagineer]], who had been named a [[Disney Legend]] in 1990. Broggie had [[Apprenticeship|apprenticed]] Walt as a [[machinist]] as they built the original ''Lilly Belle'' for Walt's backyard Carolwood Pacific Railroad.

{{As of|2015}}, when the house built to replace Disney's residence was on the market for $90 million, the tunnel from the railroad was still in place.{{cn|date=September 2015}}

== See also ==
* [[Rail transport in Disney Parks]]

== References ==
{{reflist}}
* Broggie, Michael, (1997, 2005) ''Walt Disney's Railroad Story: The Small-Scale Fascination That Led to a Full-Scale Kingdom'' Donning Company Publishers, Virginia Beach, Virginia, ISBN 1-56342-009-0.
* Thomas, Bob, (1994) ''Walt Disney: An American Original'', Disney Editions, ISBN 0-7868-6129-0.

== External links==
* [http://www.carolwood.com/ Carolwood Pacific Historical Society official website]
* [http://www.carolwood.org/ Carolwood Foundation (non-profit) official website]
* [http://www.burnsland.com/sdra/cprr.html Carolwood Pacific unofficial website]
* [http://ptucker.www4.50megs.com/Disney_Barn.htm Disney's Barn website]
* [http://www.lals.org/ Los Angeles Live Steamers official website]
* [http://www.disneylandtoday.com/Railroad/railroad.htm Disneyland Railroad today webpage]
* [http://www.startedbyamouse.com/features/railroads.shtml Magic Behind the Steam Trains Tour webpage]
* [http://www.hiddenmickeys.org/WDW/MagicKingdom/Secrets/General/Trains.html Hidden Mickey's Disney Train Secrets webpage]
* [http://www.justdisney.com/Features/disneyland_railroad/ History of the Disneyland Railroad]
* [http://www.mouseplanet.com/more/mm031126khl.htm Walt Disney World Dedication of Steam Engine # 3 ''Roger E. Broggie'']
* [http://www.sparetimelabs.com/animato/animato/rail/walt.html Walt's backyard railroad]

{{List of Disneyland railroads}}

{{coord missing|Los Angeles County, California}}

[[Category:Amusement rides based on rail transport]]
[[Category:Miniature railways in the United States]]
[[Category:Model railroads]]
[[Category:Walt Disney]]
[[Category:Walt Disney Parks and Resorts]]
[[Category:7¼ in gauge railways in the United States]]

Kunstraub von Boston

2015-08-12T03:07:08Z

Reify-tech: Copyedit cleanups

[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen masterpieces from the museum]]

The '''Isabella Stewart Gardner Museum theft''' refers to a crime that occurred in the early hours of March 18, 1990, at the [[Isabella Stewart Gardner Museum]] in [[Boston]], [[Massachusetts]]. The event, which happened as the city was preoccupied with [[Saint Patrick's Day]] celebrations, started when a pair of thieves disguised as Boston police officers gained entry to the Isabella Stewart Gardner Museum and stole thirteen works of art. Altogether, an estimated $500 million in art was stolen, and the unsolved robbery remains subject to much speculation to this day.

==Robbery==
At 1:24 am, two men wearing police uniforms walked up to a side entrance of the Museum. One of the men pressed the buzzer near the door and ordered: "Police! Let us in. We heard about a disturbance in the courtyard." They were buzzed into the building without question. There were two security guards working inside of the 4-story building at the time; one was sitting behind the main security desk, and the other guard was elsewhere. When the intruders arrived at the main security desk, one of them told the guard "You look familiar...I think we have a default warrant out for you." The guard stepped out from behind his desk — possibly as a result of trickery by the thieves — where he had access to the only alarm button in the museum to alert the police. He was ordered to stand facing a wall and was handcuffed. The second security guard arrived minutes later and was also put in handcuffs. He asked the intruders "Why are you arresting me?" "You're not being arrested," was the reply. "This is a robbery. Don't give us any problems and you won't get hurt." The thieves wrapped duct tape around the guards' hands, feet, and heads, leaving nose holes for breathing, took them to the museum's basement, and handcuffed them to pipes.

The thieves then went upstairs to the Dutch Room. As one of them approached a Rembrandt painting, a local alarm sounded, which they immediately smashed. They pulled Rembrandt's ''Self-Portrait'' (1629) off the wall and tried to take the wooden panel out of the heavy frame. Unsuccessful at that attempt, they left it on the floor. Next they cut Rembrandt's ''The Storm on the Sea of Galilee'' (1633) out of the frame as well as ''A Lady and Gentleman in Black'' (1633, the museum says this is a Rembrandt but some scholars, including the Rembrandt Research Project in Amsterdam, say it is not). They removed Vermeer's ''The Concert'' (1658–60) from its frame and Govaert Flinck's ''Landscape with an Obelisk'' (1638) (which at one time was attributed to Rembrandt). They took a Rembrandt etching and a Chinese bronze beaker from the Shang Dynasty (1200–1100 BC).

Elsewhere in the museum, not far from a portrait of [[Isabella Stewart Gardner]], they removed five Degas drawings, ''Chez Tortoni'' (a Manet oil painting, 1878–80), and a finial in the form of an eagle. To get to the finial, they passed by two [[Raphael]]s and a [[Botticelli]] painting.

The thieves had to make two trips to their car with the artwork. The theft lasted 81 minutes. The guards remained tied and handcuffed until the police arrived at 8:15 am later that morning.<ref>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

==Inventory of stolen works==
The stolen artworks include:<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref>
* ''[[The Concert (Vermeer)|The Concert]]'' by [[Vermeer]] (one of only 34 known works by Vermeer in the world)
* ''[[A Lady and Gentleman in Black]]'' by [[Rembrandt]]
* ''[[The Storm on the Sea of Galilee]]'' by Rembrandt (the artist's only known seascape)
* ''Self-Portrait'' by Rembrandt (postage-stamp-sized)
* ''[[Landscape with Obelisk]]'' by [[Govaert Flinck]] (formerly attributed to Rembrandt)
* ''[[Chez Tortoni]]'' by [[Édouard Manet|Manet]]
* Five drawings by [[Edgar Degas|Degas]]:
** ''La Sortie de Pesage''
** ''Cortege aux Environs de Florence''
** ''Program for an artistic soiree 1'' & ''2''
**''Three Mounted Jockeys''
* An ancient Chinese [[Gu (vessel)|Ku]] from the [[Shang Dynasty]]
* A [[finial]] in the shape of an eagle from a [[Napoleon I of France|Napoleonic]] [[flag]]

<gallery class="center" mode=packed caption="Some of the artworks stolen in 1990">
File:Vermeer The concert.JPG|[[The Concert (Vermeer)|''The Concert'']] (c. 1658–1660) by [[Vermeer]]
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|''[[The Storm on the Sea of Galilee]]'' (1633) by [[Rembrandt]]
File:A lady and gentleman in black, by Rembrandt.jpg|''[[A Lady and Gentleman in Black]]'' (1633) attributed to Rembrandt
File:Rembrandt Harmensz. van Rijn 076.jpg|''[[Landscape with an Obelisk]]'' (1638) by [[Govert Flinck]]
File:Édouard Manet Chez Tortoni.jpg|''[[Chez Tortoni]]'' by [[Édouard Manet]]
File:La Sortie de Pesage by E Degas.jpg|''La Sortie de Pesage'' by [[Degas]]
</gallery>

==Aftermath==
Altogether, the stolen pieces are estimated to be a loss of $500 million, making the robbery the largest private property theft ever.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Several empty frames hang in the Dutch Room gallery, both in homage to the missing works and as placeholders for when they are returned. The stolen artworks have not yet been returned to the museum and the selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref>

The museum offered a [[Bounty (reward)|reward]] of up to $5 million for information leading to the recovery of all of the stolen artwork in good condition, which remains on offer more than a quarter-century later. Some experts{{who|date=August 2015}} believe that the wording "in good condition" makes the reward uncollectable, as the paintings were cut from the frames, rendering them in "bad condition" on the day they were taken. Some{{who|date=August 2015}} feel that the wording in the offer should be changed. The FBI followed several leads, but none of them have produced any concrete results.

In March 2013, the FBI said it believed it knows the identity of the thieves. They believe that the theft was carried out by a criminal organization based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved by a criminal organization through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. The FBI believes some of the art may have been sold in Philadelphia in the early 2000s.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref>

On August 6, 2015, police released a newly-discovered video from the night before the theft, that is believed to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist. The video appears to show Abath buzzing the unidentified man into the museum twice within a few minutes. The man stayed for about three minutes in the lobby, then returned to a car and drove off.<ref>[http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox New video shows possible dry run for Gardner Museum art heist]</ref> Police say the video opens new lines of investigation, and ''The New York Times'' points out that it draws new attention to Abath as a potential collaborator.<ref>Jonathan Jones, [http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/aug/07/americas-greatest-art-heist-solved-isabella-stewart-gardner-museum Is America's greatest art heist about to be solved?], The Guardian, 7 August 2015.</ref>

On August 11th, 2015, FBI special agent Peter Kowenhoven revealed that the two suspects of the theft, previously identified by the FBI but not revealed publicly, are deceased. In an interview with the [[Associated Press]], Kowenhoven declined to identify the individuals.<ref>{{cite web|title=FBI says two suspects who stole $500m in art from Boston museum are dead|url=http://www.theguardian.com/artanddesign/2015/aug/07/fbi-isabella-stewart-gardner-museum-art-theft-suspects-dead|website=The Guardian|accessdate=12 August 2015}}</ref>

==In popular culture==
The theft is the subject of a 2005 documentary called ''Stolen'', which in a slightly different version had earlier appeared on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> It was also the subject of a 2008 episode of ''[[American Greed]]''.

In the NBC TV show ''[[The Blacklist (TV series)|The Blacklist]]'', episode "The Courier (No. 85)", [[James Spader]]'s character is seen near the end of the show sitting in front of what looks like ''The Storm on the Sea of Galilee''. Given the nature of the character this may be intended to be the original.

The theft was referenced in ''[[The Simpsons]]'' episode "[[American History X-cellent]]", in which one of the stolen works, ''The Concert'' by Vermeer, is found in the collection of Mr. Burns. Similarly, in the ''[[The Venture Bros.]]'' episode "[[Victor. Echo. November.]]", the supervillain, [[Phantom Limb (character)#Members|Phantom Limb]], attempts to sell ''The Storm on the Sea of Galilee'', which he apparently possesses, to a collector for ten million dollars.{{Citation needed|date=July 2011}}

The theft is central to the plot of ''[[Irreplaceable (novel)|Irreplaceable]]'' (2009) by Charles Pinning. Linked to a fictitious theft from the [[Rhode Island School of Design Museum]], this novel is known for its unconventional approach to solving the Gardner heist.{{Citation needed|reason='known for' claims need ref|date=September 2013}} The 2012 novel ''[[The Art Forger]]'' by Barbara A. Shapiro also features the theft.<ref>{{cite news |title=Rogues' Gallery |newspaper=The New York Times |last=Carter |first=Maxwell |date=December 28, 2012 |url=http://www.nytimes.com/2012/12/30/books/review/the-art-forger-by-b-a-shapiro.html |accessdate=September 22, 2013}}</ref> The novel ''[[Dutch Reckoning (novel)|Dutch Reckoning]]'' (2013) by Michael G. West, a mystery featuring the reluctant amateur sleuth Tommy Shakespear, was dedicated to Isabella Stewart Gardner's grand niece, the poet Isabella "Belle" Gardner, a friend and mentor to the author.

The theft of ''The Storm on the Sea of Galilee'' is referenced at the beginning of the 2013 film ''[[Trance (2013 film)|Trance]]''. Later in the film, the Rembrandt painting is again seen during one of the hypnotic visions, along with Vermeer's ''Concert'' and Manet's ''Chez Tortoni''.

The story of the theft is told in the "Boston" episode of the Comedy Central series ''[[Drunk History]]''.

==See also==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

==References==
{{Reflist|30em}}

==External links==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Kunstraub von Boston

2015-08-06T18:07:34Z

Reify-tech: Cleanup refs

[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen masterpieces from the museum]]

The '''Isabella Stewart Gardner Museum theft''' refers to a crime that occurred in the early hours of March 18, 1990 at the [[Isabella Stewart Gardner Museum]] in [[Boston]], [[Massachusetts]]. The event, which happened as the city was preoccupied with [[Saint Patrick's Day]] celebrations, started when a pair of thieves disguised as Boston police officers gained entry to the Isabella Stewart Gardner Museum and stole thirteen works of art. Altogether, an estimated $500 million in art was stolen, and the unsolved robbery remains subject to much speculation to this day.

==Robbery==
At 1:24 am, two men wearing police uniforms walked up to a side entrance of the Museum. One of the men pressed the buzzer near the door and ordered: "Police! Let us in. We heard about a disturbance in the courtyard." They were buzzed into the building without question. There were two security guards working inside of the 4-story building at the time; one was sitting behind the main security desk, the other guard was elsewhere. When the intruders arrived at the main security desk, one of them told the guard "You look familiar...I think we have a default warrant out for you." The guard was tricked into stepping out from behind his desk, where he had access to the only alarm button in the museum to alert the police. He was ordered to stand facing a wall and was handcuffed. The second security guard arrived minutes later and was also put in handcuffs. He asked the intruders "Why are you arresting me?" "You're not being arrested," was the reply. "This is a robbery. Don't give us any problems and you won't get hurt." The thieves wrapped duct tape around the guards' hands, feet, and heads, leaving nose holes for breathing, took them to the museum's basement, and handcuffed them to pipes.

The thieves then went upstairs to the Dutch Room. As one of them approached a Rembrandt painting, a local alarm sounded, which they immediately smashed. They pulled Rembrandt's ''Self-Portrait'' (1629) off the wall and tried to take the wooden panel out of the heavy frame. Unsuccessful at that attempt, they left it on the floor. Next they cut Rembrandt's ''The Storm on the Sea of Galilee'' (1633) out of the frame as well as ''A Lady and Gentleman in Black'' (1633, the museum says this is a Rembrandt but some scholars, including the Rembrandt Research Project in Amsterdam, say it is not). They removed Vermeer's ''The Concert'' (1658–60) from its frame and Govaert Flinck's ''Landscape with an Obelisk'' (1638) (which at one time was attributed to Rembrandt). They took a Rembrandt etching and a Chinese bronze beaker from the Shang Dynasty (1200–1100 BC).

Elsewhere in the museum, not far from a portrait of [[Isabella Stewart Gardner]], they removed five Degas drawings, ''Chez Tortoni'' (a Manet oil painting, 1878–80), and a finial in the form of an eagle. To get to the finial, they passed by two [[Raphael]]s and a [[Botticelli]] painting.

The thieves had to make two trips to their car with the artwork. The theft lasted 81 minutes. The guards remained tied and handcuffed until the police arrived at 8:15 am later that morning.<ref>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

==Inventory of stolen works==
The stolen artworks include:<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref>
* ''[[The Concert (Vermeer)|The Concert]]'' by [[Vermeer]] (one of only 34 known works by Vermeer in the world)
* ''[[A Lady and Gentleman in Black]]'' by [[Rembrandt]]
* ''[[The Storm on the Sea of Galilee]]'' by Rembrandt (the artist's only known seascape)
* ''Self-Portrait'' by Rembrandt (postage-stamp-sized)
* ''[[Landscape with Obelisk]]'' by [[Govaert Flinck]] (formerly attributed to Rembrandt)
* ''[[Chez Tortoni]]'' by [[Édouard Manet|Manet]]
* Five drawings by [[Edgar Degas|Degas]]:
** ''La Sortie de Pesage''
** ''Cortege aux Environs de Florence''
** ''Program for an artistic soiree 1'' & ''2''
**''Three Mounted Jockeys''
* An ancient Chinese [[Gu (vessel)|Ku]] from the [[Shang Dynasty]]
* A [[finial]] in the shape of an eagle from a [[Napoleon I of France|Napoleonic]] [[flag]]

<gallery class="center" mode=packed caption="Some of the artworks stolen in 1990">
File:Vermeer The concert.JPG|[[The Concert (Vermeer)|''The Concert'']] (c. 1658–1660) by [[Vermeer]]
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|''[[The Storm on the Sea of Galilee]]'' (1633) by [[Rembrandt]]
File:A lady and gentleman in black, by Rembrandt.jpg|''[[A Lady and Gentleman in Black]]'' (1633) attributed to Rembrandt
File:Rembrandt Harmensz. van Rijn 076.jpg|''[[Landscape with an Obelisk]]'' (1638) by [[Govert Flinck]]
File:Édouard Manet Chez Tortoni.jpg|''[[Chez Tortoni]]'' by [[Édouard Manet]]
File:La Sortie de Pesage by E Degas.jpg|''La Sortie de Pesage'' by [[Degas]]
</gallery>

==Aftermath==
Altogether, the stolen pieces are estimated to be a loss of $500 million, making the robbery the largest private property theft ever.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Several empty frames hang in the Dutch Room gallery, both in homage to the missing works and as placeholders for when they are returned. The stolen artworks have not yet been returned to the museum and the selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref>

The museum offered a [[Bounty (reward)|reward]] of up to $5 million for information leading to the recovery of the stolen artwork, which remains on offer more than a quarter-century later. The FBI followed several leads, but none of them have produced any concrete results.

In March 2013, the FBI said it believed it knows the identity of the thieves. They believe that the theft was carried out by a criminal organization based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved by a criminal organization through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. The FBI believes some of the art may have been sold in Philadelphia in the early 2000s.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref>

On August 6, 2015, police released a newly-discovered video from the night before, that appears to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist.<ref>[http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox New video shows possible dry run for Gardner Museum art heist - Massachusetts news - Boston.com]</ref>

==Speculation==
The theft is the subject of a 2005 documentary called ''Stolen'', which in a slightly different version had earlier appeared on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> It was also the subject of a 2008 episode of ''[[American Greed]]''.

==In popular culture==
In the NBC TV show ''[[The Blacklist (TV series)|The Blacklist]]'', episode "The Courier (No. 85)", [[James Spader]]'s character is seen near the end of the show sitting in front of what looks like ''The Storm on the Sea of Galilee''. Given the nature of the character this may be intended to be the original.

The theft was referenced in ''[[The Simpsons]]'' episode "[[American History X-cellent]]", in which one of the stolen works, ''The Concert'' by Vermeer, is found in the collection of Mr. Burns. Similarly, in the ''[[The Venture Bros.]]'' episode "[[Victor. Echo. November.]]", the supervillain, [[Phantom Limb (character)#Members|Phantom Limb]], attempts to sell ''The Storm on the Sea of Galilee'', which he apparently possesses, to a collector for ten million dollars.{{Citation needed|date=July 2011}}

The theft is central to the plot of ''[[Irreplaceable (novel)|Irreplaceable]]'' (2009) by Charles Pinning. Linked to a fictitious theft from the [[Rhode Island School of Design Museum]], this novel is known for its unconventional approach to solving the Gardner heist.{{Citation needed|reason='known for' claims need ref|date=September 2013}} The 2012 novel ''[[The Art Forger]]'' by Barbara A. Shapiro also features the theft.<ref>{{cite news |title=Rogues' Gallery |newspaper=The New York Times |last=Carter |first=Maxwell |date=December 28, 2012 |url=http://www.nytimes.com/2012/12/30/books/review/the-art-forger-by-b-a-shapiro.html |accessdate=September 22, 2013}}</ref> The novel ''[[Dutch Reckoning (novel)|Dutch Reckoning]]'' (2013) by Michael G. West, a mystery featuring the reluctant amateur sleuth Tommy Shakespear, was dedicated to Isabella Stewart Gardner's grand niece, the poet Isabella "Belle" Gardner, a friend and mentor to the author.

The theft of ''The Storm on the Sea of Galilee'' is referenced at the beginning of the 2013 film ''[[Trance (2013 film)|Trance]]''. Later in the film, the Rembrandt painting is again seen during one of the hypnotic visions, along with Vermeer's ''Concert'' and Manet's ''Chez Tortoni''.

The story of the theft is told in the "Boston" episode of the Comedy Central series ''[[Drunk History]]''.

==See also==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

==References==
{{Reflist|30em}}

==External links==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Kunstraub von Boston

2015-08-06T18:05:55Z

Reify-tech: Split off new sections; Copyedit cleanups

[[File:Isabella Stewart Gardner Museum Vermeer 'The Concert'.jpg|thumb||Announcement on stolen masterpieces from the museum]]

The '''Isabella Stewart Gardner Museum theft''' refers to a crime that occurred in the early hours of March 18, 1990 at the [[Isabella Stewart Gardner Museum]] in [[Boston]], [[Massachusetts]]. The event, which happened as the city was preoccupied with [[Saint Patrick's Day]] celebrations, started when a pair of thieves disguised as Boston police officers gained entry to the Isabella Stewart Gardner Museum and stole thirteen works of art. Altogether, an estimated $500 million in art was stolen, and the unsolved robbery remains subject to much speculation to this day.

==Robbery==
At 1:24 am, two men wearing police uniforms walked up to a side entrance of the Museum. One of the men pressed the buzzer near the door and ordered: "Police! Let us in. We heard about a disturbance in the courtyard." They were buzzed into the building without question. There were two security guards working inside of the 4-story building at the time; one was sitting behind the main security desk, the other guard was elsewhere. When the intruders arrived at the main security desk, one of them told the guard "You look familiar...I think we have a default warrant out for you." The guard was tricked into stepping out from behind his desk, where he had access to the only alarm button in the museum to alert the police. He was ordered to stand facing a wall and was handcuffed. The second security guard arrived minutes later and was also put in handcuffs. He asked the intruders "Why are you arresting me?" "You're not being arrested," was the reply. "This is a robbery. Don't give us any problems and you won't get hurt." The thieves wrapped duct tape around the guards' hands, feet, and heads, leaving nose holes for breathing, took them to the museum's basement, and handcuffed them to pipes.

The thieves then went upstairs to the Dutch Room. As one of them approached a Rembrandt painting, a local alarm sounded, which they immediately smashed. They pulled Rembrandt's ''Self-Portrait'' (1629) off the wall and tried to take the wooden panel out of the heavy frame. Unsuccessful at that attempt, they left it on the floor. Next they cut Rembrandt's ''The Storm on the Sea of Galilee'' (1633) out of the frame as well as ''A Lady and Gentleman in Black'' (1633, the museum says this is a Rembrandt but some scholars, including the Rembrandt Research Project in Amsterdam, say it is not). They removed Vermeer's ''The Concert'' (1658–60) from its frame and Govaert Flinck's ''Landscape with an Obelisk'' (1638) (which at one time was attributed to Rembrandt). They took a Rembrandt etching and a Chinese bronze beaker from the Shang Dynasty (1200–1100 BC).

Elsewhere in the museum, not far from a portrait of [[Isabella Stewart Gardner]], they removed five Degas drawings, ''Chez Tortoni'' (a Manet oil painting, 1878–80), and a finial in the form of an eagle. To get to the finial, they passed by two [[Raphael]]s and a [[Botticelli]] painting.

The thieves had to make two trips to their car with the artwork. The theft lasted 81 minutes. The guards remained tied and handcuffed until the police arrived at 8:15 am later that morning.<ref>{{cite news |date= May 2009 |first= Milton |last= Esterow |title= Inside the Gardner Case |url= http://www.artnews.com/2009/05/01/inside-the-gardner-case/ |work= ArtNews}}</ref>

==Inventory of stolen works==
The stolen artworks include:<ref>{{cite web |title= Isabella Stewart Gardner Museum Theft |url= http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ |publisher= Federal Bureau of Investigation |accessdate= February 27, 2013}}</ref>
* ''[[The Concert (Vermeer)|The Concert]]'' by [[Vermeer]] (one of only 34 known works by Vermeer in the world)
* ''[[A Lady and Gentleman in Black]]'' by [[Rembrandt]]
* ''[[The Storm on the Sea of Galilee]]'' by Rembrandt (the artist's only known seascape)
* ''Self-Portrait'' by Rembrandt (postage-stamp-sized)
* ''[[Landscape with Obelisk]]'' by [[Govaert Flinck]] (formerly attributed to Rembrandt)
* ''[[Chez Tortoni]]'' by [[Édouard Manet|Manet]]
* Five drawings by [[Edgar Degas|Degas]]:
** ''La Sortie de Pesage''
** ''Cortege aux Environs de Florence''
** ''Program for an artistic soiree 1'' & ''2''
**''Three Mounted Jockeys''
* An ancient Chinese [[Gu (vessel)|Ku]] from the [[Shang Dynasty]]
* A [[finial]] in the shape of an eagle from a [[Napoleon I of France|Napoleonic]] [[flag]]

<gallery class="center" mode=packed caption="Some of the artworks stolen in 1990">
File:Vermeer The concert.JPG|[[The Concert (Vermeer)|''The Concert'']] (c. 1658–1660) by [[Vermeer]]
File:Rembrandt Christ in the Storm on the Lake of Galilee.jpg|''[[The Storm on the Sea of Galilee]]'' (1633) by [[Rembrandt]]
File:A lady and gentleman in black, by Rembrandt.jpg|''[[A Lady and Gentleman in Black]]'' (1633) attributed to Rembrandt
File:Rembrandt Harmensz. van Rijn 076.jpg|''[[Landscape with an Obelisk]]'' (1638) by [[Govert Flinck]]
File:Édouard Manet Chez Tortoni.jpg|''[[Chez Tortoni]]'' by [[Édouard Manet]]
File:La Sortie de Pesage by E Degas.jpg|''La Sortie de Pesage'' by [[Degas]]
</gallery>

==Aftermath==
Altogether, the stolen pieces are estimated to be a loss of $500 million, making the robbery the largest private property theft ever.<ref>{{cite news |url= http://harvardmagazine.com/2012/03/hot-canvases |title= Hot Canvases: A new book shatters myths about art theft |first= David |last= Menconi |work= Harvard Magazine |date= March–April 2012}}</ref> Several empty frames hang in the Dutch Room gallery, both in homage to the missing works and as placeholders for when they are returned. The stolen artworks have not yet been returned to the museum and the selection of works puzzles the experts, specifically since more valuable artworks were available.<ref name=McShane>{{cite book |last= McShane |first= Thomas |title= Stolen Masterpiece Tracker |year= 2006 |publisher= Barricade Books |isbn=978-1-56980-314-1 |first2= Dary |last2= Matera |chapter= 18. No Boston Tea Party at Isabella's |lastauthoramp= yes}}</ref>

The museum offered a [[Bounty (reward)|reward]] of up to $5 million for information leading to the recovery of the stolen artwork, which remains on offer more than a quarter-century later. The FBI followed several leads, but none of them have produced any concrete results.

In March 2013, the FBI said it believed it knows the identity of the thieves. They believe that the theft was carried out by a criminal organization based in the [[Mid-Atlantic states|mid-Atlantic]] and [[New England]], and that the stolen paintings were moved by a criminal organization through [[Connecticut]] and the [[Philadelphia]] area in the years following the theft. The FBI believes some of the art may have been sold in Philadelphia in the early 2000s.<ref>{{cite news |title= FBI Says It Has Clues in '90 Boston Art Heist |url= http://www.nytimes.com/2013/03/19/us/fbi-says-it-has-clues-in-1990-isabella-stewart-gardner-museum-art-heist.html?partner=rss&emc=rss&smid=tw-nytimes&_r=0 |work= The New York Times |accessdate= March 18, 2013}}</ref><ref>{{cite press release |url= http://www.fbi.gov/boston/press-releases/2013/fbi-provides-new-information-regarding-the-1990-isabella-steward-gardner-museum-art-heist |title= FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Art's Location |publisher= Federal Bureau of Investigation, Boston Division |first= Greg |last= Comcowich |date= March 18, 2013 }}</ref>

On August 6, 2015, police released a newly-discovered video from the night before, that appears to show a dry run of the robbery. Two men appear on the tape; one of them remains unidentified, while the other has been confirmed as Richard Abath, a security guard on duty the night of the heist.<ref>http://www.boston.com/news/local/massachusetts/2015/08/06/new-video-shows-possible-dry-run-for-gardner-museum-art-heist/rxxqmXXfKI8ap180aT2BjL/story.html?p1=ClickedOnBreakingNewsBox</ref>

==Speculation==
The theft is the subject of a 2005 documentary called ''Stolen'', which in a slightly different version had earlier appeared on [[Court TV]].<ref>{{cite web |url=http://www.internationalfilmcircuit.com/stolen/pressbook_stolen.pdf |title=Stolen: Is it still a masterpiece if no one can find it? |first=Rebecca |last= Dreyfus |date= April 13, 2006 |work=Stolen pressbook |publisher=International Film Circuit|accessdate=June 24, 2010}}</ref> It was also the subject of a 2008 episode of ''[[American Greed]]''.

==In popular culture==
In the NBC TV show ''[[The Blacklist (TV series)|The Blacklist]]'', episode "The Courier (No. 85)", [[James Spader]]'s character is seen near the end of the show sitting in front of what looks like ''The Storm on the Sea of Galilee''. Given the nature of the character this may be intended to be the original.

The theft was referenced in ''[[The Simpsons]]'' episode "[[American History X-cellent]]", in which one of the stolen works, ''The Concert'' by Vermeer, is found in the collection of Mr. Burns. Similarly, in the ''[[The Venture Bros.]]'' episode "[[Victor. Echo. November.]]", the supervillain, [[Phantom Limb (character)#Members|Phantom Limb]], attempts to sell ''The Storm on the Sea of Galilee'', which he apparently possesses, to a collector for ten million dollars.{{Citation needed|date=July 2011}}

The theft is central to the plot of ''[[Irreplaceable (novel)|Irreplaceable]]'' (2009) by Charles Pinning. Linked to a fictitious theft from the [[Rhode Island School of Design Museum]], this novel is known for its unconventional approach to solving the Gardner heist.{{Citation needed|reason='known for' claims need ref|date=September 2013}} The 2012 novel ''[[The Art Forger]]'' by Barbara A. Shapiro also features the theft.<ref>{{cite news |title=Rogues' Gallery |newspaper=The New York Times |last=Carter |first=Maxwell |date=December 28, 2012 |url=http://www.nytimes.com/2012/12/30/books/review/the-art-forger-by-b-a-shapiro.html |accessdate=September 22, 2013}}</ref> The novel ''[[Dutch Reckoning (novel)|Dutch Reckoning]]'' (2013) by Michael G. West, a mystery featuring the reluctant amateur sleuth Tommy Shakespear, was dedicated to Isabella Stewart Gardner's grand niece, the poet Isabella "Belle" Gardner, a friend and mentor to the author.

The theft of ''The Storm on the Sea of Galilee'' is referenced at the beginning of the 2013 film ''[[Trance (2013 film)|Trance]]''. Later in the film, the Rembrandt painting is again seen during one of the hypnotic visions, along with Vermeer's ''Concert'' and Manet's ''Chez Tortoni''.

The story of the theft is told in the "Boston" episode of the Comedy Central series ''[[Drunk History]]''.

==See also==
*[[List of stolen paintings]]
*[[Great Brink's Robbery]]

==References==
{{Reflist|30em}}

==External links==
{{Commons category|Isabella Stewart Gardner Museum}}
*[http://www.gardnermuseum.org/ Isabella Stewart Gardner Museum website]
*[http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft/isabella/ FBI theft page] and [http://www.fbi.gov/gardner/ Mar 2013 update]
*{{IMDb title|0453552|Stolen}}

[[Category:Stolen works of art]]
[[Category:Unsolved crimes in the United States]]
[[Category:Crime in Massachusetts]]
[[Category:1990 crimes in the United States]]
[[Category:1990 in Massachusetts]]
[[Category:20th century in Boston, Massachusetts]]

Poes Gesetz

2015-07-21T20:31:56Z

Reify-tech: Copyedit cleanups

'''Poe's law''' is an Internet [[adage]] which states that, without a clear indicator of the author's intent, [[parody|parodies]] of [[extremism|extreme views]] will be indistinguishable to some readers, from sincere expressions of the parodied views.<ref name="origpost">{{cite web|last=Poe|first=Nathan|title=Big contradictions in the evolution theory|url=http://www.christianforums.com/t1962980-6/#post17606580|work=christianforums.com|archiveurl=http://www.webcitation.org/6PywlKJF3|archivedate=May 31, 2014|date=11 August 2005|quote=Poe's Law: Without a winking smiley or other blatant display of humor, it is utterly impossible to parody a Creationist in such a way that ''someone'' won't mistake for the genuine article.|accessdate= August 20, 2011}}</ref><ref name=aiken>{{cite journal|last=Aikin|first=Scott F.|title=Poe's Law, Group Polarization, and the Epistemology of Online Religious Discourse|journal=Social Science Research Network|date=January 23, 2009|ssrn=1332169}}</ref><ref name=tele>{{cite news| last = Chivers| first = Tom| date =Oct 23, 2009 | title = Internet rules and laws: the top 10, from Godwin to Poe | newspaper = The Telegraph | url = http://www.telegraph.co.uk/technology/news/6408927/Internet-rules-and-laws-the-top-10-from-Godwin-to-Poe.html}}: "Without a winking smiley or other blatant display of humour, it is impossible to create a parody of fundamentalism that someone won't mistake for the real thing."</ref>

==History==
"Poe's Law" was originally written by Nathan Poe in 2005, in a post on christianforums.com, an [[Internet forum]] about [[Christianity]]. The post was written in the context of a debate about [[creationism]], where a previous poster had remarked "Good thing you included the winky. Otherwise people might think you are serious". Poe then replied, "Without a winking smiley or other blatant display of humor, it is uttrerly [sic] impossible to parody a Creationist in such a way that ''someone'' won't mistake for the genuine article.".<ref name="origpost"/> The original statement of Poe's Law referred specifically to creationism, but it has since been generalized to apply to any kind of [[fundamentalism]] or [[extremism]].<ref name=tele/>

In part, Poe's post reiterated advice often posted on internet forums, about the need to clearly mark [[sarcasm]] and parody (e.g. with a smiling [[emoticon]]) to avoid confusion. As early as 1983, Jerry Schwarz, in a post on [[Usenet]], wrote:
{{quote|
Avoid sarcasm and facetious remarks.

Without the voice inflection and body language of personal communication these are easily misinterpreted. A sideways smile, :-), has become widely accepted on the net as an indication that "I'm only kidding". If you submit a satiric item without this symbol, no matter how obvious the satire is to you, do not be surprised if people take it seriously.<ref name="usenet">{{cite newsgroup | url = https://groups.google.com/forum/?fromgroups=#!msg/net.announce/8CsYPJuZ4Hg/8em44sgCCVYJ | newsgroup=net.announce | title = Emily Post for Usenet | date = November 1, 1983}} ([[Emily Post]])</ref>}}

==See also==
* [[Irony punctuation]]
* [[List of Internet phenomena]]

==References==
{{reflist|2}}

{{use mdy dates|date=August 2011}}

[[Category:Adages]]
[[Category:Internet terminology]]
[[Category:Internet trolling]]
[[Category:Stub-Class Internet culture articles]]

Fritz Hilpert (Musiker)

2015-06-16T19:49:40Z

Reify-tech: +{{refimprove}}

{{refimprove|date=June 2015}}
{{Infobox musical artist | 
| name = Fritz Hilpert
| image = Fritz Hilpert.jpg
| image_size =
| background = non_vocal_instrumentalist
| birth_date = {{birth date and age|1956|5|31|df=y}}
| birth_place = [[Amberg]], [[West Germany]]
| origin = [[Germany]]
| genre =
| occupation = [[Audio engineering]]
| instrument = [[Percussion instrument|Electronic Percussion]]
| years_active = 1987–present (on stage)
| label =
| associated_acts = [[Kraftwerk]]
| website = [http://www.kraftwerk.com www.kraftwerk.com]
}}
'''Friedrich "Fritz" Hilpert''' (born 31 May 1956), is a member of the [[electro-pop]] group [[Kraftwerk]].

== Background ==
Fritz Hilpert studied trumpet and percussion at the Musisches Max-Reger-Gymnasium, Germany, until 1976. He also played drums in several live bands at that time.
From 1978 he studied sound engineering at the Musikhochschule Rheinland and the FH Düsseldorf. In 1986 he received his Diplom-Ingenieur qualification (the German equivalent of a Master of Science degree) in sound and image technology.{{citation needed|date=February 2007}}

He worked as freelance sound engineer with several German acts as the [[Neue Deutsche Welle|new wave]]-band [[Din A Testbild]]<ref>{{cite web |url=http://www.discogs.com/release/339411 |title=Din-A-Testbild* - TV Junk And New Beat Funk (CD) |publisher=[[Discogs]] |accessdate=8 April 2013}}</ref> before becoming associated with Kraftwerk in 1987.

In addition to studio work, he replaced [[Wolfgang Flür]] in concert when Kraftwerk resumed their
touring activities in 1990, and engineered the album ''[[The Mix (Kraftwerk album)|The Mix]]'', released in 1991.<ref>{{cite web |url=http://www.discogs.com/release/2058319 |title=Kraftwerk - The Mix (Vinyl, LP, Album) |publisher=[[Discogs]] |accessdate=8 April 2013}}</ref>

He has made musical contributions to Kraftwerk's compositions since "[[Expo 2000 (song)|Expo 2000]]" in 1999. He is credited as a co-composer on most of the tracks on the album ''[[Tour de France Soundtracks]]''.
Along with [[Henning Schmitz]] he works as sound programmer and engineer at [[Kling Klang]] studio and is administrator of the [http://www.kraftwerk.com Kraftwerk.com] and [http://www.Klingklang.com Klingklang.com] websites.

While on tour with Kraftwerk in Australia, where the band were to be Global Gathering headliners, Fritz Hilpert fell ill and was believed to have suffered some sort of heart failure. This forced Kraftwerk to cancel the Melbourne show on 22 November 2008, however Hilpert was cleared to fly and continue the tour the next day.{{cn|date=June 2015}}

==References==
{{reflist}}

{{Kraftwerk}}

{{Authority control}}
{{Persondata 
| NAME =Hilpert, Fritz
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = German musician
| DATE OF BIRTH =31 May 1956
| PLACE OF BIRTH = [[Amberg]], [[West Germany]]
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Hilpert, Fritz}}
[[Category:Kraftwerk members]]
[[Category:Living people]]
[[Category:1956 births]]
[[Category:People from Amberg]]

{{Germany-musician-stub}}

Pineapple Bun

2015-06-13T18:44:50Z

Reify-tech: Cleanup refs

{{Infobox prepared food
| name = Pineapple bun
| image = [[File:PineappleBun2.jpg|250px]]
| caption =
| alternate_name = Bo lo baau
| country = [[Hong Kong]]
| region =
| creator =
| course =
| type = [[Sweet roll|Sweet bun]]
| served =
| main_ingredient = [[Sugar]], [[Egg (food)|eggs]], [[flour]], and [[lard]]
| variations =
| calories =
| other =
}}
{{EngvarB|date=September 2013}}
{{Use dmy dates|date=September 2013}}
{{Chinese
|pic=HK Happy Valley Shing Woo Road Cheung Sing Cafe Sunday Breads 1.JPG
|piccap2=The pineapple buns were sold in a bakery.
|s=[[wiktionary:菠萝|菠萝]] [[wikt:包|包]]
|t=[[wikt:菠蘿|菠蘿]] [[wikt:包|包]]
|p=bōluóbāo|j=bo1 lo4 baau1
|poj=ông-lâi-pau (王梨包)
|l=pineapple bun}}
[[File:Ananasbroodje.JPG|thumb|pineapple buns just out the oven]]

A '''pineapple bun''' is a kind of [[sweet roll|sweet bun]] predominantly popular in [[Hong Kong]] and [[Macau]],<ref name=cnn-travel-1>{{cite news|title=Hong Kong food: 40 dishes we can't live without - 6. 'Pineapple' bun|url=http://travel.cnn.com/hong-kong/none/40-things-eat-hong-kong-coronary-arrest-820489|accessdate=5 January 2014|newspaper=CNN Travel|date=13 July 2010}}</ref> though they are not uncommon in [[Chinatown]]s worldwide.<ref name=wisegeek-1>{{cite web|title=What Is a Pineapple Bun|url=http://www.wisegeek.com/what-is-a-pineapple-bun.htm|work=wisegeek|publisher=Conjecture Corporation|accessdate=5 January 2014}}</ref> It is known in [[Cantonese Chinese]] as ''bo lo baau'', in which ''bo lo'' means "pineapple", and ''[[baozi|baau]]'' refers to a kind of [[bun]]-like item in [[Chinese cuisine]].<ref>{{cite news|last=So|first=Winnie|title=Hong Kong's best bun|url=http://www.cnngo.com/hong-kong/eat/hong-kongs-best-bun-196846|accessdate=2 June 2012|newspaper=CNN Go|date=27 May 2012}}</ref>

==History==
{{expand section|date=June 2015}}
In June 2014, the Hong Kong Government listed the pineapple bun as a part of Hong Kong's intangible cultural heritage. Tai Tung Bakery in Yuen Long, which had been making pineapple buns for more than 70 years, was a key proponent of including the technique for making the buns on the list of 480 items of living heritage.<ref name="Tsang secrets">{{cite news|last1=Tsang|first1=Denise|title=The secrets behind serving up Hong Kong's 'hot cross buns'|url=http://www.scmp.com/news/hong-kong/article/1587246/secrets-behind-serving-hong-kongs-hot-cross-buns|accessdate=23 November 2014|agency=South China Morning Post|issue=8 September 2014|date=8 September 2014}}</ref>

In September 2014, a police raid found that several suppliers (including Starbucks, 7-Eleven and Cafe Express) had been selling pineapple buns made with tainted oil, known as "gutter oil", from an unlicensed factory in Taiwan. This oil was recycled from kitchen waste, as well as being a by-product of leather processing and offal from slaughterhouses.<ref>[http://www.scmp.com/news/hong-kong/article/1587759/starbucks-and-7-eleven-hong-kong-drawn-gutter-oil-scandal?page=all Starbucks and 7-Eleven in Hong Kong drawn into ‘gutter oil’ scandal | South China Morning Post]</ref>

==Composition==
The top of the pineapple bun (the part which is made to resemble a pineapple) is made of a dough similar to that used to make [[sugar cookie]]s, which consists of sugar, [[egg (food)|eggs]], flour, and [[lard]]. It is crunchy and is quite sweet compared to the bread underneath. The bread dough underneath is the same used in Chinese style Western breads, which is a softer and sweeter dough compared to Western breads. It is popular with breakfast or afternoon tea.

Although it is known as "pineapple bun", the traditional version contains no pineapple. The name originated from the fact that its sugary top crust is cooked to a golden-brown color, and because its checkered top resembles the [[wikt:exocarp|epicarp]] of a pineapple.<ref>{{cite web|title=Where's The Pineapple?|url=http://mykitchenmylaboratory.blogspot.com/2007/05/wheres-pineapple_27.html|website=|publisher=My Kitchen: My Laboratory|accessdate=29 June 2009}}</ref>

==Buttered variant==
Many Hong Kong restaurants, such as ''[[cha chaan teng]]s'' and ''[[dai pai dong]]s'', offer an item called a '''buttered pineapple bun''', which is a pineapple bun with a piece of butter stuffed inside. They are known in Cantonese Chinese as '''''bo lo yau''''' (菠蘿油), in which ''bo lo'' means "pineapple", and ''yau'' (oil) refers to butter. Variants of this include using [[custard]] in place of butter.

Typically, the bun would be brought hot from the oven to the diner's table, and served halved with a large slab of butter in between the halves. This item is sometimes criticised for containing too much fat and [[cholesterol]].

==Other common variants==
The pineapple bun may come in miniature sizes (迷你菠蘿包), it may be used as a bread roll for sandwiches with luncheon meat (餐肉菠蘿包), or it may be pre-stuffed with [[red bean paste]] (紅豆菠蘿包), custard cream (奶黃菠蘿包), barbecued pork (叉燒菠蘿包), or a sweet filling of shredded coconut (椰絲菠蘿包) like that in a [[cocktail bun]]. It is possible to order a "pineapple pineapple bun", actually stuffed with pineapple (菠蘿菠蘿包), although this is very likely the product of misinterpretation of the name by non-native bakers.{{cn|date=July 2012}}

Japanese "[[melonpan]]" and Korean ''soboro ppang'' (소보로 빵) or ''soboru ppang'' (소보루 빵)<ref>{{cite web | title = Korean Soboro Bread | work = Korean Slate | accessdate = 24 August 2011 | date = 28 October 2009 | url = http://koreanslate.com/korean-soboro-bread.html
}}</ref> are variants that use the same ingredients for a German [[streusel]]-like texture on top but without resemblance to a pineapple.

==In popular culture==
*[[McDull]], the main character in the Hong Kong cartoon film ''[[McDull, Prince de la Bun]]'' is often seen with a pineapple bun, since the Chinese name of the film is ''菠蘿油王子'' (''Prince of Pineapple Bun with Butter'').<ref name=sina-hk-1>{{cite web|title=麥兜菠蘿油王子 Mcdull, Prince de la Bun (Chinese)|url=http://ent.sina.com.hk/cgi-bin/movie/mv/main.cgi?id=1229|publisher=Sina Hong Kong|accessdate=14 January 2014}}</ref>
*In 2005, "pineapple bun" was nominated as the name of a [[typhoon]], but was rejected because the director of the Hong Kong Observatory stated that news reports concerning the typhoon would be overly nonsensical.<ref name=hk-magazine-1>{{cite web|title=Ask Mr. Know-It-All: How do typhoons get their names?|url=http://hk-magazine.com/city-living/column/ask-mr-know-it-all-how-do-typhoons-get-their-names|website=hk-magazine.com|publisher=HK Magazine|accessdate=11 February 2015}}</ref>

==See also==
{{commons category}}
{{portal|Food}}
*[[Baozi]]
*[[Bun]]
*[[List of buns]]
*[[Melonpan]], the Japanese equivalent of pineapple bun

==References==
{{reflist|30em}}

==External links==

{{Hong Kong cuisine}}

[[Category:Dim sum]]
[[Category:Hong Kong cuisine]]
[[Category:Sweet breads]]
[[Category:Culture of Macau]]
[[Category:Buns]]
[[Category:Hong Kong breads]]

Pineapple Bun

2015-06-13T18:43:52Z

Reify-tech: Complete copyedit cleanup sweep; +Wikilinks

{{Infobox prepared food
| name = Pineapple bun
| image = [[File:PineappleBun2.jpg|250px]]
| caption =
| alternate_name = Bo lo baau
| country = [[Hong Kong]]
| region =
| creator =
| course =
| type = [[Sweet roll|Sweet bun]]
| served =
| main_ingredient = [[Sugar]], [[Egg (food)|eggs]], [[flour]], and [[lard]]
| variations =
| calories =
| other =
}}
{{EngvarB|date=September 2013}}
{{Use dmy dates|date=September 2013}}
{{Chinese
|pic=HK Happy Valley Shing Woo Road Cheung Sing Cafe Sunday Breads 1.JPG
|piccap2=The pineapple buns were sold in a bakery.
|s=[[wiktionary:菠萝|菠萝]] [[wikt:包|包]]
|t=[[wikt:菠蘿|菠蘿]] [[wikt:包|包]]
|p=bōluóbāo|j=bo1 lo4 baau1
|poj=ông-lâi-pau (王梨包)
|l=pineapple bun}}
[[File:Ananasbroodje.JPG|thumb|pineapple buns just out the oven]]

A '''pineapple bun''' is a kind of [[sweet roll|sweet bun]] predominantly popular in [[Hong Kong]] and [[Macau]],<ref name=cnn-travel-1>{{cite news|title=Hong Kong food: 40 dishes we can't live without - 6. 'Pineapple' bun|url=http://travel.cnn.com/hong-kong/none/40-things-eat-hong-kong-coronary-arrest-820489|accessdate=5 January 2014|newspaper=CNN Travel|date=13 July 2010}}</ref> though they are not uncommon in [[Chinatown]]s worldwide.<ref name=wisegeek-1>{{cite web|title=What Is a Pineapple Bun|url=http://www.wisegeek.com/what-is-a-pineapple-bun.htm|work=wisegeek|publisher=Conjecture Corporation|accessdate=5 January 2014}}</ref> It is known in [[Cantonese Chinese]] as ''bo lo baau'', in which ''bo lo'' means "pineapple", and ''[[baozi|baau]]'' refers to a kind of [[bun]]-like item in [[Chinese cuisine]].<ref>{{cite news|last=So|first=Winnie|title=Hong Kong's best bun|url=http://www.cnngo.com/hong-kong/eat/hong-kongs-best-bun-196846|accessdate=2 June 2012|newspaper=CNN Go|date=27 May 2012}}</ref>

==History==
{{expand section|date=June 2015}}
In June 2014, the Hong Kong Government listed the pineapple bun as a part of Hong Kong's intangible cultural heritage. Tai Tung Bakery in Yuen Long, which had been making pineapple buns for more than 70 years, was a key proponent of including the technique for making the buns on the list of 480 items of living heritage.<ref name="Tsang secrets">{{cite news|last1=Tsang|first1=Denise|title=The secrets behind serving up Hong Kong's 'hot cross buns'|url=http://www.scmp.com/news/hong-kong/article/1587246/secrets-behind-serving-hong-kongs-hot-cross-buns|accessdate=23 November 2014|agency=South China Morning Post|issue=8 September 2014|date=8 September 2014}}</ref>

In September 2014, a police raid found that several suppliers (including Starbucks, 7-Eleven and Cafe Express) had been selling pineapple buns made with tainted oil, known as "gutter oil", from an unlicensed factory in Taiwan. This oil was recycled from kitchen waste, as well as being a by-product of leather processing and offal from slaughterhouses.<ref>http://www.scmp.com/news/hong-kong/article/1587759/starbucks-and-7-eleven-hong-kong-drawn-gutter-oil-scandal?page=all</ref>

==Composition==
The top of the pineapple bun (the part which is made to resemble a pineapple) is made of a dough similar to that used to make [[sugar cookie]]s, which consists of sugar, [[egg (food)|eggs]], flour, and [[lard]]. It is crunchy and is quite sweet compared to the bread underneath. The bread dough underneath is the same used in Chinese style Western breads, which is a softer and sweeter dough compared to Western breads. It is popular with breakfast or afternoon tea.

Although it is known as "pineapple bun", the traditional version contains no pineapple. The name originated from the fact that its sugary top crust is cooked to a golden-brown color, and because its checkered top resembles the [[wikt:exocarp|epicarp]] of a pineapple.<ref>{{cite web|title=Where's The Pineapple?|url=http://mykitchenmylaboratory.blogspot.com/2007/05/wheres-pineapple_27.html|website=|publisher=My Kitchen: My Laboratory|accessdate=29 June 2009}}</ref>

==Buttered variant==
Many Hong Kong restaurants, such as ''[[cha chaan teng]]s'' and ''[[dai pai dong]]s'', offer an item called a '''buttered pineapple bun''', which is a pineapple bun with a piece of butter stuffed inside. They are known in Cantonese Chinese as '''''bo lo yau''''' (菠蘿油), in which ''bo lo'' means "pineapple", and ''yau'' (oil) refers to butter. Variants of this include using [[custard]] in place of butter.

Typically, the bun would be brought hot from the oven to the diner's table, and served halved with a large slab of butter in between the halves. This item is sometimes criticised for containing too much fat and [[cholesterol]].

==Other common variants==
The pineapple bun may come in miniature sizes (迷你菠蘿包), it may be used as a bread roll for sandwiches with luncheon meat (餐肉菠蘿包), or it may be pre-stuffed with [[red bean paste]] (紅豆菠蘿包), custard cream (奶黃菠蘿包), barbecued pork (叉燒菠蘿包), or a sweet filling of shredded coconut (椰絲菠蘿包) like that in a [[cocktail bun]]. It is possible to order a "pineapple pineapple bun", actually stuffed with pineapple (菠蘿菠蘿包), although this is very likely the product of misinterpretation of the name by non-native bakers.{{cn|date=July 2012}}

Japanese "[[melonpan]]" and Korean ''soboro ppang'' (소보로 빵) or ''soboru ppang'' (소보루 빵)<ref>{{Cite web | title = Korean Soboro Bread | work = Korean Slate | accessdate = 24 August 2011 | date = 28 October 2009 | url = http://koreanslate.com/korean-soboro-bread.html
}}</ref> are variants that use the same ingredients for a German [[streusel]]-like texture on top but without resemblance to a pineapple.

==In popular culture==
*[[McDull]], the main character in the Hong Kong cartoon film ''[[McDull, Prince de la Bun]]'' is often seen with a pineapple bun, since the Chinese name of the film is ''菠蘿油王子'' (''Prince of Pineapple Bun with Butter'').<ref name=sina-hk-1>{{cite web|title=麥兜菠蘿油王子 Mcdull, Prince de la Bun (Chinese)|url=http://ent.sina.com.hk/cgi-bin/movie/mv/main.cgi?id=1229|publisher=Sina Hong Kong|accessdate=14 January 2014}}</ref>
*In 2005, "pineapple bun" was nominated as the name of a [[typhoon]], but was rejected because the director of the Hong Kong Observatory stated that news reports concerning the typhoon would be overly nonsensical.<ref name=hk-magazine-1>{{cite web|title=Ask Mr. Know-It-All: How do typhoons get their names?|url=http://hk-magazine.com/city-living/column/ask-mr-know-it-all-how-do-typhoons-get-their-names|website=hk-magazine.com|publisher=HK Magazine|accessdate=11 February 2015}}</ref>

==See also==
{{commons category}}
{{portal|Food}}
*[[Baozi]]
*[[Bun]]
*[[Bun#List of buns|List of buns]]
*[[Melonpan]], the Japanese equivalent of pineapple bun

==References==
{{reflist|30em}}

==External links==

{{Hong Kong cuisine}}

[[Category:Dim sum]]
[[Category:Hong Kong cuisine]]
[[Category:Sweet breads]]
[[Category:Culture of Macau]]
[[Category:Buns]]
[[Category:Hong Kong breads]]

Physik in Animationsfilmen

2015-03-25T04:39:10Z

Reify-tech: Repairing external link using Checklinks

'''Cartoon physics''' is a jocular system of [[physical law|laws of physics]] that supersedes the normal laws, used in [[animation]] for [[humour|humorous]] effect. Normal physical laws are referential (i.e., objective, invariant), but cartoon physics are preferential (i.e., subjective, varying).

Many of the most famous [[United States|American]] [[animated cartoon|animated films]], particularly those from [[Warner Bros.]] and [[Metro-Goldwyn-Mayer|MGM]] studios, unconsciously developed a relatively consistent set of such "laws" which have become de rigueur in comic animation.

In one common cartoon scenario example, when a cartoon character runs off a cliff, [[gravitation|gravity]] has no effect until the character notices and reacts.<ref name="coyotusinterruptus">

In a [[neologism]] contest held by ''[[New Scientist]]'', a winning entry coined the term "coyotus interruptus" for this phenomenon—a pun on [[coitus interruptus]] and [[Wile E. Coyote and Road Runner|Wile E. Coyote]], who fell to his doom this way many times.</ref>

In words attributed to [[Art Babbitt]], an animator with the Walt Disney Studios: "Animation follows the laws of physics—unless it is funnier otherwise."

== Examples ==
[[File:Cartoon physics WikiWorld.png|right|thumb|250px]]
Specific reference to ''cartoon physics'' extends back at least to June 1980, when an article "[[Mark O'Donnell|O'Donnell]]'s Laws of Cartoon Motion"<ref>O'Donnell's Laws of Cartoon Motion", ''Esquire'', 6/80, reprinted in ''IEEE Institute'', 10/94; V.18 #7 p.12. [http://remarque.org/~doug/cartoon-physics.html Copy on Web]</ref> appeared in ''[[Esquire (magazine)|Esquire]]''. A version printed in V.18 No. 7 p.12, 1994 by the [[Institute of Electrical and Electronics Engineers]] in its journal helped spread the word among the technical crowd, which has expanded and refined the idea.<ref>[http://blog.macmanltd.com/2011/07/13/cartoon-laws-of-physics/ ]{{Dead link|date=October 2013}}</ref> These laws are outlined on dozens of websites.

O'Donnell's examples include:

* Any body suspended in space will remain in space until made aware of its situation. Then the regular laws of gravity take over. This is why babies can defy gravity for elongated amounts of time. (The character walks off the edge of a cliff, remains suspended in midair, and doesn't fall until he looks down.) If this is referenced by a character in the cartoon as "Defying the [[law of gravity]]", it is often explained that the character(s) involved have "never studied law".
* Any body passing through solid matter (usually at high velocities) will leave a perforation conforming to its perimeter (the "silhouette of passage").
* Certain bodies can pass through solid walls painted to resemble tunnel entrances; others cannot. Corollary: Portable holes work.
* All principles of gravity are negated by fear (i.e., scaring someone causes him to jump impossibly high in the air).
* Any violent rearrangement of feline matter is impermanent. (In other words, cats heal fast and/or have an infinite number of lives.) Corollary: Cats can fit into unusually small spaces.
* Everything falls faster than an [[anvil]]. (A falling anvil will always land directly upon the character's head, regardless of the time gap between the body's and the anvil's respective drops.)
* Any vehicle on a path of travel is at a state of indeterminacy until an object enters a location in the path of travel. (Wolf looks both ways down the road, sees nothing, but gets run over by a bus as soon as he tries to cross.)


== History of the idea ==
The idea that cartoons behave differently from the real world, but not randomly, is virtually as old as animation. [[Walt Disney]], for example, spoke of the "plausible impossible" (see "[[The Plausible Impossible]]", 1956).

More recently, it has been explicitly described by some cartoon characters, including [[Roger Rabbit]], [[Bonkers (TV series)|Bonkers D. Bobcat]], and [[Yakko, Wakko, and Dot]], who say that [[cartoon|toon]]s are allowed to bend or break natural laws for the purposes of comedy. Doing this is extremely tricky, so toons have a natural sense of comedic timing, giving them inherently funny properties.

In ''[[Who Framed Roger Rabbit]]'', for example, Roger is unable to escape handcuffs for most of a sequence, doing so only at the last moment. When Eddie Valiant asks, exasperated, "Do you mean to tell me you could've taken your hand out of that cuff at any time?!" Roger responds: "Not at ''any'' time! Only when it was ''funny''!"<ref>[http://www.imdb.com/title/tt0096438/quotes IMDB quotes from "Roger Rabbit"]</ref> Several aspects of cartoon physics were discussed in the film's dialogue, and the concept was a minor plot theme.

In 1993, Stephen R. Gould, then a financial training consultant, writing in ''[[New Scientist]]'', said that "... these seemingly nonsensical phenomena can be described by logical laws similar to those in our world. Nonsensical events are by no means limited to the Looniverse. Laws that govern our own Universe often seem contrary to common sense."<ref>Stephen R. Gould, [http://www.newscientist.com/article/mg14019055.200--looney-tuniverse-ther-is-a-crazy-king-of-physics-at-work-in-the-world-of-cartoons--.html Looney Tuniverse: There is a crazy kind of physics at work in the world of cartoons] (1993) ''New Scientist''</ref> This theme is described by Dr. Alan Cholodenko in his article, "The Nutty Universe of Animation".<ref>Dr. Alan Cholodenko, "[http://www.ubishops.ca/baudrillardstudies/vol3_1/cholodenkopf.htm The Nutty Universe of Animation, The “Discipline” of All “Disciplines”, And That’s Not All, Folks!]" ''International Journal of Baudrillard Studies'' Volume 3, Number 1 (January 2006)</ref>

In a [[Garfield]] animated short entitled "Secrets of the Animated Cartoon", the characters Orson and Wade give demonstrations of different laws of the cartoons and show humorous examples of them.

In 2012 O'Donnell's Laws of Cartoon Motion were used as the basis for a presentation<ref>[http://vimeo.com/62327966 Laws of Motion in a Cartoon Landscape on Vimeo]</ref> and exhibition held at [http://www.stanleypickergallery.org/ Stanley Picker Gallery], by [[Andy Holden]] titled 'Laws of Motion in a Cartoon Landscape'<ref>[http://www.stanleypickergallery.org/programme/the-laws-of-motion-in-a-cartoon-landscape/ Laws of Motion in a Cartoon Landscape | Stanley Picker Gallery]</ref> which explored ideas of cartoon physics in relation to art and the end of art history.

== Non-exclusivity ==
''Cartoon physics'' is not limited to either cartoons or physics. For example, when a character recovers impossibly fast from a serious injury, the laws of [[biology]] rather than physics are being altered. Live-action shows and movies can also be subject to the laws of cartoon physics, explaining why, for example, [[The Three Stooges]] did not go blind from all the eye-poking, or the burglars in the ''[[Home Alone (franchise)|Home Alone]]'' series survive life-threatening booby traps.

[[The Lexicon of Comicana|Printed cartoons]] have their own family of cartoon physics "laws" and conventions.

== See also ==
{{portal|Cartoon}}
* [[Slapstick]]
* [[Magic satchel]]
* [[Acme Corporation]]
* [[12 basic principles of animation]]
* [[Hammerspace]]
* [[Toon (role-playing game)]]
* [[Wild takes]]
* [[Anime]]
* [[Mark O'Donnell]]

== Notes ==
{{reflist}}

== External links ==
* [http://funnies.paco.to/cartoon.html Cartoon Laws of Physics]
* [http://www.rogerebert.com/rogers-journal/the-laws-of-cartoon-thermodynamics Laws of Cartoon Thermodynamics] from [[Roger Ebert]]'s website.
* [http://hypertextbook.com/facts/2007/mariogravity.shtml Acceleration Due to Gravity: Super Mario Brothers] - a physicist's determination of the value of ''[[Standard gravity|g]]'' used in [[Super Mario Bros.]]
=== Anime ===
* [http://www.abcb.com/laws/index.htm The Laws of Anime]
* [http://www.cs.utah.edu/~duongsaa/more_htm/jk_100animeRules.htm 100 Laws of Anime Physics]
* [http://www.animeinfo.org/animeu/phys101.html Animeinfo.org: Anime Physics]
=== Other ===
* [[Kent Pitman]]'s [http://www.anotherwayout.com/soap-opera-physics.html Theory of RelativeTV (Soap Opera Physics)]

{{Animation}}

{{DEFAULTSORT:Cartoon Physics}}
[[Category:Cartoon physics|*]]
[[Category:Clichés]]
[[Category:Fictional superhuman features or abilities]]
[[Category:Pseudophysics]]

Gebläsekonvektor

2014-08-04T14:20:19Z

Reify-tech: Oops! Fix typo

[[Image:Fancoil 1.jpg|250px|right]]
[[Image:Fancoil 2.jpg|250px|right]]
A '''fan coil unit''' (FCU) is a simple device consisting of a heating or cooling coil and [[Fan (mechanical)|fan]]. It is part of an [[HVAC]] system found in residential, commercial, and industrial buildings. Typically a fan coil unit is not connected to [[Duct (HVAC)|ductwork]], and is used to control the temperature in the space where it is installed, or serve multiple spaces. It is controlled either by a manual on/off switch or by thermostat.

Due to their simplicity, fan coil units are more economical to install than ducted or central heating systems with [[air handling unit]]s. However, they can be noisy because the fan is within the same space. Unit configurations are numerous including horizontal (ceiling mounted) or vertical (floor mounted).

==Design and operation==
It should be first appreciated that 'Fan Coil Unit' is a generic term that is applied to a range of products. Also, the term 'Fan Coil Unit' will mean different things to users, specifiers and installers in different countries and regions, particularly in relation to product size and output capability.

A fan coil unit may be concealed or exposed within the room or area that it serves.

An exposed fan coil unit may be wall mounted, freestanding or ceiling mounted, and will typically include an appropriate enclosure to protect and conceal the fan coil unit itself, with return air [[grille]] and supply air [[diffuser (thermodynamics)|diffuser]] set into that enclosure to distribute the air.

A concealed fan coil unit will typically be installed within an accessible ceiling void or services zone. The return air grille and supply air diffuser, typically set flush into the ceiling, will be ducted to and from the fan coil unit and thus allows a great degree of flexibility for locating the grilles to suit the ceiling layout and/or the partition layout within a space. It is quite common for the return air not to be ducted and to use the ceiling void as a return air plenum.

The coil receives hot or cold water from a central plant, and removes heat from or adds heat to the air through [[heat transfer]]. Traditionally fan coil units can contain their own internal [[thermostat]], or can be wired to operate with a remote thermostat. However, and as is common in most modern buildings with a [[Building Management System|Building Energy Management System]] (BEMS), the control of the fan coil unit will be by a local digital controller or outstation (along with associated room temperature sensor and control valve actuators) linked to the BEMS via a communication network, and therefore adjustable and controllable from a central point, such as a supervisors head end computer.

Fan coil units circulate hot or cold water through a coil in order to condition a space. The unit gets its hot or cold water from a central plant, or [[mechanical room]] containing equipment for removing heat from the central building's closed-loop. The equipment used can consist of machines used to remove heat such as a [[chiller]] or a [[cooling tower]] and equipment for adding heat to the building's water such as a [[boiler]] or a commercial [[water heater]].

Fan coil units are divided into two types: Two-pipe fan coil units or four-pipe fan coil units. Two-pipe fan coil units have one (1) supply and one (1) return pipe. The supply pipe supplies either cold or hot water to the unit depending on the time of year. Four-pipe fan coil units have two (2) supply pipes and two (2) return pipes. This allows either hot or cold water to enter the unit at any given time. Since it is often necessary to heat and cool different areas of a building at the same time, due to differences in internal heat loss or heat gains, the four-pipe fan coil unit is most commonly used.

Fan coil units may be connected to piping networks using various topology designs, such as "direct return", "reverse return", or "series decoupled". See ASHRAE Handbook "2008 Systems & Equipment", Chapter 12.

Depending upon the selected chilled water temperatures and the relative humidity of the space, it is likely that the cooling coil will dehumidify the entering air stream, and as a by product of this process, it will at times produce a condensate which will need to be carried to drain. The fan coil unit will contain a purpose designed drip tray with drain connection for this purpose. The simplest means to drain the condensate from multiple fan coil units will be by a network of pipework laid to falls to a suitable point. Alternatively a condensate pump may be employed where space for such gravity pipework is limited.

Speed control of the fan motors within a fan coil unit is effectively used to control the heating and cooling output desired from the unit. Some manufacturers accomplish speed control by adjusting the taps on an AC transformer supplying the power to the fan motor. Typically this would require adjustment at the commissioning stage of the building construction process and is therefore set for life. Other manufacturers provide custom-wound Permanent Split Capacitor (PSC) motors with speed taps in the windings, set to the desired speed levels for the fan coil unit design. A simple speed selector switch (Off-High-Medium-Low) is provided for the local room occupant to control the fan speed. Typically this speed selector switch is integral to the room thermostat, and is set manually or is controlled automatically by the digital room thermostat. Building Energy Management Systems can be used for automatic fan speed and temperature control. Fan motors are typically AC Shaded Pole or Permanent Split Capacitor. More recent developments include brushless DC designs with electronic commutation. While these motors do offer significant energy savings, initial cost and return-on-investment should be carefully considered.

==DC/EC motor powered units==
These motors are sometimes called DC motors, sometimes called EC motors and occasionally EC/DC motors. DC stands for Direct Current and EC stands for Electronically Commutated.

[[DC motor]]s allow the speed of the fans within a Fan Coil Unit to be controlled by means of a 0-10 Volt input 'Signal' to the motor/s, the transformers and speed switches associated with AC Fan Coils are not required. Up to a signal voltage of 2.5 Volts (which may vary with different fan/motor manufacturers) the fan will be in a stopped condition but as the signal voltage is increased, the fan will seamlessly increase in speed until the maximum is reached at a signal Voltage of 10 Volts. Fan Coils will generally operate between approximately 4 Volts and 7.5 Volts because below 4 Volts the air volumes are ineffective and above 7.5 Volts the Fan Coil is likely to be too noisy for most commercial applications.

The 0-10 Volt signal voltage can be set via a simple potentiometer and left or the 0-10 Volt signal voltage can be delivered to the fan motors by the terminal controller on each of the Fan Coil Units. The former is very simple and cheap but the latter opens up the opportunity to continuously alter the fan speed depending on various external conditions/influences. These conditions/criteria could be the 'real time' demand for either heating or cooling, occupancy levels, window switches, time clocks or any number of other inputs from either the unit itself, the Building Management System or both.

The reason that these DC Fan Coil Units are, despite their apparent relative complexity, becoming more popular is their improved energy efficiency levels compared to their AC motor driven counterparts of only a few years ago. A straight swap, AC to DC, will reduce electrical consumption by 50% but applying Demand and Occupancy dependent fan speed control can take the savings to as much as 80%. In areas of the world where there are legally enforceable energy efficiency requirements for Fan Coils (such as the UK), DC Fan Coil Units are rapidly becoming the only choice.

Examples of EC/DC Fan Coil Units:
*Ability Projects [http://www.abilityprojects.com/products]

==Areas of use==
[[Image:Fan coil 1.jpg|200px|left]]
[[Image:Fan coil 2.jpg|200px|left]]
[[Image:Aerotermo.jpg|200px|left]]
Fan coil units are typically used in spaces where economic installations are preferred such as unoccupied storage rooms, corridors, loading docks.

In high-rise buildings, fan coils may be stacked, located one above the other from floor to floor and all interconnected by the same piping loop.

Fan coil units are an excellent delivery mechanism for hydronic [[chiller boiler|chiller boiler systems]] in large residential and light commercial applications. In these applications the fan coil units are mounted in bathroom ceilings and can be used to provide unlimited comfort zones - with the ability to turn off unused areas of the structure to save energy.

==Installation==
In high-rise residential construction, typically each fan coil unit requires a rectangular through-penetration in the [[concrete]] slab on top of which it sits. Usually, there are either 2 or 4 pipes made of ABS, steel or copper that go through the floor. The pipes are usually insulated with refrigeration insulation, such as acrylonitrile butadiene/polyvinyl chloride (AB/PVC) flexible foam (Rubatex or Armaflex brands) on all pipes or at least the cool lines.

==Unit ventilator==
A unit ventilator is a fan coil unit that is used mainly in classrooms, hotels, apartments and condominium applications. A unit ventilator can be a wall mounted or ceiling hung cabinet, and is designed to use a [[Fan (mechanical)|fan]] to blow outside air across a coil, thus conditioning and ventilating the space which it is serving.

==European market==
The Fan Coil is composed of one quarter of 2-pipe-units and three quarters of 4-pipe-units, and the most sold products are "with casing" (35%), "without casing" (28%), "cassette" (18%) and "ducted" (16%).<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>

The market by country was split in 2010 as follows:

{| class="wikitable" style="text-align:center; margin-right:auto; border="1"
|-
! Countries
! Sales Volume in units<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>
! Share
|-
| Benelux
| style="text-align:center" |33 725
| 2.6%
|-
| France
| style="text-align:center" |168 028
| 13.2%
|-
| Germany
| style="text-align:center" | 63 256
| 5.0%
|-
| Greece
| style="text-align:center" | 33 292
| 2.6%
|-
| Italy
| style="text-align:center" |409 830
| 32.1%
|-
| Poland
| style="text-align:center" | 32 987
| 2.6%
|-
| Portugal
| style="text-align:center" |22 957
| 1.8%
|-
| Russia, Ukraine and CIS countries
| style="text-align:center" |87 054
| 6.8%
|-
| Scandinavia and Baltic countries
| style="text-align:center" |39 124
| 3.1%
|-
| Spain
| style="text-align:center" |91 575
| 7.2%
|-
| Turkey
| style="text-align:center" |70 682
| 5.5%
|-
| UK and Ireland
| style="text-align:center" | 69 169
| 5.4%
|-
| Eastern Europe
| style="text-align:center" |153 847
| 12.1%
|-
|}

==References==
{{Reflist}}

==See also==
{{commons category}}
* [[Thermal insulation]]
* [[HVAC]]
* [[Construction]]
* [[Intumescent]]
* [[Firestop]]

{{HVAC}}

[[Category:Mechanical engineering]]
[[Category:Heating, ventilating, and air conditioning]]
[[Category:Fans]]

Gebläsekonvektor

2014-08-04T14:18:40Z

Reify-tech: Reverted good faith edits by 2.50.29.10 (talk): Rv per WP:MOS. (TW)

[[Image:Fancoil 1.jpg|250px|right]]
[[Image:Fancoil 2.jpg|250px|right]]
A '''fan coil unit''' (FCU) is a simple device consisting of a heating or cooling coil and [[Fan (mechanical)|fan]]. It is part of an [[HVAC]] system found in residential, commercial, and industrial buildings. Typically a fan coil unit is not connected to [[Duct (HVAC)|ductwork]], and is used to control the temperature in the space where it is installed, or serve multiple spaces. It is controlled either by a manual on/off switch or by thermostat.

Due to their simplicity, fan coil units are more economical to install than ducted or central heating systems with [[air handling unit]]s. However, they can be noisy because the fan is within the same space. Unit configurations are numerous including horizontal (ceiling mounted) or vertical (floor mounted).

==Design and operation==

It should be first appreciated that 'Fan Coil Unit' is a generic term that is applied to a range of products. Also, the term 'Fan Coil Unit' will mean different things to users, specifiers and installers in different countries and regions, particularly in relation to product size and output capability.

A fan coil unit may be concealed or exposed within the room or area that it serves.

An exposed fan coil unit may be wall mounted, freestanding or ceiling mounted, and will typically include an appropriate enclosure to protect and conceal the fan coil unit itself, with return air [[grille]] and supply air [[diffuser (thermodynamics)|diffuser]] set into that enclosure to distribute the air.

A concealed fan coil unit will typically be installed within an accessible ceiling void or services zone. The return air grille and supply air diffuser, typically set flush into the ceiling, will be ducted to and from the fan coil unit and thus allows a great degree of flexibility for locating the grilles to suit the ceiling layout and/or the partition layout within a space. It is quite common for the return air not to be ducted and to use the ceiling void as a return air plenum.

The coil receives hot or cold water from a central plant, and removes heat from or adds heat to the air through [[heat transfer]]. Traditionally fan coil units can contain their own internal [[thermostat]], or can be wired to operate with a remote thermostat. However, and as is common in most modern buildings with a [[Building Management System|Building Energy Management System]] (BEMS), the control of the fan coil unit will be by a local digital controller or outstation (along with associated room temperature sensor and control valve actuators) linked to the BEMS via a communication network, and therefore adjustable and controllable from a central point, such as a supervisors head end computer.

Fan coil units circulate hot or cold water through a coil in order to condition a space. The unit gets its hot or cold water from a central plant, or [[mechanical room]] containing equipment for removing heat from the central building's closed-loop. The equipment used can consist of machines used to remove heat such as a [[chiller]] or a [[cooling tower]] and equipment for adding heat to the building's water such as a [[boiler]] or a commercial [[water heater]].

Fan coil units are divided into two types: Two-pipe fan coil units or four-pipe fan coil units. Two-pipe fan coil units have one (1) supply and one (1) return pipe. The supply pipe supplies either cold or hot water to the unit depending on the time of year. Four-pipe fan coil units have two (2) supply pipes and two (2) return pipes. This allows either hot or cold water to enter the unit at any given time. Since it is often necessary to heat and cool different areas of a building at the same time, due to differences in internal heat loss or heat gains, the four-pipe fan coil unit is most commonly used.

Fan coil units may be connected to piping networks using various topology designs, such as "direct return", "reverse return", or "series decoupled". See ASHRAE Handbook "2008 Systems & Equipment", Chapter 12.

Depending upon the selected chilled water temperatures and the relative humidity of the space, it is likely that the cooling coil will dehumidify the entering air stream, and as a by product of this process, it will at times produce a condensate which will need to be carried to drain. The fan coil unit will contain a purpose designed drip tray with drain connection for this purpose. The simplest means to drain the condensate from multiple fan coil units will be by a network of pipework laid to falls to a suitable point. Alternatively a condensate pump may be employed where space for such gravity pipework is limited.

Speed control of the fan motors within a fan coil unit is effectively used to control the heating and cooling output desired from the unit. Some manufacturers accomplish speed control by adjusting the taps on an AC transformer supplying the power to the fan motor. Typically this would require adjustment at the commissioning stage of the building construction process and is therefore set for life. Other manufacturers provide custom-wound Permanent Split Capacitor (PSC) motors with speed taps in the windings, set to the desired speed levels for the fan coil unit design. A simple speed selector switch (Off-High-Medium-Low) is provided for the local room occupant to control the fan speed. Typically this speed selector switch is integral to the room thermostat, and is set manually or is controlled automatically by the digital room thermostat. Building Energy Management Systems can be used for automatic fan speed and temperature control. Fan motors are typically AC Shaded Pole or Permanent Split Capacitor. More recent developments include brushless DC designs with electronic commutation. While these motors do offer significant energy savings, initial cost and return-on-investment should be carefully considered.

==DC/EC motor powered units==

These motors are sometimes called DC motors, sometimes called EC motors and occasionally EC/DC motors. DC stands for Direct Current and EC stands for Electronically Commutated.

[[DC motor]]s allow the speed of the fans within a Fan Coil Unit to be controlled by means of a 0-10 Volt input 'Signal' to the motor/s, the transformers and speed switches associated with AC Fan Coils are not required. Up to a signal voltage of 2.5 Volts (which may vary with different fan/motor manufacturers) the fan will be in a stopped condition but as the signal voltage is increased, the fan will seamlessly increase in speed until the maximum is reached at a signal Voltage of 10 Volts. Fan Coils will generally operate between approximately 4 Volts and 7.5 Volts because below 4 Volts the air volumes are ineffective and above 7.5 Volts the Fan Coil is likely to be too noisy for most commercial applications.

The 0-10 Volt signal voltage can be set via a simple potentiometer and left or the 0-10 Volt signal voltage can be delivered to the fan motors by the terminal controller on each of the Fan Coil Units. The former is very simple and cheap but the latter opens up the opportunity to continuously alter the fan speed depending on various external conditions/influences. These conditions/criteria could be the 'real time' demand for either heating or cooling, occupancy levels, window switches, time clocks or any number of other inputs from either the unit itself, the Building Management System or both.

The reason that these DC Fan Coil Units are, despite their apparent relative complexity, becoming more popular is their improved energy efficiency levels compared to their AC motor driven counterparts of only a few years ago. A straight swap, AC to DC, will reduce electrical consumption by 50% but applying Demand and Occupancy dependent fan speed control can take the savings to as much as 80%. In areas of the world where there are legally enforceable energy efficiency requirements for Fan Coils (such as the UK), DC Fan Coil Units are rapidly becoming the only choice.

Examples of EC/DC Fan Coil Units:
*Ability Projects [http://www.abilityprojects.com/products]

==Areas of use==
[[Image:Fan coil 1.jpg|200px|left]]
[[Image:Fan coil 2.jpg|200px|left]]
[[Image:Aerotermo.jpg|200px|left]]
Fan coil units are typically used in spaces where economic installations are preferred such as unoccupied storage rooms, corridors, loading docks.

In high-rise buildings, fan coils may be stacked, located one above the other from floor to floor and all interconnected by the same piping loop.

Fan coil units are an excellent delivery mechanism for hydronic [[chiller boiler|chiller boiler systems]] in large residential and light commercial applications. In these applications the fan coil units are mounted in bathroom ceilings and can be used to provide unlimited comfort zones - with the ability to turn off unused areas of the structure to save energy.

==Installation==
In high-rise residential construction, typically each fan coil unit requires a rectangular through-penetration in the [[concrete]] slab on top of which it sits. Usually, there are either 2 or 4 pipes made of ABS, steel or copper that go through the floor. The pipes are usually insulated with refrigeration insulation, such as acrylonitrile butadiene/polyvinyl chloride (AB/PVC) flexible foam (Rubatex or Armaflex brands) on all pipes or at least the cool lines.

==Unit ventilator==
A unit ventilator is a fan coil unit that is used mainly in classrooms, hotels, apartments and condominium applications. A unit ventilator can be a wall mounted or ceiling hung cabinet, and is designed to use a [[Fan (mechanical)|fan]] to blow outside air across a coil, thus conditioning and ventilating the space which it is serving.

==European narket==

The Fan Coil is composed of one quarter of 2-pipe-units and three quarters of 4-pipe-units, and the most sold products are "with casing" (35%), "without casing" (28%), "cassette" (18%) and "ducted" (16%).<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>

The market by country was split in 2010 as follows:

{| class="wikitable" style="text-align:center; margin-right:auto; border="1"
|-
! Countries
! Sales Volume in units<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>
! Share
|-
| Benelux
| style="text-align:center" |33 725
| 2.6%
|-
| France
| style="text-align:center" |168 028
| 13.2%
|-
| Germany
| style="text-align:center" | 63 256
| 5.0%
|-
| Greece
| style="text-align:center" | 33 292
| 2.6%
|-
| Italy
| style="text-align:center" |409 830
| 32.1%
|-
| Poland
| style="text-align:center" | 32 987
| 2.6%
|-
| Portugal
| style="text-align:center" |22 957
| 1.8%
|-
| Russia, Ukraine and CIS countries
| style="text-align:center" |87 054
| 6.8%
|-
| Scandinavia and Baltic countries
| style="text-align:center" |39 124
| 3.1%
|-
| Spain
| style="text-align:center" |91 575
| 7.2%
|-
| Turkey
| style="text-align:center" |70 682
| 5.5%
|-
| UK and Ireland
| style="text-align:center" | 69 169
| 5.4%
|-
| Eastern Europe
| style="text-align:center" |153 847
| 12.1%
|-
|}

==References==
{{Reflist}}

==See also==
{{commons category}}
* [[Thermal insulation]]
* [[HVAC]]
* [[Construction]]
* [[Intumescent]]
* [[Firestop]]

{{HVAC}}

[[Category:Mechanical engineering]]
[[Category:Heating, ventilating, and air conditioning]]
[[Category:Fans]]

Gebläsekonvektor

2014-08-03T12:36:23Z

Reify-tech: +{{HVAC}}

[[Image:Fancoil 1.jpg|250px|right]]
[[Image:Fancoil 2.jpg|250px|right]]
A '''fan coil unit''' (FCU) is a simple device consisting of a heating or cooling coil and [[Fan (mechanical)|fan]]. It is part of an [[HVAC]] system found in residential, commercial, and industrial buildings. Typically a fan coil unit is not connected to [[Duct (HVAC)|ductwork]], and is used to control the temperature in the space where it is installed, or serve multiple spaces. It is controlled either by a manual on/off switch or by thermostat.

Due to their simplicity, fan coil units are more economical to install than ducted or central heating systems with [[air handling unit]]s. However, they can be noisy because the fan is within the same space. Unit configurations are numerous including horizontal (ceiling mounted) or vertical (floor mounted).

==Design and operation==

It should be first appreciated that 'Fan Coil Unit' is a generic term that is applied to a range of products. Also, the term 'Fan Coil Unit' will mean different things to users, specifiers and installers in different countries and regions, particularly in relation to product size and output capability.

A fan coil unit may be concealed or exposed within the room or area that it serves.

An exposed fan coil unit may be wall mounted, freestanding or ceiling mounted, and will typically include an appropriate enclosure to protect and conceal the fan coil unit itself, with return air [[grille]] and supply air [[diffuser (thermodynamics)|diffuser]] set into that enclosure to distribute the air.

A concealed fan coil unit will typically be installed within an accessible ceiling void or services zone. The return air grille and supply air diffuser, typically set flush into the ceiling, will be ducted to and from the fan coil unit and thus allows a great degree of flexibility for locating the grilles to suit the ceiling layout and/or the partition layout within a space. It is quite common for the return air not to be ducted and to use the ceiling void as a return air plenum.

The coil receives hot or cold water from a central plant, and removes heat from or adds heat to the air through [[heat transfer]]. Traditionally fan coil units can contain their own internal [[thermostat]], or can be wired to operate with a remote thermostat. However, and as is common in most modern buildings with a [[Building Management System|Building Energy Management System]] (BEMS), the control of the fan coil unit will be by a local digital controller or outstation (along with associated room temperature sensor and control valve actuators) linked to the BEMS via a communication network, and therefore adjustable and controllable from a central point, such as a supervisors head end computer.

Fan coil units circulate hot or cold water through a coil in order to condition a space. The unit gets its hot or cold water from a central plant, or [[mechanical room]] containing equipment for removing heat from the central building's closed-loop. The equipment used can consist of machines used to remove heat such as a [[chiller]] or a [[cooling tower]] and equipment for adding heat to the building's water such as a [[boiler]] or a commercial [[water heater]].

Fan coil units are divided into two types: Two-pipe fan coil units or four-pipe fan coil units. Two-pipe fan coil units have one (1) supply and one (1) return pipe. The supply pipe supplies either cold or hot water to the unit depending on the time of year. Four-pipe fan coil units have two (2) supply pipes and two (2) return pipes. This allows either hot or cold water to enter the unit at any given time. Since it is often necessary to heat and cool different areas of a building at the same time, due to differences in internal heat loss or heat gains, the four-pipe fan coil unit is most commonly used.

Fan coil units may be connected to piping networks using various topology designs, such as "direct return", "reverse return", or "series decoupled". See ASHRAE Handbook "2008 Systems & Equipment", Chapter 12.

Depending upon the selected chilled water temperatures and the relative humidity of the space, it is likely that the cooling coil will dehumidify the entering air stream, and as a by product of this process, it will at times produce a condensate which will need to be carried to drain. The fan coil unit will contain a purpose designed drip tray with drain connection for this purpose. The simplest means to drain the condensate from multiple fan coil units will be by a network of pipework laid to falls to a suitable point. Alternatively a condensate pump may be employed where space for such gravity pipework is limited.

Speed control of the fan motors within a fan coil unit is effectively used to control the heating and cooling output desired from the unit. Some manufacturers accomplish speed control by adjusting the taps on an AC transformer supplying the power to the fan motor. Typically this would require adjustment at the commissioning stage of the building construction process and is therefore set for life. Other manufacturers provide custom-wound Permanent Split Capacitor (PSC) motors with speed taps in the windings, set to the desired speed levels for the fan coil unit design. A simple speed selector switch (Off-High-Medium-Low) is provided for the local room occupant to control the fan speed. Typically this speed selector switch is integral to the room thermostat, and is set manually or is controlled automatically by the digital room thermostat. Building Energy Management Systems can be used for automatic fan speed and temperature control. Fan motors are typically AC Shaded Pole or Permanent Split Capacitor. More recent developments include brushless DC designs with electronic commutation. While these motors do offer significant energy savings, initial cost and return-on-investment should be carefully considered.

==DC/EC motor powered units==

These motors are sometimes called DC motors, sometimes called EC motors and occasionally EC/DC motors. DC stands for Direct Current and EC stands for Electronically Commutated.

[[DC motor]]s allow the speed of the fans within a Fan Coil Unit to be controlled by means of a 0-10 Volt input 'Signal' to the motor/s, the transformers and speed switches associated with AC Fan Coils are not required. Up to a signal voltage of 2.5 Volts (which may vary with different fan/motor manufacturers) the fan will be in a stopped condition but as the signal voltage is increased, the fan will seamlessly increase in speed until the maximum is reached at a signal Voltage of 10 Volts. Fan Coils will generally operate between approximately 4 Volts and 7.5 Volts because below 4 Volts the air volumes are ineffective and above 7.5 Volts the Fan Coil is likely to be too noisy for most commercial applications.

The 0-10 Volt signal voltage can be set via a simple potentiometer and left or the 0-10 Volt signal voltage can be delivered to the fan motors by the terminal controller on each of the Fan Coil Units. The former is very simple and cheap but the latter opens up the opportunity to continuously alter the fan speed depending on various external conditions/influences. These conditions/criteria could be the 'real time' demand for either heating or cooling, occupancy levels, window switches, time clocks or any number of other inputs from either the unit itself, the Building Management System or both.

The reason that these DC Fan Coil Units are, despite their apparent relative complexity, becoming more popular is their improved energy efficiency levels compared to their AC motor driven counterparts of only a few years ago. A straight swap, AC to DC, will reduce electrical consumption by 50% but applying Demand and Occupancy dependent fan speed control can take the savings to as much as 80%. In areas of the world where there are legally enforceable energy efficiency requirements for Fan Coils (such as the UK), DC Fan Coil Units are rapidly becoming the only choice.

Examples of EC/DC Fan Coil Units:
*Ability Projects [http://www.abilityprojects.com/products]

==Areas of use==
[[Image:Fan coil 1.jpg|200px|left]]
[[Image:Fan coil 2.jpg|200px|left]]
[[Image:Aerotermo.jpg|200px|left]]
Fan coil units are typically used in spaces where economic installations are preferred such as unoccupied storage rooms, corridors, loading docks.

In high-rise buildings, fan coils may be stacked, located one above the other from floor to floor and all interconnected by the same piping loop.

Fan coil units are an excellent delivery mechanism for hydronic [[chiller boiler|chiller boiler systems]] in large residential and light commercial applications. In these applications the fan coil units are mounted in bathroom ceilings and can be used to provide unlimited comfort zones - with the ability to turn off unused areas of the structure to save energy.

==Installation==
In high-rise residential construction, typically each fan coil unit requires a rectangular through-penetration in the [[concrete]] slab on top of which it sits. Usually, there are either 2 or 4 pipes made of ABS, steel or copper that go through the floor. The pipes are usually insulated with refrigeration insulation, such as acrylonitrile butadiene/polyvinyl chloride (AB/PVC) flexible foam (Rubatex or Armaflex brands) on all pipes or at least the cool lines.

==Unit ventilator==
A unit ventilator is a fan coil unit that is used mainly in classrooms, hotels, apartments and condominium applications. A unit ventilator can be a wall mounted or ceiling hung cabinet, and is designed to use a [[Fan (mechanical)|fan]] to blow outside air across a coil, thus conditioning and ventilating the space which it is serving.

==European narket==

The Fan Coil is composed of one quarter of 2-pipe-units and three quarters of 4-pipe-units, and the most sold products are "with casing" (35%), "without casing" (28%), "cassette" (18%) and "ducted" (16%).<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>

The market by country was split in 2010 as follows:

{| class="wikitable" style="text-align:center; margin-right:auto; border="1"
|-
! Countries
! Sales Volume in units<ref>Eurovent Market Intelligence https://www.eurovent-marketintelligence.eu/</ref>
! Share
|-
| Benelux
| style="text-align:center" |33 725
| 2.6%
|-
| France
| style="text-align:center" |168 028
| 13.2%
|-
| Germany
| style="text-align:center" | 63 256
| 5.0%
|-
| Greece
| style="text-align:center" | 33 292
| 2.6%
|-
| Italy
| style="text-align:center" |409 830
| 32.1%
|-
| Poland
| style="text-align:center" | 32 987
| 2.6%
|-
| Portugal
| style="text-align:center" |22 957
| 1.8%
|-
| Russia, Ukraine and CIS countries
| style="text-align:center" |87 054
| 6.8%
|-
| Scandinavia and Baltic countries
| style="text-align:center" |39 124
| 3.1%
|-
| Spain
| style="text-align:center" |91 575
| 7.2%
|-
| Turkey
| style="text-align:center" |70 682
| 5.5%
|-
| UK and Ireland
| style="text-align:center" | 69 169
| 5.4%
|-
| Eastern Europe
| style="text-align:center" |153 847
| 12.1%
|-
|}

==References==
{{Reflist}}

==See also==
{{commons category}}
* [[Thermal insulation]]
* [[HVAC]]
* [[Construction]]
* [[Intumescent]]
* [[Firestop]]

{{HVAC}}

[[Category:Mechanical engineering]]
[[Category:Heating, ventilating, and air conditioning]]
[[Category:Fans]]

This Too Shall Pass

2014-06-02T21:06:25Z

Reify-tech: Split paragraphs for readability; +Wikilinks; -WP:OVERLINKING

{{Infobox single 
| Name = This Too Shall Pass
| Cover = Okgothistooshallpass300.jpg
| Artist = [[OK Go]]
| from Album = [[Of the Blue Colour of the Sky]]
| B-side =
| Released = January 17, 2010
| Format =
| Recorded = 2009
| Genre = [[Alternative rock]], [[power pop]]
| Length = 3:08
| Label = [[Capitol Records|Capitol]]
| Writer = [[Damian Kulash]], [[Tim Nordwind]]
| Producer = [[Dave Fridmann]]
| Certification =
| Last single = "[[WTF? (song)|WTF?]]" (2009)
| This single = "'''This Too Shall Pass'''" (2010)
| Next single = "[[End Love]]" (2010)
}}

"'''This Too Shall Pass'''" is an [[alternative rock]] song by [[OK Go]] from the album ''[[Of the Blue Colour of the Sky]]''. The single was released in January 2010. The band took the unorthodox route of creating two official music videos for the song, both of which premiered on [[YouTube]]. The first features a live performance of the song in collaboration with the [[University of Notre Dame]] Marching Band. The second features a giant [[Rube Goldberg machine]], constructed to operate in time with the song. The popularity of the second music video of the song has been compared to that of the band's video for "[[Here It Goes Again]]", helping to boost live performances and single song sales for the group but did not significantly improve sales of the ''Colour'' album. Difficulties in marketing and distribution of the videos with their corporate label, [[EMI]], led the band to form their own independent label shortly after the videos' releases.

==Song==
The lyrics to "This Too Shall Pass" are written to encourage its audience, burdened with some figurative weight, to "let it go, this too shall pass" in the near future instead of continuing to let the weight keep them from enjoying life, akin to the meaning of the [[This too shall pass|original phrase, ''This too shall pass'']]. The song continues much of the theme of ''Of the Blue Colour of the Sky'', which, according to [[Damian Kulash]], was about "searching for hope in hopeless times"; "This Too Shall Pass" and other songs from the album were written at the onset of the [[late-2000s recession]].<ref>{{cite web | url = http://www.expressnightout.com/content/2010/05/ok-go-930-club.php | title = Viral Return: OK Go at the 9:30 Club | work = [[Washington Post]] | date = 2010-05-05 | accessdate = 2010-05-05 | first = Paul | last = Stelter }}</ref> ''[[Billboard (magazine)|Billboard]]'' considered the song to be a "psych-pop anthem", similar to [[MGMT]]'s "[[Kids (MGMT song)|Kids]]";<ref>{{cite web | url = http://www.billboard.com/articles/review/1069816/ok-go-of-the-blue-colour-of-the-sky | title = OK Go, "Of the Blue Colour of the Sky" | first = Mikael | last = Wood | date = 2010-01-29 | accessdate = 2010-04-30 | work = [[Billboard (magazine)|Billboard]] }}</ref> this is in part due to the album's producer [[Dave Fridmann]] who had also worked with MGMT and [[The Flaming Lips]] and brought some of the same musical stylings along.<ref>{{cite web | url = http://www.avclub.com/articles/ok-go-of-the-blue-colour-of-the-sky,36878/ | title = Of The Blue Colour Of The Sky | publisher = [[AV Club]] | date = 2010-01-12 | accessdate = 2010-04-30 | first = Chris | last = Mincher }}</ref><ref name="spin interview"/>

==First music video: Marching Band==
The first video for the song was released on [[YouTube]] on January 12, 2010, to coincide with the release of the album and the single. Directed by Brian L. Perkins, it was filmed in October, 2009, in [[South Bend, Indiana]]. The video is somewhat unusual in that it does not feature the album version of the song. Rather, it features an original recording that was actually performed live during filming of the video. OK Go's Tim Nordwind noted that the song lent itself well to large orchestration.<ref name="ign video">{{cite web | url = http://music.ign.com/articles/107/1075158p1.html | title = OK Go Interview | first = Brian | last = Linder | date =2010-03-08 | accessdate = 2010-03-08 | publisher = IGN }}</ref>

In the video, the members of OK Go are seen in a field wearing marching band garb. The uniforms were originally from [[Rochelle Township High School]] of [[Rochelle, Illinois]]. They begin to march, and as the song progresses, the band is joined by members of the [[University of Notre Dame]]'s Marching Band many of whom rise up camouflaged in [[ghillie suits]].<ref>{{cite web | url = http://www.fredonialeader.com/reverb/ok-go-s-viral-tendencies-stymied-by-emi-1.1219973 | title= Ok Go's ‘viral’ tendencies stymied by EMI | first = Ned | last = Campbell | work = The Fredonia Leader | date= 2010-03-03 | accessdate = 2010-03-03 }}</ref> They are also joined in the final chorus by a children's choir cobbled together from two local South Bend preschools.<ref name="spin interview">{{cite web | url = http://www.spin.com/articles/qa-ok-gos-damian-kulash | title = Q&A: OK Go's Damian Kulash | first = David | last = Marchese | date = 2010-01-12 | accessdate = 2010-05-13 | work = [[Spin (magazine)|Spin]]}}</ref> Like many of their other videos, the marching band video was shot in one take.

The marching band video was created to bridge the time between the release of the album and the expected completion of the Rube Goldberg video. The band had originally planned to release the marching band version after the debut of the Rube Goldberg video. However, they found time during October 2009 to work with the Notre Dame band, and realizing the length of time to complete the Rube Goldberg machine, went ahead and completed the marching band version.<ref name="ign video"/>

==Second music video: Rube Goldberg Machine==
[[File:OK Go - This Too Shall Pass.png|thumb|right|OK Go at the end of "This Too Shall Pass" as they are hit by spatters of paint on the completion of the machine.]]
The second music video for "This Too Shall Pass" was directed by James Frost. Similar to the band's video for "[[Here It Goes Again]]", the "This Too Shall Pass" video features a four-minute, apparent [[One shot (music video)|one shot]] sequence of the song being played in time to the actions of a giant [[Rube Goldberg machine]] built in a two-story warehouse from over 700 household objects, traversing an estimated half-mile course.<ref name="wired video"/><ref name="timesonline"/> As the song and machine operate, the members of the band are seen singing alongside the machine, with the members being shot at by [[paint gun]]s at the song's finale. Parts of the machine are synchronized in time with the music; in one instance, glasses of water are used to repeat part of the song's melody in the fashion of a [[glass harp]]. One part of the machine shows the "Here It Goes Again" video on a television before it is smashed by the machine.<ref name="wired video"/> The [[Make (magazine)|MAKE magazine]] 1993 [[Ford Escort (North America)|Ford Escort]] [[racecar]], used for the [[24 Hours of LeMons]], appears in the video along with a miniature [[LEGO]] version of the car.<ref name="boingboing">{{cite web | url = http://www.boingboing.net/2010/03/02/ok-gos-rube-goldberg.html | title = OK Go's Rube Goldberg music video | first = Mark | last = Frauenfelder | date = 2010-03-02 | accessdate = 2010-03-04 | publisher = [[Boing Boing]] }}</ref><ref name="Jalopnik">{{cite web | url = http://jalopnik.com/5485731/lemons-racer-appears-in-ok-go-rube-goldberg-video | title = LeMons Racer Appears In OK Go Rube Goldberg Video | first = Wes | last = Siler | date = Mar 4, 2010 | accessdate = Mar 5, 2010 | publisher = [[Jalopnik]] }}</ref> Alongside the LEGO car, several LEGO mini-figurines are displayed as a reference to the marching band video.<ref name="nasa"/>

===Creation===
[[File:This too shall pass floor plan.jpg|thumb|right|The floor plan for the Rube Goldberg machine used in the video covered two floors of a warehouse and had several distinct stations that worked in time with the music.]]
The video's inspiration was from the band, who wanted "a giant machine that we dance with", a long-term aspiration of the band and inspired by other Rube Goldberg machines shown in videos on YouTube, including the interstitials used on the Japanese children's show, ''[[PythagoraSwitch]]''.<ref name="wired video">{{cite web | url = http://www.wired.com/gadgetlab/2010/03/ok-go-rube-goldberg/ | title = How OK Go’s Amazing Rube Goldberg Machine Was Built | first= Dylan F. | last = Tweney | date = 2010-03-02 | accessdate = 2010-03-03 | work = [[Wired (magazine)|Wired]]}}</ref><ref name="mtv video"/><ref name="ew video">{{cite web | url = http://www.ew.com/ew/article/0,,20352354,00.html | title = Ok Go: How'd They Do That? | first = Simon | last = Vozick-Levinson | date = 2010-03-12 | accessdate= 2010-03-24 | work = [[Entertainment Weekly]]}}</ref><ref name="freep">{{cite web | url = http://www.freep.com/article/20100422/ENT04/4220417/1039/Ent04/Five-questions-with-Tim-Nordwind-bassist-for-OK-Go- | title = Five questions with Tim Nordwind, bassist for OK Go | work = [[Detroit Free Press]] |date = 2010-04-22 | accessdate = 2010-04-29 | first = Martin | last = Bandyke }} {{Dead link|date=September 2010|bot=H3llBot}}</ref> While they considered the idea of the machine for each song on ''Of the Colour'', they opted to use "This Too Shall Pass" to make the end result "majestic and epic", even though it already duplicated the previous marching band video.<ref name="lvsun">{{cite web | url = http://www.lasvegassun.com/news/2010/may/29/ok-go-superstars-youtube/ | title = OK Go: Superstars of YouTube | first = Laura | last = Davis | date = 2010-05-29 | accessdate = 2010-06-01 | work = [[Las Vegas Sun]]}}</ref> They sought help through online science message boards, eventually coming in contact with Syyn Labs.<ref name="ew video"/> From a pool of talent at a Syyn Labs-hosted "Mindshare LA" gathering, about 55 to 60 people from Syyn Labs, the [[California Institute of Technology]] (including some who work at the [[National Aeronautics and Space Administration]]'s [[Jet Propulsion Laboratory]] and participated in the [[Mars Exploration Rover]] program, hence the model rover seen in the video) and [[MIT Media Lab]] helped to design and construct the machine.<ref name="timesonline">{{cite news | url = http://www.timesonline.co.uk/tol/news/uk/article7069950.ece | title = How a group of geeky scientists created the world's coolest pop video | date = 2010-03-21 | accessdate = 2010-03-23 | work = [[The Times]] | first = John | last = Harlow | quote = The £60,000 contraption [...] was so over-engineered that it seemed almost designed to fail... }}</ref><ref name="nasa">{{cite web | url = http://wiki.nasa.gov/cm/blog/whatonearth/posts/post_1275422073165.html | title = Performance Art, Rock Music Reach Engineering Nirvana in OK Go Video | publisher = [[NASA]] What on Earth Blog | date = 2010-06-01 | accessdate = 2010-06-08 | first = Michael | last = Carlowicz }}</ref><ref name="mtv video"/><ref name="rs video">{{cite web | url = http://www.rollingstone.com/rockdaily/index.php/2010/03/01/ok-go-slap-a-tetherball-for-this-too-shall-pass-behind-the-clip/ | title = OK Go Slap a Tetherball for "This Too Shall Pass": Behind the Clip | work = [[Rolling Stone]] | date = 2010-03-02 | accessdate = 2010-03-03 | first = Matt | last = Murphy }}</ref> Damian Kulash's father (Damian Kulash Sr.) also participated in the machine's construction.

The team had to work on a limited budget, using recycled trash for many of the props in the device;<ref name="boingboing"/> after filming, the total estimated cost was approximately [[USD|$]]90,000.<ref name="timesonline"/> The team avoided the use of "magic"—automated devices like computers or motors—and instead focused on purely physical devices.<ref name="wired video"/> The total time to create the video from conceptualization was about six months, with two months of planning and four months for design and filming.<ref name="ign video"/> The warehouse where filming took place was in the [[Echo Park, Los Angeles, California|Echo Park]] section of Los Angeles, and was secured by Syyn Labs in November 2009.<ref name="wired video"/> The final construction within the warehouse took over a month and a half during January and February 2010. The band members helped in the last two weeks of construction, having spent the previous four months on tour.<ref name="ew video"/>

Once the machine was completed, the filming, using a single [[Steadicam]], took two days to complete on February 11 and 12, with an estimated 60 takes for the machine to properly function. The first day of filming included 47 takes, none of which successfully completed the entire machine and necessitated a second day of filming.<ref name="timesonline"/> Many of the takes ended only 30 seconds into the process, at the start of the song's chorus, where a tire would fail to roll properly into the next section of the machine. Syyn Labs had a group of 30 people to help reset the machine after each failed take, a process that took upwards of an hour depending on how far the machine ran.<ref name="wired video"/> There were no significant injuries during filming; Tim Nordwind once was hit hard with paint at the end,<ref name="ew video"/> while the Steadicam operator nearly got hit with one of the barrels at the end of the mechanism in the shot used for the final video. His reaction may be seen in the released version of the video.<ref name="make qa"/>

Several elements of the machine had to be properly adjusted to match the timing for the song. The group broke the song into sections, triggered when the machine passed certain gates, to account for small changes in timing that could occur (up to 0.5 sec, according to Brett Doar, one of the machine's chief designers), allowing the band to continue to [[lip synch]] while the machine operated.<ref name="make qa">{{cite web | url = http://blog.makezine.com/archive/2010/03/ok_go_rube_goldberg_video_meet_the.html | title = OK Go Rube Goldberg video: meet the makers! | first= Becky | last = Stern | date = 2010-03-05 | accessdate = 2010-03-07 | work = [[Make (magazine)|MAKE magazine]]}}</ref> Smaller objects like dominoes were found to be the trickiest to set, as their patterns would be less predictable than larger and bulkier objects, which are more predominant in the later parts of the machine.<ref name="mtv video"/> Once the machine transitioned to the downstairs portion, it would generally run the rest of the course untouched.<ref name="make qa"/> Furthermore, the time of day and temperature would play a big factor in how some small components would behave, forcing the team to readjust the timing.<ref name="mtv video"/> Ball tracks and other features had to be wiped clear of dust and debris to prevent slowing down rolling objects.<ref name="wired video"/> A carved wooden ball track shown early in the video was created to have motions timed to the music, but required a low inclined angle that would often cause the balls to skip out of the tracks.<ref name="wired video"/>

Kulash noted that their largest "nightmare" for the machine was a set of mousetraps, triggered to release a display of colored flags; they were found to be overly sensitive to earlier actions of the machine, such as the dropping of a piano, and redesign and padding were needed to prevent the traps from being set off prematurely.<ref name="mtv video"/> The timing had to take into account the movements of both the band members and the cameraman; Damien Kulash estimated that though the machine was able to complete its opening at least three times, these shots were botched, because either the band members or the cameraman had fallen behind the action of the machine.<ref name="mtv video">{{cite web | url = http://www.mtv.com/news/articles/1633096/20100303/ok_go.jhtml | title=OK Go Take You Behind Eye-Popping 'This Too Shall Pass' Video | date =2010-03-03 |accessdate = 2010-03-03 | first = James | last = Montgomery | work = [[MTV]] }}</ref>

While the video was filmed as a single shot on at least three different occasions, they planned on using post-editing to slow down or speed up certain parts of the take to keep it in time with the final soundtrack.<ref name="make qa"/> There is a noted cut in the video, in which the camera passes through a set of curtains on the transition to the downstairs portion of the machine; according to one of the machine designers, Hector Alvarez, this cut was introduced by the band, speculating it was introduced to avoid a shot of one of the band members or cameraman in frame or otherwise to keep the machine video synchronized to the machine.<ref name="make qa"/> Both Tim Nordwind, bassist for the band, and [[Adam Sadowsky]], president of Syyn Labs, said that while the machine worked in its entirety 3 times, and no cut was needed, the decision was made so a better result on the downstairs portion could be included in the final version. There was also a second cut which can be noticed by watching a piano against a wall as the camera passed behind some rods; the piano can be seen apparently warping in shape and position.<ref name="freep"/><ref name="bol interview">{{cite web | url = http://podcast-files.cnet.com/podcast/cnet_buzzoutloud_030510.mp3 | title=Buzz Out Loud Podcast 1179: The guy who makes OK Go go | date =2010-03-05 |accessdate = 2010-03-07 | work = [[CNET]] }}</ref><ref name="Freddie Wong">{{cite web | url = http://www.youtube.com/watch?v=fV23EVZ-nc4 | title=Hidden cuts in OK Go - This Too Shall Pass RGM Version Music Video | date =2010-03-03 |accessdate = 2010-10-22}}</ref>

==Responses==
The Rube Goldberg machine video premiered on [[YouTube]] on March 2, 2010. Within a day of the video's premiere, it was viewed more than 900,000 times.<ref name="mtv video"/> The video achieved 6 million views within six days, which was comparable to the popularity of the "Here It Goes Again" video, and was considered "instantly viral" by [[CNN]].<ref>{{cite news | url = http://www.cnn.com/2010/SHOWBIZ/Music/03/15/music.videos.future/ | title = Who killed the music video star? | first = Breeanna | last = Hare | date = 2010-03-16 | accessdate = 2010-03-17 | work = [[CNN]] }}</ref> The video had more than 10 million views in its first month of release.<ref name="independent video">{{cite news | url = http://www.independent.co.uk/arts-entertainment/music/features/viral-video-the-rebirth-of-the-music-video-1930634.html | title =Viral video: The rebirth of the music video | first = Larry | last = Ryan | date = 2010-03-30 | accessdate = 2010-04-01 | work = [[The Independent]] }}</ref> As part of the success of both videos, the band has begun auctioning props from the videos, including uniforms worn by the band for the marching band video and the individual ping-pong balls from the second video.<ref name="baltsun"/> The Rube Goldberg video was included in a shortlist of 125 entries out of 23,000 for inclusion in "YouTube Play: A Biennial of Creative Video", a showcase of the best user-created videos from YouTube in conjunction with the [[Solomon R. Guggenheim Foundation|Guggenheim Museums]], but ultimately was not selected as one of the 25 winning videos.<ref>{{cite news | url = http://www.google.com/hostednews/ap/article/ALeqM5ibbzIPTF6nkCuE-VjtZkgAAtNw2wD9IBDP800 | title = 125 YouTube videos shortlisted for Guggenheims | agency = Associated Press | date =2010-09-22 | accessdate =2010-09-22 }}</ref>

Despite the success of the videos on the Internet, this has not translated into sales for the album ''Of the Blue Colour of the Sky'' which the song is a part of, selling only 40,000 copies since its January release.<ref name="timesonline"/><ref>{{cite web | url = http://www.guardian.co.uk/music/2010/mar/18/ok-go-viral-video-success | title = OK Go find more viral success – but not real success | work = [[The Guardian]] | date = 2010-03-18 | accessdate= 2010-03-24 | first = Christopher | last = Weingarten}}</ref> Part of this is attributed to the "unremarkable" music on the album and for the video; musician [[Max Tundra]] suggested that the band should "record an innovative, exciting piece of music – and make a plodding, nondescript video to go with it."<ref name="independent video"/> However, ticket sales for OK Go concerts have seen a surge since the video's release,<ref name="timesonline"/> as well as sales of digital downloads of the song through services like [[iTunes]].<ref name="freep"/> According to Nordwind, the band is not concerned with album sales, as their successes have come from "untraditional ways" through the band's career.<ref name="freep"/> Kulash has stated that with the continued success of their music videos as viral videos as was the case for "This Too Shall Pass", the band has seen more touring opportunities and an expanded audience they don't believe they would have gotten with more traditional videos under corporate label control.<ref>{{cite web | url = http://www.spinner.com/2010/04/22/ok-go-internet-video-art/ | title= OK Go Say Internet Saved the Video Star | work = [[Spinner (website)|Spinner]] | first = Shelley | last = White | date= 2010-04-22 | accessdate = 2010-04-29 }}</ref> This has led OK Go to "look at making videos like [they] look at making records — it's part of the art of what [they] do", according to Nordwind.<ref name="lvsun"/> In part of the success of "This Too Shall Pass" and their previous videos, OK Go won the 14th Annual [[Webby Awards|Webby]] Special Achievement Award for Film and Video Artist of the Year.<ref>{{cite web | url = http://www.webbyawards.com/webbys/specialachievement14.php | title = 14th Annual Webby Special Achievement Award Winners | date = 2010-05-04 | accessdate= 2010-05-04 | publisher = [[Webby Awards]] }}</ref> The video was named both "Video of the Year" and "Best Rock Video" at the 3rd annual [[UK Music Video Awards]].<ref>{{cite web | url = http://www.telegraph.co.uk/culture/music/music-news/8060133/OK-Go-win-video-of-year-award.html | title = OK Go win video of year award | date = 2010-10-13 | accessdate = 2010-10-13 | work = [[The Daily Telegraph]] }}</ref>

In May 2010, after the band split with EMI, the single debuted at #39 on the [[Alternative Songs|Billboard Alternative Songs]] chart, their first appearance on the chart since "[[Here It Goes Again]]" in 2006. The song eventually peaked at #36.<ref>{{cite web | url = {{BillboardURLbyName|artist=ok go|chart=Alternative Songs}} | title = OK Go Chart History | date = 2010-05-29 | accessdate= 2010-07-15 | work = [[Billboard (magazine)|Billboard]]}}</ref>

At the time of the creation of the video, Syyn Labs had just been formed; the viral success of "This Too Shall Pass" brought the company to light for several similar creative projects involving the innovative combination of technology.<ref name="fastco syyn">{{cite web | url = http://www.fastcompany.com/magazine/152/the-league-of-extraordinary-nerds.html | title = Syyn Labs's League of Extraordinary Nerds | first= Chuck | last = Salter | date =2011-01-12 | accessdate= 2011-01-12 | work = [[Fast Company (magazine)|Fast Company]] }}</ref> When OK Go appeared on ''[[The Colbert Report]]'' on April 29, 2010 in which they performed "This Too Shall Pass", [[Stephen Colbert]] opened the show with another, shorter Rube Goldberg machine created by Syyn Lab's Brett Doar, one of the chief creators of the "This Too Shall Pass" music video, using assorted props from the show.<ref>{{cite web | url= http://artsbeat.blogs.nytimes.com/2010/04/30/welcome-to-the-colbert-machine/ | title =Welcome to The Colbert Machine | work= [[New York Times]] | date = 2010-04-30 | accessdate =2010-04-30 | first = David | last = Itzkoff }}</ref> Syyn Labs have since created advertisements for [[Disney]] and [[Sears]], and have been contacted for future work in music videos and movie opening sequences, and are considering a reality television show based on their creative process.<ref name="fastco syyn"/>

In February 2011, music video blog Yes, We've Got a Video! ranked both the marching band video and the Rube Goldberg machine video at number 3 in their top 30 videos of 2010. The latter in particular was praised for "the cleverness of it and the fact that you could always pick up something new upon each and every view."<ref>{{cite web|url=http://yeswevegotavideo.com/2011/02/03/top-30-videos-of-2010-10-1/|title=Top 30 Videos of 2010: 10 – 1!|work=Yes, We've Got a Video!|accessdate=2012-03-19}}</ref>
The Song was also used as the theme for the American remake of British sitcom, The Inbetweeners.

==Difficulties with EMI==
The marching band video sparked much controversy online immediately after its release. Because of deals between the band's label, [[EMI]] (through [[Capitol Records]]), and [[YouTube]], the video was not embeddable, nor was it viewable across the globe, frustrating many fans and music industry professionals who wanted to post the video on their blogs. The band, led by singer Damian Kulash, explained the label's rationale via the band's blog and through an op-ed piece in ''[[The New York Times]]''. According to Kulash, EMI disallowed the embeddable play of the video because they only receive royalties for views on the YouTube site itself. He further pleaded to allow embedding of their next video, citing a 90% drop in viewership when EMI disabled embedding on existing videos, affecting the band's own royalties from viewership.<ref>{{cite news | url = http://www.nytimes.com/2010/02/20/opinion/20kulash.html | title = WhoseTube? | first = Damien | last = Kulash Jr. | date = 2010-02-19 | accessdate = 2010-03-03 | work = [[New York Times]] }}</ref><ref name="rs emi">{{cite web | url = http://www.rollingstone.com/rockdaily/index.php/2010/02/22/ok-go-explain-viral-video-woes-in-new-york-times-op-ed/ | title = OK Go Explain Viral Video Woes in "New York Times" Op-Ed | first= Daniel | last = Kreps | date = 2010-02-22 | accessdate = 2010-03-03 | work = [[Rolling Stone]] }}</ref><ref>{{cite web | url = http://www.rollingstone.com/rockdaily/index.php/2010/02/02/ok-go-struggle-with-labels-rules-banning-embedded-video/ | title = OK Go Struggle With Label’s Rules Banning Embedded Video | first= David | last = Browne | date = 2010-02-02 | accessdate = 2010-03-03 | work = [[Rolling Stone]] }}</ref>

The band was able to secure the rights to allow the "This Too Shall Pass" Rube Goldberg video to be distributed via embedding prior to its premiere, in part due to funding support from [[State Farm Insurance]], which helped to settle issues with EMI;<ref name="ign video"/><ref name="rs video"/><ref>{{cite web | url = http://www.nbclosangeles.com/entertainment/music/OK-Go-Unleashes-Rube-Goldberg-Machine-in-Echo-Park-86017552.html | title = Science Rocks: OK Go Unleashes Rube Goldberg Machine | first = Jonathan | last = Lloyd | date = 2010-03-02 | accessdate = 2010-03-03 | work = [[KNBC]] }}</ref> in exchange, State Farm had some say in the creative process, and the video includes elements with the State Farm logo, including a toy truck that is used to start the machine.<ref>{{cite web | url = http://www.businessweek.com/the_thread/brandnewday/archives/2010/03/ok_go_state_far.html | title= Inside the OK Go / State Farm Deal | first = Helen | last = Walters | work = [[Business Week]] | date = 2010-03-03 | accessdate = 2010-03-24 }}</ref> The video was completed a week later than expected; according to sources close to the band, Capitol Records considered the window of opportunity for promoting the single to radio to be closed due to the delay, and would not be available again until June 2010.<ref name="nymag">{{cite web | url = http://nymag.com/arts/popmusic/features/65588/ | title = World of Wonder | first = Chris | last = Williams | date = 2010-04-25 | accessdate = 2010-04-29 | work = [[New York Magazine]] }}</ref> The band has since decided to break away from the EMI label on amiable terms, due to a combination of the issues of video embedding and radio promotions, and has become its own independent recording label, Paracadute Recordings.<ref name="baltsun">{{cite web | url = http://www.baltimoresun.com/entertainment/music/bs-ae-music-ok-go-20100507,0,2429460.story | title = OK Go sets out on its own | work = [[Baltimore Sun]] | date =2010-05-07 | accessdate = 2010-05-05 | first = Sam | last = Sessa }}</ref><ref name="nymag"/><ref>{{cite web | url = http://www.chicagotribune.com/entertainment/ct-live-0316-ok-go-main-20100316,0,5243912.column | title = OK Go goes independent | work = [[Chicago Tribune]] | date = 2010-03-16 | accessdate = 2010-03-16 | first = Steve | last = Johnson }}</ref>

==References==
{{Reflist|30em}}

==External links==
* [http://www.youtube.com/watch?v=UJKythlXAIY The first video (Marching Band) on YouTube]
* [http://www.youtube.com/watch?v=qybUFnY7Y8w The official video ("RGM Version") on YouTube]
* "Making Of TTSP" series on YouTube: [http://www.youtube.com/watch?v=xsPn-tD5zvg #1], [http://www.youtube.com/watch?v=EsxcVpmwCo8 #2], [http://www.youtube.com/watch?v=Cel4EXsjp-M #3], [http://www.youtube.com/watch?v=C9Do-zRgyJc #4]
* [http://www.youtube.com/watch?v=qu_OTNKZgsU "Music and Machines: OK Go's Rube Goldberg Inspired Machine"] by [[Adam Sadowsky]], Syyn Labs; [[Ignite (event)|Ignite]] Event, March 3, 2010
* [http://www.okgo.net/files/ttsp/FloorPlan_TV.html Interactive floor plan for the Rube Goldberg Machine] from Ok Go ([[Adobe Flash|Flash]])
* [http://syynlabs.com/ The Syyn Labs web site]
{{OK Go}}
{{good article}}

[[Category:2009 songs]]
[[Category:2010 singles]]
[[Category:OK Go songs]]
[[Category:Capitol Records singles]]
[[Category:Songs written by Damian Kulash]]
[[Category:YouTube music videos]]

Benutzer:ManuBu/Jian dui

2013-05-13T23:10:02Z

Reify-tech: added Category:Chinese bakery products using HotCat

{{Infobox prepared food
| name = Jin deui
| image = [[Image:Zin Dou.jpg|200px]]
| caption =
| alternate_name = matuan, sesame ball
| country = [[Chang'an]] (now [[Xi'an]]), [[Tang dynasty]] China
| region = Chinese-speaking areas, Vietnam, Indonesia, Japan
| creator =
| course = Pastry
| served =
| main_ingredient = [[glutinous rice]] flour, sesame seeds, various fillings (lotus seed, black bean, red bean pastes)
| variations =
| calories =
| other =
}}
{{Chinese
| c= 煎䭔煎堆
| y= jīn dēui
| j= zin1 deoi1
| p= jiānduī
| l= fried pile
| altname= Matuan
| t2= 麻糰
| s2= 麻团
| p2= mátuán
| j2= maa4 tyun4
| l2= sesame rice dough

}}
'''''Jian dui''''' is a type of fried [[Chinese bakery|Chinese pastry]] made from [[glutinous rice]] flour. The pastry is coated with [[sesame]] seeds on the outside and is crisp and chewy. Inside the pastry is a large hollow, caused by the expansion of the dough. The hollow of the pastry is filled with a filling usually consisting of [[lotus seed paste|lotus paste]] (蓮蓉), or alternatively sweet [[black bean paste]] (''hei dousha'', 黑豆沙), or less commonly [[red bean paste]] (''hong dousha'', 紅豆沙).

Depending on the region and cultural area, jian dui are known as '''matuan''' (麻糰) in northern China, '''ma yuan''' (麻圆) in northeast China, and '''jen dai''' (珍袋) in [[Hainan]]. In [[American Chinese food|American Chinese restaurants]] and pastry shops, they are known as Sesame Seed Balls.<ref>{{cite web|url=http://chinesefood.about.com/library/blmenutransdimsum.htm|title=Dim Sum Menu Translator - Chinese Cuisine|accessdate=2009-12-01}}</ref> They are also sometimes referred to as '''zhimaqiu''' (芝麻球), which translates to ''sesame balls'' in English.<ref>Misty, Littlewood and Mark Littlewood, 2008 ''Gateways to Beijing: a travel guide to Beijing'' [[Special:BookSources/9814222127|ISBN 981-4222-12-7]] pp 52.</ref>

==Origin==
The origins of jian dui can be traced back to the [[Tang dynasty]] as a palace food in [[Chang'an]], known as ''lüdui'' (碌堆). This food item was also recalled in a poem by the Tang poet [[Wang Fanzhi]]. With the southward migration of many peoples from central China, the jian dui was brought along and hence became part of southern Chinese cuisine.

==Regional==
===China===
In [[Hong Kong]], it is one of the most standard pastries. It can also be found in most [[Chinatown]] bakery shops overseas.<ref>[http://en.radio86.com/chinese-food/chinese-ingredients-glutinous-rice Sesame Balls by [[Ching He Huang]]]</ref>

===Indonesia===
[[File:Ondeonde.jpg|thumb|left|''Onde-Onde'' on display in ''"[[Indo people|Indo]] Toko"'' in [[Amsterdam]], the Netherlands]]
In [[Indonesian cuisine]], it is called onde-onde, filled with sweetened mung bean paste. This pastry is also popular and widely available in [[Indo people|Indo (Eurasian)]], Indonesian and Vietnamese outlets in the Netherlands.

===Japan===
In Japan, it is known as ''goma dango'' (sesame dumpling). It is often sold at street fairs, in Chinese districts, and at various restaurants.

===Malaysia===
It is known as ''kuih bom'', which is usually filled with shredded sweetened coconut, or nuts. Occasionally, it may be filled with red bean paste.

In some parts of Malaysia, they also call it onde-onde, filled with palm sugar and coated with coconut on the outside.

Among the mainly [[Hakka]]-speaking ethnic Chinese in the state of [[Sabah]], jin deui is more commonly known as 'you chi'.

===Vietnam===

In [[Cuisine of Vietnam|Vietnam]], two very similar dishes are called ''bánh cam'' (from southern Vietnam) and ''[[bánh rán]]'' (from northern Vietnam), both of which have a somewhat drier filling that is made from sweetened [[Mung bean#Without skins|mung bean paste]].<ref>[http://pwmf.blogspot.com/2006/02/bnh-rnbnh-cam-fried-glutinous-rice.html pwmf blogspot]</ref> ''Bánh rán'' is scented with [[jasmine]] flower essence (called ''mali'' in [[Thai language|Thai]]).[http://photos1.blogger.com/blogger/3996/1055/1600/bobgbuoi.jpg photo]

''Bánh rán'' can be sweet or savory. The sweet one is filled with mung bean. The savory one is filled with chopped meat, cassava vermicelli, mushroom, and a variety of other typically Vietnamese ingredients. It's usually served with vegetable and dipping sauce.

===Philippines===
In the Philippines, jin deui is called ''butsi'' ([[Spanish orthography|Castilian]]: ''buchi''). Due to hundreds of years of Chinese settlement in the [[Philippines]], the integration of Chinese cuisine (particularly [[Cantonese_cuisine|Cantonese]] and [[Fujian_cuisine|Fujian]]) to local dishes has made buchi quite popular. To an extent, it has already been considered an icon of [[Filipino_Chinese_cuisine|Chinese Filipino]] culinary tradition, sometimes associated with auspiciousness. As it is well-known among [[Filipino_Chinese|ethnic Chinese]] and other Filipinos alike, local restaurants which are sometimes not even Chinese and fastfood chains such as [[Chowking]]<ref>[http://www.chowking.com/matitikman/?item=40]</ref><ref>[http://lutongpinas.com/dessert/buchi/]</ref> have added the delicacy to the menu. Aside from the usual [[Lotus_paste|lotus]] and [[red bean paste]], non-Chinese and indigenous ingredients have also been used for variety such as ''[[purple yam|ube]]''-flavored ''butsi''.<ref>[http://www.cheapethniceatz.com/2010/09/26/project-food-blog-2010-butsi-with-ube-halaya/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+CheapEthnicEatz+%28Cheap+Ethnic+Eatz%29]</ref>

==References==
{{Reflist}}
{{Glutinous rice dishes}}
{{Cantonese cuisine}}

{{DEFAULTSORT:Jian Dui}}
[[Category:Cantonese cuisine]]
[[Category:Cantonese words and phrases]]
[[Category:Hong Kong cuisine]]
[[Category:Dim sum]]
[[Category:Glutinous rice dishes]]
[[Category:Chinese bakery products]]

{{China-cuisine-stub}}

[[zh:煎堆]]

Erik Demaine

2013-04-23T13:34:58Z

Reify-tech: /* Professional accomplishments */ ETACS --> EATCS

{{Infobox scientist
|name=Erik D. Demaine
|image=Erik Demaine et al 2005 cropped.jpg
|caption=Erik Demaine (left), Martin Demaine (center), and Bill Spight (right) watch [[John Horton Conway]] demonstrate a card trick (June 2005).
|birth_date = {{birth date and age|1981|2|28}}
|birth_place = [[City of Halifax|Halifax, Nova Scotia, Canada]]
|nationality = Canadian and American
|residence = [[Image:Flag of the United States.svg|20px]] [[United States|U.S.]]
|alma_mater = [[Dalhousie University]] [[University of Waterloo]]
|work_institution = [[Massachusetts Institute of Technology]]
|doctoral_students = [[Mihai Pătraşcu]]
|spouse =
|prizes=
|website=
}}
'''Erik D. Demaine''' (born February 28, 1981), is a [[professor]] of [[Computer Science]] at the [[Massachusetts Institute of Technology]].

==Early life==
Erik was born in Halifax, Nova Scotia. His parents are Martin L. Demaine and Judy Anderson. At age 7, he spent time traveling [[North America]] with his father, [[Martin Demaine]], an artist and sculptor; he was [[homeschooling|home-schooled]].<ref>{{cite news|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=BG&p_theme=bg&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0F1C278D90533407&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM|title=Road Scholar Finds Home at MIT|last=Barry|first=Ellen|publisher=Boston Globe|date=2002-02-17|accessdate=2008-04-15}}</ref> Demaine was a child prodigy.<ref name="time">{{cite web|url=http://www.time.com/time/magazine/article/0,9171,1101327,00.html|title=Calculating Change: Why Origami Is Critical to New Drugs: The Folded Universe|last=Kher|first=Unmesh|date=2005-09-04|publisher=TIME|accessdate=28 February 2011}}</ref> He entered [[Dalhousie University]] in Canada at the age of 12, completed his [[bachelor's degree]] when only 14 and completed his PhD when only 20 years old.<ref name="NYT">{{cite news|url=http://www.nytimes.com/2005/02/15/science/15origami.html?pagewanted=1&ei=5090&en=7c6938eb4b440672&ex=1266210000&partner=rssuserland|title=Origami as the Shape of Things to Come|last=Wertheim|first=Margaret|publisher=The New York Times|date=2005-02-15|accessdate=2008-04-15}}</ref><ref>{{cite news|url=http://moreresults.factiva.com/results/index/index.aspx?ref=IRTI000020050819e18j00023|title= Commercial origami starts to take shape|last=O'Brien|first=Danny|publisher=Irish Times|date=2005-08-19|accessdate=2008-04-15}}</ref>

==Professional accomplishments==
His [[doctorate|PhD]] dissertation, a seminal work in the field of [[computational origami]], was completed at the [[University of Waterloo]].<ref>{{cite web|accessdate=2008-04-15|url=http://newsrelease.uwaterloo.ca/news.php?id=2852|title= National honour for Demaine|publisher=[[University of Waterloo]]|date=2003-03-31}}</ref> This work was awarded the Canadian [[Governor General's Academic Medal|Governor General's Gold Medal]] from the [[University of Waterloo]] and the [[NSERC]] Doctoral Prize (2003) for the best [[thesis|PhD thesis]] and research in Canada (one of four awards).
This thesis work was largely incorporated into a book.<ref name="GFALOP">
{{Cite book
| last1 = Demaine
| first1 = Erik
| last2 = O'Rourke
| first2 = Joseph
| authorlink2 = Joseph O'Rourke (professor)
| title = Geometric Folding Algorithms: Linkages, Origami, Polyhedra
| publisher = Cambridge University Press
| date = July 2007
| location =
| pages = Part II
| url = http://www.gfalop.org
| doi =
| isbn = 978-0-521-85757-4}}
</ref>

He joined the MIT faculty in 2001 at age 20, reportedly the youngest professor in the history of the Massachusetts Institute of Technology.<ref name="NYT" /><ref>{{cite journal|last=Beasley|first=Sandra|title=Knowing when to fold|journal=American Scholar|date=2006-09-22|volume=75|issue=4}}</ref>
In 2003 he was awarded a [[MacArthur Fellowship]].

He is a member of the [[theory of computation|Theory of Computation]] group at [[MIT Computer Science and Artificial Intelligence Laboratory]].

[[Mathematical origami]] artwork by Erik and Martin Demaine was part of the “Design and the Elastic Mind” exhibit at the [[Museum of Modern Art]] in 2008 and has been included in the MoMA permanent collection.<ref>[http://erikdemaine.org/curved/ Curved Origami Sculpture], Erik and Martin Demaine.</ref>

In 2013 he was nominated for the EATCS [[Presburger Award]] for young scientists.<ref>{{cite web|url=http://www.eatcs.org/index.php/component/content/article/1-news/1512-presburger-award-2013|title=Presburger Award 2013|format=html| accessdate=15 February 2013}}</ref>

In 2013, he was awarded a fellowship by the [[John Simon Guggenheim Memorial Foundation]].<ref>{{cite web |url=http://www.gf.org/fellows/17377-erik-demaine |title=Erik Demaine at the John Simon Guggenheim Memorial Foundation |format=html |accessdate=23 April 2013 }}</ref>

==See also==
*[[Bidimensionality]]

==References==
{{Reflist|2}}

==External links==
{{commons|Category:Erik Demaine}}
* [http://theory.lcs.mit.edu/~edemaine/ Erik Demaine]
*{{MathGenealogy|id=65084}}
* [http://web.mit.edu/newsoffice/2003/macarthur.html Biography in MIT News]
* [http://www.greenfusefilms.com/index.html ''Between the Folds''] Documentary film featuring Erik Demaine and 14 other international origami practitioners

{{Authority control|VIAF=27989030}}
{{Persondata 
| NAME = Demaine, Erik
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH = February 28, 1981
| PLACE OF BIRTH = [[City of Halifax|Halifax, Nova Scotia, Canada]]
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Demaine, Erik}}
[[Category:1981 births]]
[[Category:Living people]]
[[Category:MacArthur Fellows]]
[[Category:Canadian computer scientists]]
[[Category:Theoretical computer scientists]]
[[Category:Origami artists]]
[[Category:Researchers in geometric algorithms]]
[[Category:People from Halifax, Nova Scotia]]
[[Category:Massachusetts Institute of Technology faculty]]
[[Category:University of Waterloo alumni]]
[[Category:Dalhousie University alumni]]

Werkverzeichnis Thomas Eakins

2013-02-27T17:25:08Z

Reify-tech: /* Historiography */ Tagged ambiguous word

{{Use mdy dates | date = June 2012}}
[[File:Thomas Eakins circa 1882 cropped.jpg|thumb|Photograph of [[Thomas Eakins]] circa 1882]]

This is a list of professionally authenticated paintings, drawings, and sculptures by [[Thomas Eakins]]. As there is no [[catalogue raisonné]] of Eakins' works,<ref>Adams, Eakins revealed, 537</ref> this is an aggregation of existing published catalogs.

== Background ==

During his lifetime, Thomas Eakins sold few paintings. On his death, ownership of his unsold works passed to his widow, [[Susan Macdowell Eakins]], who kept them in their Philadelphia home. She dedicated the remaining years of her life to burnishing his legacy. In this, she was quite successful; in the period between Thomas Eakins' death and her own, she donated many of the strongest remaining pictures to museums around the world. The [[Philadelphia Museum of Art]] benefited particularly from these donations.

After Susan Macdowell Eakins' death in 1938, her executors emptied the house of anything which could be sold at auction. When former Eakins student [[Charles Bregler]] arrived at the house after it had been stripped he was horrified at what he found, describing it as the "most tragic and pitiful sight I ever saw. Every room was cluttered with debris as all the contents of the various drawers, closets etc were thrown upon the floor as they removed the furniture. All the life casts were smashed... I never want to see anything like this again."<ref>Foster, 1</ref> The number of works lost or destroyed at this time will never be known.

Bregler carefully collected what was left. Most of what remained were drawings and other preparatory studies. He was highly secretive about the contents of his collection and rarely allowed anyone to see it. After Bregler's death, ownership of the collection passed to his second wife, Mary Louise Picozzi Bregler, who was even more guarded as to its contents. In 1986, shortly before her death, Mary Bregler agreed to sell the works to the [[Pennsylvania Academy of Fine Arts]].<ref>Foster, 2–3</ref>

== Historiography ==

In the early 1930s, Susan Macdowell Eakins invited art historian [[Lloyd Goodrich]] into her home. Goodrich inventoried the collection in the house, interviewed Eakins' surviving associates, and studied Eakins' personal notes. In 1933, Goodrich published ''Thomas Eakins: His Life and Works''. Though it was incomplete, un-illustrated, and did not include Eakins' photographs, Goodrich's book was the first definitive study of Eakins and the first attempt to catalog his artistic output.<ref>"Previous to Goodrich's monograph, only short essays on Eakins and checklists of his works had been published. NO monographic studies or commentaries on the artist appeared during his lifetime. Most notable of the early works on Eakins are Alan Burroughs' three articles which appeared in ''The Arts'' during 1923 and 1924 and Henri Marceau's essay and checklist (announcing the receipt of Susan Eakins' bequest). According to Goodrich, he was encouraged to write the Eakins monograph by close friend Reginald Marsh, an avid admirer of the older artist." – Milroy, 30, footnote 9</ref>

In the 1970s, [[Gordon Hendricks]] published two Eakins catalogs. ''The Photographs of Thomas Eakins'' (1972; ISBN 0-670-55261-5) is a fully illustrated catalog of photographs by Thomas Eakins and his associates. Because Eakins did not keep detailed records of his photographs, nor did he sign, title, or date them, many of the dates and photographers listed in the catalog are educated guesses on Hendricks' part. It is difficult to know who took a particular photograph because Eakins often had his students use it.{{elucidate|date=February 2013}} Hence, the attribution on many of these photographs is "Circle of Eakins" to indicate that a photograph was taken either by Eakins or one of his associates. ''The Life and Work of Thomas Eakins'' (1974; ISBN 0-670-42795-0) included a checklist of Eakins' works, a number of which had not been included in the 1933 Goodrich catalog.

In the 1980s, Lloyd Goodrich returned to the subject of Thomas Eakins. He began writing a three-volume book, ''Thomas Eakins''. The first two volumes, published in 1982, were biographic in nature. Goodrich was unable to complete the third volume, a Thomas Eakins catalogue raisonné, before he died in 1987. He donated his papers to the Philadelphia Museum of Art, in the hopes that the curators there would finish the catalogue raisonné. This has not happened.

Until 1986, the Charles Bregler collection was effectively unknown to art historians. A few of the works in the Bregler collection were included in the 1933 Goodrich catalog, but after that they effectively disappeared from the scholarly community. A proper inventory became possible only after their 1986 sale to the Pennsylvania Academy of Fine Arts. In 1997, art historian Kathleen Foster published a definitive catalog of the Bregler collection, ''Thomas Eakins Rediscovered''. (ISBN 0-300-06174-9)

== List organization ==

Paintings, drawings, and sculptures are listed, where possible, by their Goodrich catalog number supplemented with modifications from Goodrich's notes for his never-completed Eakins catalogue raisonné.<ref name="GP">[http://www.philamuseum.org/pma_archives/ead.php?c=LEG&s=s108 Lloyd and Edith Havens Goodrich, Whitney Museum of American Art, Record of Works by Thomas Eakins: Series VII. catalogue raisonné].</ref> The Goodrich catalog can be subdivided into three parts:

* Juvenalia – Goodrich classified several early works by Thomas Eakins (works made prior to Eakins' arrival in Paris) as juvenalia, and prefaced with a "J". Though mentioned throughout the Eakins literature, the catalog itself was not published. However, the list is accessible in the Goodrich papers in the Philadelphia archives.
* 1933 catalog works – "G" followed by a number indicates it is from Goodrich's 1933 Eakins catalog.
* 1980s catalog works – "G" followed by a number and then a letter indicates a work that was not included in the 1933 Goodrich catalog, but was included in his two volume ''Thomas Eakins'', or in notes for the third volume, the never-finished catalog.

Works in the Charles Bregler collection at the Pennsylvania Academy of Fine Arts are listed according to their number in ''Thomas Eakins Rediscovered''.

== Goodrich catalogue of Eakins' paintings and sculptures ==
{| class="wikitable sortable plainrowheaders" style="width: 100%"
|-
! scope="col" | Title
! scope="col" | Catalog #
! scope="col" | Format
! scope="col" | Year
! scope="col" | Dimensions (inches)
! scope="col" | Note
! scope="col" | Collection
! scope="col" | Picture
|-
! scope="row" | Map of Switzerland
| J1
| Pen, ink, and watercolor on paper
| circa 1856–1857
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 23</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6344 ]{{dead link | date = June 2012}}</ref>
| [[File:Map of Switzerland J1.jpg|100px|]]
|-
! scope="row" | Map of France, Spain, Portugal, and Italy
| J2
| Pen, ink, and watercolor on paper
| circa 1856–1857
| 16 × 20
|
| Collection of Mr. and Mrs. Francis Walters<ref>Hendricks, 1974, 7</ref>
| [[File:Map of France, Spain, Portugal, and Italy J2.jpg|100px|]]
|-
! scope="row" | Spanish Scene: Peasant Crossing a Stream
| J3
| Pencil and chalk on paper
| March 1858
| 10 1/16 × 14 7/16
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 24">Rosenzweig, 24</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6319 ]{{dead link | date = June 2012}}</ref>
| [[File:Peasants Crossing a Stream J3.jpg|100px|]]
|-
! scope="row" | Spanish Scene: Peasants and Travellers Among Ruins
| J4
| Pencil and ink on paper
| 1858
| 11½ × 16 15/16
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 24" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6318 ]{{dead link | date = June 2012}}</ref>
| [[File:Peasants and Travellers Among Ruins J4.jpg|100px|]]
|-
! scope="row" | Camel and Rider
| J5
| Pencil and ink on paper
| 1858
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #13</ref>
| [[File:Eakins Camel and Rider J5.jpg|100px|]]
|-
! scope="row" | Perspective of a Lathe
| J6
| Pencil and ink on paper
| 1860
| 16 5/16 × 22
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 26</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6345 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins - Lathe.png|100px|]]
|-
! scope="row" | Drawing of Gears
| J7
| Pen, ink, and pencil on paper
| Circa 1860
| 11 7/16 × 16⅞
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 27</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6340 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Gears.jpg|100px|]] [[File:Gears J7 verso.jpg|100px|]]
|-
! scope="row" | Visiting Card with Landscape
| J8
|
| circa late 1850s
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 16 and 22</ref>
| [[File:Visiting Card with Landscape J8.jpg|100px|]]
|-
! scope="row" | Machinery
| J9
|
| Circa 1860
|
|
|
|
|-
! scope="row" | The Icosahedron
| J10
|
| Circa 1860
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #5</ref>
| [[File:The icosahedron thomas eakins.jpeg|100px|]]
|-
! scope="row" | "Freedom"
| J11
|
| Circa 1860
|
| An drawing after the [[Statue of Freedom]] by [[Thomas Crawford (sculptor)|Thomas Crawford]]
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 294–295</ref>
| [[File:Thomas Crawford's Freedom J11.jpg|100px]]
|-
! scope="row" | Nude woman, seated, wearing a mask
| 1
| Charcoal on paper
| circa 1863–1866
| 24¼ × 18⅝ inches
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42532.html | title = Philadelphia Museum of Art – Collections Object : Study of a Seated Nude Woman Wearing a Mask | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Masked nude woman, seated, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Nude woman, back turned
| 2
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #16</ref>
| [[File:Eakins - standing nude.jpg|100px|]]
|-
! scope="row" | Nude boy
| 3
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #19</ref>
| [[File:Nude boy G3.png|100px|]]
|-
! scope="row" | Nude man, seated
| 4
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #18</ref>
| [[File:Nude man seated.png|100px|]]
|-
! scope="row" | Nude woman reclining, back turned
| 5
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42524.html?mulR=31770 | title = Philadelphia Museum of Art – Collections Object : Study of a Reclining Nude Woman | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Nude woman reclining, back turned G5.jpg|100px|]]
|-
! scope="row" | Nude woman, reclining, seen from the front
| 6
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #2</ref>
| [[File:Studies of a reclining nude woman G6.jpg|100px|]] [[File:Studies of feet, legs, and a half figure G6A.jpg|100px|]]
|-
! scope="row" | Head, bust and arm of a child
| 7
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #3</ref>
| [[File:Study of a child G7.png|100px|]]
|-
! scope="row" | Arm resting on the back of a chair
| 8
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #1</ref>
| [[File:Arm resting on the back of a chair G8.png|100px|]]
|-
! scope="row" | Nude man with a beard, seated on the floor
| 9
| Charcoal on paper
| 1869
|
| On the reverse is the middle section of a nude man.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Foster, 236, footnote 8</ref>
| [[File:Nude man with beard G9.jpg|100px]]
|-
! scope="row" | Nude man standing
| 10
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Legs of a seated model
| 11
| Charcoal on paper
|
|
|
| [[Newark Museum]], [[Newark, New Jersey]]<ref>National Gallery of Art, 36</ref>
| [[File:Legs of a seated model G11.jpg|100px]]
|-
! scope="row" | Legs of a standing model
| 12
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Head and bust of an Arab man with a turban
| 13
| Charcoal on paper
| 1866–1867
|
|
| [[Fine Arts Museums of San Francisco]], [[San Francisco]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=60503 | title = Man in a Turban | publisher = Fine Arts Museum of San Francisco | accessdate = June 2, 2012}}</ref>
| [[File:Eakins - Man in Turban.jpg|100px|]]
|-
! scope="row" | Torso and arm of a nude man
| 14
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Nude woman reclining on a couch
| 15
| Charcoal on paper
| 1863–1866
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1986.536&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Nude woman reclining on a couch]</ref>
| [[File:Nude woman reclining on a couch.png|100px|]]
|-
! scope="row" | Nude woman reclining, wearing a mask
| 16
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Nude woman standing
| 17
| Charcoal on paper
| 1876
|
|
|
|
|-
! scope="row" | Nude man seated
| 18
| Charcoal on paper
| Circa 1869
|
| Double sided with "Head of a warrior". Sold at auction, December 8, 2008, for $50,000<ref name="Christies5154223">[http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5154223 Head of a Warrior; and Seated Nude: A Double-sided Work]. [[Christie's]] auction website.</ref>
|
| [[File:Eakins - Nude man seated.png|100px|]] [[File:Eakins - Head of a Warrior.png|100px|]]
|-
! scope="row" | Illustrated letter to his Mother, Nov. 8–9, 1866
| 18A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Homer, 2009, insert</ref><ref>Rosenzweig, 35</ref>
| [[File:Eakins letter 1.jpg|100px|]] [[File:Eakins letter 2.jpg|100px|]]
|-
! scope="row" | Antique study, female head
| 19
| Oil on heavy paper
| circa 1867–1869
|
| Lost<ref name="Milroy">"On the basis of Susan Eakins' opinion, Goodrich listed twelve paintings in his 1933 catalogue raisonne of Eakins' works which he identified as having been executed by the artist in Paris. All are small oil sketches measuring approximately eighteen by twelve inches in size: two studies from the antique; one of a ram's head and nine remaining studies from the male or female model. Of this dozen five have since disappeared, including the antique studies, the ram's head and two studies Goodrich described as portraits of an unidentified fellow student". Milroy 188–189. A chapter note for this paragraph says: "Goodrich, Thomas Eakins (1933) cat. nos. 19–30. Goodrich cat no. 23 (Study of a Girl's Head) is now in a private collection; no. 24 (Study of a Girl's Head) is in the Hirshhorn Museum; nos. 25–27 are in the Philadelphia Museum of Art and no. 30 (A Negress) is in the collection of the Fine Arts Museum of San Francisco." Adams, 149 is taken almost word-for-word from this thesis.</ref>
|
|
|-
! scope="row" | Antique study, male roman head
| 20
| Oil on canvas
| circa 1867–1869
|
| Lost<ref name="Milroy" />
|
|
|-
! scope="row" | Study of a leg
| 21
| Oil on heavy paper
| circa 1867–1869
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
| [[File:Eakins Study of a leg G21.jpg|100px|]]
|-
! scope="row" | Study of a ram's head
| 22
| Oil on canvas
| circa 1867–1869
|
| Lost<ref name="Milroy" />
|
|
|-
! scope="row" | Study of a girl's head
| 23
| Oil on canvas
| circa 1868–1869
|
|
| Private collection<ref name="Milroy" />
| [[File:Head of a young woman G23.jpg|100px|]]
|-
! scope="row" | Study of a girl's head
| 24
| Oil on canvas
| circa 1867–1874
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 42</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6293 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Study of a Girl's Head G24.jpg|100px|]]
|-
! scope="row" | Study of a girl's head
| 25
| Oil on canvas
| circa 1867–1869
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42536.html | title = Philadelphia Museum of Art – Collections Object : Study of a Young Woman | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Study of Girl's Head 1868.jpg|100px|]]
|-
! scope="row" | The Strong Man
| 26
| Oil on canvas
| circa 1867–1869
|
| Study
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42498.html | title = Philadelphia Museum of Art – Collections Object : Study of a Nude Man (The Strong Man) | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Study of a Nude Man (The Strong Man).png|100px|]]
|-
! scope="row" | Bust of a Man (Study of a Nude Man)
| 27
| Oil on canvas
| circa 1867–1869
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42537.html | title = Philadelphia Museum of Art – Collections Object : Study of a Nude Man | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Study of a Nude Man.png|100px|]]
|-
! scope="row" | Study of a student's head
| 28
| Oil on canvas mounted on cardboard
| circa 1867–1878
|
| Thought to have been lost.<ref name="Milroy" /> Sold at auction in May 2001 for $46,750<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=3FN7H Southeby's Listing for "Thomas Eakins: study of a student's head"]{{dead link | date = June 2012}}</ref>
|
| [[File:Study of a student's head G28.jpg|100px|]]
|-
! scope="row" | Study of a student's head
| 29
| Oil on canvas mounted on cardboard
| circa 1867–1879
|
|
| Collection of William E. Stokes<ref>Homer, 92, pg 42</ref>
| [[File:Study of a Student's Head G29.jpg|100px|]]
|-
! scope="row" | A Negress
| 30
| Oil on canvas
|
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132271 | title = Female Model | publisher = Fine Arts Museum of San Francisco | accessdate = June 2, 2012}}</ref>
| [[File:A negress.png|100px|]]
|-
! scope="row" | Scene in a Cathedral
| 31
| Oil on canvas
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, December 1, 2010; sold for $18,750.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-cathedral-of-seville/5379540/lot/lot_details.aspx?from=searchresults&intObjectID=5379540&sid=6e63e766-e288-4d7a-af59-ef72ef7b3f8c | title = Thomas Eakins (1844–1916) | Cathedral of Seville | American Art Auction | 19th Century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = June 3, 2012}}</ref>
|
| [[File:Scene in a Cathedral G31.jpg|100px|]]
|-
! scope="row" | Carmelita Requena
| 32
| Oil on canvas
| 1869
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/carmelita_requena_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011163&vT=1 | title = The Metropolitan Museum of Art – Carmelita Requena | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Carmelita Requena.jpg|100px|]]
|-
! scope="row" | A Street Scene in Seville
| 33
| Oil on canvas
| 1870
|
|
| Collection of Erving and Joyce Wolf<ref>Kirkpatrick, 125</ref>
| [[File:A street scene in sevilla thomas eakins.jpeg|100px|]]
|-
! scope="row" | A Spanish Woman (Also known as "Dolores")
| 34
| Oil on canvas
|
|
|
|
| [[File:A Spanish Woman G34.jpg|100px|]]
|-
! scope="row" | Francis Eakins
| 35
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase_ImageView.cfm?id=594&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database – Image View | publisher = Nelson-atkins.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Frances Eakins.jpg|100px|]]
|-
! scope="row" | At the Piano
| 36
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Blanton Museum of Art]], [[Austin, Texas]]<ref>Johns, XIII</ref>
| [[File:At the Piano.jpg|100px|]]
|-
! scope="row" | Home Scene
| 37
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/1026/Home_Scene/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Home Scene | publisher = Brooklyn Museum | date = | accessdate = June 3, 2012}}</ref>
| [[File:Home Scene.jpg|100px|]]
|-
! scope="row" | Benjamin Eakins
| 38
| Watercolor on paper
| Circa 1870
|
|
| Private collection
| [[File:Benjamin Eakins G38.jpg|100px|]]
|-
! scope="row" | Margaret in Skating Costume
| 39
| Oil on canvas
| 1871
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42494.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Margaret Eakins in a Skating Costume | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Margaret in Skating Costume.jpg|100px|]]
|-
! scope="row" | Margaret (study)
| 40
| Oil on canvas
| Circa 1871
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. For auction at Sotheby's NYC, May 19, 2010, Lot 109.<ref>[http://www.sothebys.com/app/ecatalogue/fhtml/index.jsp?event_id=30014#/r=index-fhtml.jsp?event_id=30014|r.main=lot.jsp?event_id=30014&id=109/ G-40 at Sotheby's]{{dead link | date = June 2012}}</ref><ref>Rosenzweig, 17 and 46</ref>
|
| [[File:Margaret G40.jpg|100px|]]
|-
! scope="row" | Margaret (sketch)
| 41
| Oil on canvas
| Circa 1871
|
|
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (10 of 23) | publisher = Cedarhurst.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Margaret by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Hiawatha
| 42
| Watercolor on paper
|
|
| No longer exists.<ref name="Rosenzweig, 53-54">Rosenzweig, 53–54</ref>
|
|
|-
! scope="row" | Hiawatha
| 43
| Oil on canvas
|
|
| Study for Hiawatha watercolor. Described erroneously as unfinished.<ref name="Rosenzweig, 53-54" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 53-54" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6291 ]{{dead link | date = June 2012}}</ref>
| [[File:Hiawatha - Eakins.jpg|100px|]]
|-
! scope="row" | [[Max Schmitt in a Single Scull]]
| 44
| Oil on canvas
| 1871
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_champion_single_sculls_max_schmitt_in_a_single_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011170&vT=1 | title = The Metropolitan Museum of Art – The Champion Single Sculls (Max Schmitt in a Single Scull) | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Max Schmitt in a Single Scull.jpg|100px|]]
|-
! scope="row" | Drawing of the Girard Avenue Bridge
| 44A
| Drawing
|
|
| Double sided: reverse side depicts the sketch for an oar.
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6346 ]{{dead link | date = June 2012}}</ref><ref>Rosenzweig, 49</ref>
| [[File:Drawing Of Girard Avenue Bridge.jpg|100px|]] [[File:Eakins oar G44A.jpg|100px|]]
|-
! scope="row" | Portrait of M.H. Messchert
| 44B
| Painting
|
|
|
|
|
|-
! scope="row" | Katherin (Girl with a cat)
| 45
| Oil on canvas
| 1872
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52927 | title = Yale University Art Gallery – eCatalogue – Kathrin | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:Kathrin-1872-large.jpg|100px|]]
|-
! scope="row" | Study for Kathrine
| 45A
| Drawing
|
|
|
|
|
|-
! scope="row" | Elizabeth Crowell and her Dog
| 46
| Oil on canvas
| Early 1870s
|
|
| [[San Diego Museum of Art]], [[San Diego, California]]<ref name="Wright">Christopher Wright. The World's Master Paintings. Routledge, 1992. ISBN 0-415-02240-1. Entry for Thomas Eakins: Volume I, Pages 718–719</ref>
| [[File:Thomas Eakins - Elizabeth Crowell with a Dog.jpg|100px|]]
|-
! scope="row" | Mrs. James W. Crowell
| 47
| Oil on canvas
| Early 1870s
|
|
|
| [[File:Eakins, Mrs James W Crowell 1875.jpg|100px|]]
|-
! scope="row" | Grouse
| 48
| Oil on canvas
| 1872
|
|
| [[Mint Museum of Art]], [[Charlotte, North Carolina]]<ref>Sewell, 2001, pg. 241</ref>
| [[File:Grouse Eakins.jpg|100px|]]
|-
! scope="row" | The Pair-Oared Shell
| 49
| Oil on canvas
| 1872
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42516.html | title = Philadelphia Museum of Art – Collections Object : The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:The pair-oared shell thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for The Pair-Oared Shell
| 50
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 20</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49126.html | title = Philadelphia Museum of Art – Collections Object : Perspective Drawing for The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective Drawing for The Pair-Oared Shell.png|100px|]]
|-
! scope="row" | Perspective Drawing for The Pair-Oared Shell
| 51
| Pencil, ink, and watercolor on paper mounted on cardboard
| 1872
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49125.html | title = Philadelphia Museum of Art – Collections Object : Perspective Drawing for The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective drawing for the pair-oared shell thomas eakins.jpeg|100px|]]
|-
! scope="row" | The [[Biglin Brothers]] Turning the Stake
| 52
| Oil on canvas
| 1873
|
|
| [[Cleveland Museum of Art]], [[Cleveland, Ohio]]<ref>{{cite web | url = http://www.clevelandart.org/global/collection/Collection%20Object.aspx?coid=5890297 | title = The Cleveland Museum of Art | publisher = Clevelandart.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:The biglin brothers turning the stake-boat thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Turning the Stake
| 52A
| Drawing
|
|
|
| [[Cleveland Museum of Art]], [[Cleveland, Ohio]]<ref>Homer, 92, pg 60–61</ref><ref>{{cite web | url = http://www.clevelandart.org/global/collection/Collection%20Object.aspx?coid=3504668 | title = The Cleveland Museum of Art | publisher = Clevelandart.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective Drawing for the Biglin Brothers Turning the Stake.png|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Turning the Stake
| 53
| Pencil and ink on paper mounted on cardboard
| 1873
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 50</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6315 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective Drawing for The Biglin Brothers Turning The Stake 2.jpg|100px|]]
|-
! scope="row" | The Pair-Oared Race – John and Barney Biglin Turning the Stake
| 54
| Watercolor
| 1874
|
| Lost<ref>Foster, 128</ref>
|
|
|-
! scope="row" | A Rower
| 55
| Watercolor
|
|
| Given to [[Jean-Léon Gérôme]] by Thomas Eakins. "Present location unknown"<ref name="GP" />
|
|
|-
! scope="row" | [[John Biglin]] (also known as "The Sculler")
| 56
| Watercolor
| 1874
| 16⅞ × 23 15/16
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Sewell, 2001, 98</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=75112 | title = Yale University Art Gallery – eCatalogue – John Biglin in a Single Scull | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull by Thomas Eakins 1873.jpeg|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 57
| Watercolor on paper
| 1873 or early 1874
| 19 5/16 × 24⅞
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>Cooper, 62</ref><ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/john_biglin_in_a_single_scull_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011169&vT=1 | title = The Metropolitan Museum of Art – John Biglin in a Single Scull | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for [[John Biglin]] in a Single Scull
| 58
| Pencil and ink on paper mounted on cardboard
| Circa 1874
| 27⅜ × 45¼
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=157614 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = June 3, 2012}}</ref><ref>Homer, 1992, pg 66</ref>
| [[File:Perspective Drawing for John Biglin in a Single Scull.png|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 59
| Oil on canvas
| 1873–1874
| 24⅜ × 16
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=5464 | title = Yale University Art Gallery – eCatalogue – John Biglin in a Single Scull | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 60
| Watercolor
| 1873–1874
|
| Given to [[Jean-Léon Gérôme]] by Thomas Eakins.
|
|
|-
! scope="row" | The [[Biglin Brothers]] Racing
| 61
| Oil on canvas
| Probably 1873
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>{{cite web | url = http://www.nga.gov/fcgi-bin/tinfo_f?object=42848 | title = The Biglin Brothers Racing | publisher = Nga.gov | date = January 7, 1953 | accessdate = June 3, 2012}}</ref>
| [[File:Thomas Eakins 002.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Racing
| 62
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Cooper, 49</ref><ref>Rosenzweig, 52</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6316 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective Drawing for The Biglin Brothers Turning The Stake 1.jpg|100px|]]
|-
! scope="row" | Oarsmen on the Schuylkill
| 63
| Oil on canvas
| Circa 1873
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]
| [[File:Oarsmen on the schuylkill thomas eakins.jpeg|100px|]]
|-
! scope="row" | Oarsman in a Single Scull (also known as "Sketch of Max Schmitt in a Single Scull")
| 64
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44144.html | title = Philadelphia Museum of Art – Collections Object : Sketch of Max Schmitt in a Single Scull | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Sketch of max schmitt in a single scull thomas eakins.jpeg|100px|]]
|-
! scope="row" | Oarsmen
| 65
| Oil on canvas
| Probably circa 1873
|
|
| [[Portland Art Museum]], [[Portland, Oregon]]<ref>Cooper, 55</ref>
| [[File:Oarsmen G65.jpg|100px]]
|-
! scope="row" | The Schreiber Brothers
| 66
| Oil on canvas
| 1874
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Kirkpatrick, 144</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=26326 | title = Yale University Art Gallery – eCatalogue – The Oarsmen (The Schreiber Brothers) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Oarsmen 1874.jpg|100px|]]
|-
! scope="row" | Perspective Drawing
| 67
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #117</ref>
| [[File:Perspective Drawing for the Schreiber Brothers G67.jpg|100px]]
|-
! scope="row" | The Artist and His Father Hunting Reed Birds
| 68
| Oil on canvas
| Circa 1874
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]<ref>Homer, 92, pgs 70–71</ref>
| [[File:huntingreedbirds Eakins.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for the Artist and His Father Hunting Reed Birds
| 69
| Pencil and ink on paper mounted on cardboard
|
|
|
|
| [[File:Perspective Drawing for the Artist and His Father Hunting Reed Birds G69.jpg|100px|]]
|-
! scope="row" | Pushing for the Rail
| 70
| Oil on canvas
| 1874
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/pushing_for_rail_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011175&vT=1 | title = The Metropolitan Museum of Art – Pushing for Rail | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Pushing For Rail 1874.jpg|100px|]]
|-
! scope="row" | Whistling for Plover
| 71
| Watercolor on paper
| 1874
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/2869/Whistling_for_Plover/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Whistling for Plover | publisher = Brooklyn Museum | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Whistling For Plover 1874.jpg|100px|]]
|-
! scope="row" | Whistling for Plover
| 72
| Oil
|
|
|
|
|
|-
! scope="row" | Sketch for Hunting
| 73
| Oil on canvas mounted on cardboard
| Circa 1874
|
|
| Collection of [[Jamie Wyeth]]
| [[File:Hunting G73.jpg|100px|]]
|-
| Studies of Game-Birds (Also known as "Plover")
| 74
| Oil on canvas mounted on cardboard
|
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]
| [[File:gamebirds Eakins.jpg|100px|]]
|-
! scope="row" | Landscape with a Dog
| 75
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50431.html | title = Philadelphia Museum of Art – Collections Object : Landscape with a Dog | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Landscape with Dog G75.jpg|100px|]]
|-
! scope="row" | Sailboats Racing on the Delaware
| 76
| Oil on canvas
| 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42508.html | title = Philadelphia Museum of Art – Collections Object : Sailboats Racing on the Delaware | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Sailboats Racing on Delaware 1874.jpg|100px|]]
|-
! scope="row" | Sailing
| 77
| Oil on canvas
| Circa 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42077.html | title = Philadelphia Museum of Art – Collections Object : Sailing | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Sailing thomas eakins.jpeg|100px|]]
|-
! scope="row" | Starting Out After Rail
| 78
| Oil on canvas
| 1874
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32538 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Starting out after rail thomas eakins.jpeg|100px|]]
|-
! scope="row" | Starting Out After Rail
| 79
| Watercolor
| 1874
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084330112216 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Starting Out After Rail.png|100px|]]
|-
! scope="row" | Ships and Sailboats on the Delaware (also known as "Becalmed")
| 80
| Oil on canvas
| 1874
|
|
| [[Wadsworth Atheneum]], [[Hartford, Connecticut]]<ref name="Wright" />
| [[File:Becalmed.jpg|100px|]]
|-
! scope="row" | Study for Ships and Sailboats on the Delaware
| 81
| Oil on canvas mounted on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #233</ref>
| [[File:Eakins On The Delaware G81.jpg|100px|]]
|-
! scope="row" | Ships and Sailboats on the Delaware
| 82
| Oil on canvas
| 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42506.html | title = Philadelphia Museum of Art – Collections Object : Ships and Sailboats on the Delaware | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Ships and Sailboats on the Delaware.png|100px|]]
|-
! scope="row" | Drifting
| 83
| Watercolor
| Circa 1874
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/feature/wilmerding/jwcat07.htm Drifting – John Wilmerding Collection]. National Gallery of Art.</ref>
| [[File:Eakins, Drifting 1875.jpg|100px|]]
|-
! scope="row" | Mrs. Benjamin Eakins
| 84
| Oil on canvas
| Circa 1874
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Goodrich, 1982, volume I, page 3</ref><ref>Homer, 1980, Dietrich catalogue #1</ref>
| [[File:Mrs Benjamin Eakins.jpg|100px|]]
|-
! scope="row" | [[Portrait of Professor Benjamin H. Rand]]
| 85
| Oil on canvas
| 1874
|
| Ex Collection: [[Thomas Jefferson University]], [[Philadelphia, PA]]; deaccessioned April 2007 (after 130 years in the collection).<ref>Julie S. Berkowitz. ''"Adorn the Halls": History of the Art Collection at Thomas Jefferson University''. Thomas Jefferson University, 1999, ISBN 0-9674384-1-1. PAGE 140.</ref>
| [[Crystal Bridges Museum of American Art]], [[Bentonville, Arkansas]]
| [[File:Benjamin rand.jpg|100px|]]
|-
! scope="row" | Baseball Players Practicing
| 86
| Watercolor on paper
| 1875
|
|
| [[Rhode Island School of Design Museum]], [[Providence, Rhode Island]]<ref>Kirkpatrick, 161</ref>
| [[File:Baseball Players Practicing Thomas Eakins 1875.jpeg|100px|]]
|-
! scope="row" | Perspective drawing for Baseball Players practicing
| 86A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Homer, 92, pg 72</ref><ref>Rosenzweig, 56</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6338 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective drawing for baseball players practicing G86A.jpg|100px|]]
|-
! scope="row" | Elizabeth at the Piano
| 87
| Oil on canvas
| 1875
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref name="Wright" />
| [[File:Elizabeth at Piano - 1875.jpg|100px|]]
|-
! scope="row" | [[The Gross Clinic]]
| 88
| Oil on canvas
| 1875
|
|
| [[Philadelphia Museum of Art]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/299524.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Dr. Samuel D. Gross (The Gross Clinic) | publisher = Philamuseum.org | date = 2007-01-01 | accessdate = 2012-06-08}}</ref> and the [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__11951/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:EakinsTheGrossClinic.jpg|100px|]]
|-
! scope="row" | Sketch for the Gross Clinic
| 89
| Oil on canvas
| 1875
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42512.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Gross Clinic | publisher = Philamuseum.org | date = 2007-01-01 | accessdate = 2012-06-08}}</ref>
| [[File:Composition study for the portrait of professor gross thomas eakins.jpeg|100px|]]
|-
! scope="row" | Dr. Gross (Study for "The Gross Clinic)
| 90
| Oil on canvas
| 1875
|
|
| [[Worcester Art Museum]], [[Worcester, Massachusetts]]<ref>{{cite web | url = http://www.worcesterart.org/Collection/American/1929.124.html | title = Worcester Art Museum – Thomas Eakins: Study of the Head of Samuel David Gross | publisher = Worcesterart.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study of Dr Samuel David Gross.png|100px|]]
|-
! scope="row" | Black and White version
| 91
| India ink on cardboard
| 1875
|
| Drawn after the painting. Was photographed and reproduced as a [[collotype]]
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/gross_clinic_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=Thomas%20Eakins&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011166&vT=1 | title = The Metropolitan Museum of Art – Gross Clinic | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Gross clinic bw.jpg|100px|]]
|-
! scope="row" | Drawing of Two Heads
| 92
| "India ink on paper, with pen and brush"
| 1876
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 42</ref>
| [[File:Drawing of Two Heads.png|100px|]]
|-
! scope="row" | Robert C.V. Meyers
| 93
| Oil on brown paper
| 1875
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #4</ref><ref>Sewell, 2001, 392, footnote 67</ref>
| [[File:Robert CV Meyers G93.png|100px|]]
|-
! scope="row" | The Zither Player
| 94
| Watercolor on paper
| 1876
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/31289 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Zither Player 1876.jpg|100px|]]
|-
! scope="row" | [[J. Harry Lewis]]
| 95
| Oil on canvas
| 1876
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42510.html | title = Philadelphia Museum of Art – Collections Object : Portrait of J. Harry Lewis | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of J Harry Lewis.png|100px|]]
|-
! scope="row" | [[The Chess Players (painting)|The Chess Players]]
| 96
| Wood
| 1876
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_chess_players_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011164&vT=1 | title = The Metropolitan Museum of Art – The Chess Players | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The chess players thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for the Chess Players
| 97
| Pencil and ink on paper
| 1875–1876
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/perspective_drawing_for_the_chess_players_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011174&vT=1 | title = The Metropolitan Museum of Art – Perspective Drawing for the "Chess Players" | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Perspective drawing for the Chess players.png|100px|]]
|-
! scope="row" | M. Gardel
| 98
| Oil on paper mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44145.html | title = Philadelphia Museum of Art – Collections Object : Bertrand Gardel (Sketch for The Chess Players) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Bertrand Gardel - Sketch for The Chess Players.png|100px|]]
|-
! scope="row" | Baby at Play
| 99
| Oil on canvas
| 1876
|
|
| [[National Gallery of Art]], [[Washington, DC.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=61251 Baby at Play]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Baby at Play 1876.jpg|100px|]]
|-
! scope="row" | Studies of a Baby
| 100
| Oil on canvas
|
|
| Double sided.
| [[Duke-Semans Fine Arts Foundation]] (in the care of the [[Nasher Museum of Art]], [[Durham, North Carolina]])
| [[File:Eakins-Studies of a Baby-27527.jpg|100px|]]
|-
! scope="row" | Dr. [[John H. Brinton]]
| 101
| Oil on canvas
| 1876
|
|
|The [[National Museum of Health and Medicine]] of the [[Armed Forces Institute of Pathology]], Washington, D.C. On long-term loan to the [[National Gallery of Art]]<ref>{{cite web|last=Stocker |first=Kathleen | url = http://bottledmonsters.blogspot.com/2009/11/dr-john-h-brinton.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchivesBlogs+%28ArchivesBlogs%29 | title = A Repository for Bottled Monsters: Dr. John H. Brinton | publisher = Bottledmonsters.blogspot.com | date = 2009-11-20 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Dr John H Brinton 1876.jpg|100px|]]
|-
! scope="row" | Mrs. Samuel Hall Williams (Portrait of Abbie Williams)
| 102
| Wood
| Circa 1876
|
| Previously in the collection of the [[Art Institute of Chicago]]. Sold at auction on September 27, 2011 for $134,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-mrs-samuel-hall-williams/5477663/lot/lot_details.aspx?from=searchresults&intObjectID=5477663&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Mrs. Samuel Hall Williams (Abigail Swing) | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Mrs Samuel Hall Williams.jpg|100px|]]
|-
! scope="row" | Columbus in Prison
| 103
| Oil on canvas
| Circa 1876
|
|
| [[Kennedy Galleries]], [[New York City, New York]]
| [[File:Columbus in Prison.jpg|100px|]]
|-
! scope="row" | Sketch for the Surrender of General Lee to General Grant at Appomatox
| 103A
| Oil on canvas
|
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's NY, September 27, 2011; sold for $32,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-the-surrender-of/5477662/lot/lot_details.aspx?from=searchresults&intObjectID=5477662&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Study for "The Surrender of General Lee" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Surrender of General Lee 103A.jpg|100px|]]
|-
! scope="row" | Sketch for the Surrender of General Lee to General Grant at Appomatox
| 103B
| Oil on canvas
|
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=315827 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Surrender of General Lee to General Grant at Appomatox.png|100px|]]
|-
! scope="row" | Will Schuster and Blackman Going Shooting
| 104
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52629 | title = Yale University Art Gallery – eCatalogue – Rail Shooting on the Delaware | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins 006.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for Will Schuster and Blackman Going Shooting
| 104A
| Drawing
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #14</ref>
| [[File:Perspective Drawing for Will Schuster and Blackman Going Shooting G104A.jpg|100px|]]
|-
! scope="row" | Rail Shooting
| 105
| Oil on canvas
|
|
| "Present whereabouts or existence unknown"<ref name="GP" />
|
|
|-
! scope="row" | In Grandmother's Time
| 106
| Oil on canvas
| 1876
|
|
| [[Smith College Museum of Art]], [[Northampton, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=1&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:In grandmother's time thomas eakins.jpeg|100px|]]
|-
! scope="row" | In Grandmother's Time
| 106A
| Oil on wood
|
|
| Originally double sided with G106B until the two images were split<ref name="GP" />
|
| [[File:Eakins In Grandmother's Time G106A.jpg|100px|]]
|-
! scope="row" | Landscape
| 106B
| Oil on wood
|
|
| Originally double sided with G106A until the two images were split<ref name="GP" />
|
| [[File:Eakins landscape G106B.jpg|100px|]]
|-
! scope="row" | Archbishop [[James Frederick Wood]]
| 107
| Oil on canvas
| 1877
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman">Michael Kimmelman. [http://www.nytimes.com/2007/01/12/arts/design/12eaki.html In the Company of Eakins]. The New York Times, January 27, 2000</ref>
| [[File:James Wood G107.jpg|100px|]]
|-
! scope="row" | Study for the portrait of [[James Frederick Wood]]
| 108
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52611 | title = Yale University Art Gallery – eCatalogue – Archbishop James Frederick Wood (1813–1883) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Archbishop James Frederick Wood, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | Scenes in a Cathedral
| 108A, 108B, 108C, 108D, 108E, 108F, 108G, 108H, 108I
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 57–58</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6320]{{dead link | date = June 2012}}</ref>
| [[File:Scenes in a cathedral G108A-I.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 109
| Oil on canvas
| 1876–1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42507.html | title = Philadelphia Museum of Art – Collections Object : William Rush Carving His Allegorical Figure of the Schuylkill River | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:William rush carving his allegorical figur of schuylkill river thomas eakins.jpeg|100px|]]
|-
! scope="row" | Studies for "William Rush"
| 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109H,
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]
| [[File:Eakins G109 Woman With Parasol.jpg|100px|]] [[File:Eakins G109 Washington.jpg|100px|]] [[File:Eakins G109 Two Women in Costume.jpg|100px|]] [[File:Eakins G109 Three Figures.jpg|100px|]] [[File:Eakins G109 Schuykill Freed.jpg|100px|]] [[File:Eakins G109 Nymph With Bittern.jpg|100px|]] [[File:Eakins G109 Mrs. Madison.jpg|100px|]] [[File:Eakins G109 Laetitia Bonaparte.jpg|100px|]]
|-
! scope="row" | Study for ''[[William Rush and His Model]]''
| 110
| Oil on cardboard,
| circa 1877
| 8¼ × 10½
|
| [[Farnsworth Art Museum]], [[Rockland, Maine]]<ref>http://browser.farnsworthmuseum.org/collection/results.do?view=detail&db=object&id=210</ref>
| [[File:Farnsworth LOC P18660106 b.jpg|100px|]]
|-
! scope="row" | Study for ''[[William Rush and His Model]]''
| 111
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Sewell, 1982, 54</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=23954 | title = Yale University Art Gallery – eCatalogue – William Rush Carving His Allegorical Figure of the Schuylkill River, Study | publisher = Ecatalogue.art.yale.edu | date = 1979-05-14 | accessdate = 2012-06-08}}</ref>
| [[File:William Rush G111.png|100px|]]
|-
! scope="row" | Interior of Rush's Shop
| 112
| Oil on canvas
| 1876–1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49998.html | title = Philadelphia Museum of Art – Collections Object : Interior of a Woodcarver's Shop (Sketch for William Rush Carving His Allegorical Figure of the Schuylkill River) | publisher = Philamuseum.org | date = 1946-01-19 | accessdate = 2012-06-08}}</ref>
| [[File:Interior of a Woodcarver's Shop - Sketch for William Rush Carving His Allegorical Figure of the Schuylkill River.png|100px|]]
|-
! scope="row" | The Model (Nude: Study for William Rush)
| 113
| Oil on canvas
| 1876
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/28860 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for 'William Rush Carving His Allegorical Figure of the Schuylkill River', 1876.jpg|100px|]]
|-
! scope="row" | Seventy Years Ago
| 114
| Watercolor on paper
| 1877
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?emu_action=searchrequest&newsearch=1&moduleid=1&profile=objects&currentrecord=1&searchdesc=Seventy%20Years%20Ago&style=single&rawsearch=id/,/is/,/9793/,/false/,/true | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Seventy-Years-Ago-(1877)-Eakins.jpg|100px|]]
|-
! scope="row" | Sketch for Seventy Years Ago
| 115
| Oil on canvas
|
|
|
| [[Seattle Art Museum]], [[Seattle, Washington]]<ref>{{cite web | url = http://www.seattleartmuseum.org/SAMcollection/code/emuseum.asp?style=browse&currentrecord=1&page=search&profile=objects&searchdesc=Eakins&quicksearch=Eakins&newvalues=1&newstyle=single&newcurrentrecord=2 | title = Seattle Art Museum: Permanent Collection | work = seattleartmuseum.org | accessdate = June 2, 2012}}</ref>
| [[File:Sketch for Seventy Years Ago.jpg|100px|]]
|-
! scope="row" | Young Girl Meditating
| 116
| Watercolor on paper
| 1877
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/young_girl_meditating_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011180&vT=1 | title = The Metropolitan Museum of Art – Young Girl Meditating | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Young Girl Meditating 1877.jpg|100px|]]
|-
! scope="row" | Sketch for Young Girl Meditating
| 117
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #241</ref>
| [[File:Sketch for Young Girl Meditating G117.jpg|100px|]]
|-
! scope="row" | Study for Young Girl Meditating
| 117A
| Oil on canvas
| 1877
|
|
| Collection of Martin Perez.<ref>Foster, 87</ref>
| [[File:Sketch for young girl meditating.jpg|100px|]]
|-
! scope="row" | In Washington (Lafayette Park, Washington, D.C.)
| 118
| Wood
| 1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44128.html | title = Philadelphia Museum of Art – Collections Object : Lafayette Park, Washington, D.C | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Lafayette Park Washington DC.png|100px|]]
|-
! scope="row" | The Courtship
| 119
| Oil on canvas
| Circa 1878
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=133285 | title = The Coutship | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Courtship 1878.jpg|100px|]]
|-
! scope="row" | Sketch for the Courtship
| 120
| Oil on canvas
|
|14 × 17
| Sold at auction in 1983 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1161936 | title = Courtship by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-06-03 | accessdate = 2012-06-08}}</ref>
|Gulf States Paper Corporation Collection, Tuscaloosa, Alabama.<ref>Tom Armstrong, ''An American Odyssesy: The Warner Collection of American Fine and Decorative Arts'' (New York: Monacelli Press Inc., 2001), p. 23.</ref>
| [[File:Sketch for the Courtship G120.jpg|100px|]]
|-
! scope="row" | The Spinner (sketch)
| 121
| Oil on canvas
| Circa 1878
|
|
| [[Worcester Art Museum]], [[Worcester, Massachusetts]]<ref name="Wright" />
| [[File:The Spinner.png|100px|]]
|-
! scope="row" | The Spinner (sketches)
| 122
| Wood
|
|
| Has a sketch of Dr. Andrews on the reverse side.
| Private collection.<ref name="GP" />
| [[File:Sketch for the Spinner G122.jpg|100px]]
|-
! scope="row" | The Young Man (sketch)
| 123
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Anna Williams
| 123A
|
|
|
|
|
| [[File:Anna Williams G123A.jpg|100px|]]
|-
! scope="row" | Study for Anna Williams
| 123B
|
|
|
|
|
| [[File:Study for Anna Williams G123B.jpg|100px|]]
|-
! scope="row" | Negro Boy Dancing (also known as "The Dancing Lesson")
| 124
| Watercolor on paper
| 1878
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/negro_boy_dancing_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011172&vT=1 | title = The Metropolitan Museum of Art – The Dancing Lesson (Negro Boy Dancing) | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The dancing lesson thomas eakins.jpeg|100px|]]
|-
! scope="row" | Drawing for the Negro Boy dancing
| 124A
| Drawing
| 1878
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, plate 8</ref><ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7220/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Drawing for the Negro Boy dancing G124A.jpg|100px]]
|-
! scope="row" | Study for Negro Boy Dancing
| 125
| Oil on canvas
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=66414 Study for "Negro Boy Dancing": The Banjo Player]{{dead link | date = June 2012}}</ref>
| [[File:Study for Negro Boy Dancing.jpg|100px|]]
|-
| Study for Negro Boy Dancing
|125A
|
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=66413 Study for "Negro Boy Dancing": The Boy]{{dead link | date = June 2012}}</ref>
| [[File:Negro Boy Dancing G125A.jpg|100px|]]
|-
! scope="row" | Mrs. John H. Brinton
| 126
| Oil on canvas
| 1878
|
|Depicts Sarah (Ward) Brinton, wife of [[John H. Brinton]].<ref>Schoonover, Jametta Wright, ed. The Brinton Genealogy: A History of William Brinton who cam from England to Chester County, Pennsylvania in 1984 and of his descendants. Trenton, New Jersey: MacCrellish & Quigley Company, 1925, 362.</ref>
| Collection of Mrs. Rodolphe Meyer de Schauensee<ref>Sewell, 1982, 123</ref>
| [[File:Eakins, Sarah Ward Brinton 1878.jpg|100px|]]
|-
! scope="row" | The Spelling Bee at Angel's
| 127
|
| 1878
|
| Published in [[Scribner's Magazine]], November 1878
| N/A
| [[File:The Spelling Bee at Angel's 1.png|100px|]]
|-
! scope="row" | Thar's a New Game Down in Frisco
| 127A
| Oil on canvas
|
|
| Study for the central standing figure in the Spelling Bee at Angel's. Study for The Spelling Bee at Angel's.
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 436–437</ref>
| [[File:There's a New Game Down in 'Frisco G127A.jpg|100px]]
|-
! scope="row" | The Spelling Bee at Angel's
| 128
|
| 1878
|
| Published in [[Scribner's Magazine]], November 1878
| N/A
| [[File:The Spelling Bee at Angel's 2.png|100px|]]
|-
! scope="row" | Mr. Neelus Peeler's Conditions
| 129
| Black ink and Chinese white on paper
| 1879
|
| Published in [[Scribner's Magazine]], June 1879
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/30648/Illustration_for_Mr._Neelus_Pealers_Conditions/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: "Thar's Such A Thing As Calls in This World," illustration for "Mr. Neelus Peeler's Conditions" | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:Illustration for Neelus Peeler's conditions.jpg|100px|]]
|-
! scope="row" | Perspective drawing for Mr. Neelus Peeler's Conditions
| 129A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6317]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for Mr. Neelus Peeler's Conditions.jpg|100px|]]
|-
! scope="row" | Sketch for Mr. Neelus Peeler's Conditions
| 130
| Wood
|
|
|Double sided. Often incorrectly referred to as "The Timer"<ref>Henricks, 1974, CL-10</ref>
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref>Hendricks, 316 (CL10)</ref><ref>[http://ink.nbmaa.org:8080/emuseum/view/objects/asitem/People$0040482/1;jsessionid=86B58DA8FE22D15759998F2DE4074024?t:state:flow=9b588855-ea17-4e36-aa62-5da6ab60630d]{{dead link | date = June 2012}}</ref>
| [[File:Timer, by Thomas Eakins.jpg|100px]] [[File:Eakins G130 verso.jpg|100px|]]
|-
! scope="row" | Four anatomical drawings
| 130A, 130B, 130C, 130D
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6341]{{dead link | date = June 2012}}</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6373]{{dead link | date = June 2012}}</ref>
| [[File:Anatomical Studies G130.jpg|100px|]] [[File:Anatomical drawing G130.jpg|100px|]]
|-
! scope="row" | A Quiet Moment
| 131
| Oil on canvas
| 1879
|
| Lost<ref>Sewell, 2001, 219</ref>
|
|
|-
! scope="row" | Sewing
| 132
| Oil on wood
| circa 1879
|
| Reverse side contains the sketch of an interior.
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref>[http://ink.nbmaa.org:8080/emuseum/view/objects/asitem/13/2/primaryMaker-asc/title-asc;jsessionid=92CF81D2B363058FCE6E62AF4BC4D527?t:state:flow=34259510-5b68-4f19-a030-e9bf121d253e]{{dead link | date = June 2012}}</ref>
| [[File:Sewing by Thomas Eakins.jpg|100px|]] [[File:Eakins G132 verso.jpg|100px|]]
|-
! scope="row" | Study of a Woman Knitting
| 132A
| Oil
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6352]{{dead link | date = June 2012}}</ref>
| [[File:Woman Knitting.jpg|100px|]]
|-
! scope="row" | [[The Fairman Rogers Four-in-Hand]]
| 133
| Oil on canvas
| 1879–1880
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/43938.html | title = Philadelphia Museum of Art – Collections Object : A May Morning in the Park (The Fairman Rogers Four-in-Hand) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:A may morning in the park thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for the Fairman Rogers Four-in-Hand
| 134
| Oil on wood
| 1879
|
| Double sided: one side depicts the coach being driven across the picture; the other side is a study of Mrs. Rogers.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44130.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Fairman Rogers Four-in-Hand | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44131.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. Fairman Rogers (Study for The Fairman Rogers Four-in-Hand) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Fairman Rogers Four-in-Hand.jpg|100px|]] [[File:Portrait of Mrs. Fairman Rogers - Study for The Fairman Rogers Four-in-Hand.png|100px|]]
|-
! scope="row" | Landscape sketch for the Fairman Rogers Four-in-Hand
| 135
| Oil on wood
|
|
| Originally composed of five or six sketches, which were later split.<ref name="Foster439">Foster, 439</ref>
|
| [[File:Landscape sketch for the Fairman Rogers Four-in-Hand G135.jpg|100px|]] [[File:Eakins G135 circa 1933.jpg|100px]] Reverse of G135 as it appeared in 1933.
|-
! scope="row" | Study of the Delaware River
| 135A
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Delaware Riverscape from Gloucester.jpg|100px|]]
|-
! scope="row" | Study of a Man's Head for Mending the Net
| 135B
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Thomas Eakins - a Fisherman.jpg|100px|]]
|-
! scope="row" | Study of a Woman's Head for Mending the Net
| 135C
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Fishing at Gloucester on the Delaware river - study of a woman's head B246.jpg|100px|]]
|-
! scope="row" | Landscape sketch for the Fairman Rogers Four-in-Hand
| 136
| Oil on wood
|
|
| Double sided: one side is a study in Fairmount park. The other is a color note.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:Study in Fairmount Park G136.jpg|100px|]] [[File:Color note G136.png|100px|]]
|-
! scope="row" | Study of Horse for The Fairman Rogers Four-in-Hand
| 137
| Oil on wood
| 1879
|
| Originally double sided with 137A until the two images were split<ref name="GP" /> Ex collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref name="sothebys.com">[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137.</ref>
|
| [[File:Study for Fairman Rogers Four in Hand G137 recto.png|100px|]]
|-
! scope="row" | Study of Horses for The Fairman Rogers Four-in-Hand
| 137A
| Oil on canvas
| 1879
|
| Originally double sided with 137 until the two images were split<ref name="GP" /> Ex collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref name="sothebys.com" />
|
| [[File:Study for fairman rogers four in hand G137A.jpg|100px|]]
|-
! scope="row" | Fan
| 137B
|
|
|
| Sold at auction, January 24, 1994, for $160,000.
|
| [[File:Eakins fan G133B.jpg|100px|]]
|-
! scope="row" | General [[George Cadwalader]]
| 138
| Oil on canvas
| 1880
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Butler">{{cite web | url = http://www.butlerart.com/pc_book/pages/thomas_cowperthwait_eakins_1844.htm | title = Thomas cowperthwait eakins 1844 | publisher = Butlerart.com | date = | accessdate = 2012-06-08}}</ref>
| [[File:General George Cadwalader.jpg|100px|]]
|-
! scope="row" | General George Cadwalader
| 139
| Oil on canvas
| 1880
|
|
| Collection of the [[Mutual Assurance Company of Philadelphia]].<ref>The Green Tree: highlights from the collection of the Mutual Assurance Company of Philadelphia. Schwarz, 2007. [http://www.schwarzgallery.com/catalog.php?id=78&sort=plate&plate=1&menu=1&group=0 Available online]</ref>
| [[File:General George Cadwalader G139.jpg|100px|]]
|-
! scope="row" | Retrospection
| 140
| Oil on wood
| 1880
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52621 | title = Yale University Art Gallery – eCatalogue – Retrospection | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Retrospection, by Thomas Eakins, YUAG.jpg|100px|]]
|-
! scope="row" | Retrospection (Watercolor)
| 141
| Watercolor on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>PMA accession number 1930-32-2</ref>
| [[File:Thomas Eakins - Retrospection.jpg|100px|]]
|-
! scope="row" | Walter MacDowell
| 141A
| Oil
|
|
|
|Private collection<ref name="GP" />
| [[File:Walter MacDowell 141A.jpg|100px]]
|-
! scope="row" | The Crucifixion
| 142
| Oil on canvas
| 1880
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42505.html | title = Philadelphia Museum of Art – Collections Object : The Crucifixion | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The cruxifixion thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Crucifixion
| 143
| Oil on canvas
| 1880
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 18</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6350]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for the Crucifixion.jpg|100px|]]
|-
! scope="row" | [[J. Laurie Wallace]] posing
| 143A
| Oil
|
|
| Sold at auction in 1987 for $160,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1473219 | title = Wallace posing by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1987-12-03 | accessdate = 2012-06-08}}</ref>
|Private collection<ref>{{cite web | url = http://the-athenaeum.org/art/detail.php?ID=13914 | title = The Athenaeum – Wallace Posing (Thomas Eakins – circa 1883) | work = the-athenaeum.org | accessdate = June 2, 2012}}</ref>
| [[File:Wallace Posing.jpg|100px|]]
|-
! scope="row" | Spinning
| 144
| Watercolor on paper
| 1881
|
|
| Collection of Mrs. John Randolph Garrett Sr.<ref name="Sewell, 1982, 63">Sewell, 1982, 63</ref>
| [[File:Eakins, Spinning 1881.jpg|100px|]]
|-
! scope="row" | Drawing for Spinning
| 144A
| Drawing
|
|
|
|
|
|-
! scope="row" | Sketch for Spinning
| 145
| Oil on wood
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #243</ref>
| [[File:Sketch for Spinning G145.jpg|100px]]
|-
! scope="row" | Spinning (also called "Homespun")
| 146
| Watercolor on paper
| 1881
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/homespun_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011167&vT=1 | title = The Metropolitan Museum of Art – Homespun | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Homespun 1881.jpg|100px|]]
|-
! scope="row" | Sketch for Spinning
| 147
| Oil on wood
|
|
| Double sided – the reverse side also contains a sketch for Spinning
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=22295 | title = Yale University Art Gallery – eCatalogue – Sketches for "Home-Spun", (recto and verso) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketches for 'Home-Spun' (recto), by Thomas Eakins.jpg|100px]] [[File:Sketches for 'Home-Spun' (verso), Top of painting at right, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | The Pathetic Song
| 148
| Oil on canvas
| 1881
|
|
| [[Corcoran Museum of Art]], [[Washington, DC.]]<ref name="Wright" />
| [[File:The pathetic song thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Pathetic Song
| 149
| Oil on wood
| 1881
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6275]{{dead link | date = June 2012}}</ref>
| [[File:Study for the Pathetic Song.jpg|100px|]]
|-
! scope="row" | The Pathetic Song
| 149A
| Watercolor
|
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_pathetic_song_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011173&vT=1 | title = The Metropolitan Museum of Art – The Pathetic Song | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Pathetic song.jpg|100px]]
|-
! scope="row" | Rail Shooting
| 150
| Drawing
| 1881
|
| Published in [[Scribner's Magazine]], July 1881
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=33915 | title = Yale University Art Gallery – eCatalogue – Study for Rail Shooting from a Punt | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for Rail Shooting from a Punt.jpg|100px|]]
|-
! scope="row" | A Pusher (also known as "Poleman in the Ma'sh)
| 151
| Drawing
| 1881
| 11 × 5⅞
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=62978 The Poleman in the Ma'sh]{{dead link | date = June 2012}}</ref>
| [[File:A pusher (Poleman in the Ma'sh) G151.jpg|100px|]]
|-
! scope="row" | Drawing for William Rush Carving The Allegorical Figure Of The Schuylkill
| 151A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6339]{{dead link | date = June 2012}}</ref>
| [[File:William Rush Carving The Allegorical Figure Of The Schuylkill G151A.jpg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net")
| 152
| Oil on canvas
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42514.html | title = Philadelphia Museum of Art – Collections Object : Shad Fishing at Gloucester on the Delaware River | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Shad fishing at gloucester on the delaware river thomas eakins.jpeg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net")
| 153
| Watercolor on paper
| 1881
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/taking_up_the_net_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011177&vT=1 | title = The Metropolitan Museum of Art – Taking Up the Net | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Taking Up Net 1881.jpg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River
| 154
| Oil
| 1881
|
|
| [[Ball State University]] Art Museum, [[Muncie, Indiana]]<ref>{{cite web | url = http://libx.bsu.edu/cdm4/document.php?CISOROOT=/MuseumBSU&CISOPTR=1383&REC=14 | title = Thomas Eakins | publisher = Libx.bsu.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Shad Fishing at Gloucester on the Delaware River.jpeg|100px|]]
|-
! scope="row" | Mending the Net
| 155
| Oil on canvas
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42515.html | title = Philadelphia Museum of Art – Collections Object : Mending the Net | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Mending Net 1881.jpg|100px|]]
|-
! scope="row" | Drawing for Mending the Net
| 155A
| Drawing
|
|
|
|
|
|-
! scope="row" | A Fisherman
| 156
| Oil on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #249</ref>
| [[File:Study of a Fisherman G156.jpg|100px|]] [[File:Shore of the Delaware River with fishing nets.jpg|100px|]]
|-
! scope="row" | The Tree
| 157
| Oil on wood
|
|
| Originally double sided with G157A until the two images were split.<ref name="GP" />
|
| [[File:The Tree - Eakins.jpg|100px|]]
|-
! scope="row" | Mending the Net: Study of the Tree
| 157A
| Oil on wood
|
|
| Originally double sided with G157 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Mending the Net
| 158
| Watercolor on paper
| 1882
|
| Sold at auction in 1997 for $1,400,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2442952 | title = Mending the net by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1997-06-05 | accessdate = 2012-06-08}}</ref>
|
| [[File:Thomas Eakins - Mending the Net G158.jpg|100px|]]
|-
! scope="row" | Drawing the Seine
| 159
| Watercolor on paper
| 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/102843.html | title = Philadelphia Museum of Art – Collections Object : Drawing the Seine | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Drawing Seine 1882.jpg|100px|]]
|-
! scope="row" | Hauling the Seine
| 160
| Oil on canvas
| 1882
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=5 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Hauling the Seine.jpg|100px|]]
|-
! scope="row" | "The Meadows, Gloucester, New Jersey"
| 161
| Oil on canvas
| Circa 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42513.html | title = Philadelphia Museum of Art – Collections Object : The Meadows, Gloucester | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins The Meadows, Gloucester, New Jersey.jpg|100px|]]
|-
! scope="row" | "Sketch for The Meadows, Gloucester, New Jersey"
| 162
| Oil on wood
|
|
| Originally double sided with G162A until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study
| 162A
| Oil
|
|
| Originally double sided with G162 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | In the Country
| 163
| Oil on canvas
| circa 1882
| 10¼ × 14
| Sold at auction, November 29, 1990.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1667841 | title = Study for the Meadows, Gloucester, New Jersey by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1990-11-29 | accessdate = 2012-06-08}}</ref>
| Private collection<ref name="GP" />
| [[File:Eakins G163.jpg|100px|]]
|-
! scope="row" | Near the Sea (Also known as "Landscape study")
| 164
| Oil on canvas
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref name="GP" />
|
|-
! scope="row" | Untitled landscape sketch
| 165
| Oil on wood
|
|
| Originally double sided with G165A until the two images were split.<ref name="GP" />
|
| [[File:Eakins G165.jpg|100px|]]
|-
! scope="row" | Study of a horse
| 165A
| Oil
|
|
| Originally double sided with G165 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Untitled landscape sketch
| 166
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/76887.html?mulR=32613 | title = Philadelphia Museum of Art – Collections Object : Landscape Sketch | publisher = Philamuseum.org | date = 1985-01-25 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins landscape G166.jpg|100px]]
|-
! scope="row" | Delaware River Scene
| 167
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #250</ref>
| [[File:Delaware River Scene.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 168
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 169
| Oil on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50427.html?mulR=20082 | title = Philadelphia Museum of Art – Collections Object : Landscape | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape G169 verso.jpg|100px|]] [[File:Landscape G169 recto.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 170
| Oil on paper
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #235, #236, and possibly #234</ref>
| [[File:Landscape G170 F235.jpg|100px|]] [[File:Landscape G170 F236.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 171
| Oil on paper
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 172
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 232</ref>
| [[File:Marsh Landscape Study G172.jpg|100px]]
|-
! scope="row" | Untitled landscape sketch
| 173
| Oil on canvas
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #2</ref>
| [[File:Eakins landscape G173.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 174
| Oil on canvas
|
|
|
| [[University at Buffalo, The State University of New York]] art gallery, [[Buffalo, New York]]<ref name="GP" />
|
|-
! scope="row" | Untitled landscape sketch
| 175
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #5</ref>
| [[File:Eakins Shore scene on the NJ coast G175.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 176
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 177
| Oil on cardboard
|
|
|
|
|
|-
! scope="row" | The Brinton House
| 177A
| Oil
| 1878
|
| Subject is the [[William Brinton 1704 House]] in Birmingham Township, [[Chester County, Pennsylvania]], painted for his friend Dr. John Hill Brinton.<ref>Information accompanying photograph of the painting donated to the Chester County Historical Society by Sarah Ward (Brinton) Audenried, daughter of Joseph Hill Brinton.</ref>
|
| [[File:Brinton House G177A.jpg|100px|]]
|-
! scope="row" | Study for Old Man in Taking The Count
| 178
| Oil on canvas
| circa 1898
| 13¼ × 10
| Sold at auction in 2007 for $78,000<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=4907556&sid=1b006865-eb79-4ec6-ab61-66641cae6d70 | title = Thomas Eakins (1844–1916) | A Study of an Old Man | American Art Auction | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
| David Dufour. On loan to [[Mount Holyoke College Art Museum]]
| [[File:A Study of an Old Man.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 179
| Oil on canvas mounted on cardboard
|
|
|
|
|
|-
! scope="row" | Untitled sketch ("Girl in Shade")
| 180
| Oil on cardboard
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
|
|-
! scope="row" | Untitled sketch
| 181
| Oil on wood
|
|
|
|
|
|-
! scope="row" | Boatman
| 182
| Oil on wood
| Circa 1879
|
| Double sided: one side is a study for the left leader horse in The Fairman Rogers Four-In-Hand. The reverse side is the Study of a Groom.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44120.html | title = Philadelphia Museum of Art – Collections Object : Study of a Groom | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44119.html | title = Philadelphia Museum of Art – Collections Object : Study of Horse for The Fairman Rogers Four-in-Hand | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study of a Groom.jpg|100px|]] [[File:Study of Horse for The Fairman Rogers Four-in-Hand.png|100px|]]
|-
! scope="row" | Untitled sketch
| 183
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #3</ref>
| [[File:Eakins G183.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 184
| Oil on heavy paper mounted on cardboard
|
|
|
| [[La Salle University]] art gallery, [[Philadelphia, Pennsylvania]]
| [[File:Eakins G184.jpg|100px|]]
|-
! scope="row" | Study of Three Balls of Wool and a Rosebush
| 185
| Oil on canvas
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
|
|-
! scope="row" | Two Cylinders and a Ball
| 185A
| Oil
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
| [[File:Two Cylinders and a Ball G185A.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 186
| Oil on heavy paper
|
|
|
|
|
|-
! scope="row" | Study of a woman seated
| 187
| Oil on canvas mounted on cardboard
|
|
| Put up for auction in 2007 but not sold.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/3686052 | title = Seated figure sketch by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 2007-11-28 | accessdate = 2012-06-08}}</ref>
|
|
|-
! scope="row" | Street Scene
| 187A
| Oil
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6353]{{dead link | date = June 2012}}</ref>
| [[File:A street scene G187A.jpg|100px|]]
|-
! scope="row" | The Writing Master
| 188
| Canvas
| 1882
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_writing_master_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011179&vT=1 | title = The Metropolitan Museum of Art – The Writing Master | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The writing master thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Writing Master
| 189
| Oil on wood
|
|
| Double sided – one side is a sketch for The Writing Master. The other side is Sketch of a Man and Study of Drapery
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44142.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Benjamin Eakins (Sketch for The Writing Master) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44143.html | title = Philadelphia Museum of Art – Collections Object : Sketch of a Man and Study of Drapery | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for The Writing Master - Portrait of Benjamin Eakins.png|100px|]] [[File:Sketch of a Man and Study of Drapery.jpg|100px|]]
|-
! scope="row" | [[The Swimming Hole]]
| 190
| Oil on canvas
| 1884–1885
|
|
| [[Amon Carter Museum]], [[Fort Worth, Texas]]<ref>{{cite web | url = http://www.cartermuseum.org/works-of-art/1990-19-1 | title = Swimming – Thomas Eakins (1844–1916) | Amon Carter Museum | publisher = Cartermuseum.org | date = 1990-01-19 | accessdate = 2012-06-08}}</ref>
| [[File:Swimming hole.jpg|100px|]]
|-
! scope="row" | Sketch for [[the Swimming Hole]]
| 191
| Oil on wood
| 1884
|
| Study for the Swimming Hole
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6302]{{dead link | date = June 2012}}</ref>
| [[File:Study for swimming thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch of the landscape for [[the Swimming Hole]]
| 192
| Oil on wood
|
|
| Study for the Swimming Hole
| Collection of Mr. I David Orr<ref>Boldger, plate 12</ref>
| [[File:Landscape for swimming.png|100px|]]
|-
! scope="row" | Sketches for [[the Swimming Hole]]
| 193
| Oil on cardboard
|
|
| "Double-sided, both sides are studies for The Swimming Hole"
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #8</ref><ref>Bolger, plates 17–18</ref>
| [[File:Study for the swimming hole 4.jpg|100px|]] [[File:Sketch of harry thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for [[the Swimming Hole]]
| 194
| Oil on cardboard
|
|
| "Double-sided, both sides are studies for The Swimming Hole"
| [[Amon Carter Museum]], [[Fort Worth, Texas]]<ref>Bolger, plates 15–16</ref>
| [[File:Study for the swimming hole 1.jpg|100px|]] [[File:Study for the swimming hole 2.jpg|100px|]]
|-
! scope="row" | Sketch for [[the Swimming Hole]]
| 195
| Oil on cardboard
|
|
| "Double-sided, obverse side contains study of the fisherman's hand from Mending the Net"
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #9</ref><ref>Bolger, plate 19</ref>
| [[File:Study for the swimming hole 3.jpg|100px|]]
|-
! scope="row" | Arcadia
| 196
| Oil on canvas
| 1883
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/arcadia_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011161&vT=1 | title = The Metropolitan Museum of Art – Arcadia | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas (1844 - 1916) - Arcadia - ca. 1883.jpg|100px|]]
|-
! scope="row" | Sketch for Arcadia
| 197
| Oil on wood
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7155/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref><ref>Foster, #251</ref>
| [[File:Sketch for Arcadia.jpg|100px|]]
|-
! scope="row" | Youth Playing Pipes
| 198
| Oil on wood
|
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1026084 | title = Thomas Eakins: Study for Arcadia: Youth Playing Pipes | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Study for Arcadia - Youth Playing Pipes.jpg|100px|]]
|-
! scope="row" | Boy Reclining
| 199
| Oil on wood
|
|
| Originally double sided with G199A until the two images were split.<ref name="GP" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6309]{{dead link | date = June 2012}}</ref>
| [[File:Boy Reclining G199.jpg|100px|]]
|-
! scope="row" | Study of a Horse
| 199A
| Drawing
|
|
| Originally double sided with G199 until the two images were split.<ref name="GP" /> Ex Collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137. However, Sewell, 1982, 68 depicts Goodrich 199 and shows the first image in the Sotheby's listing.</ref>
|
| [[File:Study for Fairman Rogers Four in Hand G199.png|100px|]]
|-
! scope="row" | An Arcadian
| 200
| Oil on canvas
| Circa 1883
|
|
|
| [[File:Eakins, Arcadian 1883.jpg|100px|]]
|-
! scope="row" | Study for An Arcadian
| 201
| Oil on wood
|
|
| Originally double sided with G201A until the two images were split.<ref name="GP" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Wright" />
| [[File:Study for an Arcadian G201.jpg|100px|]]
|-
! scope="row" | Studies of a horse
| 201A
| Drawing
|
|
| Originally double sided with G201 until the two images were split.<ref name="GP" /> Ex Collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137. However, Sewell, 1982, 68 depicts Goodrich 201 and shows the second image in the Sotheby's listing.</ref>
|
| [[File:Eakins G137B.png|100px|]]
|-
! scope="row" | Weda Cook and Statue
| 201B
| Oil
|
|
|
| 
|
|-
! scope="row" | A Woman's Back: Study
| 202
| Oil on wood
| 1879
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #11</ref><ref>Goodrich, 1982, volume I, page 177</ref>
| [[File:Study of a Woman's Back G202.png|100px|]]
|-
! scope="row" | Female Nude
| 203
| Oil on canvas
| Probably early 1880s
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Sewell, 1982, 55</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6274]{{dead link | date = June 2012}}</ref>
| [[File:Female nude G203.jpg|100px]]
|-
! scope="row" | Female Nude
| 204
| Oil on canvas
| Probably early 1880s
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase.cfm?id=11944&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database, Female Nude (Study) | publisher = Nelson-atkins.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for female nude G204.jpg|100px|]]
|-
! scope="row" | Female Nude
| 205
| Watercolor on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="GP" />
| [[File:Eakins, Female Nude 1884.jpg|100px|]]
|-
! scope="row" | Study for female nude
| 205A
| Oil
|
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Sotheby's NY, September 29, 2010; sold for $50,000.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621424]{{dead link | date = June 2012}}</ref>
|
| [[File:Eakins Nude woman standing.jpg|100px|]]
|-
! scope="row" | [[J. Laurie Wallace]]
| 206
| Oil on canvas
| Circa 1883
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref>[http://www.joslyn.org/Collection/Search-Detail.aspx?ID=ec627db6-23e7-4fe4-89c7-d1eb9e11a40a]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of J. Laurie Wallace.jpg|100px|]]
|-
! scope="row" | Drawing for [[J. Laurie Wallace]]
| 206A
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Professionals at Rehearsal
| 207
| Oil on canvas
| Circa 1883
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/48396.html | title = Philadelphia Museum of Art – Collections Object : Professionals at Rehearsal | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Professionals at Rehearsal 1883.jpg|100px|]]
|-
|Perspective Study Of Boy Viewing an Object
|207A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6510]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Perspective Study Of Boy Viewing Object.jpg|100px|]]
|-
|Perspective drawing of a table
|207B
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6337]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Perspective Study Of Table.jpg|100px|]]
|-
|Perspective drawing of two tables
|207C
|
|
|
|
|
|-
! scope="row" | In the Studio
| 208
| Oil on canvas
| 1884
|
|
| [[The Hyde Collection]], [[Glens Falls, New York]]<ref>Hoopes, 76</ref>
| [[File:In the Studio G208.jpg|100px|]]
|-
! scope="row" | In the Studio
| 209
| Watercolor on paper
|
|
| Unfinished
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/52013.html?mulR=20082 | title = Philadelphia Museum of Art – Collections Object : In the Studio | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, In Studio (Unfinished) 1884.jpg|100px|]]
|-
! scope="row" | [[A.B. Frost]]
| 210
| Oil on canvas
| Circa 1884
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42490.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Arthur Burdett Frost | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Arthur Burdett Frost.png|100px|]]
|-
! scope="row" | Study for [[A.B. Frost]]
| 210A
| Oil on cardboard
|
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref name="GP" />
| [[File:Study for AB Frost G210A.jpg|100px]]
|-
! scope="row" | The Veteran
| 211
| Oil on canvas
| Circa 1886
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52625 | title = Yale University Art Gallery – eCatalogue – The Veteran (Portrait of George Reynolds) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Veteran Portrait of George Reynolds by Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | Mrs. William Shaw Ward
| 212
| Oil on canvas
|
|
| Sold at auction at Sothebys, December 2, 2010, for $242,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159637565]{{dead link | date = June 2012}}</ref>
|
| [[File:Mrs William Shaw Ward.jpg|100px|]]
|-
! scope="row" | The Artist's Wife and His Setter Dog
| 213
| Oil on canvas
| 1885
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_artist_s_wife_and_his_setter_dog_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011162&vT=1 | title = The Metropolitan Museum of Art – The Artist's Wife and His Setter Dog | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Artist's Wife and His Setter Dog.jpg|100px|]]
|-
! scope="row" | Professor [[George Frederick Barker|George F. Barker]]<ref>"Prof. Barker was a chemist, and no doubt a learned man in his profession.— I think Mr. Eakins painted him because he was worthy to be remembered, it was not an order [commission]." —Mrs. Eakins to Clarence Cranmer, July 4, 1929, Archives of American Art, Smithsonian Institution.</ref>
| 214
| Oil on canvas
| 1886
|
| Originally 3/4-length and 60×40 inches, cut down to head-and-bust and 24×20 inches.
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (9 of 23) | publisher = Cedarhurst.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:George F. Barker.jpg|100px|]] [[File:George Barker uncut.jpg|100px]] Barker's portrait as it appeared originally.
|-
! scope="row" | Sketch for Professor George F. Barker
| 215
| Oil on cardboard
| 1886
|
| Doubled sided – one side is a sketch for Professor George F. Barker. The other side depicts seated figures.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44146.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Professor George F. Barker | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44147.html | title = Philadelphia Museum of Art – Collections Object : Seated Figures | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Professor George F Barker.jpg|100px|]] [[File:Seated figures.jpg|100px|]]
|-
! scope="row" | Professor William D. Marks
| 216
| Oil on canvas
| 1886
|
|
| [[Washington University Gallery of Art]], [[St. Louis, Missouri]]<ref>{{cite web|author=Thomas Eakins | url = http://kemperartmuseum.wustl.edu/collection/explore/artwork/86 | title = Artwork Detail | Kemper Art Museum | publisher = Kemperartmuseum.wustl.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William D Marks.jpg|100px|]]
|-
! scope="row" | Professor William D. Marks (unfinished)
| 217
| Oil on canvas
| circa 1886
| 76 × 54
|
| [[Iris & B. Gerald Cantor Center for Visual Arts]], [[Stanford, California]]
| [[File:Eakins, Professor William D Marks 1886.jpg|100px|]]
|-
! scope="row" | Miss Sophie Brooks
| 217A
| Oil
|
|
|
|
|
|-
! scope="row" | Frank McDowell
| 218
| Oil on canvas
| Circa 1886
|
| Sold at auction in 1983 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1197237 | title = Portrait of Frank MacDowell by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-12-09 | accessdate = 2012-06-08}}</ref>
|
| [[File:Portrait of Frank MacDowell, c1886.jpg|100px|]]
|-
! scope="row" | Frank MacDowell (unfinished)
| 219
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6287]{{dead link | date = June 2012}}</ref>
| [[File:Frank Macdowell G219.png|100px|]]
|-
! scope="row" | Portrait of [[Walt Whitman]]
| 220
| Oil on canvas
| 1887–1888
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__6457/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:§Whitman, Walt (1819-1892) - 1887 - ritr. da Eakins, Thomas - da Internet.jpg|100px|]]
|-
! scope="row" | Sketch for [[Walt Whitman]]
| 221
| Oil on wood
| Probably 1887
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32369 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Portrait of Walt Whitman G221.png|100px|]]
|-
! scope="row" | Mrs. Letitia Wilson Jordan
| 222
| Oil on canvas
| 1888
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/307/Letitia_Wilson_Jordan/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Letitia Wilson Jordan | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - Letitia Wilson Jordan - Google Art Project.jpg|100px|]]
|-
! scope="row" | Sketch for Mrs. Letitia Wilson Jordan Bacon
| 223
| Oil on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44148.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Letitia Wilson Jordan | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Letitia Wilson Jordan.png|100px|]]
|-
! scope="row" | Cowboys in the Badlands
| 224
| Oil on canvas
| 1888
|
| Sold for US$5,383,500 at a May 22, 2003 auction at [[Christie's|Christie's New York]], setting a record for an Eakins painting.
| [[Anschutz collection]], [[Denver, Colorado]]
| [[File:Cowboys in the bad lands thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for Cowboys in the Badlands
| 225
| Oil on cardboard
|
|
| Originally part of the same work with G-225A and G-225B.<ref name="Foster187">Foster, pg 278, footnote 18</ref>
| [[Albright-Knox Art Gallery]], [[Buffalo, New York]]<ref>http://66.251.89.230/detail.php?type=related&kv=487&t=objects</ref>
| [[File:Sketches for Cowboys in the Badlands.jpg|100px]]
|-
! scope="row" | Sketch of a saddle
| 225A
| Oil on canvas on cardboard
| 1887
|
| Originally part of the same work with G-225 and G-225B.<ref name="Foster187" />
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/72520.html | title = Philadelphia Museum of Art – Collections Object : Saddle (Sketch for Cowboys in the Bad Lands) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Saddle - Sketch for Cowboys in the Bad Lands.jpg|100px]]
|-
! scope="row" | Study of a stirrup
| 225B
|
|
|
| Originally part of the same work with G-225 and G-225A.<ref name="Foster187" />
|
|
|-
! scope="row" | Sketch for Cowboys in the Badlands
| 226
| Oil on canvas
|
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1">{{cite web|author=What's Gross About the "Gross Clinic" Deaccessions | url = http://www.artsjournal.com/culturegrrl/2008/04/whats_gross_about_the_gross_cl.html | title = What's Gross About the "Gross Clinic" Deaccessions – CultureGrrl | publisher = Artsjournal.com | date = 2008-04-30 | accessdate = 2012-06-08}}</ref><ref name="denverdeal2">{{cite web | url = http://www.theartnewspaper.com/articles/Denver-deal-under-investigation/16064 | title = Denver deal under investigation – The Art Newspaper | publisher = Theartnewspaper.com | date = 2008-09-17 | accessdate = 2012-06-08}}</ref>
| [[File:Cowboys in the Badlands sketch 1.jpg|100px|]]
|-
! scope="row" | The Bad Lands
| 227
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44122.html | title = Philadelphia Museum of Art – Collections Object : Landscape (Sketch for Cowboys in the Bad Lands) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape - Sketch for Cowboys in the Bad Lands.png|100px|]]
|-
! scope="row" | Study for Cowboys in the Badlands
| 227A
| Oil on canvas
|
| 10⅜ × 13½
| Sold by Sothebys, October 17, 1980<ref name="Foster187" />
|
| [[File:Eakins G227A.jpg|100px|]]
|-
! scope="row" | Landscape sketch for Cowboys in the Badlands
| 228
| Oil on canvas mounted on cardboard
|
|
| Originally double sided with G-228A.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50430.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Cowboys in the Bad Lands | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape sketch for Cowboys in the Bad Lands G228 side B.jpg|100px|]]
|-
! scope="row" | Landscape sketch for Cowboys in the Badlands
| 228A
| Oil on canvas mounted on cardboard
|
|
| Originally double sided with G-228.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50429.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Cowboys in the Bad Lands | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape sketch for Cowboys in the Bad Lands G228 side A.jpg|100px|]]
|-
! scope="row" | Cowboy Riding
| 229
| Oil on canvas mounted on cardboard
|
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1" /><ref name="denverdeal2" />
| [[File:Cowboys in the Badlands sketch 2.jpg|100px|]]
|-
! scope="row" | Cowboy (sketches)
| 230
| Oil on canvas mounted on cardboard
|
|
|
|
| [[File:Sketch of Edward Boulton G230.jpg|100px]]
|-
! scope="row" | Cowboy Riding
| 230A
| Oil on canvas
|
| 10¼ × 14¼
| Sold at auction on June 22, 2003 for $12,000<ref>{{cite web | url = http://www.freemansauction.com/asp/fullCatalogue.asp?salelot=1176++++++74+&refno=++417814 | title = FINE AMERICAN & EUROPEAN PAINTINGS – SALE 1176 – LOT 74 – FREEMAN'S AUCTIONEERS | publisher = Freemansauction.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Cowboy Riding G230A.jpg|100px|]]
|-
! scope="row" | Cowboy (sketch)
| 231
| Oil on canvas mounted on cardboard
|
|
|
|
|
|-
! scope="row" | [[Edward W. Boulton]]
| 232
|
| Circa 1888
|
| Damaged in an accident – "The portrait of Boulton (Edward W.) by Eakins was lent to the University Club for an exhibit, and a waiter ran amuck and slashed it up."<ref>Adams, Eakins revealed, 528</ref>
|
|
|-
! scope="row" | Douglass M. Hall
| 233
| Oil on canvas
| Circa 1888
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/70399.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Douglass Morgan Hall | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - Portrait of Douglass Morgan Hall.jpg|100px|]]
|-
! scope="row" | Girl in a Big Hat (Portrait of Lillian Hammit)
| 234
| Oil on canvas
| Circa 1888
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6292]{{dead link | date = June 2012}}</ref>
| [[File:Girl in a Big Hat - Portrait of Lillian Hammitt G234.jpg|100px|]]
|-
! scope="row" | [[The Agnew Clinic]]
| 235
| Oil on canvas
| 1889
|
|
| [[University of Pennsylvania]] School of Medicine, [[Philadelphia, Pennsylvania]]<ref>[http://sceti.library.upenn.edu/PennArt/SlideShow/index_slide.cfm, slide 11]{{dead link | date = June 2012}}</ref>
| [[File:The agnew clinic thomas eakins.jpeg|100px|]]
|-
! scope="row" | Drawing of [[David Hayes Agnew]]
| 235A
|
|
|
|
|
| [[File:David Hayes Agnew G235A.png|100px|]]
|-
! scope="row" | Sketch for the Agnew Clinic
| 236
| Oil on canvas mounted on cardboard
|
|
|
|Private collection<ref name="GP" />
| [[File:Sketch for the Agnew Clinic G236.jpg|100px]]
|-
! scope="row" | Dr. [[David Hayes Agnew|D. Hayes Agnew]]: Study
| 237
| Oil on canvas
| 1889
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52922 | title = Yale University Art Gallery – eCatalogue – Dr. Agnew (Dr. D. Hayes Agnew) (1818–1892) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Dr agnew.jpg|100px|]]
|-
! scope="row" | [[Samuel Murray]]
| 238
| Oil on canvas
| 1889
|
|
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (8 of 23) | publisher = Cedarhurst.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Samuel Murray 1889.jpg|100px|]]
|-
! scope="row" | Dr. [[Horatio Curtis Wood|Horatio C. Wood]]
| 239
| Oil on canvas
| Circa 1889
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref name="Wright" />
| [[File:Horatio C Wood Eakins.jpg|100px|]]
|-
! scope="row" | Professor George W. Fetter
| 240
| Oil on canvas
| 1890
|
|Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school.<ref name="Zucchino">David Zucchino, [http://articles.latimes.com/2004/jul/19/nation/na-philly19?page_type=article&exci=2004|07|19|nation|na-philly19&pg=1 Schools' Art Cache Is a Study in Forgotten Treasures]. Los Angeles Times, July 19, 2004</ref> Currently in an undisclosed location.
| Collection of the [[School District of Philadelphia]], [[Philadelphia, Pennsylvania]]
| [[File:George Fetter G240.jpg|100px|]]
|-
! scope="row" | Drawing for Professor George W. Fetter
| 241
| Black ink on white tile
|
|
|
|
|
|-
! scope="row" | Portrait of [[Talcott Williams]]
| 242
| Oil on canvas
| Circa 1890
|
|
| [[National Portrait Gallery (United States)|National Portrait Gallery]], [[Washington, D.C.]]<ref>Accession number [http://npgportraits.si.edu/eMuseumNPG/media/previews/8500100a.jpg NPG.85.50].</ref>
| [[File:Talcott Williams - Eakins.jpg|100px|]]
|-
! scope="row" | The Bohemian: Portrait of Franklin Louis Schenk
| 243
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42495.html | title = Philadelphia Museum of Art – Collections Object : The Bohemian (Portrait of Franklin Louis Schenck) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Bohemian - Portrait of Franklin Louis Schenck.png|100px|]]
|-
! scope="row" | F.L. Schenk
| 244
| Oil on canvas
| Circa 1890
|
|
| [[Delaware Art Museum]], [[Wilmington, Delaware]]
| [[File:Franklin Schenk.png|100px|]]
|-
! scope="row" | F.L. Schenk
| 245
| Oil on cardboard
| Circa 1890
|
|
| Private collection<ref name="GP" />
|
|-
! scope="row" | The Father of F.L. Schenk
| 246
| Oil on canvas
| Circa 1890
|
|
| Collection of Nelson C. White<ref>Hendricks, The Life and Work of Thomas Eakins, 189</ref>
| [[File:FL Schenk's father G246.jpg|100px|]]
|-
! scope="row" | Head of a Cowboy
| 247
| Oil on canvas
| Circa 1890
|
|
| [[Mead Art Museum]], [[Amherst, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=0&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Head of a Cowboy.jpg|100px|]]
|-
! scope="row" | Home Ranch
| 248
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42493.html | title = Philadelphia Museum of Art – Collections Object : Home Ranch | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Home Ranch 1888.jpg|100px|]]
|-
! scope="row" | Cowboy Singing
| 249
| Watercolor on paper
| Circa 1890
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/cowboy_singing_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011165&vT=1 | title = The Metropolitan Museum of Art – Cowboy Singing | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Cowboy Singing 1890.jpg|100px|]]
|-
! scope="row" | Cowboy Singing
| 250
| Oil on canvas
| Circa 1890
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| Jointly owned by [[Anschutz collection]] and [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1" /><ref name="denverdeal2" />
| [[File:Eakins - Cowboy singing.jpg|100px|]]
|-
! scope="row" | Thomas B. Harned
| 251
| Oil on canvas
| Circa 1890
| 24 x 20
|
| Collection of Dr. and Mrs. Herbert S. Harned, Jr. On long-term loan to the [[Ackland Art Museum]], [[Chapel Hill, North Carolina]]<ref>{{cite web | url = http://www.unc.edu/ackland/collection/?action=simple&search=Eakins&department=&classification=&artist=&title=&medium=&culture=&year_begin=&year_begin_search=&year_end=&year_end_search=&credit=&accession=&results=25&sort=&order=&ea=&et=&ec=&em=&action=details&page=1&search_type=simple&object_id=3781021 | title = Collection Search | Ackland Art Museum | The University of North Carolina at Chapel Hill | publisher = Unc.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas B. Harned, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | Dr. Joseph Leidy II (also known as "Portrait of Man with Red Necktie")
| 252
| Oil on canvas
| 1890
|
|
| [[Newark Museum]], [[Newark, New Jersey]]<ref>Porter, plate 40</ref>
| [[File:Joseph Leidy II G252.jpg|100px|]]
|-
! scope="row" | Dr. Joseph Leidy II (unfinished)
| 253
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | William H. Macdowell
| 254
| Oil on canvas
| Circa 1890
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52931 | title = Yale University Art Gallery – eCatalogue – William Hance Macdowell (1816–1906) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Macdowell G254.jpg|100px|]]
|-
! scope="row" | [[Phidias]] Studying for the Frieze of the Parthenon
| 255
| Oil on wood
| Circa 1890
|
| Originally double sided with G255A until the two images were split.<ref name="GP" />
| Collection of the Eakins Press Foundation<ref>Bolger, plate 9</ref>
| [[File:Phidias Studying for the Frieze of the Parthenon.png|100px|]]
|-
! scope="row" | Two Nude Youths on Prancing Horses
| 255A
| Oil on wood
| Circa 1890
|
| Originally double sided with G255 until the two images were split.<ref name="GP" />
|
| [[File:Two Nude Youths on Prancing Horses G255A.jpg|100px|]]
|-
! scope="row" | The Red Shawl
| 256
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42492.html | title = Philadelphia Museum of Art – Collections Object : The Red Shawl | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Red Shawl.png|100px|]]
|-
! scope="row" | Francis J. Ziegler (also known as "The Critic")
| 257
| Oil on canvas
| Circa 1890
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1943.130&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Francis J. Ziegler]</ref>
| [[File:Francis J Ziegler.jpg|100px|]]
|-
! scope="row" | The Art Student: Portrait of James Wright
| 258
| Oil on canvas
| Circa 1890
|
| Ex collection: Maloogian Collection, [[Detroit Institute of Arts]], [[Detroit, Michigan]]
| [[Crystal Bridges Museum of American Art]], [[Bentonville, Arkansas]]
| [[File:The-Art-Student-(or-Portrait-of-James-Wright)-large.jpg|100px|]]
|-
! scope="row" | The Black Fan
| 259
| Oil on canvas
| Circa 1891
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42511.html | title = Philadelphia Museum of Art – Collections Object : The Black Fan (Portrait of Mrs. Talcott Williams) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Black Fan - Portrait of Mrs Talcott Williams G259.jpg|100px|]]
|-
! scope="row" | William H. Macdowell
| 260
| Oil on canvas
| Circa 1891
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]
| [[File:William H. Macdowell G260.jpg|100px|]]
|-
! scope="row" | William H. Macdowell (study)
| 261
| Oil on canvas
| Circa 1891
|
|
| [[Randolph-Macon Woman's College]] Art Gallery, [[Lynchburg, Virginia]]<ref name="Wright" />
| [[File:Eakins, William H MacDowell 1891.jpg|100px|]]
|-
! scope="row" | Portrait of William H. MacDowell
| 262
| Paper on a stretcher
|
|
| Unfinished
| [[Baltimore Museum of Art]], [[Baltimore, Maryland]]
| [[File:Portrait of William H. MacDowell (unfinished).jpg|100px|]]
|-
! scope="row" | Study for William H. MacDowell
| 262A
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6295]{{dead link | date = June 2012}}</ref>
| [[File:William H Macdowell.jpg|100px]]
|-
! scope="row" | [[Miss Amelia Van Buren]]
| 263
| Oil on canvas
| Circa 1891
|
|
| [[The Phillips Collection]], [[Washington, D.C.]]<ref name="Wright" />
| [[File:Thomas Eakins 005.jpg|100px|]]
|-
! scope="row" | Professor [[Henry Augustus Rowland|Henry A. Rowland]]
| 264
| Oil on canvas
| 1897
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref name="Wright" />
| [[File:Henry Augustus Rowland.jpg|100px|]]
|-
! scope="row" | Sketch for Professor [[Henry Augustus Rowland|Henry A. Rowland]]
| 265
| Oil on canvas
|
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref>Sewell, 1982, 103</ref>
| [[File:Sketch for the Portrait of Henry Rowland.png|100px|]]
|-
! scope="row" | [[The Concert Singer]]
| 266
| Oil on canvas
| 1890–1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42499.html | title = Philadelphia Museum of Art – Collections Object : The Concert Singer | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Concert singer.jpg|100px|]]
|-
! scope="row" | Sketch for the Concert Singer
| 267
| Oil on canvas mounted on wood
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42501.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Concert Singer | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for The Concert Singer.png|100px|]]
|-
! scope="row" | Study for Weda Cook and Statue
| 267A
| Oil on canvas
|
|
| Also known as "The Opera Singer." On the reverse is "Woman on balcony waving white handkerchief."
| [[Blanton Museum of Art]], [[Austin, Texas]]
| [[File:Study for Weda Cook and Statue 267A.jpg|100px|]] [[File:Eakins Woman on balcony waving white handkerchief.jpg|100px|]]
|-
! scope="row" | [[Joshua Ballinger Lippincott]]
| 268
| Oil on canvas
| 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="PMAbook">Paintings from Europe and the Americas in the Philadelphia Museum of Art. Philadelphia Museum of Art, 1994. ISBN 0-87633-093-6. Pages 269–278</ref>
| [[File:Portrait of Joshua Ballinger Lippincott G268.png|100px|]]
|-
! scope="row" | Study for [[Joshua Ballinger Lippincott]]
| 268A
| Oil
| 1892
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6354]{{dead link | date = June 2012}}</ref>
| [[File:Study for portrait of Joshua Lippincott G268A.jpg|100px]]
|-
! scope="row" | Miss Blanche Hurlburt
| 269
| Oil on canvas
| Circa 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42533.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Blanche Hurlburt | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Blanche Hurlburt.png|100px|]]
|-
! scope="row" | Dr. [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 270
| Oil on canvas
| 1893
|
|
| [[Pennsylvania Hospital]]<ref name="Kimmelman" /><ref>Kirkpatrick, 384</ref>
| [[File:Jacob Mendez Dacosta G270.png|100px|]]
|-
! scope="row" | [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 270A
| Oil on canvas
|
|
|Destroyed by Thomas Eakins after DaCosta rejected it.<ref>Goodrich, 1982, volume II, page 81</ref>
|
|
|-
! scope="row" | Sketch for Dr. [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 271
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44127.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Dr. Jacob Mendez da Costa | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Dr. Jacob Mendez da Costa.png|100px|]]
|-
! scope="row" | Girl with Puff Sleeves
| 272
| Oil on canvas
|
|
| Previously in the collection of the [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction on September 29, 2010 for $18,750<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621423]{{dead link | date = June 2012}}</ref>
|
| [[File:Girl with puff sleeves G272.jpg|100px|]]
|-
! scope="row" | [[Frank Hamilton Cushing]]
| 273
| Oil on canvas
| Late 1894 or 1895
|
|
| [[Gilcrease Museum]], [[Tulsa, Oklahoma]]<ref>[http://www.gilcrease.org/FineArt_Sample.aspx]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of Frank Hamilton Cushing Thomas Eakins 1895.jpeg|100px|]]
|-
! scope="row" | Sketch for [[Frank Hamilton Cushing]]
| 274
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6313]{{dead link | date = June 2012}}</ref>
| [[File:Study for Frank Hamilton Cushing G274.png|100px|]]
|-
! scope="row" | Mrs. Frank Hamilton Cushing
| 275
| Oil on canvas
| Circa 1894 or 1895
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42521.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. Frank Hamilton Cushing | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Mrs Frank Hamilton Cushing.png|100px|]]
|-
! scope="row" | [[James MacAlister]] (also known as "Man in the Ned Necktie")
| 276
| Oil on canvas mounted on cardboard
| ca. 1895
|
| Sketch. Originally double sided with G276A until the two images were split.<ref name="GP" />
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/james_macalister_sketch_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011168&vT=1 | title = The Metropolitan Museum of Art – James MacAlister (Sketch) | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:James MacAlister.jpg|100px|]]
|-
! scope="row" | Study for William L. MacLean
| 276A
| Oil on canvas mounted on cardboard
| ca. 1895
|
| Originally double sided with G276 until the two images were split.<ref name="GP" />
|
| [[File:William L. MacLean G276A.jpg|100px|]]
|-
! scope="row" | Weda Cook
| 277
| Oil on canvas
| Circa 1895
|
|
| [[Columbus Museum of Art]], [[Columbus, Ohio]]<ref>http://collection.cmaohio.org/art,1948.017,Weda-Cook.php</ref>
| [[File:Weda Cook.jpg|100px|]]
|-
! scope="row" | [[The Pianist (painting)|The Pianist (Stanley Addicks)]]
| 278
| Oil on canvas
| Circa 1895
|
|
| [[Indianapolis Museum of Art]], [[Indianapolis, Indiana]]<ref>[http://www.imamuseum.org/art/collections/artwork/pianist-stanley-addicks-eakins-thomas The Pianist (Stanley Addicks) | Indianapolis Museum of Art]</ref>
| [[File:The-Pianist-(Stanley-Addicks)-1896-large.jpg|100px|]]
|-
! scope="row" | Katherine Maud Cook
| 279
| Oil on canvas
| 1895
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52619 | title = Yale University Art Gallery – eCatalogue – Maud Cook (Mrs. Robert C. Reid) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins cook.jpg|100px|]]
|-
! scope="row" | Riter Fitzgerald
| 280
| Oil on canvas
| 1895
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/72864 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Riter Fitzgerald.png|100px|]]
|-
! scope="row" | Sketch for Riter Fitzgerald
| 281
| Oil on canvas mounted on cardboard
|
|
|
| [[The Huntington Library]], [[San Marino, California]]<ref>[http://emuseum.huntington.org/code/emuseum.asp?action=newpage&style=single&singlepage=3&searchxml=%3CeMuseum_search+site%3D%22Huntington%22+date%3D%222010-07-10%22%3E%3Ccriteria%3E%3Cparams+searchcode%3D%22-1%22+pagesize%3D%226%22+currentpage%3D%221%22+orderfield%3D%22%22+orderdir%3D%22%22+profile%3D%22objects%22%2F%3E%3Cbasic+criteria%3D%22Eakins%22%2F%3E%3C%2Fcriteria%3E%3C%2FeMuseum_search%3E%0D%0A&style=browse&pagesize=6&currentpage=1&page=search&browsepagesize=6&searchtype=basic&profile=objects&wandering=no&term=Eakins&basicterm=Eakins&pagetotal=4&pagestart=1&pageend=4]{{dead link | date = June 2012}}</ref>
| [[File:Intermediate sketch of Riter Fitzgerald.jpg|100px|]]
|-
! scope="row" | Sketch for Riter Fitzgerald
| 282
| Oil on canvas
|
|
|
|
| [[File:Sketch for Riter Fitzgerald G282.jpg|100px|]]
|-
! scope="row" | Study for Mrs. Hubbard
| 283
| Oil on canvas mounted on cardboard
| Circa 1895
|
| Study for now-destroyed Mrs. Hubbard. Sold at auction in 1999 for $34,500.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=Y987 Sotheby's listing for the Portrait of Mrs. Hubbard]{{dead link | date = June 2012}}</ref>
| [[Sewell C. Biggs Museum of American Art]], [[Dover, Delaware]]<ref>The Sewell C. Biggs Collection of American Art: A Catalogue. Volume II – Paintings and Sculpture. Biggs Museum of American Art, 2002. ISBN 1-893287-05-X</ref>
| [[File:Eakins, Mrs Hubbard 1895.jpg|100px|]]
|-
! scope="row" | [[John McLure Hamilton]]
| 284
| Oil on canvas
| 1895
|
|
| [[Wadsworth Atheneum]], [[Hartford, Connecticut]]<ref name="Wright" />
| [[File:Thomas Eakins Portrait of John McLure Hamilton 1895.jpg|100px|]]
|-
! scope="row" | Sketch for [[John McLure Hamilton]]
| 285
| Oil on canvas mounted on cardboard
|
| 14⅝ × 10⅝
|
| [[Georgia Museum of Art]], [[Athens, Georgia]]
| [[File:G285 Sketch for John McLure Hamilton.jpg|100px]]
|-
! scope="row" | Mrs. Charles L. Leonard
| 286
| Oil on cardboard
| 1895
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, March 3, 2011; sold for $25,000.<ref>http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5409062</ref>
|
| [[File:Study for a Portrait of Mrs Charles L Leonard by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Miss Gertrude Murray
| 287
| Oil on canvas
| 1895
|
|
| [[Dallas Museum of Art]], [[Dallas, Texas]]<ref name="Wright" />
| [[File:Miss Gertrude Murray.jpg|100px|]]
|-
! scope="row" | Charles Linford
| 288
| Oil on canvas
| Circa 1895
|
|Previously in the IBM collection. Sold at auction in 1995 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2198183 | title = Portrait of the artist Charles Linford by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1995-05-25 | accessdate = 2012-06-08}}</ref>
|
| [[File:Eakins, Charles Linford, Artist 1895.jpg|100px|]]
|-
! scope="row" | Captain [[Joseph Lapsley Wilson]]
| 289
| Oil on canvas
| Circa 1895
| 30 × 22
|
| Collection of the [[First Troop Philadelphia City Cavalry]]
| [[File:Captain Joseph Lapsley Wilson G289.jpg|100px|]]
|-
! scope="row" | Sketch for Captain [[Joseph Lapsley Wilson]]
| 290
| Oil on canvas mounted on cardboard
|
| 7¾ × 5¼
| Sold at auction in 1983 for $9000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1162326 | title = Portrait of Capt. Lapsley Wilson by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-06-03 | accessdate = 2012-06-08}}</ref>
|
|
|-
! scope="row" | The Cello Player
| 291
| Oil on canvas
| 1896
|
| Ex collection: [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, PA]]; deaccessioned 2007, to fund 2007 purchase of [[The Gross Clinic]].
|
| [[File:The Cello Player Thomas Eakins 1896.jpeg|100px|]]
|-
! scope="row" | Sketch for the Cello Player
| 292
| Oil on canvas
| 1896
|
|
| [[Heckscher Museum of Art]], [[Huntington, New York]]<ref>{{cite web | url = http://www.heckscher.org/pages.php?which_page=collection_image_detail&which_image=1969_003 | title = Search the Entire Collection Database – Heckscher Museum of Art | publisher = Heckscher.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the cello player.jpg|100px|]]
|-
! scope="row" | Mrs. James Mapes Dodge
| 293
| Oil on canvas
| 1896
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/52571.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. James Mapes Dodge (Josephine Kern) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Mrs. James Mapes Dodge - Josephine Kern.png|100px|]]
|-
! scope="row" | [[Harrison S. Morris]]
| 294
| Oil on canvas
| 1896
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7159/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait-of-Harrison-S.-Morris-large.jpg|100px|]]
|-
! scope="row" | Sketch for [[Harrison S. Morris]]
| 295
| Oil on canvas mounted on cardboard
|
|
|
||[[Newark Museum]], [[Newark, New Jersey]]<ref>Hendricks, 331 (CL159)</ref>
| [[File:Sketch for Harrison S Morris G295.jpg|100px]]
|-
! scope="row" | Professor William Woosley Johnson
| 295A
| Oil on canvas
| Circa 1896
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132532 | title = Professor William Woolsey Johnson | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Professor William Woolsey Johnson.jpg|100px|]]
|-
! scope="row" | Dr. Charles Lester Leonard
| 296
| Oil on canvas
| 1897
|
|
| Collection of the [[University of Pennsylvania School of Medicine]], [[Philadelphia, Pennsylvania]]
| [[File:Charles Lester Leonard G296.jpg|100px|]]
|-
! scope="row" | Jennie Dean Kershaw (Mrs. Samuel Murray)
| 297
| Oil on canvas
| Circa 1897
|
|
| [[Sheldon Museum of Art]], [[Lincoln, Nebraska]]<ref>{{cite web | url = http://www.sheldonartmuseum.org/collection/search.html?topic=detail&clct_id=5944 | title = Sheldon Museum of Art: Collection | publisher = Sheldonartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Jennie Dean Kershaw 1897.jpg|100px|]]
|-
! scope="row" | Mrs. Samuel Murray (unfinished)
| 298
| Oil on canvas
|
|
|
| [[Baltimore Museum of Art]], [[Baltimore, Maryland]]
| [[File:Eakins Jennie Dean Kershaw G298.jpg|100px|]]
|-
! scope="row" | Miss Lucy Lewis
| 299
| Oil on canvas
| circa 1897
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/105879.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Lucy Lewis | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Miss Lucy Lewis 1896.jpg|100px|]]
|-
! scope="row" | Miss Anna Lewis
| 300
| Oil on canvas
| Circa 1898
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6270]{{dead link | date = June 2012}}</ref>
| [[File:Anna Lewis G300.jpg|100px|]]
|-
! scope="row" | William H. MacDowell with a Hat
| 301
| Oil on canvas
| Circa 1898
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]
| [[File:William Macdowell with a hat G301.png|100px|]]
|-
! scope="row" | General [[Edward Burd Grubb, Jr.|E. Burd Grubb]]
| 302
| Oil on canvas
| Probably 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=23931 | title = Yale University Art Gallery – eCatalogue – General E. Burd Grubb (1841–1914) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:General E Burd Grubb G302.jpg|100px|]]
|-
! scope="row" | [[Taking the Count]]
| 303
| Oil on canvas
| 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=5463 | title = Yale University Art Gallery – eCatalogue – Taking the Count | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Taking the Count by Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for Taking the Count
| 304
| Oil on canvas mounted on cardboard
| 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=34823 | title = Yale University Art Gallery – eCatalogue – Taking the Count, study | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Taking the Count, by Thomas Eakins, YUAG.jpg|100px|]]
|-
! scope="row" | Sketch for Taking the Count
| 305
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6305]{{dead link | date = June 2012}}</ref>
| [[File:Study for Taking the Count.jpg|100px|]]
|-
! scope="row" | The Referee, [[Walter Schlichter|H. Walter Schlichter]]
| 306
| Oil on canvas
| 1898
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6283]{{dead link | date = June 2012}}</ref>
| [[File:The Referee - Portrait of H Walter Schlichter.png|100px|]]
|-
! scope="row" | Maybelle
| 307
| Oil on canvas
| 1898
|
|
| [[Frye Art Museum]], [[Seattle, Washington]]<ref>{{cite web | url = http://fryemuseum.org/collection_list/ | title = Frye Art Museum: Collection List | publisher = Fryemuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Maybelle 1898.jpg|100px|]]
|-
! scope="row" | Sketch for Maybelle
| 308
| Oil on canvas mounted on cardboard
|
|
|
|
| [[File:Eakins sketch for Maybelle.jpg|100px|]]
|-
! scope="row" | John N. Fort
| 309
| Oil on canvas
| 1898
|
|
| [[Williams College Museum of Art]], [[Williamstown, Massachusetts]]<ref>[http://www.wcma.org/press/08/08_Model_Am_Men.shtml]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of John Neil Fort.jpg|100px|]]
|-
! scope="row" | [[Salutat]]
| 310
| Oil on canvas
| 1898
|
|
| [[Addison Gallery of American Art]], [[Phillips Academy]]<ref name="Wright" />
| [[File:Salutat.jpg|100px|]]
|-
! scope="row" | Study for Salutat
| 311
| Oil on canvas
| 1898
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1021940 | title = Thomas Eakins: Study for Salutat | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Study for Salutat.jpg|100px|]]
|-
! scope="row" | [[Between Rounds]]
| 312
| Oil on canvas
| 1898–1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42496.html | title = Philadelphia Museum of Art – Collections Object : Between Rounds | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, In the mid-time 1896.jpg|100px|]]
|-
! scope="row" | Sketch for Between Rounds
| 313
| Oil on cardboard
|
|
|Double sided – one side is a study for Between Rounds. The other side is a landscape sketch.
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6303]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for Between Rounds G313.jpg|100px|]] [[File:Landscape sketch G313.jpg|100px|]]
|-
! scope="row" | Billy Smith (sketch)
| 314
| Oil on canvas
| circa 1898
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42497.html | title = Philadelphia Museum of Art – Collections Object : Billy Smith (Sketch for Between Rounds) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins - Billy Smith.png|100px|]]
|-
! scope="row" | Billy Smith (study)
| 315
| Oil on canvas
| 1898
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084330282700 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Billy Smith.png|100px|]]
|-
! scope="row" | The Timer
| 316
| Oil on canvas
| 1898
|
|
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref name="Wright" />
| [[File:Between Rounds Study for the Timer, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | [[Wrestlers (painting)|Wrestlers]]
| 317
| Oil on canvas
| 1899
|
|
| [[Los Angeles County Museum of Art]], [[Los Angeles County, California]]<ref>{{cite web | url = http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=156181&type=101 | title = Thomas Eakins. Wrestlers. Los Angeles County Museum of Art | publisher = Collectionsonline.lacma.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas - Wrestlers 1899.jpg|100px|]]
|-
! scope="row" | Study for Wrestlers
| 318
| Oil on canvas
|
|
|
| [[Los Angeles County Museum of Art]], [[Los Angeles County, California]]<ref>{{cite web | url = http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=14525;type=101 | title = Thomas Eakins. Wrestlers. Los Angeles County Museum of Art | publisher = Collectionsonline.lacma.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for Wrestlers.jpg|100px|]]
|-
! scope="row" | Wrestlers (unfinished)
| 319
| Oil on canvas
| 1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/55532.html | title = Philadelphia Museum of Art – Collections Object : Wrestlers | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas (1844-1916) - Lottatori 2.jpg|100px|]]
|-
! scope="row" | The Fairman Rogers Four-in-Hand (black & white)
| 320
| Oil on canvas
| 1899
|
| Black & white version of 1879–80 original. Painted as an illustration for [[Fairman Rogers]], ''A Manual of Coaching'' (Philadelphia, 1900).
| [[St. Louis Art Museum]], [[St. Louis, Missouri]]<ref>[http://stlouis.art.museum/emuseum/code/emuseum.asp?style=Browse&currentrecord=1&page=search&profile=objects&searchdesc=92:1954&quicksearch=92:1954&newvalues=1&newstyle=single&newcurrentrecord=1]{{dead link | date = June 2012}}</ref>
| [[File:Thomas Eakins - The Fairman Rogers Four-In-Hand (A May Morning in the Park).jpg|100px|]]
|-
! scope="row" | T. Ellwood Potts
| 321
| 1890–1900
|
|
|
|
|
|-
! scope="row" | Mrs. T Ellwood Potts
| 322
|
| Circa 1890–1900
|
|
|
|
|-
! scope="row" | [[Portrait of Mary Adeline Williams|Addie: A Woman in Black (Portrait of Miss Mary Adeline Williams)]]
| 323
| Oil on canvas
| Circa 1899
|
| In his book ''Eakins Revealed'' pp. 369–371, Henry Adams claims Eakins' friend Mary Adeline Williams was the nude model for #451 ''William Rush and his Model'' in the collection of the [[Honolulu Museum of Art]], [[Honolulu]], [[Hawaii]], and related studies #'s 445,446, 447,452,453 and 454.
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/31285 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Addie Woman in Black.jpg|100px|]]
|-
! scope="row" | Benjamin Eakins
| 324
| Oil on canvas
| Circa 1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42517.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Benjamin Eakins | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Benjamin Eakins.jpg|100px|]]
|-
! scope="row" | Mrs. Thomas Eakins
| 325
| Oil on canvas
| Circa 1899
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6314]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Susan MacDowell Eakins, 1899.jpg|100px|]]
|-
! scope="row" | Mrs. William H. Green
| 326
| Oil on canvas
| 1899
|
| Previously in the collection of the [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction on September 29, 2010 for $31,250.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621422]{{dead link | date = June 2012}}</ref>
|
| [[File:Mrs William H. Green.jpg|100px|]]
|-
! scope="row" | The Dean's Roll Call
| 327
| Oil on canvas
| 1899
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32882 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Dean's Roll Call 1899.jpg|100px|]]
|-
! scope="row" | Louis Husson
| 328
| Oil on canvas
| 1899
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=43673 Louis Husson]{{dead link | date = June 2012}}</ref>
| [[File:Louis Husson.jpg|100px|]]
|-
! scope="row" | David Wilson Jordan
| 329
| Oil on canvas
| 1899
|
|
| [[The Huntington Library]], [[San Marino, California]]<ref>[http://emuseum.huntington.org/code/emuseum.asp?action=newpage&style=single&singlepage=1&searchxml=%3CeMuseum_search+site%3D%22Huntington%22+date%3D%222010-07-10%22%3E%3Ccriteria%3E%3Cparams+searchcode%3D%22-1%22+pagesize%3D%226%22+currentpage%3D%221%22+orderfield%3D%22%22+orderdir%3D%22%22+profile%3D%22objects%22%2F%3E%3Cbasic+criteria%3D%22Eakins%22%2F%3E%3C%2Fcriteria%3E%3C%2FeMuseum_search%3E%0D%0A&style=browse&pagesize=6&currentpage=1&page=search&browsepagesize=6&searchtype=basic&profile=objects&wandering=no&term=Eakins&basicterm=Eakins&pagetotal=4&pagestart=1&pageend=4]{{dead link | date = June 2012}}</ref>
| [[File:David Wilson Jordan.jpg|100px|]]
|-
! scope="row" | Study for David Wilson Jordan
| 329A
| Oil
|
|
|
| 
|
|-
! scope="row" | [[William Merritt Chase]]
| 330
| Oil on canvas
| Circa 1899
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>Rosenzweig, 19</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6278]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, William Merritt Chase 1899.jpg|100px|]]
|-
! scope="row" | [[The Thinker: Portrait of Louis N. Kenton]]
| 331
| Oil on canvas
| 1900
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_thinker_portrait_of_louis_n_kenton_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011178&vT=1 | title = The Metropolitan Museum of Art – The Thinker: Portrait of Louis N. Kenton | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Thinker- Portrait of Louis N. Kenton.jpg|100px|]]
|-
! scope="row" | Sketch for The Thinker
| 332
| Oil on cardboard mounted on wood
|
|
| Originally double sided with 365A until the two images were split.<ref name="GP" />
| [[Farnsworth Art Museum]], [[Rockland, Maine]]<ref>http://browser.farnsworthmuseum.org/collection/results.do?view=detail&db=object&id=211</ref>
| [[File:Study for the Thinker.jpg|100px|]]
|-
! scope="row" | [[Portrait of Mary Adeline Williams|Addie (also known as "Portrait of Mary Adeline Williams")]]
| 333
| Oil on canvas
| 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42491.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mary Adeline Williams | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Addie (Mary Adeline Williams) 1900.jpg|100px|]]
|-
! scope="row" | Mrs. Mary Arthur
| 334
| Oil on canvas
| 1900
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/mrs_mary_arthur_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011171&vT=1 | title = The Metropolitan Museum of Art – Mrs. Mary Arthur | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs Mary Arthur.jpg|100px|]]
|-
! scope="row" | Robert M. Lindsay
| 335
| Oil on canvas
| 1900
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref>[http://www.davidrumsey.com/amica/amico206713-39765.html Thomas Cowperthwaite Eakins – Robert M. Lindsay – 1900] Amica Digital Library. 2003.</ref>
| [[File:Robert M. Lindsay G335.jpg|100px|]]
|-
! scope="row" | Sketch for Robert M. Lindsay
| 336
| Oil on wood
|
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref>Porter, plate 63</ref>
| [[File:Sketch for Robert M. Lindsay G336.jpg|100px|]]
|-
! scope="row" | Frank Jay St. John
| 337
| Oil on canvas
| 1900
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132325 | title = Frank Jay St. John | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Frank Jay St John 1900.jpg|100px|]]
|-
! scope="row" | [[Antiquated Music: Portrait of Sarah Sagehorn Frishmuth]]
| 338
| Oil on canvas
| 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42535.html | title = Philadelphia Museum of Art – Collections Object : Antiquated Music (Portrait of Sarah Sagehorn Frishmuth) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Antiquated Music - Portrait of Sarah Sagehorn Frishmuth.jpg|100px|]]
|-
! scope="row" | Mrs. Joseph H. Drexel
| 339
| Oil on canvas unstretched
| 1900
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Chrsitie's NY, May 18, 2011; sold for $68,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-portrait-of-mrs-joseph-w/5436925/lot/lot_details.aspx?from=searchresults&intObjectID=5436925&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Portrait of Mrs. Joseph W. Drexel | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Mrs Joseph H. Drexel.jpg|100px|]]
|-
! scope="row" | Sketch for Mrs. Joseph H. Drexel
| 340
| Oil on cardboard
| Circa 1900
|
|
|
|
|-
! scope="row" | Dr. [[Daniel Garrison Brinton]]
| 340A
| Oil
|
|
|
| Collection of the [[American Philosophical Society]].<ref>Braddock, 173</ref>
| [[File:Daniel Garrison Brinton.jpg|100px]]
|-
! scope="row" | Clara J. Mather
| 341
| Oil on canvas
| Circa 1900
|
|
| [[Musée d'Orsay]], [[Paris, France]]<ref>{{cite web | url = http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&zoom=1&tx_damzoom_pi1%5bzoom%5d=0&tx_damzoom_pi1%5bxmlId%5d=009447&tx_damzoom_pi1%5bback%5d=%2Fen%2Fcollections%2Findex-of-works%2Fnotice.html%3Fno_cache%3D1%26zsz%3D5%26lnum%3D | publisher = Musée d'Orsay | title = Clara | work = musee-orsay.fr | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Clara (Clara J Mather) c1900.jpg|100px|]]
|-
! scope="row" | A Woman in Black (Portrait of Clara J. Mather)
| 342
| Oil on wood
|
|
|
|
|
|-
! scope="row" | Elizabeth R. Coffin
| 343
| Oil on canvas
| Circa 1900
|
|
| Coffin School collection, [[Egan Institute of Maritime Studies]], [[Nantucket, Massachusetts]]<ref>[http://www.eganmaritime.org/coffin.htmlEgan Institute of Maritime Studies – The Coffin School]{{dead link | date = June 2012}}, [http://www.eganmaritime.org/coffin_school-collections.html Coffin School Collections]{{dead link | date = June 2012}}</ref>
| [[File:Elizabeth Coffin G343.jpg|100px|]]
|-
! scope="row" | Dr. [[Edward J. Nolan]]
| 344
| Oil on canvas
| Circa 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42500.html?mulR=4909 | title = Philadelphia Museum of Art – Collections Object : Portrait of Dr. Edward J. Nolan | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Edward J Nolan G344.jpg|100px|]]
|-
! scope="row" | [[Henry Ossawa Tanner|Henry O. Tanner]]
| 345
| Oil on canvas
| Circa 1900
|
|
| [[The Hyde Collection]], [[Glens Falls, New York]]<ref name="Wright" />
| [[File:Eakins, Henry Ossawa Tanner 1902.jpg|100px|]]
|-
! scope="row" | Honorable John A. Thorton
| 346
| Oil on canvas
|
|
|
| [[Schwarz Gallery]], [[Philadelphia, Pennsylvania]]
| [[File:Honorable John A. Thorton.jpg|100px|]]
|-
! scope="row" | Monsignor James P. Turner
| 347
| Oil on canvas
| circa 1900
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James P Turner G347.jpg|100px|]]
|-
! scope="row" | [[Portrait of Leslie W. Miller]]
| 348
| Oil on canvas
| 1901
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44493.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Leslie W. Miller | publisher = Philamuseum.org | date = 1932-01-13 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Leslie W Miller 1901.jpg|100px|]]
|-
! scope="row" | Sketch for Professor [[Portrait of Leslie W. Miller|Leslie W. Miller]]
| 349
| Oil on cardboard
| circa 1892–1894
|
| Double sided: one side depicts Leslie W. Miller. The reverse depicts Thomas Eakins' dog, Harry.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49535.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Leslie W. Miller | work = philamuseum.org | accessdate = June 2, 2012}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49536.html | title = Philadelphia Museum of Art – Collections Object : Sketch of Harry | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Leslie W. Miller.png|100px|]] [[File:Sketch of Harry.jpg|100px|]]
|-
! scope="row" | Signature for 'Leslie W. Miller'
| 349A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6348]{{dead link | date = June 2012}}</ref>
| [[File:Signature for Leslie Miller.jpg|100px]]
|-
! scope="row" | Mrs. Leslie W. Miller
| 350
| Oil on canvas
| 1901
|
|
|
|
|-
! scope="row" | Mrs. Elizabeth Duane Gillespie
| 351
| Oil on canvas
| 1901
|
|
| Collection of the Women's Committee of the Philadelphia Museum of Art<ref>Goodrich, 1982, volume II, page 76</ref>
| [[File:Portrait of Mrs Elizabeth Duane Gillespie G351.png|100px|]]
|-
! scope="row" | Sketch for Mrs. Elizabeth Duane Gillespie
| 352
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6272]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for portrait of Mrs Elizabeth Duane Gillespie G352.jpg|100px|]]
|-
! scope="row" | George Morris
| 353
| Oil on canvas
| 1901
|
|
|
|
|-
! scope="row" | Reverend [[Philip R. McDevitt]]
| 354
| Oil on canvas
| 1901
|
|
| [[Snite Museum of Art]], [[Notre Dame, Indiana]]<ref>{{cite web | url = http://nd.edu/~sniteart/collection/american/index.html | title = Snite Museum of Art – University of Notre Dame – Collection – American | publisher = Nd.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Phillip H McDevitt.jpg|100px|]]
|-
! scope="row" | Charles F. Haseltine
| 355
| Oil on canvas
| Circa 1901
|
|
| [[Montclair Art Museum]], [[Montclair, New Jersey]]<ref name="Wright" />
| [[File:Charles Haseltine G355.jpg|100px|]]
|-
! scope="row" | [[Elbridge Ayer Burbank]]
| 356
|
| Circa 1901
|
|
|
|
|-
! scope="row" | Alfred F. Watch
| 357
|
| Circa 1901
|
|
|
|
|-
! scope="row" | [[Self-portrait (Thomas Eakins)|Self-Portrait]]
| 358
| Oil on canvas
| 1902
|
|
| [[National Academy of Design]], [[New York City, New York]]<ref name="Wright" />
| [[File:Eakins selfportrait.jpg|100px|]]
|-
! scope="row" | [[Self-portrait (Thomas Eakins)|Self-portrait]]
| 358A
| Oil on canvas
| Circa 1902
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Wright" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6286]{{dead link | date = June 2012}}</ref>
| [[File:Eakins self portrait.jpg|100px]]
|-
! scope="row" | Colonel Alfred Reynolds
| 359
| Oil on canvas
| 1902
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]<ref name="Peggy">Kevin Kittredge. [http://rtstories.com/artmuseum/comment/reply/29 Peggy's gift – Peggy Macdowell Thomas leaves her art to Roanoke museum]. The Roanoke Times, January 27, 2002</ref>
| [[File:Alfred Reynolds G359.jpg|100px|]]
|-
! scope="row" | Signora Gomez D'Arza
| 360
| Oil on canvas
| 1902
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/signora_gomez_d_arza_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011176&vT=1 | title = The Metropolitan Museum of Art – Signora Gomez d'Arza | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Signora Gomez d'Arza 1902.jpg|100px|]]
|-
! scope="row" | His Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361
| Oil on canvas
| 1901–02
|
|
| [[Hammer Museum]], [[Los Angeles]]<ref name="Wright" />
| [[File:Eakins, Sebastiano Cardinal Martinelli 1902.jpg|100px|]]
|-
! scope="row" | Perspective drawing for his Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361A
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Perspective drawing for his Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361B
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Very Reverend John J. Fedigan
| 362
| Oil on canvas
| 1902
|
|
| In the collection of the [[Augustinians|Augstinian]] Province of St. Thomas of Villanova.<ref>Foster, 417</ref> On permanent loan to [[Villanova University]], [[Villanova, Pennsylvania]]<ref>[http://www.villanova.edu/communication/assets/documents/magazine/spring_2007.pdf, pages 13–14]{{dead link | date = June 2012}}</ref>
| [[File:John Fedigan G362.jpg|100px|]]
|-
! scope="row" | Sketch for the Very Reverend John J. Fedigan
| 363
| Oil on canvas
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's NY, September 27, 2011; sold for $10,625.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-portrait-of-the/5477576/lot/lot_details.aspx?from=searchresults&intObjectID=5477576&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Study for "Portrait of the Very Reverend John J. Fedigan" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Reverend John J Fedigan G363.jpg|100px|]]
|-
! scope="row" | The Translator
| 364
| Oil on canvas
| 1902
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]
| [[File:The Translator G364.jpg|100px|]]
|-
! scope="row" | Monsignor [[James F. Loughlin]]
| 365
| Oil on canvas
| 1902
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James Loughlin G365.jpg|100px|]]
|-
! scope="row" | Study for Monsignor [[James F. Loughlin]]
| 365A
| Oil on cardboard mounted on wood
|
|
| Originally double sided with 332 until the two images were split.<ref name="GP" /><ref name="GP" /> Sold at auction for $15,000 in 2005.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/355081 | title = The cardinal by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 2005-11-29 | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for Monsignor James F. Loughlin.jpg|100px|]]
|-
! scope="row" | [[John Seely Hart]]
| 366
| Oil on canvas
| 1902
|
| Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school.<ref name="Zucchino" /> Currently in an undisclosed location.
| Collection of the [[School District of Philadelphia]], [[Philadelphia, Pennsylvania]]
|
|-
! scope="row" | Charles E. Dana
| 367
| Oil on canvas
| Circa 1902
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__6556/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Charles Edmund Dana.jpg|100px|]]
|-
! scope="row" | The Young Man (Kern Dodge)
| 368
| Oil on canvas
| Circa 1902
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42502.html?mulR=19362 | title = Philadelphia Museum of Art – Collections Object : The Young Man (Portrait of Kern Dodge) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Young Man G368.jpg|100px|]]
|-
! scope="row" | Miss Mary Perkins (unfinished)
| 369
| Oil on canvas
| Circa 1902
|
|
|
| [[File:Eakins-MissMaryPerkins G369.jpg|100px|]]
|-
! scope="row" | Girl with a Fan
| 370
| Oil on canvas
| Circa 1902
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #252</ref>
| [[File:Girl with a Fan G370.jpg|100px|]]
|-
! scope="row" | Adam S. Bare
| 371
| Oil on canvas
| 1903
|
|
|
| [[File:Adam S Bare.jpg|100px|]]
|-
! scope="row" | Walter Copeland Bryant
| 372
| Oil on canvas
| 1903
|
|
| Collection of the Brockton public library, [[Brockton, Massachusetts]]
|
|-
! scope="row" | Dr. Matthew H. Cryer
| 373
| Oil on canvas
| 1903
|
|
| Private collection
| [[File:Eakins Matthew Cryer G373.jpg|100px|]]
|-
! scope="row" | Archbishop [[William Henry Elder]]
| 374
| Oil on canvas
| 1903
| 66 3/16 × 45 3/16
|
| [[Cincinnati Art Museum]], [[Cincinnati]], [[Ohio]]<ref>http://72.249.182.183/collection/results.do?id=14733&db=object&view=detail</ref>
| [[File:Portrait of archbishop william henry elder thomas eakins.jpeg|100px|]]
|-
! scope="row" | Mother [[Patricia Waldron]]
| 375
| Sketch. Oil on canvas mounted on cardboard
| 1903
|
| Completed portrait, G-487: Lost, probably destroyed. See below.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44123.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Mother Patricia Waldron | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Mother Patricia Waldron.jpg|100px|]]
|-
! scope="row" | Bishop [[Edmond Francis Prendergast|Edmond F. Prendergast]]
| 376
| Oil on canvas
|
|
| Lost, possibly destroyed: "Murray told Eakins biographer Lloyd Goodrich that he had it 'from a reliable source' that the painting, which Murray considered 'superb' was somehow disposed of."<ref>Sidney Kirkpatrick. The Revenge of Thomas Eakins. Yale University Press, 2006, ISBN 0-300-10855-9. Page 475</ref>
|
|
|-
! scope="row" | [[James A. Flaherty]]
| 377
| Oil on canvas
| 1903
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James Flaherty G377.jpg|100px|]]
|-
! scope="row" | William B. Kurtz
| 378
| Oil on canvas
| 1903
|
|
| Collection of Mr. and Mrs. Daniel W. Dietrich II<ref>Homer, 1980, Dietrich catalogue #10</ref><ref>Goodrich, 1982, volume II, page 207</ref>
| [[File:Portrait-of-William-B.-Kurtz-large-1.jpg|100px|]]
|-
! scope="row" | Miss Alice Kurtz
| 379
| Oil on canvas
| 1903
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1969.1&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Miss Alice Kurtz]</ref>
| [[File:Eakins, Alice Kurtz 1903.jpg|100px|]]
|-
! scope="row" | Mrs. Mary Hallock Greenewalt
| 380
| Oil on canvas
| 1903
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084331834967 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs. Mary Hallock Greenwalt.jpg|100px|]]
|-
! scope="row" | Dr. Frank Lindsay Greenewalt
| 381
| Oil on canvas
| 1903
|
|
|Private collection, Delaware
| [[File:Eakins - Frank Lindsay Greenewalt.jpg|100px|]]
|-
! scope="row" | Dr. Frank Lindsay Greenewalt
| 381A
| Oil
|
|
|
|
|
|-
! scope="row" | Mrs. Anna A. Kershaw
| 382
| Oil on canvas
| 1903
|
|
| [[Sheldon Museum of Art]], [[Lincoln, Nebraska]]
| [[File:Anna Kershaw G382.png|100px|]]
|-
! scope="row" | Ruth (Portrait of Ruth Harding)
| 383
| Oil on canvas
| 1903
|
|
| [[White House Art Collection]], [[Washington, D.C.]]
| [[File:Ruth Harding.jpeg|100px|]]
|-
! scope="row" | An Actress: Portrait of Suzanne Santje
| 384
| Oil on canvas
| 1903
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42504.html | title = Philadelphia Museum of Art – Collections Object : An Actress (Portrait of Suzanne Santje) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:An Actress (Portrait of Suzanne Santje).jpg|100px|]]
|-
! scope="row" | Sketch for an Actress
| 385
| Oil on canvas mounted on cardboard
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, December 1, 2010; sold for $100,900.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-the-actress/5379541/lot/lot_details.aspx?from=searchresults&intObjectID=5379541&sid=6e63e766-e288-4d7a-af59-ef72ef7b3f8c | title = Thomas Eakins (1844–1916) | Study for "The Actress" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for an Actress G385.jpg|100px|]]
|-
! scope="row" | Miss Betty Reynolds
| 386
| Oil on canvas
| Circa 1903
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's New York, March 1, 2012; sold for $22,500.<ref>http://www.christies.com/lotfinder/paintings/thomas-eakins-betty-reynolds-5534228-details.aspx?pos=136&intObjectID=5534228&sid=</ref>
|
| [[File:Betty Reynolds, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | The Oboe Player
| 387
| Oil on canvas
| 1903
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50201.html | title = Philadelphia Museum of Art – Collections Object : The Oboe Player (Portrait of Dr. Benjamin Sharp) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - The Oboe Player.jpeg|100px|]]
|-
! scope="row" | Rear-Admiral [[Charles Dwight Sigsbee|Charles D. Sigsbee]]
| 388
| Oil on canvas
| 1903
|
| Sold at auction in 2008 for $1,945,000<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159437348 Sotheby's listing for the portrait of Charles Dwight Sigsbee]{{dead link | date = June 2012}}</ref>
|
| [[File:Rear Admiral Charles Dwight Sigsbee G388.jpg|100px|]]
|-
! scope="row" | Mrs. M.S. Stokes
| 389
| Oil on canvas
| 1903
|
|
| [[Arkell Museum]], [[Canajoharie (village), New York|Canajoharie, New York]]<ref>{{cite web|author=The Arkell Museum at Canajoharie | url = http://www.arkellmuseum.org/coll_am05_eakins_mrsstokes.html | title = Portrait of Mrs. Stokes | Thomas Eakins | Artist – Painter | publisher = Arkellmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs M S Stokes.jpg|100px|]]
|-
! scope="row" | Mrs. Richard Day
| 390
| Oil on canvas
| Circa 1903
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6351]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Richard Day.jpg|100px|]]
|-
! scope="row" | Mother (Portrait of Annie Williams Gandy)
| 391
| Oil on canvas
| Circa 1903
|
| Donated to the Smithsonian by Annie Gandy's daughters, Lucy Rodman and [[Helen Gandy]].
| [[Smithsonian American Art Museum]]<ref>[http://americanart.si.edu/collections/search/artwork/?id=7710 Mother (Annie Williams Gandy)]. Smithsonian Museum of American Art</ref>
| [[File:Eakins, Mother 1903.jpg|100px|]]
|-
! scope="row" | Mrs. Helen MacKnight (also known as "The Lady in Grey" and "Portrait of a Mother")
| 392
| Oil on canvas
| Circa 1903
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6288]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Helen MacKnight - Portrait of a Mother G392.png|100px|]]
|-
! scope="row" | Francesco Romano
| 393
|
| Circa 1903
|
| Sold at auction in 1994 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2093556 | title = Portrait of Francesco Romano by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1994-05-26 | accessdate = 2012-06-08}}</ref> Auctioned at Sotheby's NY, November 29, 2012; sold for $146,500.<ref>http://www.sothebys.com/en/auctions/ecatalogue/2012/american-art-n08911/lot.44.lotnum.html</ref>
|
| [[File:Francesco Romano.jpg|100px|]]
|-
! scope="row" | Robert C. Ogden
| 394
| Oil on canvas
| 1904
|
|Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, May 20, 2009, Sale #2171, Lot 128, sold for $338,500.<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5199747 | title = Thomas Eakins (1844–1916) | Robert C. Ogden | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref><ref>Rosenzweig, 20</ref>
|
| [[File:Eakins - Robert C Ogden.png|100px|]]
|-
! scope="row" | Study for [[Robert C. Ogden]]
| 394A
| Oil
|
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, March 3, 2011, Sale #2419, Lot 107, sold for $32,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-portrait-of-robert/5409061/lot/lot_details.aspx?from=searchresults&intObjectID=5409061&sid=1ffb7c61-55fe-43f3-b274-17107f917b39 | title = Thomas Eakins (1844–1916) | Study for "Portrait of Robert C. Ogden" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for Robert C. Ogden 394A.jpg|100px|]]
|-
! scope="row" | [[James Carroll Beckwith|J. Carroll Beckwith]]
| 395
| Oil on canvas
| 1904
|
|
| [[San Diego Museum of Art]], [[San Diego, California]]<ref name="Wright" />
| [[File:J. Carroll Beckwith G395.png|100px|]]
|-
! scope="row" | Charles Percival Buck
| 396
| Oil on canvas
| 1904
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=4 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Charles Percival Buck.jpg|100px|]]
|-
! scope="row" | Mrs. James G. Carville (Portrait of Harriet Husson Carville)
| 397
| Oil on canvas
| 1904
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=55783 Harriet Husson Carville (Mrs. James G. Carville)]{{dead link | date = June 2012}}</ref>
| [[File:Harriet Husson Carville.jpg|100px|]]
|-
! scope="row" | Mrs. Kern Dodge
| 398
| Oil on canvas
| 1904
|
|
|
| [[File:Thomas Eakins - Portrait of Mrs Kern Dodge Helen Peterson Greene .jpg|100px|]]
|-
! scope="row" | Mrs. Kern Dodge
| 399
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Miss Beatrice Fenton (also known as "The Coral Necklace")
| 400
| Oil on canvas
| 1904
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Butler" />
| [[File:The Coral Necklace.jpg|100px|]]
|-
! scope="row" | William R. Hallowell
| 401
| Oil on canvas
| 1904
|
|
|
| [[File:William Hallowell G401.jpg|100px|]]
|-
! scope="row" | Music
| 402
| Oil on canvas
| 1904
|
|
| [[Albright-Knox Art Gallery]], [[Buffalo, New York]]<ref>http://66.251.89.230/detail.php?type=related&kv=433&t=objects</ref>
| [[File:Eakins, Music 1904.jpg|100px|]]
|-
! scope="row" | Sketch for Music
| 403
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44149.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Music (The Violinist) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Music - The Violinist.png|100px|]]
|-
! scope="row" | The Violinist
| 404
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6271]{{dead link | date = June 2012}}</ref>
| [[File:The Violinist G404.png|100px|]]
|-
! scope="row" | Samuel Myers
| 405
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6285]{{dead link | date = June 2012}}</ref>
| [[File:Samuel Myers G405.jpg|100px|]]
|-
! scope="row" | Frank B.A. Linton
| 406
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6284]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Frank Linton 1904.jpg|100px|]]
|-
! scope="row" | Mrs. Edith Mahon
| 407
| Oil on canvas
| 1904
|
|
| [[Smith College Museum of Art]], [[Northampton, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=3&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Edith Mahon.png|100px|]]
|-
! scope="row" | Rear-Admiral [[George W. Melville]]
| 408
| Oil on canvas
| 1904
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42534.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Rear Admiral George Wallace Melville | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Rear-Admiral George W. Melville, G408, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | William Murray
| 409
| Oil on canvas
| Circa 1904
|
|
|
| [[File:William Murray G409.jpg|100px|]]
|-
! scope="row" | Mrs. Matilda Searight
| 410
| Oil on canvas
| 1904
|
|
| [[La Salle University]] art gallery, [[Philadelphia, Pennsylvania]]
| [[File:Matilda Searight G410.jpg|100px|]]
|-
! scope="row" | [[Edward Taylor Snow]]
| 411
| Oil on canvas
| 1904
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/54251.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Edward Taylor Snow | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Edward Taylor Snow.png|100px|]]
|-
! scope="row" | [[Bernard Blommers|B.J. Blommers]]
| 412
|
| 1904
|
|
| [[Toledo Museum of Art]], [[Toledo, Ohio]]<ref name="Wright" />
| [[File:BJ Blommers G413.png|100px|]]
|-
! scope="row" | Mrs. B.J. Blommers
| 413
|
| 1904
|
|
|
|
|-
! scope="row" | [[Charles P. Gruppe]]
| 414
| Oil on canvas
| 1904
| 22" × 18"
|
| David Dufour, New York
| [[File:Charles Gruppe.jpg|100px|]]
|-
! scope="row" | A. Bryan Wall
| 414A
| Oil
|
|
|
| [[Bowdoin College Museum of Art]], [[Brunswick, Maine]]<ref>{{cite web | url = http://www.bowdoin.edu/art-museum/exhibitions/2009/face-forward.shtml | title = Face Forward: Portraits from the American Collection (Bowdoin College Museum of Art) | publisher = Bowdoin.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:A Bryan Wall.jpg|100px]]
|-
! scope="row" | Joseph R. Woodwell
| 415
| Oil on canvas
| 1904
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1006611 | title = Thomas Eakins: Joseph R. Woodwell | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Joseph R. Woodwell G415.jpg|100px|]]
|-
! scope="row" | William H. MacDowell
| 416
| Oil on canvas
| Circa 1904
|
|
| [[Memorial Art Gallery]], [[University of Rochester]], [[New York]]<ref>{{cite web | url = http://magart.rochester.edu/Obj356?sid=12820&x=226933 | title = Memorial Art Gallery Collection-William H. Macdowell, 41.26 | publisher = Magart.rochester.edu | date = 2012-05-31 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, William MacDowell 1904.jpg|100px|]]
|-
! scope="row" | Walter MacDowell
| 417
| Oil on canvas
| Circa 1904
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]<ref name="Peggy" />
| [[File:Walter S Macdowell.jpg|100px|]]
|-
! scope="row" | William H. Lippincott
| 418
|
| Late 1904 or early 1905
|
|
|
|
|-
! scope="row" | [[Edward Willis Redfield|Edward W. Redfield]]
| 419
| Oil on canvas
| 1905
|
|
| [[National Academy of Design]], [[New York City, New York]]
| [[File:Portrait of Edward Willis Redfield.jpg|100px|]]
|-
! scope="row" | Rear-Admiral [[George W. Melville]]
| 420
| Oil on canvas
| 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=72164 Rear Admiral George W. Melville]{{dead link | date = June 2012}}</ref>
| [[File:Rear Admiral George W Melville G420.jpg|100px|]]
|-
! scope="row" | Mrs. George Morris
| 421
| Oil on canvas
| 1905
|
|
|
|
|-
! scope="row" | Professor [[William S. Forbes|William Smith Forbes]]
| 422
| Oil on canvas
| 1905
|
| Deaccessioned from [[Thomas Jefferson University]], [[Philadelphia, Pennsylvania]] in 2007.
| Private collection
| [[File:Eakins Forbes.jpg|100px|]]
|-
! scope="row" | Charles L. Fussell
| 423
| Oil on canvas
| Circa 1905
|
|
| [[Montclair Art Museum]], [[Montclair, New Jersey]]<ref>[http://www.montclairartmuseum.org.asp1-6.websitetestlink.com/mcmullen/ (16 of 20)]</ref>
| [[File:Charles L Fussell.png|100px|]]
|-
! scope="row" | Study for Charles L. Fussell
| 423A
| Oil on board
| Circa 1905
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's New York, March 1, 2012; sold for $27,500.<ref>http://www.christies.com/lotfinder/paintings/thomas-eakins-study-for-a-portrait-of-5534229-details.aspx</ref>
|
| [[File:Charles Fussell G423A.jpg|100px|]]
|-
! scope="row" | Miss Florence Einstein
| 424
| Oil on canvas
| 1905
|
|
| [[Currier Museum of Art]], [[Manchester, New Hampshire]]<ref>{{cite web | url = http://collections.currier.org/Obj76?sid=33365&x=200993 | title = Currier Collections Online – "Florence Einstein" by Thomas Eakins | publisher = Collections.currier.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Florence Einstein.png|100px|]]
|-
! scope="row" | Monsignor Diomede Falconio
| 425
| Oil on canvas
| 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=33250 Archbishop Diomede Falconio]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Monsignor Diomede Falconia 1905.jpg|100px|]]
|-
! scope="row" | John B. Gest
| 426
| Oil on canvas
| 1905
|
|
| [[Museum of Fine Arts, Houston]], [[Houston, Texas]]<ref>Sewell, 2001, page 429, footnote 8</ref>
| [[File:Portrait of John B Gest 1905 large.jpg|100px|]]
|-
! scope="row" | Asbury.W. Lee
| 427
| Oil on canvas
| 1905
|
|
| [[Reynolda House Museum of American Art]], [[Winston-Salem, North Carolina]]<ref>{{cite web | url = http://www.reynoldahouse.org/discover/collections/services_detail02.php?service-id=303585981 | title = Selected Works | publisher = Reynoldahouse.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Ashbury W Lee 1905.jpg|100px|]]
|-
! scope="row" | Miss Elizabeth L. Burton
| 428
| Oil on canvas
| Circa 1905
|
|
| [[Minneapolis Institute of Arts]], [[Minneapolis, Minnesota]]<ref name="Wright" />
| [[File:Portrait of Elizabeth L Burton.jpg|100px|]]
|-
! scope="row" | Dr. Thomas H. Fenton
| 429
| Oil on canvas
| Circa 1905
|
|
| [[Delaware Art Museum]], [[Wilmington, Delaware]]
| [[File:Dr.-Thomas-H.-Fenton-large.jpg|100px|]]
|-
! scope="row" | Mrs. Louis Husson (Annie C. Lochrey)
| 430
| Oil on canvas
| Circa 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=43674 Annie C. Lochrey Husson (Mrs. Louis Husson)]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Louis Husson.jpg|100px|]]
|-
! scope="row" | Maurice Feeley
| 431
| Oil on canvas
| Circa 1905
|
||Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, March 3, 2011; sold for $27,500<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5409066 | title = Thomas Eakins (1844–1916) | Maurice Feely | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Maurice Feely G431.jpg|100px|]]
|-
! scope="row" | Genjiro Yeto
| 432
|
| 1906
|
|
|
|
|-
! scope="row" | A Singer: Portrait of Mrs. W.H. Bowden
| 433
| Oil on canvas
| 1906
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=3 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:A Singer - Portrait of Mrs. W.H. Bowden.jpg|100px|]]
|-
! scope="row" | A Singer: Portrait of Mrs. Leigo
| 434
| Oil on canvas
| Circa 1906
|
|
| [[Berry-Hill Galleries]], [[New York City, New York]]
| [[File:Eakins, Singer - Mrs Leigo 1906.jpg|100px|]]
|-
! scope="row" | Richard Wood
| 435
| Oil on canvas
| 1906
|
|
|
|
|-
! scope="row" | Master Alfred Douty
| 436
| Oil on canvas
| 1906
|
|
| [[Santa Barbara Museum of Art]], [[Santa Barbara, California]]<ref>{{cite web | url = http://www.sbmuseart.org/collection/american.web | title = SBMA: museum collection > american | publisher = Sbmuseart.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Master Alfred Douty.jpg|100px|]]
|-
! scope="row" | A Little Girl
| 437
| Oil on canvas
| Circa 1906
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/59552.html | title = Philadelphia Museum of Art – Collections Object : Portrait of a Little Girl | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of a Little Girl.png|100px|]]
|-
! scope="row" | Monsignor James P. Turner
| 438
| Oil on canvas
| Circa 1906
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase_ImageView.cfm?id=12000&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database – Image View | publisher = Nelson-atkins.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Monsignor James P. Turner G438.png|100px|]]
|-
! scope="row" | Sketches
| 439
| Oil on cardboard
|
|
| Double sided: one side is a sketch for Monsignor James P. Turner. The reverse is a sketch for William Rush and His Model
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44125.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Monsignor James P. Turner | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44126.html | title = Philadelphia Museum of Art – Collections Object : Sketch for William Rush and His Model | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Monsignor James P. Turner.png|100px|]] [[File:Sketch for William Rush and His Model.jpg|100px|]]
|-
! scope="row" | Thomas J. Eagan
| 440
| Oil on canvas
| 1907
|
|
| [[Terra Museum]], [[Chicago, Illinois]]<ref>[http://terraamericanart.org/collections/code/emuseum.asp?XXX_QS_XXX&newvalues=1&rawsearch=constituentid/,/is/,/98/,/false/,/true&newstyle=single&newprofile=people&newsearchdesc=Thomas%20Eakins&newcurrentrecord=1&module=people]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of Thomas Eagan.jpg|100px|]]
|-
! scope="row" | Dr. Albert C. Getchell
| 441
| Oil on canvas
| 1907
|
|
| [[North Carolina Museum of Art]], [[Raleigh, North Carolina]]<ref name="Wright" />
| [[File:Albert C Getchell.jpg|100px|]]
|-
! scope="row" | Dr. William Thomson
| 442
| Oil on canvas
| 1907
|
|
| [[Mütter Museum]], [[College of Physicians of Philadelphia]], [[Philadelphia, Pennsylvania]]
| [[File:Eakins Dr William Thomson G442.jpg|100px|]]
|-
! scope="row" | Dr. William Thomson (unfinished)
| 443
| Oil on canvas
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/feature/wilmerding/jwcat08.htm NGA | John Wilmerding Collection | 08]{{dead link | date = June 2012}}</ref><ref>Myers, 83–84</ref>
| [[File:Eakins, Dr William Thompson 1907.jpg|100px|]]
|-
! scope="row" | Major Manuel Waldteufel
| 444
| Oil on canvas
| 1907
|
| Ex Collection: [[French Benevolent Society of Philadelphia]], [[Philadelphia, Pennsylvania]].<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5073668 | title = Christie's auction. Lot 88, sale 2003: Major Manuel Waldteufel. "Property from the Collection of La Société de Française de Bienfaisance de Philadelphie" | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref> Deaccessioned 2003
|Hirschl and Adler Galleries, New York
| [[File:Major Manuel Waldteufel .jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 445
| Oil on canvas
| 1908
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/486/William_Rush_Carving_His_Allegorical_Figure_of_the_Schuylkill_River/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: William Rush Carving His Allegorical Figure of the Schuylkill River | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Rush carving his Allegorical Figure of the Schuylkill river.png|100px|]]
|-
! scope="row" | Sketch for ''[[William Rush and His Model]]''
| 446
| Oil on wood
| 1908
| 8¾ × 10
|
|
| [[File:William Rush Carving his Allegorical Figure of the Schuylkill River G446.jpg|100px]]
|-
! scope="row" | Sketch for ''[[William Rush and His Model]]''
| 447
| Oil on wood
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6311]{{dead link | date = June 2012}}</ref>
| [[File:William Rush Carving his Allegorical Figure of the Schuylkill River G447.jpg|100px|]]
|-
! scope="row" | Studies of Rush
| 448
| Oil on wood
|
|
| Originally a collage with 448A and 448B until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 448A
| Oil on wood
|
|
| Originally a collage with 448 and 448B until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 448B
| Oil on wood
|
|
| Originally a collage with 448 and 448A until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 449
| Oil on canvas
|
|
| Sold at auction in November 2009<ref>{{cite web | url = http://fineart.ha.com/common/view_item.php?Sale_No=638&Lot_No=24018 | title = THOMAS EAKINS (American 1844 – 1916). Study for the 1908 version | Lot # | Heritage Auctions | publisher = Fineart.ha.com | date = 2006-11-09 | accessdate = 2012-06-08}}</ref>
|
| [[File:Eakins Study for Rush G449.jpg|100px|]]
|-
! scope="row" | Study of the Negress (The Chaperone)
| 450
| Oil on canvas
| Circa 1908
|
|
| [[National Gallery of Art]], [[Washington, DC]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=72165 The Chaperone]{{dead link | date = June 2012}}</ref>
| [[File:Study of the Negress (The Chaperone) G450.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 451
| Oil on canvas
| 1907–1908
|
| In his book ''Eakins Revealed'' pp. 369–371, Henry Adams claims Eakins' friend #323, Miss Mary Adeline Williams was the nude model for ''William Rush and his Model'' in the collection of the [[Honolulu Museum of Art]], [[Honolulu]], [[Hawaii]], and related studies #'s 445,446, 447,452,453 and 454.
| [[Honolulu Museum of Art]], [[Honolulu, Hawaii]]<ref>http://www.honoluluacademy.org/cmshaa/academy/index.aspx?id=985</ref>
| [[File:William rush and his model thomas eakins.jpeg|100px|]]
|-
! scope="row" | The Model
| 452
| Oil on canvas
|
|
|Auctioned at Sotheby's New York, May 22, 2008, sold for US$1,273,000.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159451555]{{dead link | date = June 2012}}</ref>
|
| [[File:The Model G452.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 453
| Oil on canvas
| 1908
|
|
| [[Smithsonian American Art Museum]], [[Washington, D.C.]]<ref>{{cite web | url = http://americanart.si.edu/collections/search/artwork/?id=7711 | title = William Rush's Model by Thomas Eakins / American Art | publisher = Americanart.si.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Rush's Model.jpg|100px|]]
|-
! scope="row" | Study for "William Rush's Model"
| 454
| Oil on canvas
| Circa 1908
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, May 20, 2009, Sale #2171, Lot 72, sold for $122,500.<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=5199691&sid=d926bf1b-b9a9-4019-9edb-5fa49690d8a8 | title = Thomas Eakins (1844–1916) | Study for "William Rush and his Model" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:William Rush and his Model.png|100px|]]
|-
! scope="row" | Miss Eleanor S.F. Pue
| 455
| Oil on canvas
| 1907
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]<ref name="Wright" />
| [[File:Eleanor S F Pue G455.png|100px|]]
|-
! scope="row" | Miss Rebecca MacDowell
| 456
| Oil on canvas
| Circa 1908
|
|
|
| [[File:Miss Rebecca MacDowell G456.jpg|100px|]]
|-
! scope="row" | The Old-Fashioned Dress: Portrait of Miss Helen Parker
| 457
| Oil on canvas
| Circa 1908
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42509.html | title = Philadelphia Museum of Art – Collections Object : The Old-Fashioned Dress (Portrait of Helen Montanverde Parker) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Miss Helen Parker 1908.jpg|100px|]]
|-
! scope="row" | Sketch for the Old-Fashioned Dress
| 458
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #6</ref>
| [[File:Sketch for the Old-Fashioned Dress G458.jpg|100px|]]
|-
! scope="row" | Study for the Old-Fashioned Dress
| 459
| Oil on canvas
| 1908
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #7</ref><ref>Sewell, 1982, 131</ref>
| [[File:Study for the Old-Fashioned Dress G459.jpg|100px|]]
|-
! scope="row" | Mrs. Lucy Langdon W. Wilson
| 460
| Oil on canvas
| 1908
|
| Sold at auction in 1998 for $65,000<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=Z834 Sothebys auction listing for the Portrait of Lucy Langdon Williams Wilson]{{dead link | date = June 2012}}</ref>
|
| [[File:Portrait of Lucy Langdon Williams Wilson.jpg|100px|]]
|-
! scope="row" | Mrs. Lucy Langdon W. Wilson
| 461
| Oil on canvas
| Early 1909
|
|
|
|
|-
! scope="row" | Dr. William P. Wilson
| 462
| Oil on canvas
| 1909
|
|
|
|
|-
! scope="row" | Dr. Henry Beates Jr.
| 463
| Oil on canvas
| 1909
|
|
|
|
|-
! scope="row" | Henry Beates
| 464
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | Edward A. Schmidt
| 465
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | Reverend Cornelius J. O'Neill
| 466
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | John J. Borie
| 467
| Oil on canvas
|
|
|
| [[Hood Museum of Art]], [[Hanover, New Hampshire]]<ref>{{cite web | url = http://hoodmuseum.dartmouth.edu/collections/overview/americas/northamerica/uscanada/painting/portraiture/P935119.html | title = Portraiture | publisher = Hoodmuseum.dartmouth.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:John J Borie G467.jpg|100px|]]
|-
! scope="row" | Mrs. Nicholas Douty
| 468
| Oil on canvas
| 1910
|
|
| [[Cummer Gallery of Art]], [[Jacksonville, Florida]]<ref name="Wright" />
| [[File:Mrs Nicholas Douty G468.png|100px|]]
|-
! scope="row" | Dr. Gilbert Lafayette Parker
| 469
| Oil on canvas
| 1910
|
| Sold at auction in 1986 for $125,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1349645 | title = Portrait of Dr Gilbert Lafayette Parker by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1986-05-29 | accessdate = 2012-06-08}}</ref>
|
| [[File:Gilbert Parker G469.jpg|100px|]]
|-
! scope="row" | Mrs. Gilbert Parker
| 470
| Oil on canvas
| 1910
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32441 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Mrs. Gilbert Perker 1910.jpg|100px|]]
|-
! scope="row" | Gilbert Sunderland Parker
| 471
| Oil on canvas
| 1910
|
|
|
|
|-
! scope="row" | Ernest Lee Parker
| 472
| Oil on canvas
| 1910
|
|Ex-collection of the [[Westmoreland Museum of American Art]]. Sold in 2002 for $101,575<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=4013365&sid=c066c79f-b448-4b45-b4b9-aed21acb5015 | title = Thomas Eakins (1844–1916) | Ernest Lee Parker | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Ernest Lee Parker.jpg|100px|]]
|-
! scope="row" | President Rutherford B. Hayes
| 473
| Oil on canvas
| 1912 or 1913
|
|
| [[Philipse Manor Hall]], [[Yonkers, New York]]
| [[File:Rutherford Hayes G473.jpg|100px|]]
|-
! scope="row" | Dr. Edward Anthony Spitzka
| 474
| Oil on canvas
| Circa 1913
|
| Eakins' last painting. This originally showed a full length Dr. Spitzka holding the cast of a brain. Sometime after it was cataloged in the 1933 Goodrich catalog (measuring 84×43½ inches), someone cut away the rest of the painting, leaving only the head and bust (30½×25? inches).<ref>Rosenzweig, 211–212</ref>
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6279]{{dead link | date = June 2012}}</ref>
| [[File:Edward Anthony Spitzka.jpg|100px|]]
|-
! scope="row" | President Rutherford B. Hayes
| 475
|
| 1877
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | James L. Wood
| 476
|
| Circa 1890
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | William Rudolf O'Donovan
| 477
|
| 1891 or early 1892
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Miss Emily Sartain
| 478
|
| Sometime in the 1890s
|
| Thought to have been lost ("Probably no longer in existence".) Later rediscovered. Passed on through the Sartain family to the Babcock Galleries, and was sold to Rita and Daniel Fraad in 1957. Sold at auction in 2004 for $198,400.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=4BZZ2 Southeby's – American Paintings, Drawings and Sculpture including Property from the Collection of Rita and Daniel Fraad]{{dead link | date = June 2012}}</ref>
|
| [[File:Eakins, Study for Portrait of Miss Emily Sartain 1895.jpg|100px|]]
|-
! scope="row" | Miss Emily Sartain
| 479
|
| Sometime in the 1890s
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. Hugh A. Clarke
| 480
|
| Circa 1893
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | James MacAlister
| 481
|
| Circa 1893
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Circus People
| 482
|
| Before 1876
|
| Sketch. "Probably no longer in existence"
|
|
|-
! scope="row" | Stewart Culin
| 483
|
| Circa 1899
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. George B. Wood
| 484
|
| Circa 1900
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. Patrick J. Garvey
| 485
| Oil on canvas
| 1902
|
| Thought to have been destroyed, rediscovered in 1959
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:Patrick J Garvey G485.jpg|100px|]]
|-
! scope="row" | Right Reverend Denis J. Dougherty
| 486
|
| 1903
|
|
|Private Collection<ref>Wilmderding, 1999, page 249</ref>
| [[File:Dennis Dougherty G486.jpg|100px|]]
|-
! scope="row" | Mother Patricia Waldron
| 487
|
| 1903
|
| "Probably no longer in existence" – loaned by the Sisters of Mercy to William Antrim, who had been commissioned to paint a new portrait of Waldron. Antrim stored the portrait in the attic of his studio. The portrait was lost when the building was demolished.<ref>Eakins Outrages a Convent, Connoisseur Magazine. July 1989, pages 75–76.</ref> For sketch, see above, G-375.
|
|
|-
! scope="row" | Mrs. Margaret Jane Gish
| 488
|
| Circa 1903
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Robert C. Ogden
| 489
|
|
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. J. William White
| 490
|
| 1904
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Adolphie Borie
| 491
|
| Circa 1910
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Mrs. Charles Lester Leonard
| 492
|
| 1895
|
| No longer in existence
|
|
|-
! scope="row" | Mrs. Hubbard
| 493
|
| Circa 1895
|
| No longer in existence
|
|
|-
! scope="row" | Mrs. McKeever
| 494
|
| 1898
|
| No longer in existence
|
|
|-
! scope="row" | Bishop Edmond F. Prendergast
| 495
| Oil on canvas
| Circa 1903
|
| No longer in existence
|
|
|-
! scope="row" | Frank W. Stokes
| 496
|
| 1903
|
| No longer in existence
|
|
|-
! scope="row" | Edward S. Buckley
| 497
|
| 1906
|
| No longer in existence. According to Buckley's daughter: "It was so unsatisfactory that we destroyed it, not wishing his descendants to think of their grandfather as resembling the portrait."<ref>Adams, 410</ref>
|
|
|-
! scope="row" | Studies for ''[[William Rush and His Model]]''
| 498
| Sculpture, pigmented wax
| 1876–1877
|
| Five studies
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 53</ref>
| [[File:William Rush study G498 2.jpg|100px|]] [[File:William Rush study G498 3.jpg|100px|]] [[File:William Rush study G498 4.jpg|100px|]] [[File:William Rush study G498 5.jpg|100px|]] [[File:William Rush study G498 6.jpg|100px|]]
|-
! scope="row" | The Mare 'Josephine'
| 499
| Sculpture, bronze
| 1878
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:The Mare Josephine Skeleton G500.jpg|100px|]]
|-
! scope="row" | The Mare 'Josephine': Skeleton
| 500
| Sculpture, bronze
| 1878
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Sewell, 1982, 79">Sewell, 1982, 79</ref>
|
|-
! scope="row" | Ecorche
| 501
| Sculpture
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=131666 Ecorché: Relief of a Horse (Josephine)]. National Gallery of Art.</ref>
|
|-
! scope="row" | Ecorche
| 502
| Sculpture
| 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 79" />
|
|-
! scope="row" | Studies for The Fairman Rogers Four-in-Hand
| 503
| Sculpture, bronze with marble bases
| 1897
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
|
|-
! scope="row" | Spinning
| 504
| Sculpture
| Late 1882/early 1883
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:Spinning G504.jpg|100px|]]
|-
! scope="row" | Knitting
| 505
| Sculpture
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 63" />
| [[File:Knitting G505.jpg|100px|]]
|-
! scope="row" | Arcadia
| 506
| Sculpture, bronze
| 1883
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6362]{{dead link | date = June 2012}}</ref>
| [[File:Arcadia G506.jpg|100px|]]
|-
! scope="row" | An Arcadian
| 507
| Sculpture
|
|
|
|
|
|-
! scope="row" | The Youth Playing the Pipes
| 508
| Sculpture
| 1883
|
|
|
| [[File:Youth Playing the Pipes G508.jpg|100px|]]
|-
! scope="row" | Abraham Lincoln's horse
| 509
| Sculpture
| 1893–1894
|
| Originally paired with G509A in the 1933 Goodrich catalog.<ref name="GP" />
| [[Soldiers' and Sailors' Memorial Arch]], [[Prospect Park (Brooklyn)|Prospect Park]], [[New York City, New York]]
| [[File:Lincoln bronze.jpg|100px]]
|-
! scope="row" | General Grant's Horse
| 509A
| Sculpture, bronze
| 1892
|
| Originally listed as G509 in the 1933 Goodrich catalog.<ref name="GP" />
| [[Soldiers' and Sailors' Memorial Arch]], [[Prospect Park (Brooklyn)|Prospect Park]], [[New York City, New York]]
| [[File:Grant bronze.jpg|100px]] [[File:Clinker G509A.jpg|100px]] Clinker as it originally appeared.
|-
! scope="row" | Clinker
| 510
| Sculpture
| 1892
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6361]{{dead link | date = June 2012}}</ref>
|
|-
! scope="row" | Clinker
| 511
| Sculpture, bronze
| 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 79" />
| [[File:Clinker G511.jpg|100px|]]
|-
! scope="row" | Billy
| 512
| Sculpture, plaster
| Circa 1892–1893
|
|
|
|
|-
! scope="row" | The American Army Crossing the Delaware
| 513
| Sculpture, bronze relief
| Circa 1893
|
|
| [[New Jersey State Museum]], [[Trenton, New Jersey]]<ref>Goodrich, 1982, volume II, page 122</ref>
|
|-
! scope="row" | The Opening of the Fight, The Battle of Trenton
| 514
| Sculpture, bronze relief
| Circa 1893
|
|
| [[New Jersey State Museum]], [[Trenton, New Jersey]]<ref>Goodrich, 1982, volume II, page 123</ref>
|
|-
! scope="row" | Man on Horseback: Relief
| 514A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="GP" />
|
|-
! scope="row" | Mrs. Mary Hallock Greenewalt
| 515
| Sculpture
| 1905
|
|
|
|
|}

== Notes ==

{{reflist|30em}}

== References ==

{{refbegin}}
* Berger, Martin A. ''Man Made: Thomas Eakins and the Construction of Gilded Age Manhood.'' Berkeley: University Of California Press, 2000. ISBN 978-0-520-22209-0
* Bolger, Doreen; Cash, Sarah; et al. ''Thomas Eakins and the Swimming Picture''. Amon Carter Museum, 1996. ISBN 0-88360-085-4
* Braddock, Alan C. ''Thomas Eakins and the Cultures of Modernity.'' University of California Press, 2009. ISBN 0-520-25520-8
* Cooper, Helen A. ''Thomas Eakins: The Rowing Pictures''. Yale University Art Gallery, 1996. ISBN 0-300-06939-1
* Foster, Kathleen A. ''Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts.'' Yale University Press, 1997. ISBN 0-300-06174-9.
* [[Lloyd Goodrich|Goodrich, Lloyd]]. ''Thomas Eakins: His Life and Works''. William Edwin Rudge Printing House. New York, 1933. Catalogue of Works. Pages 161–209.
* [[Gordon Hendricks|Hendricks, Gordon]]. ''The Life and Works of Thomas Eakins''. New York: Grossman Publishers, 1974. ISBN 0-670-42795-0
* [[Gordon Hendricks|Hendricks, Gordon]]. ''The Photographs of Thomas Eakins''. New York: Grossman Publishers, 1972. ISBN 0-670-55261-5
* [[William Innes Homer|Homer, William Innes]]. ''The Paris Letters of Thomas Eakins.'' Princeton University Press, 2009. ISBN 978-0-691-13808-4
* [[William Innes Homer|Homer, William Innes]]. ''Thomas Eakins: His Life and His Art.'' Abbeville Press, 1992. ISBN 1-55859-281-4
* [[William Innes Homer|Homer, William Innes]]. ''Eakins at Avondale and Thomas Eakins: A Personal Collection.'' Science Press, 1980. Library of Congress catalogue no. 79-57527
* [[Donelson Hoopes|Hoopes, Donelson F]]. ''Eakins Watercolors''. Watson-Guptill Publications, 1971. Reprinted 1985. ISBN 0-8230-1592-0
* Johns, Elizabeth. ''Thomas Eakins: The Heroism of Modern Life.'' Princeton University Press, 1991. ISBN 0-691-00288-6.
* Myers, Jane E. Eakins and the Medical Milieu: The Physicians' Portraits. Master's Thesis, December 1982.
* Milroy, Elizabeth Lamotte Cates. ''Thomas Eakins Artistic Training, 1860–1870''. Phd Dissertation, University of Pennsylvania, 1986
* Rosenzweig, Phlyllis D. ''Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden.'' Washington DC: [[Smithsonian Institution Press]], 1977.
* Siegl, Theodor. The Thomas Eakins Collection. Philadelphia Museum of Art, 1978. ISBN 0-8122-1162-6
* Sewell, Darrel. ''Thomas Eakins: Artist of Philadelphia''. [[Philadelphia Museum of Art]], 1982. ISBN 0-87633-047-2
* Sewell, Darrel; et al. ''Thomas Eakins''. [[Yale University Press]], 2001. ISBN 0-87633-047-2.
* [[John Wilmerding|Wilmerding, John]]. ''Thomas Eakins''. Washington, DC: Smithsonian Institution Press, 1993. ISBN 1-56098-313-2
* [[John Wilmerding|Wilmerding, John]]. ''Compass and Clock: Defining Moments in American Culture : 1800, 1850, 1900.'' Harry N. Abrams, 1999. ISBN 0-8109-4096-5
{{refend}}

== External links ==
* [http://www.thomaseakins.org/ Thomas Cowperthwait Eakins Virtual Gallery]
* [http://www.cab.u-szeged.hu/cgfa/eakins/ CGFA – Thomas Eakins paintings]
* [http://siris-artinventories.si.edu/ipac20/ipac.jsp?session=1242HY29512N3.5649&profile=ariall&uri=link=3100006~!200061~!3100001~!3100002&aspect=Browse&menu=search&ri=3&source=~!siartinventories&term=Eakins%2C+Thomas%2C+1844-1916%2C+painter.&index=AUTHOR Smithsonian Catalog of Eakins' works]
* [http://www.artcyclopedia.com/artists/eakins_thomas.html Artcyclopedia entry for Thomas Eakins]

{{DEFAULTSORT:Eakins, Thomas, List Of Works}}
[[Category:Lists of works of art]]
[[Category:Paintings by Thomas Eakins|*]]

[[ro:Listă de lucrări de Thomas Eakins]]

Werkverzeichnis Thomas Eakins

2013-02-27T17:02:06Z

Reify-tech: /* Goodrich catalogue of Eakins' paintings and sculptures */ Make table sortable

{{Use mdy dates | date = June 2012}}
[[File:Thomas Eakins circa 1882 cropped.jpg|thumb|Photograph of [[Thomas Eakins]] circa 1882]]

This is a list of professionally authenticated paintings, drawings, and sculptures by [[Thomas Eakins]]. As there is no [[catalogue raisonné]] of Eakins' works,<ref>Adams, Eakins revealed, 537</ref> this is an aggregation of existing published catalogs.

== Background ==

During his lifetime, Thomas Eakins sold few paintings. On his death, ownership of his unsold works passed to his widow, [[Susan Macdowell Eakins]], who kept them in their Philadelphia home. She dedicated the remaining years of her life to burnishing his legacy. In this, she was quite successful; in the period between Thomas Eakins' death and her own, she donated many of the strongest remaining pictures to museums around the world. The [[Philadelphia Museum of Art]] benefited particularly from these donations.

After Susan Macdowell Eakins' death in 1938, her executors emptied the house of anything which could be sold at auction. When former Eakins student [[Charles Bregler]] arrived at the house after it had been stripped he was horrified at what he found, describing it as the "most tragic and pitiful sight I ever saw. Every room was cluttered with debris as all the contents of the various drawers, closets etc were thrown upon the floor as they removed the furniture. All the life casts were smashed... I never want to see anything like this again."<ref>Foster, 1</ref> The number of works lost or destroyed at this time will never be known.

Bregler carefully collected what was left. Most of what remained were drawings and other preparatory studies. He was highly secretive about the contents of his collection and rarely allowed anyone to see it. After Bregler's death, ownership of the collection passed to his second wife, Mary Louise Picozzi Bregler, who was even more guarded as to its contents. In 1986, shortly before her death, Mary Bregler agreed to sell the works to the [[Pennsylvania Academy of Fine Arts]].<ref>Foster, 2–3</ref>

== Historiography ==

In the early 1930s, Susan Macdowell Eakins invited art historian [[Lloyd Goodrich]] into her home. Goodrich inventoried the collection in the house, interviewed Eakins' surviving associates, and studied Eakins' personal notes. In 1933, Goodrich published ''Thomas Eakins: His Life and Works''. Though it was incomplete, un-illustrated, and did not include Eakins' photographs, Goodrich's book was the first definitive study of Eakins and the first attempt to catalog his artistic output.<ref>"Previous to Goodrich's monograph, only short essays on Eakins and checklists of his works had been published. NO monographic studies or commentaries on the artist appeared during his lifetime. Most notable of the early works on Eakins are Alan Burroughs' three articles which appeared in ''The Arts'' during 1923 and 1924 and Henri Marceau's essay and checklist (announcing the receipt of Susan Eakins' bequest). According to Goodrich, he was encouraged to write the Eakins monograph by close friend Reginald Marsh, an avid admirer of the older artist." – Milroy, 30, footnote 9</ref>

In the 1970s, [[Gordon Hendricks]] published two Eakins catalogs. ''The Photographs of Thomas Eakins'' (1972; ISBN 0-670-55261-5) is a fully illustrated catalog of photographs by Thomas Eakins and his associates. Because Eakins did not keep detailed records of his photographs, nor did he sign, title, or date them, many of the dates and photographers listed in the catalog are educated guesses on Hendricks' part. It is difficult to know who took a particular photograph because Eakins often had his students use it. Hence, the attribution on many of these photographs is "Circle of Eakins" to indicate that a photograph was taken either by Eakins or one of his associates. ''The Life and Work of Thomas Eakins'' (1974; ISBN 0-670-42795-0) included a checklist of Eakins' works, a number of which had not been included in the 1933 Goodrich catalog.

In the 1980s, Lloyd Goodrich returned to the subject of Thomas Eakins. He began writing a three-volume book, ''Thomas Eakins''. The first two volumes, published in 1982, were biographic in nature. Goodrich was unable to complete the third volume, a Thomas Eakins catalogue raisonné, before he died in 1987. He donated his papers to the Philadelphia Museum of Art, in the hopes that the curators there would finish the catalogue raisonné. This has not happened.

Until 1986, the Charles Bregler collection was effectively unknown to art historians. A few of the works in the Bregler collection were included in the 1933 Goodrich catalog, but after that they effectively disappeared from the scholarly community. A proper inventory became possible only after their 1986 sale to the Pennsylvania Academy of Fine Arts. In 1997, art historian Kathleen Foster published a definitive catalog of the Bregler collection, ''Thomas Eakins Rediscovered''. (ISBN 0-300-06174-9)

== List organization ==

Paintings, drawings, and sculptures are listed, where possible, by their Goodrich catalog number supplemented with modifications from Goodrich's notes for his never-completed Eakins catalogue raisonné.<ref name="GP">[http://www.philamuseum.org/pma_archives/ead.php?c=LEG&s=s108 Lloyd and Edith Havens Goodrich, Whitney Museum of American Art, Record of Works by Thomas Eakins: Series VII. catalogue raisonné].</ref> The Goodrich catalog can be subdivided into three parts:

* Juvenalia – Goodrich classified several early works by Thomas Eakins (works made prior to Eakins' arrival in Paris) as juvenalia, and prefaced with a "J". Though mentioned throughout the Eakins literature, the catalog itself was not published. However, the list is accessible in the Goodrich papers in the Philadelphia archives.
* 1933 catalog works – "G" followed by a number indicates it is from Goodrich's 1933 Eakins catalog.
* 1980s catalog works – "G" followed by a number and then a letter indicates a work that was not included in the 1933 Goodrich catalog, but was included in his two volume ''Thomas Eakins'', or in notes for the third volume, the never-finished catalog.

Works in the Charles Bregler collection at the Pennsylvania Academy of Fine Arts are listed according to their number in ''Thomas Eakins Rediscovered''.

== Goodrich catalogue of Eakins' paintings and sculptures ==
{| class="wikitable sortable plainrowheaders" style="width: 100%"
|-
! scope="col" | Title
! scope="col" | Catalog #
! scope="col" | Format
! scope="col" | Year
! scope="col" | Dimensions (inches)
! scope="col" | Note
! scope="col" | Collection
! scope="col" | Picture
|-
! scope="row" | Map of Switzerland
| J1
| Pen, ink, and watercolor on paper
| circa 1856–1857
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 23</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6344 ]{{dead link | date = June 2012}}</ref>
| [[File:Map of Switzerland J1.jpg|100px|]]
|-
! scope="row" | Map of France, Spain, Portugal, and Italy
| J2
| Pen, ink, and watercolor on paper
| circa 1856–1857
| 16 × 20
|
| Collection of Mr. and Mrs. Francis Walters<ref>Hendricks, 1974, 7</ref>
| [[File:Map of France, Spain, Portugal, and Italy J2.jpg|100px|]]
|-
! scope="row" | Spanish Scene: Peasant Crossing a Stream
| J3
| Pencil and chalk on paper
| March 1858
| 10 1/16 × 14 7/16
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 24">Rosenzweig, 24</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6319 ]{{dead link | date = June 2012}}</ref>
| [[File:Peasants Crossing a Stream J3.jpg|100px|]]
|-
! scope="row" | Spanish Scene: Peasants and Travellers Among Ruins
| J4
| Pencil and ink on paper
| 1858
| 11½ × 16 15/16
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 24" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6318 ]{{dead link | date = June 2012}}</ref>
| [[File:Peasants and Travellers Among Ruins J4.jpg|100px|]]
|-
! scope="row" | Camel and Rider
| J5
| Pencil and ink on paper
| 1858
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #13</ref>
| [[File:Eakins Camel and Rider J5.jpg|100px|]]
|-
! scope="row" | Perspective of a Lathe
| J6
| Pencil and ink on paper
| 1860
| 16 5/16 × 22
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 26</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6345 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins - Lathe.png|100px|]]
|-
! scope="row" | Drawing of Gears
| J7
| Pen, ink, and pencil on paper
| Circa 1860
| 11 7/16 × 16⅞
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 27</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6340 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Gears.jpg|100px|]] [[File:Gears J7 verso.jpg|100px|]]
|-
! scope="row" | Visiting Card with Landscape
| J8
|
| circa late 1850s
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 16 and 22</ref>
| [[File:Visiting Card with Landscape J8.jpg|100px|]]
|-
! scope="row" | Machinery
| J9
|
| Circa 1860
|
|
|
|
|-
! scope="row" | The Icosahedron
| J10
|
| Circa 1860
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #5</ref>
| [[File:The icosahedron thomas eakins.jpeg|100px|]]
|-
! scope="row" | "Freedom"
| J11
|
| Circa 1860
|
| An drawing after the [[Statue of Freedom]] by [[Thomas Crawford (sculptor)|Thomas Crawford]]
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 294–295</ref>
| [[File:Thomas Crawford's Freedom J11.jpg|100px]]
|-
! scope="row" | Nude woman, seated, wearing a mask
| 1
| Charcoal on paper
| circa 1863–1866
| 24¼ × 18⅝ inches
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42532.html | title = Philadelphia Museum of Art – Collections Object : Study of a Seated Nude Woman Wearing a Mask | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Masked nude woman, seated, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Nude woman, back turned
| 2
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #16</ref>
| [[File:Eakins - standing nude.jpg|100px|]]
|-
! scope="row" | Nude boy
| 3
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #19</ref>
| [[File:Nude boy G3.png|100px|]]
|-
! scope="row" | Nude man, seated
| 4
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #18</ref>
| [[File:Nude man seated.png|100px|]]
|-
! scope="row" | Nude woman reclining, back turned
| 5
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42524.html?mulR=31770 | title = Philadelphia Museum of Art – Collections Object : Study of a Reclining Nude Woman | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Nude woman reclining, back turned G5.jpg|100px|]]
|-
! scope="row" | Nude woman, reclining, seen from the front
| 6
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #2</ref>
| [[File:Studies of a reclining nude woman G6.jpg|100px|]] [[File:Studies of feet, legs, and a half figure G6A.jpg|100px|]]
|-
! scope="row" | Head, bust and arm of a child
| 7
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #3</ref>
| [[File:Study of a child G7.png|100px|]]
|-
! scope="row" | Arm resting on the back of a chair
| 8
| Charcoal on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Siegl, cat #1</ref>
| [[File:Arm resting on the back of a chair G8.png|100px|]]
|-
! scope="row" | Nude man with a beard, seated on the floor
| 9
| Charcoal on paper
| 1869
|
| On the reverse is the middle section of a nude man.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Foster, 236, footnote 8</ref>
| [[File:Nude man with beard G9.jpg|100px]]
|-
! scope="row" | Nude man standing
| 10
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Legs of a seated model
| 11
| Charcoal on paper
|
|
|
| [[Newark Museum]], [[Newark, New Jersey]]<ref>National Gallery of Art, 36</ref>
| [[File:Legs of a seated model G11.jpg|100px]]
|-
! scope="row" | Legs of a standing model
| 12
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Head and bust of an Arab man with a turban
| 13
| Charcoal on paper
| 1866–1867
|
|
| [[Fine Arts Museums of San Francisco]], [[San Francisco]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=60503 | title = Man in a Turban | publisher = Fine Arts Museum of San Francisco | accessdate = June 2, 2012}}</ref>
| [[File:Eakins - Man in Turban.jpg|100px|]]
|-
! scope="row" | Torso and arm of a nude man
| 14
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Nude woman reclining on a couch
| 15
| Charcoal on paper
| 1863–1866
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1986.536&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Nude woman reclining on a couch]</ref>
| [[File:Nude woman reclining on a couch.png|100px|]]
|-
! scope="row" | Nude woman reclining, wearing a mask
| 16
| Charcoal on paper
|
|
|
|
|
|-
! scope="row" | Nude woman standing
| 17
| Charcoal on paper
| 1876
|
|
|
|
|-
! scope="row" | Nude man seated
| 18
| Charcoal on paper
| Circa 1869
|
| Double sided with "Head of a warrior". Sold at auction, December 8, 2008, for $50,000<ref name="Christies5154223">[http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5154223 Head of a Warrior; and Seated Nude: A Double-sided Work]. [[Christie's]] auction website.</ref>
|
| [[File:Eakins - Nude man seated.png|100px|]] [[File:Eakins - Head of a Warrior.png|100px|]]
|-
! scope="row" | Illustrated letter to his Mother, Nov. 8–9, 1866
| 18A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Homer, 2009, insert</ref><ref>Rosenzweig, 35</ref>
| [[File:Eakins letter 1.jpg|100px|]] [[File:Eakins letter 2.jpg|100px|]]
|-
! scope="row" | Antique study, female head
| 19
| Oil on heavy paper
| circa 1867–1869
|
| Lost<ref name="Milroy">"On the basis of Susan Eakins' opinion, Goodrich listed twelve paintings in his 1933 catalogue raisonne of Eakins' works which he identified as having been executed by the artist in Paris. All are small oil sketches measuring approximately eighteen by twelve inches in size: two studies from the antique; one of a ram's head and nine remaining studies from the male or female model. Of this dozen five have since disappeared, including the antique studies, the ram's head and two studies Goodrich described as portraits of an unidentified fellow student". Milroy 188–189. A chapter note for this paragraph says: "Goodrich, Thomas Eakins (1933) cat. nos. 19–30. Goodrich cat no. 23 (Study of a Girl's Head) is now in a private collection; no. 24 (Study of a Girl's Head) is in the Hirshhorn Museum; nos. 25–27 are in the Philadelphia Museum of Art and no. 30 (A Negress) is in the collection of the Fine Arts Museum of San Francisco." Adams, 149 is taken almost word-for-word from this thesis.</ref>
|
|
|-
! scope="row" | Antique study, male roman head
| 20
| Oil on canvas
| circa 1867–1869
|
| Lost<ref name="Milroy" />
|
|
|-
! scope="row" | Study of a leg
| 21
| Oil on heavy paper
| circa 1867–1869
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
| [[File:Eakins Study of a leg G21.jpg|100px|]]
|-
! scope="row" | Study of a ram's head
| 22
| Oil on canvas
| circa 1867–1869
|
| Lost<ref name="Milroy" />
|
|
|-
! scope="row" | Study of a girl's head
| 23
| Oil on canvas
| circa 1868–1869
|
|
| Private collection<ref name="Milroy" />
| [[File:Head of a young woman G23.jpg|100px|]]
|-
! scope="row" | Study of a girl's head
| 24
| Oil on canvas
| circa 1867–1874
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 42</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6293 ]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Study of a Girl's Head G24.jpg|100px|]]
|-
! scope="row" | Study of a girl's head
| 25
| Oil on canvas
| circa 1867–1869
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42536.html | title = Philadelphia Museum of Art – Collections Object : Study of a Young Woman | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Study of Girl's Head 1868.jpg|100px|]]
|-
! scope="row" | The Strong Man
| 26
| Oil on canvas
| circa 1867–1869
|
| Study
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42498.html | title = Philadelphia Museum of Art – Collections Object : Study of a Nude Man (The Strong Man) | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Study of a Nude Man (The Strong Man).png|100px|]]
|-
! scope="row" | Bust of a Man (Study of a Nude Man)
| 27
| Oil on canvas
| circa 1867–1869
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42537.html | title = Philadelphia Museum of Art – Collections Object : Study of a Nude Man | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Study of a Nude Man.png|100px|]]
|-
! scope="row" | Study of a student's head
| 28
| Oil on canvas mounted on cardboard
| circa 1867–1878
|
| Thought to have been lost.<ref name="Milroy" /> Sold at auction in May 2001 for $46,750<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=3FN7H Southeby's Listing for "Thomas Eakins: study of a student's head"]{{dead link | date = June 2012}}</ref>
|
| [[File:Study of a student's head G28.jpg|100px|]]
|-
! scope="row" | Study of a student's head
| 29
| Oil on canvas mounted on cardboard
| circa 1867–1879
|
|
| Collection of William E. Stokes<ref>Homer, 92, pg 42</ref>
| [[File:Study of a Student's Head G29.jpg|100px|]]
|-
! scope="row" | A Negress
| 30
| Oil on canvas
|
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132271 | title = Female Model | publisher = Fine Arts Museum of San Francisco | accessdate = June 2, 2012}}</ref>
| [[File:A negress.png|100px|]]
|-
! scope="row" | Scene in a Cathedral
| 31
| Oil on canvas
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, December 1, 2010; sold for $18,750.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-cathedral-of-seville/5379540/lot/lot_details.aspx?from=searchresults&intObjectID=5379540&sid=6e63e766-e288-4d7a-af59-ef72ef7b3f8c | title = Thomas Eakins (1844–1916) | Cathedral of Seville | American Art Auction | 19th Century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = June 3, 2012}}</ref>
|
| [[File:Scene in a Cathedral G31.jpg|100px|]]
|-
! scope="row" | Carmelita Requena
| 32
| Oil on canvas
| 1869
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/carmelita_requena_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011163&vT=1 | title = The Metropolitan Museum of Art – Carmelita Requena | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Carmelita Requena.jpg|100px|]]
|-
! scope="row" | A Street Scene in Seville
| 33
| Oil on canvas
| 1870
|
|
| Collection of Erving and Joyce Wolf<ref>Kirkpatrick, 125</ref>
| [[File:A street scene in sevilla thomas eakins.jpeg|100px|]]
|-
! scope="row" | A Spanish Woman (Also known as "Dolores")
| 34
| Oil on canvas
|
|
|
|
| [[File:A Spanish Woman G34.jpg|100px|]]
|-
! scope="row" | Francis Eakins
| 35
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase_ImageView.cfm?id=594&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database – Image View | publisher = Nelson-atkins.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Frances Eakins.jpg|100px|]]
|-
! scope="row" | At the Piano
| 36
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Blanton Museum of Art]], [[Austin, Texas]]<ref>Johns, XIII</ref>
| [[File:At the Piano.jpg|100px|]]
|-
! scope="row" | Home Scene
| 37
| Oil on canvas
| Late 1870/Early 1871
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/1026/Home_Scene/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Home Scene | publisher = Brooklyn Museum | date = | accessdate = June 3, 2012}}</ref>
| [[File:Home Scene.jpg|100px|]]
|-
! scope="row" | Benjamin Eakins
| 38
| Watercolor on paper
| Circa 1870
|
|
| Private collection
| [[File:Benjamin Eakins G38.jpg|100px|]]
|-
! scope="row" | Margaret in Skating Costume
| 39
| Oil on canvas
| 1871
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42494.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Margaret Eakins in a Skating Costume | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Margaret in Skating Costume.jpg|100px|]]
|-
! scope="row" | Margaret (study)
| 40
| Oil on canvas
| Circa 1871
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. For auction at Sotheby's NYC, May 19, 2010, Lot 109.<ref>[http://www.sothebys.com/app/ecatalogue/fhtml/index.jsp?event_id=30014#/r=index-fhtml.jsp?event_id=30014|r.main=lot.jsp?event_id=30014&id=109/ G-40 at Sotheby's]{{dead link | date = June 2012}}</ref><ref>Rosenzweig, 17 and 46</ref>
|
| [[File:Margaret G40.jpg|100px|]]
|-
! scope="row" | Margaret (sketch)
| 41
| Oil on canvas
| Circa 1871
|
|
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (10 of 23) | publisher = Cedarhurst.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Margaret by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Hiawatha
| 42
| Watercolor on paper
|
|
| No longer exists.<ref name="Rosenzweig, 53-54">Rosenzweig, 53–54</ref>
|
|
|-
! scope="row" | Hiawatha
| 43
| Oil on canvas
|
|
| Study for Hiawatha watercolor. Described erroneously as unfinished.<ref name="Rosenzweig, 53-54" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Rosenzweig, 53-54" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6291 ]{{dead link | date = June 2012}}</ref>
| [[File:Hiawatha - Eakins.jpg|100px|]]
|-
! scope="row" | [[Max Schmitt in a Single Scull]]
| 44
| Oil on canvas
| 1871
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_champion_single_sculls_max_schmitt_in_a_single_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011170&vT=1 | title = The Metropolitan Museum of Art – The Champion Single Sculls (Max Schmitt in a Single Scull) | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Max Schmitt in a Single Scull.jpg|100px|]]
|-
! scope="row" | Drawing of the Girard Avenue Bridge
| 44A
| Drawing
|
|
| Double sided: reverse side depicts the sketch for an oar.
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6346 ]{{dead link | date = June 2012}}</ref><ref>Rosenzweig, 49</ref>
| [[File:Drawing Of Girard Avenue Bridge.jpg|100px|]] [[File:Eakins oar G44A.jpg|100px|]]
|-
! scope="row" | Portrait of M.H. Messchert
| 44B
| Painting
|
|
|
|
|
|-
! scope="row" | Katherin (Girl with a cat)
| 45
| Oil on canvas
| 1872
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52927 | title = Yale University Art Gallery – eCatalogue – Kathrin | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:Kathrin-1872-large.jpg|100px|]]
|-
! scope="row" | Study for Kathrine
| 45A
| Drawing
|
|
|
|
|
|-
! scope="row" | Elizabeth Crowell and her Dog
| 46
| Oil on canvas
| Early 1870s
|
|
| [[San Diego Museum of Art]], [[San Diego, California]]<ref name="Wright">Christopher Wright. The World's Master Paintings. Routledge, 1992. ISBN 0-415-02240-1. Entry for Thomas Eakins: Volume I, Pages 718–719</ref>
| [[File:Thomas Eakins - Elizabeth Crowell with a Dog.jpg|100px|]]
|-
! scope="row" | Mrs. James W. Crowell
| 47
| Oil on canvas
| Early 1870s
|
|
|
| [[File:Eakins, Mrs James W Crowell 1875.jpg|100px|]]
|-
! scope="row" | Grouse
| 48
| Oil on canvas
| 1872
|
|
| [[Mint Museum of Art]], [[Charlotte, North Carolina]]<ref>Sewell, 2001, pg. 241</ref>
| [[File:Grouse Eakins.jpg|100px|]]
|-
! scope="row" | The Pair-Oared Shell
| 49
| Oil on canvas
| 1872
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42516.html | title = Philadelphia Museum of Art – Collections Object : The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:The pair-oared shell thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for The Pair-Oared Shell
| 50
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 20</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49126.html | title = Philadelphia Museum of Art – Collections Object : Perspective Drawing for The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective Drawing for The Pair-Oared Shell.png|100px|]]
|-
! scope="row" | Perspective Drawing for The Pair-Oared Shell
| 51
| Pencil, ink, and watercolor on paper mounted on cardboard
| 1872
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49125.html | title = Philadelphia Museum of Art – Collections Object : Perspective Drawing for The Pair-Oared Shell | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective drawing for the pair-oared shell thomas eakins.jpeg|100px|]]
|-
! scope="row" | The [[Biglin Brothers]] Turning the Stake
| 52
| Oil on canvas
| 1873
|
|
| [[Cleveland Museum of Art]], [[Cleveland, Ohio]]<ref>{{cite web | url = http://www.clevelandart.org/global/collection/Collection%20Object.aspx?coid=5890297 | title = The Cleveland Museum of Art | publisher = Clevelandart.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:The biglin brothers turning the stake-boat thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Turning the Stake
| 52A
| Drawing
|
|
|
| [[Cleveland Museum of Art]], [[Cleveland, Ohio]]<ref>Homer, 92, pg 60–61</ref><ref>{{cite web | url = http://www.clevelandart.org/global/collection/Collection%20Object.aspx?coid=3504668 | title = The Cleveland Museum of Art | publisher = Clevelandart.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Perspective Drawing for the Biglin Brothers Turning the Stake.png|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Turning the Stake
| 53
| Pencil and ink on paper mounted on cardboard
| 1873
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 50</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6315 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective Drawing for The Biglin Brothers Turning The Stake 2.jpg|100px|]]
|-
! scope="row" | The Pair-Oared Race – John and Barney Biglin Turning the Stake
| 54
| Watercolor
| 1874
|
| Lost<ref>Foster, 128</ref>
|
|
|-
! scope="row" | A Rower
| 55
| Watercolor
|
|
| Given to [[Jean-Léon Gérôme]] by Thomas Eakins. "Present location unknown"<ref name="GP" />
|
|
|-
! scope="row" | [[John Biglin]] (also known as "The Sculler")
| 56
| Watercolor
| 1874
| 16⅞ × 23 15/16
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Sewell, 2001, 98</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=75112 | title = Yale University Art Gallery – eCatalogue – John Biglin in a Single Scull | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull by Thomas Eakins 1873.jpeg|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 57
| Watercolor on paper
| 1873 or early 1874
| 19 5/16 × 24⅞
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>Cooper, 62</ref><ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/john_biglin_in_a_single_scull_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011169&vT=1 | title = The Metropolitan Museum of Art – John Biglin in a Single Scull | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for [[John Biglin]] in a Single Scull
| 58
| Pencil and ink on paper mounted on cardboard
| Circa 1874
| 27⅜ × 45¼
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=157614 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = June 3, 2012}}</ref><ref>Homer, 1992, pg 66</ref>
| [[File:Perspective Drawing for John Biglin in a Single Scull.png|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 59
| Oil on canvas
| 1873–1874
| 24⅜ × 16
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=5464 | title = Yale University Art Gallery – eCatalogue – John Biglin in a Single Scull | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:John Biglin in a Single Scull Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | [[John Biglin]] in a Single Scull
| 60
| Watercolor
| 1873–1874
|
| Given to [[Jean-Léon Gérôme]] by Thomas Eakins.
|
|
|-
! scope="row" | The [[Biglin Brothers]] Racing
| 61
| Oil on canvas
| Probably 1873
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>{{cite web | url = http://www.nga.gov/fcgi-bin/tinfo_f?object=42848 | title = The Biglin Brothers Racing | publisher = Nga.gov | date = January 7, 1953 | accessdate = June 3, 2012}}</ref>
| [[File:Thomas Eakins 002.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for the [[Biglin Brothers]] Racing
| 62
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Cooper, 49</ref><ref>Rosenzweig, 52</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6316 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective Drawing for The Biglin Brothers Turning The Stake 1.jpg|100px|]]
|-
! scope="row" | Oarsmen on the Schuylkill
| 63
| Oil on canvas
| Circa 1873
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]
| [[File:Oarsmen on the schuylkill thomas eakins.jpeg|100px|]]
|-
! scope="row" | Oarsman in a Single Scull (also known as "Sketch of Max Schmitt in a Single Scull")
| 64
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44144.html | title = Philadelphia Museum of Art – Collections Object : Sketch of Max Schmitt in a Single Scull | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Sketch of max schmitt in a single scull thomas eakins.jpeg|100px|]]
|-
! scope="row" | Oarsmen
| 65
| Oil on canvas
| Probably circa 1873
|
|
| [[Portland Art Museum]], [[Portland, Oregon]]<ref>Cooper, 55</ref>
| [[File:Oarsmen G65.jpg|100px]]
|-
! scope="row" | The Schreiber Brothers
| 66
| Oil on canvas
| 1874
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Kirkpatrick, 144</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=26326 | title = Yale University Art Gallery – eCatalogue – The Oarsmen (The Schreiber Brothers) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Oarsmen 1874.jpg|100px|]]
|-
! scope="row" | Perspective Drawing
| 67
| Pencil and ink on paper mounted on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #117</ref>
| [[File:Perspective Drawing for the Schreiber Brothers G67.jpg|100px]]
|-
! scope="row" | The Artist and His Father Hunting Reed Birds
| 68
| Oil on canvas
| Circa 1874
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]<ref>Homer, 92, pgs 70–71</ref>
| [[File:huntingreedbirds Eakins.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for the Artist and His Father Hunting Reed Birds
| 69
| Pencil and ink on paper mounted on cardboard
|
|
|
|
| [[File:Perspective Drawing for the Artist and His Father Hunting Reed Birds G69.jpg|100px|]]
|-
! scope="row" | Pushing for the Rail
| 70
| Oil on canvas
| 1874
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/pushing_for_rail_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011175&vT=1 | title = The Metropolitan Museum of Art – Pushing for Rail | publisher = Metmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Pushing For Rail 1874.jpg|100px|]]
|-
! scope="row" | Whistling for Plover
| 71
| Watercolor on paper
| 1874
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/2869/Whistling_for_Plover/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Whistling for Plover | publisher = Brooklyn Museum | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Whistling For Plover 1874.jpg|100px|]]
|-
! scope="row" | Whistling for Plover
| 72
| Oil
|
|
|
|
|
|-
! scope="row" | Sketch for Hunting
| 73
| Oil on canvas mounted on cardboard
| Circa 1874
|
|
| Collection of [[Jamie Wyeth]]
| [[File:Hunting G73.jpg|100px|]]
|-
| Studies of Game-Birds (Also known as "Plover")
| 74
| Oil on canvas mounted on cardboard
|
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]
| [[File:gamebirds Eakins.jpg|100px|]]
|-
! scope="row" | Landscape with a Dog
| 75
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50431.html | title = Philadelphia Museum of Art – Collections Object : Landscape with a Dog | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Landscape with Dog G75.jpg|100px|]]
|-
! scope="row" | Sailboats Racing on the Delaware
| 76
| Oil on canvas
| 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42508.html | title = Philadelphia Museum of Art – Collections Object : Sailboats Racing on the Delaware | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Eakins, Sailboats Racing on Delaware 1874.jpg|100px|]]
|-
! scope="row" | Sailing
| 77
| Oil on canvas
| Circa 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42077.html | title = Philadelphia Museum of Art – Collections Object : Sailing | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Sailing thomas eakins.jpeg|100px|]]
|-
! scope="row" | Starting Out After Rail
| 78
| Oil on canvas
| 1874
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32538 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Starting out after rail thomas eakins.jpeg|100px|]]
|-
! scope="row" | Starting Out After Rail
| 79
| Watercolor
| 1874
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084330112216 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Starting Out After Rail.png|100px|]]
|-
! scope="row" | Ships and Sailboats on the Delaware (also known as "Becalmed")
| 80
| Oil on canvas
| 1874
|
|
| [[Wadsworth Atheneum]], [[Hartford, Connecticut]]<ref name="Wright" />
| [[File:Becalmed.jpg|100px|]]
|-
! scope="row" | Study for Ships and Sailboats on the Delaware
| 81
| Oil on canvas mounted on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #233</ref>
| [[File:Eakins On The Delaware G81.jpg|100px|]]
|-
! scope="row" | Ships and Sailboats on the Delaware
| 82
| Oil on canvas
| 1874
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42506.html | title = Philadelphia Museum of Art – Collections Object : Ships and Sailboats on the Delaware | publisher = Philamuseum.org | date = | accessdate = June 3, 2012}}</ref>
| [[File:Ships and Sailboats on the Delaware.png|100px|]]
|-
! scope="row" | Drifting
| 83
| Watercolor
| Circa 1874
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/feature/wilmerding/jwcat07.htm Drifting – John Wilmerding Collection]. National Gallery of Art.</ref>
| [[File:Eakins, Drifting 1875.jpg|100px|]]
|-
! scope="row" | Mrs. Benjamin Eakins
| 84
| Oil on canvas
| Circa 1874
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Goodrich, 1982, volume I, page 3</ref><ref>Homer, 1980, Dietrich catalogue #1</ref>
| [[File:Mrs Benjamin Eakins.jpg|100px|]]
|-
! scope="row" | [[Portrait of Professor Benjamin H. Rand]]
| 85
| Oil on canvas
| 1874
|
| Ex Collection: [[Thomas Jefferson University]], [[Philadelphia, PA]]; deaccessioned April 2007 (after 130 years in the collection).<ref>Julie S. Berkowitz. ''"Adorn the Halls": History of the Art Collection at Thomas Jefferson University''. Thomas Jefferson University, 1999, ISBN 0-9674384-1-1. PAGE 140.</ref>
| [[Crystal Bridges Museum of American Art]], [[Bentonville, Arkansas]]
| [[File:Benjamin rand.jpg|100px|]]
|-
! scope="row" | Baseball Players Practicing
| 86
| Watercolor on paper
| 1875
|
|
| [[Rhode Island School of Design Museum]], [[Providence, Rhode Island]]<ref>Kirkpatrick, 161</ref>
| [[File:Baseball Players Practicing Thomas Eakins 1875.jpeg|100px|]]
|-
! scope="row" | Perspective drawing for Baseball Players practicing
| 86A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Homer, 92, pg 72</ref><ref>Rosenzweig, 56</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6338 ]{{dead link | date = June 2012}}</ref>
| [[File:Perspective drawing for baseball players practicing G86A.jpg|100px|]]
|-
! scope="row" | Elizabeth at the Piano
| 87
| Oil on canvas
| 1875
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref name="Wright" />
| [[File:Elizabeth at Piano - 1875.jpg|100px|]]
|-
! scope="row" | [[The Gross Clinic]]
| 88
| Oil on canvas
| 1875
|
|
| [[Philadelphia Museum of Art]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/299524.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Dr. Samuel D. Gross (The Gross Clinic) | publisher = Philamuseum.org | date = 2007-01-01 | accessdate = 2012-06-08}}</ref> and the [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__11951/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:EakinsTheGrossClinic.jpg|100px|]]
|-
! scope="row" | Sketch for the Gross Clinic
| 89
| Oil on canvas
| 1875
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42512.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Gross Clinic | publisher = Philamuseum.org | date = 2007-01-01 | accessdate = 2012-06-08}}</ref>
| [[File:Composition study for the portrait of professor gross thomas eakins.jpeg|100px|]]
|-
! scope="row" | Dr. Gross (Study for "The Gross Clinic)
| 90
| Oil on canvas
| 1875
|
|
| [[Worcester Art Museum]], [[Worcester, Massachusetts]]<ref>{{cite web | url = http://www.worcesterart.org/Collection/American/1929.124.html | title = Worcester Art Museum – Thomas Eakins: Study of the Head of Samuel David Gross | publisher = Worcesterart.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study of Dr Samuel David Gross.png|100px|]]
|-
! scope="row" | Black and White version
| 91
| India ink on cardboard
| 1875
|
| Drawn after the painting. Was photographed and reproduced as a [[collotype]]
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/gross_clinic_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=Thomas%20Eakins&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011166&vT=1 | title = The Metropolitan Museum of Art – Gross Clinic | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Gross clinic bw.jpg|100px|]]
|-
! scope="row" | Drawing of Two Heads
| 92
| "India ink on paper, with pen and brush"
| 1876
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 42</ref>
| [[File:Drawing of Two Heads.png|100px|]]
|-
! scope="row" | Robert C.V. Meyers
| 93
| Oil on brown paper
| 1875
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #4</ref><ref>Sewell, 2001, 392, footnote 67</ref>
| [[File:Robert CV Meyers G93.png|100px|]]
|-
! scope="row" | The Zither Player
| 94
| Watercolor on paper
| 1876
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/31289 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Zither Player 1876.jpg|100px|]]
|-
! scope="row" | [[J. Harry Lewis]]
| 95
| Oil on canvas
| 1876
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42510.html | title = Philadelphia Museum of Art – Collections Object : Portrait of J. Harry Lewis | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of J Harry Lewis.png|100px|]]
|-
! scope="row" | [[The Chess Players (painting)|The Chess Players]]
| 96
| Wood
| 1876
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_chess_players_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011164&vT=1 | title = The Metropolitan Museum of Art – The Chess Players | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The chess players thomas eakins.jpeg|100px|]]
|-
! scope="row" | Perspective Drawing for the Chess Players
| 97
| Pencil and ink on paper
| 1875–1876
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/perspective_drawing_for_the_chess_players_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011174&vT=1 | title = The Metropolitan Museum of Art – Perspective Drawing for the "Chess Players" | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Perspective drawing for the Chess players.png|100px|]]
|-
! scope="row" | M. Gardel
| 98
| Oil on paper mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44145.html | title = Philadelphia Museum of Art – Collections Object : Bertrand Gardel (Sketch for The Chess Players) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Bertrand Gardel - Sketch for The Chess Players.png|100px|]]
|-
! scope="row" | Baby at Play
| 99
| Oil on canvas
| 1876
|
|
| [[National Gallery of Art]], [[Washington, DC.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=61251 Baby at Play]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Baby at Play 1876.jpg|100px|]]
|-
! scope="row" | Studies of a Baby
| 100
| Oil on canvas
|
|
| Double sided.
| [[Duke-Semans Fine Arts Foundation]] (in the care of the [[Nasher Museum of Art]], [[Durham, North Carolina]])
| [[File:Eakins-Studies of a Baby-27527.jpg|100px|]]
|-
! scope="row" | Dr. [[John H. Brinton]]
| 101
| Oil on canvas
| 1876
|
|
|The [[National Museum of Health and Medicine]] of the [[Armed Forces Institute of Pathology]], Washington, D.C. On long-term loan to the [[National Gallery of Art]]<ref>{{cite web|last=Stocker |first=Kathleen | url = http://bottledmonsters.blogspot.com/2009/11/dr-john-h-brinton.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchivesBlogs+%28ArchivesBlogs%29 | title = A Repository for Bottled Monsters: Dr. John H. Brinton | publisher = Bottledmonsters.blogspot.com | date = 2009-11-20 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Dr John H Brinton 1876.jpg|100px|]]
|-
! scope="row" | Mrs. Samuel Hall Williams (Portrait of Abbie Williams)
| 102
| Wood
| Circa 1876
|
| Previously in the collection of the [[Art Institute of Chicago]]. Sold at auction on September 27, 2011 for $134,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-mrs-samuel-hall-williams/5477663/lot/lot_details.aspx?from=searchresults&intObjectID=5477663&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Mrs. Samuel Hall Williams (Abigail Swing) | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Mrs Samuel Hall Williams.jpg|100px|]]
|-
! scope="row" | Columbus in Prison
| 103
| Oil on canvas
| Circa 1876
|
|
| [[Kennedy Galleries]], [[New York City, New York]]
| [[File:Columbus in Prison.jpg|100px|]]
|-
! scope="row" | Sketch for the Surrender of General Lee to General Grant at Appomatox
| 103A
| Oil on canvas
|
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's NY, September 27, 2011; sold for $32,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-the-surrender-of/5477662/lot/lot_details.aspx?from=searchresults&intObjectID=5477662&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Study for "The Surrender of General Lee" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Surrender of General Lee 103A.jpg|100px|]]
|-
! scope="row" | Sketch for the Surrender of General Lee to General Grant at Appomatox
| 103B
| Oil on canvas
|
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=315827 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Surrender of General Lee to General Grant at Appomatox.png|100px|]]
|-
! scope="row" | Will Schuster and Blackman Going Shooting
| 104
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52629 | title = Yale University Art Gallery – eCatalogue – Rail Shooting on the Delaware | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins 006.jpg|100px|]]
|-
! scope="row" | Perspective Drawing for Will Schuster and Blackman Going Shooting
| 104A
| Drawing
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #14</ref>
| [[File:Perspective Drawing for Will Schuster and Blackman Going Shooting G104A.jpg|100px|]]
|-
! scope="row" | Rail Shooting
| 105
| Oil on canvas
|
|
| "Present whereabouts or existence unknown"<ref name="GP" />
|
|
|-
! scope="row" | In Grandmother's Time
| 106
| Oil on canvas
| 1876
|
|
| [[Smith College Museum of Art]], [[Northampton, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=1&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:In grandmother's time thomas eakins.jpeg|100px|]]
|-
! scope="row" | In Grandmother's Time
| 106A
| Oil on wood
|
|
| Originally double sided with G106B until the two images were split<ref name="GP" />
|
| [[File:Eakins In Grandmother's Time G106A.jpg|100px|]]
|-
! scope="row" | Landscape
| 106B
| Oil on wood
|
|
| Originally double sided with G106A until the two images were split<ref name="GP" />
|
| [[File:Eakins landscape G106B.jpg|100px|]]
|-
! scope="row" | Archbishop [[James Frederick Wood]]
| 107
| Oil on canvas
| 1877
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman">Michael Kimmelman. [http://www.nytimes.com/2007/01/12/arts/design/12eaki.html In the Company of Eakins]. The New York Times, January 27, 2000</ref>
| [[File:James Wood G107.jpg|100px|]]
|-
! scope="row" | Study for the portrait of [[James Frederick Wood]]
| 108
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52611 | title = Yale University Art Gallery – eCatalogue – Archbishop James Frederick Wood (1813–1883) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Archbishop James Frederick Wood, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | Scenes in a Cathedral
| 108A, 108B, 108C, 108D, 108E, 108F, 108G, 108H, 108I
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 57–58</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6320]{{dead link | date = June 2012}}</ref>
| [[File:Scenes in a cathedral G108A-I.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 109
| Oil on canvas
| 1876–1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42507.html | title = Philadelphia Museum of Art – Collections Object : William Rush Carving His Allegorical Figure of the Schuylkill River | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:William rush carving his allegorical figur of schuylkill river thomas eakins.jpeg|100px|]]
|-
! scope="row" | Studies for "William Rush"
| 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109H,
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]
| [[File:Eakins G109 Woman With Parasol.jpg|100px|]] [[File:Eakins G109 Washington.jpg|100px|]] [[File:Eakins G109 Two Women in Costume.jpg|100px|]] [[File:Eakins G109 Three Figures.jpg|100px|]] [[File:Eakins G109 Schuykill Freed.jpg|100px|]] [[File:Eakins G109 Nymph With Bittern.jpg|100px|]] [[File:Eakins G109 Mrs. Madison.jpg|100px|]] [[File:Eakins G109 Laetitia Bonaparte.jpg|100px|]]
|-
! scope="row" | Study for ''[[William Rush and His Model]]''
| 110
| Oil on cardboard,
| circa 1877
| 8¼ × 10½
|
| [[Farnsworth Art Museum]], [[Rockland, Maine]]<ref>http://browser.farnsworthmuseum.org/collection/results.do?view=detail&db=object&id=210</ref>
| [[File:Farnsworth LOC P18660106 b.jpg|100px|]]
|-
! scope="row" | Study for ''[[William Rush and His Model]]''
| 111
| Oil on canvas
| 1876
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>Sewell, 1982, 54</ref><ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=23954 | title = Yale University Art Gallery – eCatalogue – William Rush Carving His Allegorical Figure of the Schuylkill River, Study | publisher = Ecatalogue.art.yale.edu | date = 1979-05-14 | accessdate = 2012-06-08}}</ref>
| [[File:William Rush G111.png|100px|]]
|-
! scope="row" | Interior of Rush's Shop
| 112
| Oil on canvas
| 1876–1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49998.html | title = Philadelphia Museum of Art – Collections Object : Interior of a Woodcarver's Shop (Sketch for William Rush Carving His Allegorical Figure of the Schuylkill River) | publisher = Philamuseum.org | date = 1946-01-19 | accessdate = 2012-06-08}}</ref>
| [[File:Interior of a Woodcarver's Shop - Sketch for William Rush Carving His Allegorical Figure of the Schuylkill River.png|100px|]]
|-
! scope="row" | The Model (Nude: Study for William Rush)
| 113
| Oil on canvas
| 1876
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/28860 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for 'William Rush Carving His Allegorical Figure of the Schuylkill River', 1876.jpg|100px|]]
|-
! scope="row" | Seventy Years Ago
| 114
| Watercolor on paper
| 1877
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?emu_action=searchrequest&newsearch=1&moduleid=1&profile=objects&currentrecord=1&searchdesc=Seventy%20Years%20Ago&style=single&rawsearch=id/,/is/,/9793/,/false/,/true | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Seventy-Years-Ago-(1877)-Eakins.jpg|100px|]]
|-
! scope="row" | Sketch for Seventy Years Ago
| 115
| Oil on canvas
|
|
|
| [[Seattle Art Museum]], [[Seattle, Washington]]<ref>{{cite web | url = http://www.seattleartmuseum.org/SAMcollection/code/emuseum.asp?style=browse&currentrecord=1&page=search&profile=objects&searchdesc=Eakins&quicksearch=Eakins&newvalues=1&newstyle=single&newcurrentrecord=2 | title = Seattle Art Museum: Permanent Collection | work = seattleartmuseum.org | accessdate = June 2, 2012}}</ref>
| [[File:Sketch for Seventy Years Ago.jpg|100px|]]
|-
! scope="row" | Young Girl Meditating
| 116
| Watercolor on paper
| 1877
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/young_girl_meditating_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011180&vT=1 | title = The Metropolitan Museum of Art – Young Girl Meditating | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Young Girl Meditating 1877.jpg|100px|]]
|-
! scope="row" | Sketch for Young Girl Meditating
| 117
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #241</ref>
| [[File:Sketch for Young Girl Meditating G117.jpg|100px|]]
|-
! scope="row" | Study for Young Girl Meditating
| 117A
| Oil on canvas
| 1877
|
|
| Collection of Martin Perez.<ref>Foster, 87</ref>
| [[File:Sketch for young girl meditating.jpg|100px|]]
|-
! scope="row" | In Washington (Lafayette Park, Washington, D.C.)
| 118
| Wood
| 1877
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44128.html | title = Philadelphia Museum of Art – Collections Object : Lafayette Park, Washington, D.C | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Lafayette Park Washington DC.png|100px|]]
|-
! scope="row" | The Courtship
| 119
| Oil on canvas
| Circa 1878
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=133285 | title = The Coutship | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Courtship 1878.jpg|100px|]]
|-
! scope="row" | Sketch for the Courtship
| 120
| Oil on canvas
|
|14 × 17
| Sold at auction in 1983 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1161936 | title = Courtship by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-06-03 | accessdate = 2012-06-08}}</ref>
|Gulf States Paper Corporation Collection, Tuscaloosa, Alabama.<ref>Tom Armstrong, ''An American Odyssesy: The Warner Collection of American Fine and Decorative Arts'' (New York: Monacelli Press Inc., 2001), p. 23.</ref>
| [[File:Sketch for the Courtship G120.jpg|100px|]]
|-
! scope="row" | The Spinner (sketch)
| 121
| Oil on canvas
| Circa 1878
|
|
| [[Worcester Art Museum]], [[Worcester, Massachusetts]]<ref name="Wright" />
| [[File:The Spinner.png|100px|]]
|-
! scope="row" | The Spinner (sketches)
| 122
| Wood
|
|
| Has a sketch of Dr. Andrews on the reverse side.
| Private collection.<ref name="GP" />
| [[File:Sketch for the Spinner G122.jpg|100px]]
|-
! scope="row" | The Young Man (sketch)
| 123
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Anna Williams
| 123A
|
|
|
|
|
| [[File:Anna Williams G123A.jpg|100px|]]
|-
! scope="row" | Study for Anna Williams
| 123B
|
|
|
|
|
| [[File:Study for Anna Williams G123B.jpg|100px|]]
|-
! scope="row" | Negro Boy Dancing (also known as "The Dancing Lesson")
| 124
| Watercolor on paper
| 1878
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/negro_boy_dancing_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011172&vT=1 | title = The Metropolitan Museum of Art – The Dancing Lesson (Negro Boy Dancing) | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The dancing lesson thomas eakins.jpeg|100px|]]
|-
! scope="row" | Drawing for the Negro Boy dancing
| 124A
| Drawing
| 1878
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, plate 8</ref><ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7220/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Drawing for the Negro Boy dancing G124A.jpg|100px]]
|-
! scope="row" | Study for Negro Boy Dancing
| 125
| Oil on canvas
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=66414 Study for "Negro Boy Dancing": The Banjo Player]{{dead link | date = June 2012}}</ref>
| [[File:Study for Negro Boy Dancing.jpg|100px|]]
|-
| Study for Negro Boy Dancing
|125A
|
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=66413 Study for "Negro Boy Dancing": The Boy]{{dead link | date = June 2012}}</ref>
| [[File:Negro Boy Dancing G125A.jpg|100px|]]
|-
! scope="row" | Mrs. John H. Brinton
| 126
| Oil on canvas
| 1878
|
|Depicts Sarah (Ward) Brinton, wife of [[John H. Brinton]].<ref>Schoonover, Jametta Wright, ed. The Brinton Genealogy: A History of William Brinton who cam from England to Chester County, Pennsylvania in 1984 and of his descendants. Trenton, New Jersey: MacCrellish & Quigley Company, 1925, 362.</ref>
| Collection of Mrs. Rodolphe Meyer de Schauensee<ref>Sewell, 1982, 123</ref>
| [[File:Eakins, Sarah Ward Brinton 1878.jpg|100px|]]
|-
! scope="row" | The Spelling Bee at Angel's
| 127
|
| 1878
|
| Published in [[Scribner's Magazine]], November 1878
| N/A
| [[File:The Spelling Bee at Angel's 1.png|100px|]]
|-
! scope="row" | Thar's a New Game Down in Frisco
| 127A
| Oil on canvas
|
|
| Study for the central standing figure in the Spelling Bee at Angel's. Study for The Spelling Bee at Angel's.
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 436–437</ref>
| [[File:There's a New Game Down in 'Frisco G127A.jpg|100px]]
|-
! scope="row" | The Spelling Bee at Angel's
| 128
|
| 1878
|
| Published in [[Scribner's Magazine]], November 1878
| N/A
| [[File:The Spelling Bee at Angel's 2.png|100px|]]
|-
! scope="row" | Mr. Neelus Peeler's Conditions
| 129
| Black ink and Chinese white on paper
| 1879
|
| Published in [[Scribner's Magazine]], June 1879
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/30648/Illustration_for_Mr._Neelus_Pealers_Conditions/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: "Thar's Such A Thing As Calls in This World," illustration for "Mr. Neelus Peeler's Conditions" | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:Illustration for Neelus Peeler's conditions.jpg|100px|]]
|-
! scope="row" | Perspective drawing for Mr. Neelus Peeler's Conditions
| 129A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6317]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for Mr. Neelus Peeler's Conditions.jpg|100px|]]
|-
! scope="row" | Sketch for Mr. Neelus Peeler's Conditions
| 130
| Wood
|
|
|Double sided. Often incorrectly referred to as "The Timer"<ref>Henricks, 1974, CL-10</ref>
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref>Hendricks, 316 (CL10)</ref><ref>[http://ink.nbmaa.org:8080/emuseum/view/objects/asitem/People$0040482/1;jsessionid=86B58DA8FE22D15759998F2DE4074024?t:state:flow=9b588855-ea17-4e36-aa62-5da6ab60630d]{{dead link | date = June 2012}}</ref>
| [[File:Timer, by Thomas Eakins.jpg|100px]] [[File:Eakins G130 verso.jpg|100px|]]
|-
! scope="row" | Four anatomical drawings
| 130A, 130B, 130C, 130D
| Drawings
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6341]{{dead link | date = June 2012}}</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6373]{{dead link | date = June 2012}}</ref>
| [[File:Anatomical Studies G130.jpg|100px|]] [[File:Anatomical drawing G130.jpg|100px|]]
|-
! scope="row" | A Quiet Moment
| 131
| Oil on canvas
| 1879
|
| Lost<ref>Sewell, 2001, 219</ref>
|
|
|-
! scope="row" | Sewing
| 132
| Oil on wood
| circa 1879
|
| Reverse side contains the sketch of an interior.
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref>[http://ink.nbmaa.org:8080/emuseum/view/objects/asitem/13/2/primaryMaker-asc/title-asc;jsessionid=92CF81D2B363058FCE6E62AF4BC4D527?t:state:flow=34259510-5b68-4f19-a030-e9bf121d253e]{{dead link | date = June 2012}}</ref>
| [[File:Sewing by Thomas Eakins.jpg|100px|]] [[File:Eakins G132 verso.jpg|100px|]]
|-
! scope="row" | Study of a Woman Knitting
| 132A
| Oil
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6352]{{dead link | date = June 2012}}</ref>
| [[File:Woman Knitting.jpg|100px|]]
|-
! scope="row" | [[The Fairman Rogers Four-in-Hand]]
| 133
| Oil on canvas
| 1879–1880
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/43938.html | title = Philadelphia Museum of Art – Collections Object : A May Morning in the Park (The Fairman Rogers Four-in-Hand) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:A may morning in the park thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for the Fairman Rogers Four-in-Hand
| 134
| Oil on wood
| 1879
|
| Double sided: one side depicts the coach being driven across the picture; the other side is a study of Mrs. Rogers.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44130.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Fairman Rogers Four-in-Hand | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44131.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. Fairman Rogers (Study for The Fairman Rogers Four-in-Hand) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Fairman Rogers Four-in-Hand.jpg|100px|]] [[File:Portrait of Mrs. Fairman Rogers - Study for The Fairman Rogers Four-in-Hand.png|100px|]]
|-
! scope="row" | Landscape sketch for the Fairman Rogers Four-in-Hand
| 135
| Oil on wood
|
|
| Originally composed of five or six sketches, which were later split.<ref name="Foster439">Foster, 439</ref>
|
| [[File:Landscape sketch for the Fairman Rogers Four-in-Hand G135.jpg|100px|]] [[File:Eakins G135 circa 1933.jpg|100px]] Reverse of G135 as it appeared in 1933.
|-
! scope="row" | Study of the Delaware River
| 135A
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Delaware Riverscape from Gloucester.jpg|100px|]]
|-
! scope="row" | Study of a Man's Head for Mending the Net
| 135B
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Thomas Eakins - a Fisherman.jpg|100px|]]
|-
! scope="row" | Study of a Woman's Head for Mending the Net
| 135C
| Oil
|
|
| Originally part of G135 until they were split.<ref name="Foster439" />
|
| [[File:Fishing at Gloucester on the Delaware river - study of a woman's head B246.jpg|100px|]]
|-
! scope="row" | Landscape sketch for the Fairman Rogers Four-in-Hand
| 136
| Oil on wood
|
|
| Double sided: one side is a study in Fairmount park. The other is a color note.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:Study in Fairmount Park G136.jpg|100px|]] [[File:Color note G136.png|100px|]]
|-
! scope="row" | Study of Horse for The Fairman Rogers Four-in-Hand
| 137
| Oil on wood
| 1879
|
| Originally double sided with 137A until the two images were split<ref name="GP" /> Ex collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref name="sothebys.com">[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137.</ref>
|
| [[File:Study for Fairman Rogers Four in Hand G137 recto.png|100px|]]
|-
! scope="row" | Study of Horses for The Fairman Rogers Four-in-Hand
| 137A
| Oil on canvas
| 1879
|
| Originally double sided with 137 until the two images were split<ref name="GP" /> Ex collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref name="sothebys.com" />
|
| [[File:Study for fairman rogers four in hand G137A.jpg|100px|]]
|-
! scope="row" | Fan
| 137B
|
|
|
| Sold at auction, January 24, 1994, for $160,000.
|
| [[File:Eakins fan G133B.jpg|100px|]]
|-
! scope="row" | General [[George Cadwalader]]
| 138
| Oil on canvas
| 1880
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Butler">{{cite web | url = http://www.butlerart.com/pc_book/pages/thomas_cowperthwait_eakins_1844.htm | title = Thomas cowperthwait eakins 1844 | publisher = Butlerart.com | date = | accessdate = 2012-06-08}}</ref>
| [[File:General George Cadwalader.jpg|100px|]]
|-
! scope="row" | General George Cadwalader
| 139
| Oil on canvas
| 1880
|
|
| Collection of the [[Mutual Assurance Company of Philadelphia]].<ref>The Green Tree: highlights from the collection of the Mutual Assurance Company of Philadelphia. Schwarz, 2007. [http://www.schwarzgallery.com/catalog.php?id=78&sort=plate&plate=1&menu=1&group=0 Available online]</ref>
| [[File:General George Cadwalader G139.jpg|100px|]]
|-
! scope="row" | Retrospection
| 140
| Oil on wood
| 1880
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52621 | title = Yale University Art Gallery – eCatalogue – Retrospection | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Retrospection, by Thomas Eakins, YUAG.jpg|100px|]]
|-
! scope="row" | Retrospection (Watercolor)
| 141
| Watercolor on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>PMA accession number 1930-32-2</ref>
| [[File:Thomas Eakins - Retrospection.jpg|100px|]]
|-
! scope="row" | Walter MacDowell
| 141A
| Oil
|
|
|
|Private collection<ref name="GP" />
| [[File:Walter MacDowell 141A.jpg|100px]]
|-
! scope="row" | The Crucifixion
| 142
| Oil on canvas
| 1880
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42505.html | title = Philadelphia Museum of Art – Collections Object : The Crucifixion | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The cruxifixion thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Crucifixion
| 143
| Oil on canvas
| 1880
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Rosenzweig, 18</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6350]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for the Crucifixion.jpg|100px|]]
|-
! scope="row" | [[J. Laurie Wallace]] posing
| 143A
| Oil
|
|
| Sold at auction in 1987 for $160,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1473219 | title = Wallace posing by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1987-12-03 | accessdate = 2012-06-08}}</ref>
|Private collection<ref>{{cite web | url = http://the-athenaeum.org/art/detail.php?ID=13914 | title = The Athenaeum – Wallace Posing (Thomas Eakins – circa 1883) | work = the-athenaeum.org | accessdate = June 2, 2012}}</ref>
| [[File:Wallace Posing.jpg|100px|]]
|-
! scope="row" | Spinning
| 144
| Watercolor on paper
| 1881
|
|
| Collection of Mrs. John Randolph Garrett Sr.<ref name="Sewell, 1982, 63">Sewell, 1982, 63</ref>
| [[File:Eakins, Spinning 1881.jpg|100px|]]
|-
! scope="row" | Drawing for Spinning
| 144A
| Drawing
|
|
|
|
|
|-
! scope="row" | Sketch for Spinning
| 145
| Oil on wood
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #243</ref>
| [[File:Sketch for Spinning G145.jpg|100px]]
|-
! scope="row" | Spinning (also called "Homespun")
| 146
| Watercolor on paper
| 1881
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/homespun_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011167&vT=1 | title = The Metropolitan Museum of Art – Homespun | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Homespun 1881.jpg|100px|]]
|-
! scope="row" | Sketch for Spinning
| 147
| Oil on wood
|
|
| Double sided – the reverse side also contains a sketch for Spinning
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=22295 | title = Yale University Art Gallery – eCatalogue – Sketches for "Home-Spun", (recto and verso) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketches for 'Home-Spun' (recto), by Thomas Eakins.jpg|100px]] [[File:Sketches for 'Home-Spun' (verso), Top of painting at right, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | The Pathetic Song
| 148
| Oil on canvas
| 1881
|
|
| [[Corcoran Museum of Art]], [[Washington, DC.]]<ref name="Wright" />
| [[File:The pathetic song thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Pathetic Song
| 149
| Oil on wood
| 1881
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6275]{{dead link | date = June 2012}}</ref>
| [[File:Study for the Pathetic Song.jpg|100px|]]
|-
! scope="row" | The Pathetic Song
| 149A
| Watercolor
|
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_pathetic_song_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011173&vT=1 | title = The Metropolitan Museum of Art – The Pathetic Song | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Pathetic song.jpg|100px]]
|-
! scope="row" | Rail Shooting
| 150
| Drawing
| 1881
|
| Published in [[Scribner's Magazine]], July 1881
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=33915 | title = Yale University Art Gallery – eCatalogue – Study for Rail Shooting from a Punt | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for Rail Shooting from a Punt.jpg|100px|]]
|-
! scope="row" | A Pusher (also known as "Poleman in the Ma'sh)
| 151
| Drawing
| 1881
| 11 × 5⅞
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=62978 The Poleman in the Ma'sh]{{dead link | date = June 2012}}</ref>
| [[File:A pusher (Poleman in the Ma'sh) G151.jpg|100px|]]
|-
! scope="row" | Drawing for William Rush Carving The Allegorical Figure Of The Schuylkill
| 151A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6339]{{dead link | date = June 2012}}</ref>
| [[File:William Rush Carving The Allegorical Figure Of The Schuylkill G151A.jpg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net")
| 152
| Oil on canvas
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42514.html | title = Philadelphia Museum of Art – Collections Object : Shad Fishing at Gloucester on the Delaware River | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Shad fishing at gloucester on the delaware river thomas eakins.jpeg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River (also called "Taking up the Net")
| 153
| Watercolor on paper
| 1881
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/taking_up_the_net_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011177&vT=1 | title = The Metropolitan Museum of Art – Taking Up the Net | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Taking Up Net 1881.jpg|100px|]]
|-
! scope="row" | Shad-Fishing at Gloucester on the Delaware River
| 154
| Oil
| 1881
|
|
| [[Ball State University]] Art Museum, [[Muncie, Indiana]]<ref>{{cite web | url = http://libx.bsu.edu/cdm4/document.php?CISOROOT=/MuseumBSU&CISOPTR=1383&REC=14 | title = Thomas Eakins | publisher = Libx.bsu.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Shad Fishing at Gloucester on the Delaware River.jpeg|100px|]]
|-
! scope="row" | Mending the Net
| 155
| Oil on canvas
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42515.html | title = Philadelphia Museum of Art – Collections Object : Mending the Net | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Mending Net 1881.jpg|100px|]]
|-
! scope="row" | Drawing for Mending the Net
| 155A
| Drawing
|
|
|
|
|
|-
! scope="row" | A Fisherman
| 156
| Oil on cardboard
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #249</ref>
| [[File:Study of a Fisherman G156.jpg|100px|]] [[File:Shore of the Delaware River with fishing nets.jpg|100px|]]
|-
! scope="row" | The Tree
| 157
| Oil on wood
|
|
| Originally double sided with G157A until the two images were split.<ref name="GP" />
|
| [[File:The Tree - Eakins.jpg|100px|]]
|-
! scope="row" | Mending the Net: Study of the Tree
| 157A
| Oil on wood
|
|
| Originally double sided with G157 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Mending the Net
| 158
| Watercolor on paper
| 1882
|
| Sold at auction in 1997 for $1,400,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2442952 | title = Mending the net by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1997-06-05 | accessdate = 2012-06-08}}</ref>
|
| [[File:Thomas Eakins - Mending the Net G158.jpg|100px|]]
|-
! scope="row" | Drawing the Seine
| 159
| Watercolor on paper
| 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/102843.html | title = Philadelphia Museum of Art – Collections Object : Drawing the Seine | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Drawing Seine 1882.jpg|100px|]]
|-
! scope="row" | Hauling the Seine
| 160
| Oil on canvas
| 1882
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=5 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Hauling the Seine.jpg|100px|]]
|-
! scope="row" | "The Meadows, Gloucester, New Jersey"
| 161
| Oil on canvas
| Circa 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42513.html | title = Philadelphia Museum of Art – Collections Object : The Meadows, Gloucester | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins The Meadows, Gloucester, New Jersey.jpg|100px|]]
|-
! scope="row" | "Sketch for The Meadows, Gloucester, New Jersey"
| 162
| Oil on wood
|
|
| Originally double sided with G162A until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study
| 162A
| Oil
|
|
| Originally double sided with G162 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | In the Country
| 163
| Oil on canvas
| circa 1882
| 10¼ × 14
| Sold at auction, November 29, 1990.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1667841 | title = Study for the Meadows, Gloucester, New Jersey by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1990-11-29 | accessdate = 2012-06-08}}</ref>
| Private collection<ref name="GP" />
| [[File:Eakins G163.jpg|100px|]]
|-
! scope="row" | Near the Sea (Also known as "Landscape study")
| 164
| Oil on canvas
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref name="GP" />
|
|-
! scope="row" | Untitled landscape sketch
| 165
| Oil on wood
|
|
| Originally double sided with G165A until the two images were split.<ref name="GP" />
|
| [[File:Eakins G165.jpg|100px|]]
|-
! scope="row" | Study of a horse
| 165A
| Oil
|
|
| Originally double sided with G165 until the two images were split.<ref name="GP" />
|
|
|-
! scope="row" | Untitled landscape sketch
| 166
| Oil on canvas
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/76887.html?mulR=32613 | title = Philadelphia Museum of Art – Collections Object : Landscape Sketch | publisher = Philamuseum.org | date = 1985-01-25 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins landscape G166.jpg|100px]]
|-
! scope="row" | Delaware River Scene
| 167
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #250</ref>
| [[File:Delaware River Scene.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 168
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 169
| Oil on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50427.html?mulR=20082 | title = Philadelphia Museum of Art – Collections Object : Landscape | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape G169 verso.jpg|100px|]] [[File:Landscape G169 recto.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 170
| Oil on paper
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #235, #236, and possibly #234</ref>
| [[File:Landscape G170 F235.jpg|100px|]] [[File:Landscape G170 F236.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 171
| Oil on paper
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 172
| Oil on canvas
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, 232</ref>
| [[File:Marsh Landscape Study G172.jpg|100px]]
|-
! scope="row" | Untitled landscape sketch
| 173
| Oil on canvas
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #2</ref>
| [[File:Eakins landscape G173.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 174
| Oil on canvas
|
|
|
| [[University at Buffalo, The State University of New York]] art gallery, [[Buffalo, New York]]<ref name="GP" />
|
|-
! scope="row" | Untitled landscape sketch
| 175
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #5</ref>
| [[File:Eakins Shore scene on the NJ coast G175.jpg|100px|]]
|-
! scope="row" | Untitled landscape sketch
| 176
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Untitled landscape sketch
| 177
| Oil on cardboard
|
|
|
|
|
|-
! scope="row" | The Brinton House
| 177A
| Oil
| 1878
|
| Subject is the [[William Brinton 1704 House]] in Birmingham Township, [[Chester County, Pennsylvania]], painted for his friend Dr. John Hill Brinton.<ref>Information accompanying photograph of the painting donated to the Chester County Historical Society by Sarah Ward (Brinton) Audenried, daughter of Joseph Hill Brinton.</ref>
|
| [[File:Brinton House G177A.jpg|100px|]]
|-
! scope="row" | Study for Old Man in Taking The Count
| 178
| Oil on canvas
| circa 1898
| 13¼ × 10
| Sold at auction in 2007 for $78,000<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=4907556&sid=1b006865-eb79-4ec6-ab61-66641cae6d70 | title = Thomas Eakins (1844–1916) | A Study of an Old Man | American Art Auction | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
| David Dufour. On loan to [[Mount Holyoke College Art Museum]]
| [[File:A Study of an Old Man.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 179
| Oil on canvas mounted on cardboard
|
|
|
|
|
|-
! scope="row" | Untitled sketch ("Girl in Shade")
| 180
| Oil on cardboard
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
|
|-
! scope="row" | Untitled sketch
| 181
| Oil on wood
|
|
|
|
|
|-
! scope="row" | Boatman
| 182
| Oil on wood
| Circa 1879
|
| Double sided: one side is a study for the left leader horse in The Fairman Rogers Four-In-Hand. The reverse side is the Study of a Groom.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44120.html | title = Philadelphia Museum of Art – Collections Object : Study of a Groom | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44119.html | title = Philadelphia Museum of Art – Collections Object : Study of Horse for The Fairman Rogers Four-in-Hand | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study of a Groom.jpg|100px|]] [[File:Study of Horse for The Fairman Rogers Four-in-Hand.png|100px|]]
|-
! scope="row" | Untitled sketch
| 183
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #3</ref>
| [[File:Eakins G183.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 184
| Oil on heavy paper mounted on cardboard
|
|
|
| [[La Salle University]] art gallery, [[Philadelphia, Pennsylvania]]
| [[File:Eakins G184.jpg|100px|]]
|-
! scope="row" | Study of Three Balls of Wool and a Rosebush
| 185
| Oil on canvas
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
|
|-
! scope="row" | Two Cylinders and a Ball
| 185A
| Oil
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]
| [[File:Two Cylinders and a Ball G185A.jpg|100px|]]
|-
! scope="row" | Untitled sketch
| 186
| Oil on heavy paper
|
|
|
|
|
|-
! scope="row" | Study of a woman seated
| 187
| Oil on canvas mounted on cardboard
|
|
| Put up for auction in 2007 but not sold.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/3686052 | title = Seated figure sketch by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 2007-11-28 | accessdate = 2012-06-08}}</ref>
|
|
|-
! scope="row" | Street Scene
| 187A
| Oil
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6353]{{dead link | date = June 2012}}</ref>
| [[File:A street scene G187A.jpg|100px|]]
|-
! scope="row" | The Writing Master
| 188
| Canvas
| 1882
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_writing_master_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011179&vT=1 | title = The Metropolitan Museum of Art – The Writing Master | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The writing master thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for the Writing Master
| 189
| Oil on wood
|
|
| Double sided – one side is a sketch for The Writing Master. The other side is Sketch of a Man and Study of Drapery
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44142.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Benjamin Eakins (Sketch for The Writing Master) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44143.html | title = Philadelphia Museum of Art – Collections Object : Sketch of a Man and Study of Drapery | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for The Writing Master - Portrait of Benjamin Eakins.png|100px|]] [[File:Sketch of a Man and Study of Drapery.jpg|100px|]]
|-
! scope="row" | [[The Swimming Hole]]
| 190
| Oil on canvas
| 1884–1885
|
|
| [[Amon Carter Museum]], [[Fort Worth, Texas]]<ref>{{cite web | url = http://www.cartermuseum.org/works-of-art/1990-19-1 | title = Swimming – Thomas Eakins (1844–1916) | Amon Carter Museum | publisher = Cartermuseum.org | date = 1990-01-19 | accessdate = 2012-06-08}}</ref>
| [[File:Swimming hole.jpg|100px|]]
|-
! scope="row" | Sketch for [[the Swimming Hole]]
| 191
| Oil on wood
| 1884
|
| Study for the Swimming Hole
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6302]{{dead link | date = June 2012}}</ref>
| [[File:Study for swimming thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketch of the landscape for [[the Swimming Hole]]
| 192
| Oil on wood
|
|
| Study for the Swimming Hole
| Collection of Mr. I David Orr<ref>Boldger, plate 12</ref>
| [[File:Landscape for swimming.png|100px|]]
|-
! scope="row" | Sketches for [[the Swimming Hole]]
| 193
| Oil on cardboard
|
|
| "Double-sided, both sides are studies for The Swimming Hole"
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #8</ref><ref>Bolger, plates 17–18</ref>
| [[File:Study for the swimming hole 4.jpg|100px|]] [[File:Sketch of harry thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for [[the Swimming Hole]]
| 194
| Oil on cardboard
|
|
| "Double-sided, both sides are studies for The Swimming Hole"
| [[Amon Carter Museum]], [[Fort Worth, Texas]]<ref>Bolger, plates 15–16</ref>
| [[File:Study for the swimming hole 1.jpg|100px|]] [[File:Study for the swimming hole 2.jpg|100px|]]
|-
! scope="row" | Sketch for [[the Swimming Hole]]
| 195
| Oil on cardboard
|
|
| "Double-sided, obverse side contains study of the fisherman's hand from Mending the Net"
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #9</ref><ref>Bolger, plate 19</ref>
| [[File:Study for the swimming hole 3.jpg|100px|]]
|-
! scope="row" | Arcadia
| 196
| Oil on canvas
| 1883
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/arcadia_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011161&vT=1 | title = The Metropolitan Museum of Art – Arcadia | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas (1844 - 1916) - Arcadia - ca. 1883.jpg|100px|]]
|-
! scope="row" | Sketch for Arcadia
| 197
| Oil on wood
|
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7155/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref><ref>Foster, #251</ref>
| [[File:Sketch for Arcadia.jpg|100px|]]
|-
! scope="row" | Youth Playing Pipes
| 198
| Oil on wood
|
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1026084 | title = Thomas Eakins: Study for Arcadia: Youth Playing Pipes | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Study for Arcadia - Youth Playing Pipes.jpg|100px|]]
|-
! scope="row" | Boy Reclining
| 199
| Oil on wood
|
|
| Originally double sided with G199A until the two images were split.<ref name="GP" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6309]{{dead link | date = June 2012}}</ref>
| [[File:Boy Reclining G199.jpg|100px|]]
|-
! scope="row" | Study of a Horse
| 199A
| Drawing
|
|
| Originally double sided with G199 until the two images were split.<ref name="GP" /> Ex Collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137. However, Sewell, 1982, 68 depicts Goodrich 199 and shows the first image in the Sotheby's listing.</ref>
|
| [[File:Study for Fairman Rogers Four in Hand G199.png|100px|]]
|-
! scope="row" | An Arcadian
| 200
| Oil on canvas
| Circa 1883
|
|
|
| [[File:Eakins, Arcadian 1883.jpg|100px|]]
|-
! scope="row" | Study for An Arcadian
| 201
| Oil on wood
|
|
| Originally double sided with G201A until the two images were split.<ref name="GP" />
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Wright" />
| [[File:Study for an Arcadian G201.jpg|100px|]]
|-
! scope="row" | Studies of a horse
| 201A
| Drawing
|
|
| Originally double sided with G201 until the two images were split.<ref name="GP" /> Ex Collection: [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction in the same lot with other Eakins works in 2009 for $119,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159533604 Sotheby's listing for Four Studies for 'The Fairman Rogers Four-In-Hand"]{{dead link | date = June 2012}}. The auction lists only Goodrich 137. However, Sewell, 1982, 68 depicts Goodrich 201 and shows the second image in the Sotheby's listing.</ref>
|
| [[File:Eakins G137B.png|100px|]]
|-
! scope="row" | Weda Cook and Statue
| 201B
| Oil
|
|
|
| 
|
|-
! scope="row" | A Woman's Back: Study
| 202
| Oil on wood
| 1879
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #11</ref><ref>Goodrich, 1982, volume I, page 177</ref>
| [[File:Study of a Woman's Back G202.png|100px|]]
|-
! scope="row" | Female Nude
| 203
| Oil on canvas
| Probably early 1880s
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>Sewell, 1982, 55</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6274]{{dead link | date = June 2012}}</ref>
| [[File:Female nude G203.jpg|100px]]
|-
! scope="row" | Female Nude
| 204
| Oil on canvas
| Probably early 1880s
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase.cfm?id=11944&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database, Female Nude (Study) | publisher = Nelson-atkins.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for female nude G204.jpg|100px|]]
|-
! scope="row" | Female Nude
| 205
| Watercolor on paper
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="GP" />
| [[File:Eakins, Female Nude 1884.jpg|100px|]]
|-
! scope="row" | Study for female nude
| 205A
| Oil
|
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Sotheby's NY, September 29, 2010; sold for $50,000.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621424]{{dead link | date = June 2012}}</ref>
|
| [[File:Eakins Nude woman standing.jpg|100px|]]
|-
! scope="row" | [[J. Laurie Wallace]]
| 206
| Oil on canvas
| Circa 1883
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref>[http://www.joslyn.org/Collection/Search-Detail.aspx?ID=ec627db6-23e7-4fe4-89c7-d1eb9e11a40a]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of J. Laurie Wallace.jpg|100px|]]
|-
! scope="row" | Drawing for [[J. Laurie Wallace]]
| 206A
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Professionals at Rehearsal
| 207
| Oil on canvas
| Circa 1883
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/48396.html | title = Philadelphia Museum of Art – Collections Object : Professionals at Rehearsal | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Professionals at Rehearsal 1883.jpg|100px|]]
|-
|Perspective Study Of Boy Viewing an Object
|207A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6510]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Perspective Study Of Boy Viewing Object.jpg|100px|]]
|-
|Perspective drawing of a table
|207B
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://www.hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6337]{{dead link | date = June 2012}}</ref>
| [[File:Eakins Perspective Study Of Table.jpg|100px|]]
|-
|Perspective drawing of two tables
|207C
|
|
|
|
|
|-
! scope="row" | In the Studio
| 208
| Oil on canvas
| 1884
|
|
| [[The Hyde Collection]], [[Glens Falls, New York]]<ref>Hoopes, 76</ref>
| [[File:In the Studio G208.jpg|100px|]]
|-
! scope="row" | In the Studio
| 209
| Watercolor on paper
|
|
| Unfinished
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/52013.html?mulR=20082 | title = Philadelphia Museum of Art – Collections Object : In the Studio | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, In Studio (Unfinished) 1884.jpg|100px|]]
|-
! scope="row" | [[A.B. Frost]]
| 210
| Oil on canvas
| Circa 1884
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42490.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Arthur Burdett Frost | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Arthur Burdett Frost.png|100px|]]
|-
! scope="row" | Study for [[A.B. Frost]]
| 210A
| Oil on cardboard
|
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref name="GP" />
| [[File:Study for AB Frost G210A.jpg|100px]]
|-
! scope="row" | The Veteran
| 211
| Oil on canvas
| Circa 1886
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52625 | title = Yale University Art Gallery – eCatalogue – The Veteran (Portrait of George Reynolds) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Veteran Portrait of George Reynolds by Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | Mrs. William Shaw Ward
| 212
| Oil on canvas
|
|
| Sold at auction at Sothebys, December 2, 2010, for $242,500<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159637565]{{dead link | date = June 2012}}</ref>
|
| [[File:Mrs William Shaw Ward.jpg|100px|]]
|-
! scope="row" | The Artist's Wife and His Setter Dog
| 213
| Oil on canvas
| 1885
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_artist_s_wife_and_his_setter_dog_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011162&vT=1 | title = The Metropolitan Museum of Art – The Artist's Wife and His Setter Dog | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Artist's Wife and His Setter Dog.jpg|100px|]]
|-
! scope="row" | Professor [[George Frederick Barker|George F. Barker]]<ref>"Prof. Barker was a chemist, and no doubt a learned man in his profession.— I think Mr. Eakins painted him because he was worthy to be remembered, it was not an order [commission]." —Mrs. Eakins to Clarence Cranmer, July 4, 1929, Archives of American Art, Smithsonian Institution.</ref>
| 214
| Oil on canvas
| 1886
|
| Originally 3/4-length and 60×40 inches, cut down to head-and-bust and 24×20 inches.
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (9 of 23) | publisher = Cedarhurst.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:George F. Barker.jpg|100px|]] [[File:George Barker uncut.jpg|100px]] Barker's portrait as it appeared originally.
|-
! scope="row" | Sketch for Professor George F. Barker
| 215
| Oil on cardboard
| 1886
|
| Doubled sided – one side is a sketch for Professor George F. Barker. The other side depicts seated figures.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44146.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Professor George F. Barker | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44147.html | title = Philadelphia Museum of Art – Collections Object : Seated Figures | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Professor George F Barker.jpg|100px|]] [[File:Seated figures.jpg|100px|]]
|-
! scope="row" | Professor William D. Marks
| 216
| Oil on canvas
| 1886
|
|
| [[Washington University Gallery of Art]], [[St. Louis, Missouri]]<ref>{{cite web|author=Thomas Eakins | url = http://kemperartmuseum.wustl.edu/collection/explore/artwork/86 | title = Artwork Detail | Kemper Art Museum | publisher = Kemperartmuseum.wustl.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William D Marks.jpg|100px|]]
|-
! scope="row" | Professor William D. Marks (unfinished)
| 217
| Oil on canvas
| circa 1886
| 76 × 54
|
| [[Iris & B. Gerald Cantor Center for Visual Arts]], [[Stanford, California]]
| [[File:Eakins, Professor William D Marks 1886.jpg|100px|]]
|-
! scope="row" | Miss Sophie Brooks
| 217A
| Oil
|
|
|
|
|
|-
! scope="row" | Frank McDowell
| 218
| Oil on canvas
| Circa 1886
|
| Sold at auction in 1983 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1197237 | title = Portrait of Frank MacDowell by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-12-09 | accessdate = 2012-06-08}}</ref>
|
| [[File:Portrait of Frank MacDowell, c1886.jpg|100px|]]
|-
! scope="row" | Frank MacDowell (unfinished)
| 219
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6287]{{dead link | date = June 2012}}</ref>
| [[File:Frank Macdowell G219.png|100px|]]
|-
! scope="row" | Portrait of [[Walt Whitman]]
| 220
| Oil on canvas
| 1887–1888
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__6457/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:§Whitman, Walt (1819-1892) - 1887 - ritr. da Eakins, Thomas - da Internet.jpg|100px|]]
|-
! scope="row" | Sketch for [[Walt Whitman]]
| 221
| Oil on wood
| Probably 1887
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32369 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the Portrait of Walt Whitman G221.png|100px|]]
|-
! scope="row" | Mrs. Letitia Wilson Jordan
| 222
| Oil on canvas
| 1888
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/307/Letitia_Wilson_Jordan/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: Letitia Wilson Jordan | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - Letitia Wilson Jordan - Google Art Project.jpg|100px|]]
|-
! scope="row" | Sketch for Mrs. Letitia Wilson Jordan Bacon
| 223
| Oil on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44148.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Letitia Wilson Jordan | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Letitia Wilson Jordan.png|100px|]]
|-
! scope="row" | Cowboys in the Badlands
| 224
| Oil on canvas
| 1888
|
| Sold for US$5,383,500 at a May 22, 2003 auction at [[Christie's|Christie's New York]], setting a record for an Eakins painting.
| [[Anschutz collection]], [[Denver, Colorado]]
| [[File:Cowboys in the bad lands thomas eakins.jpeg|100px|]]
|-
! scope="row" | Sketches for Cowboys in the Badlands
| 225
| Oil on cardboard
|
|
| Originally part of the same work with G-225A and G-225B.<ref name="Foster187">Foster, pg 278, footnote 18</ref>
| [[Albright-Knox Art Gallery]], [[Buffalo, New York]]<ref>http://66.251.89.230/detail.php?type=related&kv=487&t=objects</ref>
| [[File:Sketches for Cowboys in the Badlands.jpg|100px]]
|-
! scope="row" | Sketch of a saddle
| 225A
| Oil on canvas on cardboard
| 1887
|
| Originally part of the same work with G-225 and G-225B.<ref name="Foster187" />
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/72520.html | title = Philadelphia Museum of Art – Collections Object : Saddle (Sketch for Cowboys in the Bad Lands) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Saddle - Sketch for Cowboys in the Bad Lands.jpg|100px]]
|-
! scope="row" | Study of a stirrup
| 225B
|
|
|
| Originally part of the same work with G-225 and G-225A.<ref name="Foster187" />
|
|
|-
! scope="row" | Sketch for Cowboys in the Badlands
| 226
| Oil on canvas
|
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1">{{cite web|author=What's Gross About the "Gross Clinic" Deaccessions | url = http://www.artsjournal.com/culturegrrl/2008/04/whats_gross_about_the_gross_cl.html | title = What's Gross About the "Gross Clinic" Deaccessions – CultureGrrl | publisher = Artsjournal.com | date = 2008-04-30 | accessdate = 2012-06-08}}</ref><ref name="denverdeal2">{{cite web | url = http://www.theartnewspaper.com/articles/Denver-deal-under-investigation/16064 | title = Denver deal under investigation – The Art Newspaper | publisher = Theartnewspaper.com | date = 2008-09-17 | accessdate = 2012-06-08}}</ref>
| [[File:Cowboys in the Badlands sketch 1.jpg|100px|]]
|-
! scope="row" | The Bad Lands
| 227
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44122.html | title = Philadelphia Museum of Art – Collections Object : Landscape (Sketch for Cowboys in the Bad Lands) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape - Sketch for Cowboys in the Bad Lands.png|100px|]]
|-
! scope="row" | Study for Cowboys in the Badlands
| 227A
| Oil on canvas
|
| 10⅜ × 13½
| Sold by Sothebys, October 17, 1980<ref name="Foster187" />
|
| [[File:Eakins G227A.jpg|100px|]]
|-
! scope="row" | Landscape sketch for Cowboys in the Badlands
| 228
| Oil on canvas mounted on cardboard
|
|
| Originally double sided with G-228A.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50430.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Cowboys in the Bad Lands | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape sketch for Cowboys in the Bad Lands G228 side B.jpg|100px|]]
|-
! scope="row" | Landscape sketch for Cowboys in the Badlands
| 228A
| Oil on canvas mounted on cardboard
|
|
| Originally double sided with G-228.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50429.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Cowboys in the Bad Lands | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Landscape sketch for Cowboys in the Bad Lands G228 side A.jpg|100px|]]
|-
! scope="row" | Cowboy Riding
| 229
| Oil on canvas mounted on cardboard
|
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1" /><ref name="denverdeal2" />
| [[File:Cowboys in the Badlands sketch 2.jpg|100px|]]
|-
! scope="row" | Cowboy (sketches)
| 230
| Oil on canvas mounted on cardboard
|
|
|
|
| [[File:Sketch of Edward Boulton G230.jpg|100px]]
|-
! scope="row" | Cowboy Riding
| 230A
| Oil on canvas
|
| 10¼ × 14¼
| Sold at auction on June 22, 2003 for $12,000<ref>{{cite web | url = http://www.freemansauction.com/asp/fullCatalogue.asp?salelot=1176++++++74+&refno=++417814 | title = FINE AMERICAN & EUROPEAN PAINTINGS – SALE 1176 – LOT 74 – FREEMAN'S AUCTIONEERS | publisher = Freemansauction.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Cowboy Riding G230A.jpg|100px|]]
|-
! scope="row" | Cowboy (sketch)
| 231
| Oil on canvas mounted on cardboard
|
|
|
|
|
|-
! scope="row" | [[Edward W. Boulton]]
| 232
|
| Circa 1888
|
| Damaged in an accident – "The portrait of Boulton (Edward W.) by Eakins was lent to the University Club for an exhibit, and a waiter ran amuck and slashed it up."<ref>Adams, Eakins revealed, 528</ref>
|
|
|-
! scope="row" | Douglass M. Hall
| 233
| Oil on canvas
| Circa 1888
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/70399.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Douglass Morgan Hall | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - Portrait of Douglass Morgan Hall.jpg|100px|]]
|-
! scope="row" | Girl in a Big Hat (Portrait of Lillian Hammit)
| 234
| Oil on canvas
| Circa 1888
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6292]{{dead link | date = June 2012}}</ref>
| [[File:Girl in a Big Hat - Portrait of Lillian Hammitt G234.jpg|100px|]]
|-
! scope="row" | [[The Agnew Clinic]]
| 235
| Oil on canvas
| 1889
|
|
| [[University of Pennsylvania]] School of Medicine, [[Philadelphia, Pennsylvania]]<ref>[http://sceti.library.upenn.edu/PennArt/SlideShow/index_slide.cfm, slide 11]{{dead link | date = June 2012}}</ref>
| [[File:The agnew clinic thomas eakins.jpeg|100px|]]
|-
! scope="row" | Drawing of [[David Hayes Agnew]]
| 235A
|
|
|
|
|
| [[File:David Hayes Agnew G235A.png|100px|]]
|-
! scope="row" | Sketch for the Agnew Clinic
| 236
| Oil on canvas mounted on cardboard
|
|
|
|Private collection<ref name="GP" />
| [[File:Sketch for the Agnew Clinic G236.jpg|100px]]
|-
! scope="row" | Dr. [[David Hayes Agnew|D. Hayes Agnew]]: Study
| 237
| Oil on canvas
| 1889
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52922 | title = Yale University Art Gallery – eCatalogue – Dr. Agnew (Dr. D. Hayes Agnew) (1818–1892) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Dr agnew.jpg|100px|]]
|-
! scope="row" | [[Samuel Murray]]
| 238
| Oil on canvas
| 1889
|
|
| [[Mitchell Museum at Cedarhurst]], [[Mount Vernon, Illinois]]<ref>{{cite web | url = http://www.cedarhurst.org/PhotoViewer.php?gallery=1 | title = (8 of 23) | publisher = Cedarhurst.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Samuel Murray 1889.jpg|100px|]]
|-
! scope="row" | Dr. [[Horatio Curtis Wood|Horatio C. Wood]]
| 239
| Oil on canvas
| Circa 1889
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref name="Wright" />
| [[File:Horatio C Wood Eakins.jpg|100px|]]
|-
! scope="row" | Professor George W. Fetter
| 240
| Oil on canvas
| 1890
|
|Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school.<ref name="Zucchino">David Zucchino, [http://articles.latimes.com/2004/jul/19/nation/na-philly19?page_type=article&exci=2004|07|19|nation|na-philly19&pg=1 Schools' Art Cache Is a Study in Forgotten Treasures]. Los Angeles Times, July 19, 2004</ref> Currently in an undisclosed location.
| Collection of the [[School District of Philadelphia]], [[Philadelphia, Pennsylvania]]
| [[File:George Fetter G240.jpg|100px|]]
|-
! scope="row" | Drawing for Professor George W. Fetter
| 241
| Black ink on white tile
|
|
|
|
|
|-
! scope="row" | Portrait of [[Talcott Williams]]
| 242
| Oil on canvas
| Circa 1890
|
|
| [[National Portrait Gallery (United States)|National Portrait Gallery]], [[Washington, D.C.]]<ref>Accession number [http://npgportraits.si.edu/eMuseumNPG/media/previews/8500100a.jpg NPG.85.50].</ref>
| [[File:Talcott Williams - Eakins.jpg|100px|]]
|-
! scope="row" | The Bohemian: Portrait of Franklin Louis Schenk
| 243
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42495.html | title = Philadelphia Museum of Art – Collections Object : The Bohemian (Portrait of Franklin Louis Schenck) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Bohemian - Portrait of Franklin Louis Schenck.png|100px|]]
|-
! scope="row" | F.L. Schenk
| 244
| Oil on canvas
| Circa 1890
|
|
| [[Delaware Art Museum]], [[Wilmington, Delaware]]
| [[File:Franklin Schenk.png|100px|]]
|-
! scope="row" | F.L. Schenk
| 245
| Oil on cardboard
| Circa 1890
|
|
| Private collection<ref name="GP" />
|
|-
! scope="row" | The Father of F.L. Schenk
| 246
| Oil on canvas
| Circa 1890
|
|
| Collection of Nelson C. White<ref>Hendricks, The Life and Work of Thomas Eakins, 189</ref>
| [[File:FL Schenk's father G246.jpg|100px|]]
|-
! scope="row" | Head of a Cowboy
| 247
| Oil on canvas
| Circa 1890
|
|
| [[Mead Art Museum]], [[Amherst, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=0&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Head of a Cowboy.jpg|100px|]]
|-
! scope="row" | Home Ranch
| 248
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42493.html | title = Philadelphia Museum of Art – Collections Object : Home Ranch | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Home Ranch 1888.jpg|100px|]]
|-
! scope="row" | Cowboy Singing
| 249
| Watercolor on paper
| Circa 1890
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/cowboy_singing_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011165&vT=1 | title = The Metropolitan Museum of Art – Cowboy Singing | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Cowboy Singing 1890.jpg|100px|]]
|-
! scope="row" | Cowboy Singing
| 250
| Oil on canvas
| Circa 1890
|
| Ex Collection: [[Philadelphia Museum of Art]]; deaccessioned April 2008, to fund the 2007 purchase of [[The Gross Clinic]].
| Jointly owned by [[Anschutz collection]] and [[Denver Art Museum]], [[Denver, Colorado]]<ref name="denverdeal1" /><ref name="denverdeal2" />
| [[File:Eakins - Cowboy singing.jpg|100px|]]
|-
! scope="row" | Thomas B. Harned
| 251
| Oil on canvas
| Circa 1890
| 24 x 20
|
| Collection of Dr. and Mrs. Herbert S. Harned, Jr. On long-term loan to the [[Ackland Art Museum]], [[Chapel Hill, North Carolina]]<ref>{{cite web | url = http://www.unc.edu/ackland/collection/?action=simple&search=Eakins&department=&classification=&artist=&title=&medium=&culture=&year_begin=&year_begin_search=&year_end=&year_end_search=&credit=&accession=&results=25&sort=&order=&ea=&et=&ec=&em=&action=details&page=1&search_type=simple&object_id=3781021 | title = Collection Search | Ackland Art Museum | The University of North Carolina at Chapel Hill | publisher = Unc.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas B. Harned, by Thomas Eakins.jpg|100px]]
|-
! scope="row" | Dr. Joseph Leidy II (also known as "Portrait of Man with Red Necktie")
| 252
| Oil on canvas
| 1890
|
|
| [[Newark Museum]], [[Newark, New Jersey]]<ref>Porter, plate 40</ref>
| [[File:Joseph Leidy II G252.jpg|100px|]]
|-
! scope="row" | Dr. Joseph Leidy II (unfinished)
| 253
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | William H. Macdowell
| 254
| Oil on canvas
| Circa 1890
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52931 | title = Yale University Art Gallery – eCatalogue – William Hance Macdowell (1816–1906) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Macdowell G254.jpg|100px|]]
|-
! scope="row" | [[Phidias]] Studying for the Frieze of the Parthenon
| 255
| Oil on wood
| Circa 1890
|
| Originally double sided with G255A until the two images were split.<ref name="GP" />
| Collection of the Eakins Press Foundation<ref>Bolger, plate 9</ref>
| [[File:Phidias Studying for the Frieze of the Parthenon.png|100px|]]
|-
! scope="row" | Two Nude Youths on Prancing Horses
| 255A
| Oil on wood
| Circa 1890
|
| Originally double sided with G255 until the two images were split.<ref name="GP" />
|
| [[File:Two Nude Youths on Prancing Horses G255A.jpg|100px|]]
|-
! scope="row" | The Red Shawl
| 256
| Oil on canvas
| Circa 1890
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42492.html | title = Philadelphia Museum of Art – Collections Object : The Red Shawl | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Red Shawl.png|100px|]]
|-
! scope="row" | Francis J. Ziegler (also known as "The Critic")
| 257
| Oil on canvas
| Circa 1890
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1943.130&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Francis J. Ziegler]</ref>
| [[File:Francis J Ziegler.jpg|100px|]]
|-
! scope="row" | The Art Student: Portrait of James Wright
| 258
| Oil on canvas
| Circa 1890
|
| Ex collection: Maloogian Collection, [[Detroit Institute of Arts]], [[Detroit, Michigan]]
| [[Crystal Bridges Museum of American Art]], [[Bentonville, Arkansas]]
| [[File:The-Art-Student-(or-Portrait-of-James-Wright)-large.jpg|100px|]]
|-
! scope="row" | The Black Fan
| 259
| Oil on canvas
| Circa 1891
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42511.html | title = Philadelphia Museum of Art – Collections Object : The Black Fan (Portrait of Mrs. Talcott Williams) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Black Fan - Portrait of Mrs Talcott Williams G259.jpg|100px|]]
|-
! scope="row" | William H. Macdowell
| 260
| Oil on canvas
| Circa 1891
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]
| [[File:William H. Macdowell G260.jpg|100px|]]
|-
! scope="row" | William H. Macdowell (study)
| 261
| Oil on canvas
| Circa 1891
|
|
| [[Randolph-Macon Woman's College]] Art Gallery, [[Lynchburg, Virginia]]<ref name="Wright" />
| [[File:Eakins, William H MacDowell 1891.jpg|100px|]]
|-
! scope="row" | Portrait of William H. MacDowell
| 262
| Paper on a stretcher
|
|
| Unfinished
| [[Baltimore Museum of Art]], [[Baltimore, Maryland]]
| [[File:Portrait of William H. MacDowell (unfinished).jpg|100px|]]
|-
! scope="row" | Study for William H. MacDowell
| 262A
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6295]{{dead link | date = June 2012}}</ref>
| [[File:William H Macdowell.jpg|100px]]
|-
! scope="row" | [[Miss Amelia Van Buren]]
| 263
| Oil on canvas
| Circa 1891
|
|
| [[The Phillips Collection]], [[Washington, D.C.]]<ref name="Wright" />
| [[File:Thomas Eakins 005.jpg|100px|]]
|-
! scope="row" | Professor [[Henry Augustus Rowland|Henry A. Rowland]]
| 264
| Oil on canvas
| 1897
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref name="Wright" />
| [[File:Henry Augustus Rowland.jpg|100px|]]
|-
! scope="row" | Sketch for Professor [[Henry Augustus Rowland|Henry A. Rowland]]
| 265
| Oil on canvas
|
|
|
| [[Addison Gallery of American Art]], [[Andover, Massachusetts]]<ref>Sewell, 1982, 103</ref>
| [[File:Sketch for the Portrait of Henry Rowland.png|100px|]]
|-
! scope="row" | [[The Concert Singer]]
| 266
| Oil on canvas
| 1890–1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42499.html | title = Philadelphia Museum of Art – Collections Object : The Concert Singer | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Concert singer.jpg|100px|]]
|-
! scope="row" | Sketch for the Concert Singer
| 267
| Oil on canvas mounted on wood
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42501.html | title = Philadelphia Museum of Art – Collections Object : Sketch for The Concert Singer | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for The Concert Singer.png|100px|]]
|-
! scope="row" | Study for Weda Cook and Statue
| 267A
| Oil on canvas
|
|
| Also known as "The Opera Singer." On the reverse is "Woman on balcony waving white handkerchief."
| [[Blanton Museum of Art]], [[Austin, Texas]]
| [[File:Study for Weda Cook and Statue 267A.jpg|100px|]] [[File:Eakins Woman on balcony waving white handkerchief.jpg|100px|]]
|-
! scope="row" | [[Joshua Ballinger Lippincott]]
| 268
| Oil on canvas
| 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="PMAbook">Paintings from Europe and the Americas in the Philadelphia Museum of Art. Philadelphia Museum of Art, 1994. ISBN 0-87633-093-6. Pages 269–278</ref>
| [[File:Portrait of Joshua Ballinger Lippincott G268.png|100px|]]
|-
! scope="row" | Study for [[Joshua Ballinger Lippincott]]
| 268A
| Oil
| 1892
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6354]{{dead link | date = June 2012}}</ref>
| [[File:Study for portrait of Joshua Lippincott G268A.jpg|100px]]
|-
! scope="row" | Miss Blanche Hurlburt
| 269
| Oil on canvas
| Circa 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42533.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Blanche Hurlburt | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Blanche Hurlburt.png|100px|]]
|-
! scope="row" | Dr. [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 270
| Oil on canvas
| 1893
|
|
| [[Pennsylvania Hospital]]<ref name="Kimmelman" /><ref>Kirkpatrick, 384</ref>
| [[File:Jacob Mendez Dacosta G270.png|100px|]]
|-
! scope="row" | [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 270A
| Oil on canvas
|
|
|Destroyed by Thomas Eakins after DaCosta rejected it.<ref>Goodrich, 1982, volume II, page 81</ref>
|
|
|-
! scope="row" | Sketch for Dr. [[Jacob Mendes Da Costa|Jacob M. Da Costa]]
| 271
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44127.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Dr. Jacob Mendez da Costa | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Dr. Jacob Mendez da Costa.png|100px|]]
|-
! scope="row" | Girl with Puff Sleeves
| 272
| Oil on canvas
|
|
| Previously in the collection of the [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction on September 29, 2010 for $18,750<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621423]{{dead link | date = June 2012}}</ref>
|
| [[File:Girl with puff sleeves G272.jpg|100px|]]
|-
! scope="row" | [[Frank Hamilton Cushing]]
| 273
| Oil on canvas
| Late 1894 or 1895
|
|
| [[Gilcrease Museum]], [[Tulsa, Oklahoma]]<ref>[http://www.gilcrease.org/FineArt_Sample.aspx]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of Frank Hamilton Cushing Thomas Eakins 1895.jpeg|100px|]]
|-
! scope="row" | Sketch for [[Frank Hamilton Cushing]]
| 274
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6313]{{dead link | date = June 2012}}</ref>
| [[File:Study for Frank Hamilton Cushing G274.png|100px|]]
|-
! scope="row" | Mrs. Frank Hamilton Cushing
| 275
| Oil on canvas
| Circa 1894 or 1895
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42521.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. Frank Hamilton Cushing | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Mrs Frank Hamilton Cushing.png|100px|]]
|-
! scope="row" | [[James MacAlister]] (also known as "Man in the Ned Necktie")
| 276
| Oil on canvas mounted on cardboard
| ca. 1895
|
| Sketch. Originally double sided with G276A until the two images were split.<ref name="GP" />
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/james_macalister_sketch_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011168&vT=1 | title = The Metropolitan Museum of Art – James MacAlister (Sketch) | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:James MacAlister.jpg|100px|]]
|-
! scope="row" | Study for William L. MacLean
| 276A
| Oil on canvas mounted on cardboard
| ca. 1895
|
| Originally double sided with G276 until the two images were split.<ref name="GP" />
|
| [[File:William L. MacLean G276A.jpg|100px|]]
|-
! scope="row" | Weda Cook
| 277
| Oil on canvas
| Circa 1895
|
|
| [[Columbus Museum of Art]], [[Columbus, Ohio]]<ref>http://collection.cmaohio.org/art,1948.017,Weda-Cook.php</ref>
| [[File:Weda Cook.jpg|100px|]]
|-
! scope="row" | [[The Pianist (painting)|The Pianist (Stanley Addicks)]]
| 278
| Oil on canvas
| Circa 1895
|
|
| [[Indianapolis Museum of Art]], [[Indianapolis, Indiana]]<ref>[http://www.imamuseum.org/art/collections/artwork/pianist-stanley-addicks-eakins-thomas The Pianist (Stanley Addicks) | Indianapolis Museum of Art]</ref>
| [[File:The-Pianist-(Stanley-Addicks)-1896-large.jpg|100px|]]
|-
! scope="row" | Katherine Maud Cook
| 279
| Oil on canvas
| 1895
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=52619 | title = Yale University Art Gallery – eCatalogue – Maud Cook (Mrs. Robert C. Reid) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins cook.jpg|100px|]]
|-
! scope="row" | Riter Fitzgerald
| 280
| Oil on canvas
| 1895
|
|
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/72864 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Riter Fitzgerald.png|100px|]]
|-
! scope="row" | Sketch for Riter Fitzgerald
| 281
| Oil on canvas mounted on cardboard
|
|
|
| [[The Huntington Library]], [[San Marino, California]]<ref>[http://emuseum.huntington.org/code/emuseum.asp?action=newpage&style=single&singlepage=3&searchxml=%3CeMuseum_search+site%3D%22Huntington%22+date%3D%222010-07-10%22%3E%3Ccriteria%3E%3Cparams+searchcode%3D%22-1%22+pagesize%3D%226%22+currentpage%3D%221%22+orderfield%3D%22%22+orderdir%3D%22%22+profile%3D%22objects%22%2F%3E%3Cbasic+criteria%3D%22Eakins%22%2F%3E%3C%2Fcriteria%3E%3C%2FeMuseum_search%3E%0D%0A&style=browse&pagesize=6&currentpage=1&page=search&browsepagesize=6&searchtype=basic&profile=objects&wandering=no&term=Eakins&basicterm=Eakins&pagetotal=4&pagestart=1&pageend=4]{{dead link | date = June 2012}}</ref>
| [[File:Intermediate sketch of Riter Fitzgerald.jpg|100px|]]
|-
! scope="row" | Sketch for Riter Fitzgerald
| 282
| Oil on canvas
|
|
|
|
| [[File:Sketch for Riter Fitzgerald G282.jpg|100px|]]
|-
! scope="row" | Study for Mrs. Hubbard
| 283
| Oil on canvas mounted on cardboard
| Circa 1895
|
| Study for now-destroyed Mrs. Hubbard. Sold at auction in 1999 for $34,500.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=Y987 Sotheby's listing for the Portrait of Mrs. Hubbard]{{dead link | date = June 2012}}</ref>
| [[Sewell C. Biggs Museum of American Art]], [[Dover, Delaware]]<ref>The Sewell C. Biggs Collection of American Art: A Catalogue. Volume II – Paintings and Sculpture. Biggs Museum of American Art, 2002. ISBN 1-893287-05-X</ref>
| [[File:Eakins, Mrs Hubbard 1895.jpg|100px|]]
|-
! scope="row" | [[John McLure Hamilton]]
| 284
| Oil on canvas
| 1895
|
|
| [[Wadsworth Atheneum]], [[Hartford, Connecticut]]<ref name="Wright" />
| [[File:Thomas Eakins Portrait of John McLure Hamilton 1895.jpg|100px|]]
|-
! scope="row" | Sketch for [[John McLure Hamilton]]
| 285
| Oil on canvas mounted on cardboard
|
| 14⅝ × 10⅝
|
| [[Georgia Museum of Art]], [[Athens, Georgia]]
| [[File:G285 Sketch for John McLure Hamilton.jpg|100px]]
|-
! scope="row" | Mrs. Charles L. Leonard
| 286
| Oil on cardboard
| 1895
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, March 3, 2011; sold for $25,000.<ref>http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5409062</ref>
|
| [[File:Study for a Portrait of Mrs Charles L Leonard by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | Miss Gertrude Murray
| 287
| Oil on canvas
| 1895
|
|
| [[Dallas Museum of Art]], [[Dallas, Texas]]<ref name="Wright" />
| [[File:Miss Gertrude Murray.jpg|100px|]]
|-
! scope="row" | Charles Linford
| 288
| Oil on canvas
| Circa 1895
|
|Previously in the IBM collection. Sold at auction in 1995 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2198183 | title = Portrait of the artist Charles Linford by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1995-05-25 | accessdate = 2012-06-08}}</ref>
|
| [[File:Eakins, Charles Linford, Artist 1895.jpg|100px|]]
|-
! scope="row" | Captain [[Joseph Lapsley Wilson]]
| 289
| Oil on canvas
| Circa 1895
| 30 × 22
|
| Collection of the [[First Troop Philadelphia City Cavalry]]
| [[File:Captain Joseph Lapsley Wilson G289.jpg|100px|]]
|-
! scope="row" | Sketch for Captain [[Joseph Lapsley Wilson]]
| 290
| Oil on canvas mounted on cardboard
|
| 7¾ × 5¼
| Sold at auction in 1983 for $9000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1162326 | title = Portrait of Capt. Lapsley Wilson by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1983-06-03 | accessdate = 2012-06-08}}</ref>
|
|
|-
! scope="row" | The Cello Player
| 291
| Oil on canvas
| 1896
|
| Ex collection: [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, PA]]; deaccessioned 2007, to fund 2007 purchase of [[The Gross Clinic]].
|
| [[File:The Cello Player Thomas Eakins 1896.jpeg|100px|]]
|-
! scope="row" | Sketch for the Cello Player
| 292
| Oil on canvas
| 1896
|
|
| [[Heckscher Museum of Art]], [[Huntington, New York]]<ref>{{cite web | url = http://www.heckscher.org/pages.php?which_page=collection_image_detail&which_image=1969_003 | title = Search the Entire Collection Database – Heckscher Museum of Art | publisher = Heckscher.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for the cello player.jpg|100px|]]
|-
! scope="row" | Mrs. James Mapes Dodge
| 293
| Oil on canvas
| 1896
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/52571.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mrs. James Mapes Dodge (Josephine Kern) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Mrs. James Mapes Dodge - Josephine Kern.png|100px|]]
|-
! scope="row" | [[Harrison S. Morris]]
| 294
| Oil on canvas
| 1896
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__7159/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait-of-Harrison-S.-Morris-large.jpg|100px|]]
|-
! scope="row" | Sketch for [[Harrison S. Morris]]
| 295
| Oil on canvas mounted on cardboard
|
|
|
||[[Newark Museum]], [[Newark, New Jersey]]<ref>Hendricks, 331 (CL159)</ref>
| [[File:Sketch for Harrison S Morris G295.jpg|100px]]
|-
! scope="row" | Professor William Woosley Johnson
| 295A
| Oil on canvas
| Circa 1896
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132532 | title = Professor William Woolsey Johnson | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Professor William Woolsey Johnson.jpg|100px|]]
|-
! scope="row" | Dr. Charles Lester Leonard
| 296
| Oil on canvas
| 1897
|
|
| Collection of the [[University of Pennsylvania School of Medicine]], [[Philadelphia, Pennsylvania]]
| [[File:Charles Lester Leonard G296.jpg|100px|]]
|-
! scope="row" | Jennie Dean Kershaw (Mrs. Samuel Murray)
| 297
| Oil on canvas
| Circa 1897
|
|
| [[Sheldon Museum of Art]], [[Lincoln, Nebraska]]<ref>{{cite web | url = http://www.sheldonartmuseum.org/collection/search.html?topic=detail&clct_id=5944 | title = Sheldon Museum of Art: Collection | publisher = Sheldonartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Jennie Dean Kershaw 1897.jpg|100px|]]
|-
! scope="row" | Mrs. Samuel Murray (unfinished)
| 298
| Oil on canvas
|
|
|
| [[Baltimore Museum of Art]], [[Baltimore, Maryland]]
| [[File:Eakins Jennie Dean Kershaw G298.jpg|100px|]]
|-
! scope="row" | Miss Lucy Lewis
| 299
| Oil on canvas
| circa 1897
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/105879.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Lucy Lewis | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Miss Lucy Lewis 1896.jpg|100px|]]
|-
! scope="row" | Miss Anna Lewis
| 300
| Oil on canvas
| Circa 1898
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6270]{{dead link | date = June 2012}}</ref>
| [[File:Anna Lewis G300.jpg|100px|]]
|-
! scope="row" | William H. MacDowell with a Hat
| 301
| Oil on canvas
| Circa 1898
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]
| [[File:William Macdowell with a hat G301.png|100px|]]
|-
! scope="row" | General [[Edward Burd Grubb, Jr.|E. Burd Grubb]]
| 302
| Oil on canvas
| Probably 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=23931 | title = Yale University Art Gallery – eCatalogue – General E. Burd Grubb (1841–1914) | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:General E Burd Grubb G302.jpg|100px|]]
|-
! scope="row" | [[Taking the Count]]
| 303
| Oil on canvas
| 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=5463 | title = Yale University Art Gallery – eCatalogue – Taking the Count | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Taking the Count by Thomas Eakins.jpeg|100px|]]
|-
! scope="row" | Sketch for Taking the Count
| 304
| Oil on canvas mounted on cardboard
| 1898
|
|
| [[Yale University Art Gallery]], [[New Haven, Connecticut]]<ref>{{cite web | url = http://ecatalogue.art.yale.edu/detail.htm?objectId=34823 | title = Yale University Art Gallery – eCatalogue – Taking the Count, study | publisher = Ecatalogue.art.yale.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Taking the Count, by Thomas Eakins, YUAG.jpg|100px|]]
|-
! scope="row" | Sketch for Taking the Count
| 305
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6305]{{dead link | date = June 2012}}</ref>
| [[File:Study for Taking the Count.jpg|100px|]]
|-
! scope="row" | The Referee, [[Walter Schlichter|H. Walter Schlichter]]
| 306
| Oil on canvas
| 1898
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6283]{{dead link | date = June 2012}}</ref>
| [[File:The Referee - Portrait of H Walter Schlichter.png|100px|]]
|-
! scope="row" | Maybelle
| 307
| Oil on canvas
| 1898
|
|
| [[Frye Art Museum]], [[Seattle, Washington]]<ref>{{cite web | url = http://fryemuseum.org/collection_list/ | title = Frye Art Museum: Collection List | publisher = Fryemuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Maybelle 1898.jpg|100px|]]
|-
! scope="row" | Sketch for Maybelle
| 308
| Oil on canvas mounted on cardboard
|
|
|
|
| [[File:Eakins sketch for Maybelle.jpg|100px|]]
|-
! scope="row" | John N. Fort
| 309
| Oil on canvas
| 1898
|
|
| [[Williams College Museum of Art]], [[Williamstown, Massachusetts]]<ref>[http://www.wcma.org/press/08/08_Model_Am_Men.shtml]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of John Neil Fort.jpg|100px|]]
|-
! scope="row" | [[Salutat]]
| 310
| Oil on canvas
| 1898
|
|
| [[Addison Gallery of American Art]], [[Phillips Academy]]<ref name="Wright" />
| [[File:Salutat.jpg|100px|]]
|-
! scope="row" | Study for Salutat
| 311
| Oil on canvas
| 1898
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1021940 | title = Thomas Eakins: Study for Salutat | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Study for Salutat.jpg|100px|]]
|-
! scope="row" | [[Between Rounds]]
| 312
| Oil on canvas
| 1898–1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42496.html | title = Philadelphia Museum of Art – Collections Object : Between Rounds | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, In the mid-time 1896.jpg|100px|]]
|-
! scope="row" | Sketch for Between Rounds
| 313
| Oil on cardboard
|
|
|Double sided – one side is a study for Between Rounds. The other side is a landscape sketch.
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6303]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for Between Rounds G313.jpg|100px|]] [[File:Landscape sketch G313.jpg|100px|]]
|-
! scope="row" | Billy Smith (sketch)
| 314
| Oil on canvas
| circa 1898
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42497.html | title = Philadelphia Museum of Art – Collections Object : Billy Smith (Sketch for Between Rounds) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins - Billy Smith.png|100px|]]
|-
! scope="row" | Billy Smith (study)
| 315
| Oil on canvas
| 1898
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084330282700 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Billy Smith.png|100px|]]
|-
! scope="row" | The Timer
| 316
| Oil on canvas
| 1898
|
|
| [[New Britain Museum of American Art]], [[New Britain, Connecticut]]<ref name="Wright" />
| [[File:Between Rounds Study for the Timer, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | [[Wrestlers (painting)|Wrestlers]]
| 317
| Oil on canvas
| 1899
|
|
| [[Los Angeles County Museum of Art]], [[Los Angeles County, California]]<ref>{{cite web | url = http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=156181&type=101 | title = Thomas Eakins. Wrestlers. Los Angeles County Museum of Art | publisher = Collectionsonline.lacma.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas - Wrestlers 1899.jpg|100px|]]
|-
! scope="row" | Study for Wrestlers
| 318
| Oil on canvas
|
|
|
| [[Los Angeles County Museum of Art]], [[Los Angeles County, California]]<ref>{{cite web | url = http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=14525;type=101 | title = Thomas Eakins. Wrestlers. Los Angeles County Museum of Art | publisher = Collectionsonline.lacma.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Study for Wrestlers.jpg|100px|]]
|-
! scope="row" | Wrestlers (unfinished)
| 319
| Oil on canvas
| 1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/55532.html | title = Philadelphia Museum of Art – Collections Object : Wrestlers | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Thomas (1844-1916) - Lottatori 2.jpg|100px|]]
|-
! scope="row" | The Fairman Rogers Four-in-Hand (black & white)
| 320
| Oil on canvas
| 1899
|
| Black & white version of 1879–80 original. Painted as an illustration for [[Fairman Rogers]], ''A Manual of Coaching'' (Philadelphia, 1900).
| [[St. Louis Art Museum]], [[St. Louis, Missouri]]<ref>[http://stlouis.art.museum/emuseum/code/emuseum.asp?style=Browse&currentrecord=1&page=search&profile=objects&searchdesc=92:1954&quicksearch=92:1954&newvalues=1&newstyle=single&newcurrentrecord=1]{{dead link | date = June 2012}}</ref>
| [[File:Thomas Eakins - The Fairman Rogers Four-In-Hand (A May Morning in the Park).jpg|100px|]]
|-
! scope="row" | T. Ellwood Potts
| 321
| 1890–1900
|
|
|
|
|
|-
! scope="row" | Mrs. T Ellwood Potts
| 322
|
| Circa 1890–1900
|
|
|
|
|-
! scope="row" | [[Portrait of Mary Adeline Williams|Addie: A Woman in Black (Portrait of Miss Mary Adeline Williams)]]
| 323
| Oil on canvas
| Circa 1899
|
| In his book ''Eakins Revealed'' pp. 369–371, Henry Adams claims Eakins' friend Mary Adeline Williams was the nude model for #451 ''William Rush and his Model'' in the collection of the [[Honolulu Museum of Art]], [[Honolulu]], [[Hawaii]], and related studies #'s 445,446, 447,452,453 and 454.
| [[Art Institute of Chicago]], [[Chicago, Illinois]]<ref>{{cite web | url = http://www.artic.edu/aic/collections/artwork/31285 | title = About This Artwork | The Art Institute of Chicago | publisher = Artic.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Addie Woman in Black.jpg|100px|]]
|-
! scope="row" | Benjamin Eakins
| 324
| Oil on canvas
| Circa 1899
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42517.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Benjamin Eakins | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Benjamin Eakins.jpg|100px|]]
|-
! scope="row" | Mrs. Thomas Eakins
| 325
| Oil on canvas
| Circa 1899
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6314]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Susan MacDowell Eakins, 1899.jpg|100px|]]
|-
! scope="row" | Mrs. William H. Green
| 326
| Oil on canvas
| 1899
|
| Previously in the collection of the [[Hirshhorn Museum and Sculpture Garden]]. Sold at auction on September 29, 2010 for $31,250.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159621422]{{dead link | date = June 2012}}</ref>
|
| [[File:Mrs William H. Green.jpg|100px|]]
|-
! scope="row" | The Dean's Roll Call
| 327
| Oil on canvas
| 1899
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32882 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Dean's Roll Call 1899.jpg|100px|]]
|-
! scope="row" | Louis Husson
| 328
| Oil on canvas
| 1899
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=43673 Louis Husson]{{dead link | date = June 2012}}</ref>
| [[File:Louis Husson.jpg|100px|]]
|-
! scope="row" | David Wilson Jordan
| 329
| Oil on canvas
| 1899
|
|
| [[The Huntington Library]], [[San Marino, California]]<ref>[http://emuseum.huntington.org/code/emuseum.asp?action=newpage&style=single&singlepage=1&searchxml=%3CeMuseum_search+site%3D%22Huntington%22+date%3D%222010-07-10%22%3E%3Ccriteria%3E%3Cparams+searchcode%3D%22-1%22+pagesize%3D%226%22+currentpage%3D%221%22+orderfield%3D%22%22+orderdir%3D%22%22+profile%3D%22objects%22%2F%3E%3Cbasic+criteria%3D%22Eakins%22%2F%3E%3C%2Fcriteria%3E%3C%2FeMuseum_search%3E%0D%0A&style=browse&pagesize=6&currentpage=1&page=search&browsepagesize=6&searchtype=basic&profile=objects&wandering=no&term=Eakins&basicterm=Eakins&pagetotal=4&pagestart=1&pageend=4]{{dead link | date = June 2012}}</ref>
| [[File:David Wilson Jordan.jpg|100px|]]
|-
! scope="row" | Study for David Wilson Jordan
| 329A
| Oil
|
|
|
| 
|
|-
! scope="row" | [[William Merritt Chase]]
| 330
| Oil on canvas
| Circa 1899
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]<ref>Rosenzweig, 19</ref><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6278]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, William Merritt Chase 1899.jpg|100px|]]
|-
! scope="row" | [[The Thinker: Portrait of Louis N. Kenton]]
| 331
| Oil on canvas
| 1900
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/the_thinker_portrait_of_louis_n_kenton_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011178&vT=1 | title = The Metropolitan Museum of Art – The Thinker: Portrait of Louis N. Kenton | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Thinker- Portrait of Louis N. Kenton.jpg|100px|]]
|-
! scope="row" | Sketch for The Thinker
| 332
| Oil on cardboard mounted on wood
|
|
| Originally double sided with 365A until the two images were split.<ref name="GP" />
| [[Farnsworth Art Museum]], [[Rockland, Maine]]<ref>http://browser.farnsworthmuseum.org/collection/results.do?view=detail&db=object&id=211</ref>
| [[File:Study for the Thinker.jpg|100px|]]
|-
! scope="row" | [[Portrait of Mary Adeline Williams|Addie (also known as "Portrait of Mary Adeline Williams")]]
| 333
| Oil on canvas
| 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42491.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Mary Adeline Williams | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Addie (Mary Adeline Williams) 1900.jpg|100px|]]
|-
! scope="row" | Mrs. Mary Arthur
| 334
| Oil on canvas
| 1900
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/mrs_mary_arthur_thomas_eakins/objectview.aspx?page=7&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=4&dd1=0&dd2=0&vw=1&collID=0&OID=20011171&vT=1 | title = The Metropolitan Museum of Art – Mrs. Mary Arthur | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs Mary Arthur.jpg|100px|]]
|-
! scope="row" | Robert M. Lindsay
| 335
| Oil on canvas
| 1900
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref>[http://www.davidrumsey.com/amica/amico206713-39765.html Thomas Cowperthwaite Eakins – Robert M. Lindsay – 1900] Amica Digital Library. 2003.</ref>
| [[File:Robert M. Lindsay G335.jpg|100px|]]
|-
! scope="row" | Sketch for Robert M. Lindsay
| 336
| Oil on wood
|
|
|
| [[Detroit Institute of Arts]], [[Detroit]], [[Michigan]]<ref>Porter, plate 63</ref>
| [[File:Sketch for Robert M. Lindsay G336.jpg|100px|]]
|-
! scope="row" | Frank Jay St. John
| 337
| Oil on canvas
| 1900
|
|
| [[M. H. de Young Memorial Museum]], [[San Francisco, California]]<ref>{{cite web | url = http://gallery.famsf.org/gallery/artworkDetails.htm?record=132325 | title = Frank Jay St. John | work = gallery.famsf.org | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Frank Jay St John 1900.jpg|100px|]]
|-
! scope="row" | [[Antiquated Music: Portrait of Sarah Sagehorn Frishmuth]]
| 338
| Oil on canvas
| 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42535.html | title = Philadelphia Museum of Art – Collections Object : Antiquated Music (Portrait of Sarah Sagehorn Frishmuth) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Antiquated Music - Portrait of Sarah Sagehorn Frishmuth.jpg|100px|]]
|-
! scope="row" | Mrs. Joseph H. Drexel
| 339
| Oil on canvas unstretched
| 1900
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Chrsitie's NY, May 18, 2011; sold for $68,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-portrait-of-mrs-joseph-w/5436925/lot/lot_details.aspx?from=searchresults&intObjectID=5436925&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Portrait of Mrs. Joseph W. Drexel | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Mrs Joseph H. Drexel.jpg|100px|]]
|-
! scope="row" | Sketch for Mrs. Joseph H. Drexel
| 340
| Oil on cardboard
| Circa 1900
|
|
|
|
|-
! scope="row" | Dr. [[Daniel Garrison Brinton]]
| 340A
| Oil
|
|
|
| Collection of the [[American Philosophical Society]].<ref>Braddock, 173</ref>
| [[File:Daniel Garrison Brinton.jpg|100px]]
|-
! scope="row" | Clara J. Mather
| 341
| Oil on canvas
| Circa 1900
|
|
| [[Musée d'Orsay]], [[Paris, France]]<ref>{{cite web | url = http://www.musee-orsay.fr/en/collections/index-of-works/notice.html?no_cache=1&zoom=1&tx_damzoom_pi1%5bzoom%5d=0&tx_damzoom_pi1%5bxmlId%5d=009447&tx_damzoom_pi1%5bback%5d=%2Fen%2Fcollections%2Findex-of-works%2Fnotice.html%3Fno_cache%3D1%26zsz%3D5%26lnum%3D | publisher = Musée d'Orsay | title = Clara | work = musee-orsay.fr | accessdate = June 2, 2012}}</ref>
| [[File:Eakins, Clara (Clara J Mather) c1900.jpg|100px|]]
|-
! scope="row" | A Woman in Black (Portrait of Clara J. Mather)
| 342
| Oil on wood
|
|
|
|
|
|-
! scope="row" | Elizabeth R. Coffin
| 343
| Oil on canvas
| Circa 1900
|
|
| Coffin School collection, [[Egan Institute of Maritime Studies]], [[Nantucket, Massachusetts]]<ref>[http://www.eganmaritime.org/coffin.htmlEgan Institute of Maritime Studies – The Coffin School]{{dead link | date = June 2012}}, [http://www.eganmaritime.org/coffin_school-collections.html Coffin School Collections]{{dead link | date = June 2012}}</ref>
| [[File:Elizabeth Coffin G343.jpg|100px|]]
|-
! scope="row" | Dr. [[Edward J. Nolan]]
| 344
| Oil on canvas
| Circa 1900
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42500.html?mulR=4909 | title = Philadelphia Museum of Art – Collections Object : Portrait of Dr. Edward J. Nolan | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Edward J Nolan G344.jpg|100px|]]
|-
! scope="row" | [[Henry Ossawa Tanner|Henry O. Tanner]]
| 345
| Oil on canvas
| Circa 1900
|
|
| [[The Hyde Collection]], [[Glens Falls, New York]]<ref name="Wright" />
| [[File:Eakins, Henry Ossawa Tanner 1902.jpg|100px|]]
|-
! scope="row" | Honorable John A. Thorton
| 346
| Oil on canvas
|
|
|
| [[Schwarz Gallery]], [[Philadelphia, Pennsylvania]]
| [[File:Honorable John A. Thorton.jpg|100px|]]
|-
! scope="row" | Monsignor James P. Turner
| 347
| Oil on canvas
| circa 1900
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James P Turner G347.jpg|100px|]]
|-
! scope="row" | [[Portrait of Leslie W. Miller]]
| 348
| Oil on canvas
| 1901
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44493.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Leslie W. Miller | publisher = Philamuseum.org | date = 1932-01-13 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Leslie W Miller 1901.jpg|100px|]]
|-
! scope="row" | Sketch for Professor [[Portrait of Leslie W. Miller|Leslie W. Miller]]
| 349
| Oil on cardboard
| circa 1892–1894
|
| Double sided: one side depicts Leslie W. Miller. The reverse depicts Thomas Eakins' dog, Harry.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49535.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Leslie W. Miller | work = philamuseum.org | accessdate = June 2, 2012}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/49536.html | title = Philadelphia Museum of Art – Collections Object : Sketch of Harry | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Leslie W. Miller.png|100px|]] [[File:Sketch of Harry.jpg|100px|]]
|-
! scope="row" | Signature for 'Leslie W. Miller'
| 349A
| Drawing
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6348]{{dead link | date = June 2012}}</ref>
| [[File:Signature for Leslie Miller.jpg|100px]]
|-
! scope="row" | Mrs. Leslie W. Miller
| 350
| Oil on canvas
| 1901
|
|
|
|
|-
! scope="row" | Mrs. Elizabeth Duane Gillespie
| 351
| Oil on canvas
| 1901
|
|
| Collection of the Women's Committee of the Philadelphia Museum of Art<ref>Goodrich, 1982, volume II, page 76</ref>
| [[File:Portrait of Mrs Elizabeth Duane Gillespie G351.png|100px|]]
|-
! scope="row" | Sketch for Mrs. Elizabeth Duane Gillespie
| 352
| Oil on canvas
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6272]{{dead link | date = June 2012}}</ref>
| [[File:Sketch for portrait of Mrs Elizabeth Duane Gillespie G352.jpg|100px|]]
|-
! scope="row" | George Morris
| 353
| Oil on canvas
| 1901
|
|
|
|
|-
! scope="row" | Reverend [[Philip R. McDevitt]]
| 354
| Oil on canvas
| 1901
|
|
| [[Snite Museum of Art]], [[Notre Dame, Indiana]]<ref>{{cite web | url = http://nd.edu/~sniteart/collection/american/index.html | title = Snite Museum of Art – University of Notre Dame – Collection – American | publisher = Nd.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Phillip H McDevitt.jpg|100px|]]
|-
! scope="row" | Charles F. Haseltine
| 355
| Oil on canvas
| Circa 1901
|
|
| [[Montclair Art Museum]], [[Montclair, New Jersey]]<ref name="Wright" />
| [[File:Charles Haseltine G355.jpg|100px|]]
|-
! scope="row" | [[Elbridge Ayer Burbank]]
| 356
|
| Circa 1901
|
|
|
|
|-
! scope="row" | Alfred F. Watch
| 357
|
| Circa 1901
|
|
|
|
|-
! scope="row" | [[Self-portrait (Thomas Eakins)|Self-Portrait]]
| 358
| Oil on canvas
| 1902
|
|
| [[National Academy of Design]], [[New York City, New York]]<ref name="Wright" />
| [[File:Eakins selfportrait.jpg|100px|]]
|-
! scope="row" | [[Self-portrait (Thomas Eakins)|Self-portrait]]
| 358A
| Oil on canvas
| Circa 1902
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="Wright" /><ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6286]{{dead link | date = June 2012}}</ref>
| [[File:Eakins self portrait.jpg|100px]]
|-
! scope="row" | Colonel Alfred Reynolds
| 359
| Oil on canvas
| 1902
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]<ref name="Peggy">Kevin Kittredge. [http://rtstories.com/artmuseum/comment/reply/29 Peggy's gift – Peggy Macdowell Thomas leaves her art to Roanoke museum]. The Roanoke Times, January 27, 2002</ref>
| [[File:Alfred Reynolds G359.jpg|100px|]]
|-
! scope="row" | Signora Gomez D'Arza
| 360
| Oil on canvas
| 1902
|
|
| [[Metropolitan Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.metmuseum.org/works_of_art/collection_database/all/signora_gomez_d_arza_thomas_eakins/objectview.aspx?page=6&sort=2&sortdir=desc&keyword=%22Thomas%20Eakins%22&fp=6&dd1=0&dd2=0&vw=1&collID=0&OID=20011176&vT=1 | title = The Metropolitan Museum of Art – Signora Gomez d'Arza | publisher = Metmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Signora Gomez d'Arza 1902.jpg|100px|]]
|-
! scope="row" | His Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361
| Oil on canvas
| 1901–02
|
|
| [[Hammer Museum]], [[Los Angeles]]<ref name="Wright" />
| [[File:Eakins, Sebastiano Cardinal Martinelli 1902.jpg|100px|]]
|-
! scope="row" | Perspective drawing for his Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361A
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Perspective drawing for his Eminence [[Sebastiano Martinelli|Sebastiano Cardinal Martinelli]]
| 361B
| Drawing
|
|
|
| [[Joslyn Art Museum]], [[Omaha, Nebraska]]<ref name="GP" />
|
|-
! scope="row" | Very Reverend John J. Fedigan
| 362
| Oil on canvas
| 1902
|
|
| In the collection of the [[Augustinians|Augstinian]] Province of St. Thomas of Villanova.<ref>Foster, 417</ref> On permanent loan to [[Villanova University]], [[Villanova, Pennsylvania]]<ref>[http://www.villanova.edu/communication/assets/documents/magazine/spring_2007.pdf, pages 13–14]{{dead link | date = June 2012}}</ref>
| [[File:John Fedigan G362.jpg|100px|]]
|-
! scope="row" | Sketch for the Very Reverend John J. Fedigan
| 363
| Oil on canvas
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's NY, September 27, 2011; sold for $10,625.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-portrait-of-the/5477576/lot/lot_details.aspx?from=searchresults&intObjectID=5477576&sid=1af6b664-c7c8-4303-b701-32e5d19510bb | title = Thomas Eakins (1844–1916) | Study for "Portrait of the Very Reverend John J. Fedigan" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Reverend John J Fedigan G363.jpg|100px|]]
|-
! scope="row" | The Translator
| 364
| Oil on canvas
| 1902
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]
| [[File:The Translator G364.jpg|100px|]]
|-
! scope="row" | Monsignor [[James F. Loughlin]]
| 365
| Oil on canvas
| 1902
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James Loughlin G365.jpg|100px|]]
|-
! scope="row" | Study for Monsignor [[James F. Loughlin]]
| 365A
| Oil on cardboard mounted on wood
|
|
| Originally double sided with 332 until the two images were split.<ref name="GP" /><ref name="GP" /> Sold at auction for $15,000 in 2005.<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/355081 | title = The cardinal by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 2005-11-29 | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for Monsignor James F. Loughlin.jpg|100px|]]
|-
! scope="row" | [[John Seely Hart]]
| 366
| Oil on canvas
| 1902
|
| Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school.<ref name="Zucchino" /> Currently in an undisclosed location.
| Collection of the [[School District of Philadelphia]], [[Philadelphia, Pennsylvania]]
|
|-
! scope="row" | Charles E. Dana
| 367
| Oil on canvas
| Circa 1902
|
|
| [[Pennsylvania Academy of the Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.pafa.org/Museum/The-Collection/View-All-Works/Collection-Detail/89/let__E/artistId__2532/colId__6556/ | title = Collection Detail | Pennsylvania Academy of the Fine Arts | Museum and School | 1805 | publisher = Pafa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Charles Edmund Dana.jpg|100px|]]
|-
! scope="row" | The Young Man (Kern Dodge)
| 368
| Oil on canvas
| Circa 1902
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42502.html?mulR=19362 | title = Philadelphia Museum of Art – Collections Object : The Young Man (Portrait of Kern Dodge) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:The Young Man G368.jpg|100px|]]
|-
! scope="row" | Miss Mary Perkins (unfinished)
| 369
| Oil on canvas
| Circa 1902
|
|
|
| [[File:Eakins-MissMaryPerkins G369.jpg|100px|]]
|-
! scope="row" | Girl with a Fan
| 370
| Oil on canvas
| Circa 1902
|
|
| [[Pennsylvania Academy of Fine Arts]], [[Philadelphia, Pennsylvania]]<ref>Foster, #252</ref>
| [[File:Girl with a Fan G370.jpg|100px|]]
|-
! scope="row" | Adam S. Bare
| 371
| Oil on canvas
| 1903
|
|
|
| [[File:Adam S Bare.jpg|100px|]]
|-
! scope="row" | Walter Copeland Bryant
| 372
| Oil on canvas
| 1903
|
|
| Collection of the Brockton public library, [[Brockton, Massachusetts]]
|
|-
! scope="row" | Dr. Matthew H. Cryer
| 373
| Oil on canvas
| 1903
|
|
| Private collection
| [[File:Eakins Matthew Cryer G373.jpg|100px|]]
|-
! scope="row" | Archbishop [[William Henry Elder]]
| 374
| Oil on canvas
| 1903
| 66 3/16 × 45 3/16
|
| [[Cincinnati Art Museum]], [[Cincinnati]], [[Ohio]]<ref>http://72.249.182.183/collection/results.do?id=14733&db=object&view=detail</ref>
| [[File:Portrait of archbishop william henry elder thomas eakins.jpeg|100px|]]
|-
! scope="row" | Mother [[Patricia Waldron]]
| 375
| Sketch. Oil on canvas mounted on cardboard
| 1903
|
| Completed portrait, G-487: Lost, probably destroyed. See below.
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44123.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Mother Patricia Waldron | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Mother Patricia Waldron.jpg|100px|]]
|-
! scope="row" | Bishop [[Edmond Francis Prendergast|Edmond F. Prendergast]]
| 376
| Oil on canvas
|
|
| Lost, possibly destroyed: "Murray told Eakins biographer Lloyd Goodrich that he had it 'from a reliable source' that the painting, which Murray considered 'superb' was somehow disposed of."<ref>Sidney Kirkpatrick. The Revenge of Thomas Eakins. Yale University Press, 2006, ISBN 0-300-10855-9. Page 475</ref>
|
|
|-
! scope="row" | [[James A. Flaherty]]
| 377
| Oil on canvas
| 1903
|
|
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:James Flaherty G377.jpg|100px|]]
|-
! scope="row" | William B. Kurtz
| 378
| Oil on canvas
| 1903
|
|
| Collection of Mr. and Mrs. Daniel W. Dietrich II<ref>Homer, 1980, Dietrich catalogue #10</ref><ref>Goodrich, 1982, volume II, page 207</ref>
| [[File:Portrait-of-William-B.-Kurtz-large-1.jpg|100px|]]
|-
! scope="row" | Miss Alice Kurtz
| 379
| Oil on canvas
| 1903
|
|
| [[Fogg Art Museum]], [[Cambridge, Massachusetts]]<ref>[http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1969.1&startDate=&sort=Accession+%23&objtitle=&department=&subject=&century=&endDate=&object=&sortInSession=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creationPlaceTerm=%28Any%29&accession=&origPage=1&artist=Eakins%2C+Thomas+Cowperthwait&creationPlace=&culture=&fulltext=&pc=1&page=1 Fogg Museum Web entry for Miss Alice Kurtz]</ref>
| [[File:Eakins, Alice Kurtz 1903.jpg|100px|]]
|-
! scope="row" | Mrs. Mary Hallock Greenewalt
| 380
| Oil on canvas
| 1903
|
|
| [[Wichita Art Museum]], [[Wichita, Kansas]]<ref>{{cite web | url = http://wichitaartmuseum.org/acm/detail.php?action=v&id=1278084331834967 | title = Wichita Art Museum Art Collection Manager | publisher = Wichitaartmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs. Mary Hallock Greenwalt.jpg|100px|]]
|-
! scope="row" | Dr. Frank Lindsay Greenewalt
| 381
| Oil on canvas
| 1903
|
|
|Private collection, Delaware
| [[File:Eakins - Frank Lindsay Greenewalt.jpg|100px|]]
|-
! scope="row" | Dr. Frank Lindsay Greenewalt
| 381A
| Oil
|
|
|
|
|
|-
! scope="row" | Mrs. Anna A. Kershaw
| 382
| Oil on canvas
| 1903
|
|
| [[Sheldon Museum of Art]], [[Lincoln, Nebraska]]
| [[File:Anna Kershaw G382.png|100px|]]
|-
! scope="row" | Ruth (Portrait of Ruth Harding)
| 383
| Oil on canvas
| 1903
|
|
| [[White House Art Collection]], [[Washington, D.C.]]
| [[File:Ruth Harding.jpeg|100px|]]
|-
! scope="row" | An Actress: Portrait of Suzanne Santje
| 384
| Oil on canvas
| 1903
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42504.html | title = Philadelphia Museum of Art – Collections Object : An Actress (Portrait of Suzanne Santje) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:An Actress (Portrait of Suzanne Santje).jpg|100px|]]
|-
! scope="row" | Sketch for an Actress
| 385
| Oil on canvas mounted on cardboard
|
|
|Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, December 1, 2010; sold for $100,900.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-the-actress/5379541/lot/lot_details.aspx?from=searchresults&intObjectID=5379541&sid=6e63e766-e288-4d7a-af59-ef72ef7b3f8c | title = Thomas Eakins (1844–1916) | Study for "The Actress" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for an Actress G385.jpg|100px|]]
|-
! scope="row" | Miss Betty Reynolds
| 386
| Oil on canvas
| Circa 1903
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's New York, March 1, 2012; sold for $22,500.<ref>http://www.christies.com/lotfinder/paintings/thomas-eakins-betty-reynolds-5534228-details.aspx?pos=136&intObjectID=5534228&sid=</ref>
|
| [[File:Betty Reynolds, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | The Oboe Player
| 387
| Oil on canvas
| 1903
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/50201.html | title = Philadelphia Museum of Art – Collections Object : The Oboe Player (Portrait of Dr. Benjamin Sharp) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Thomas Eakins - The Oboe Player.jpeg|100px|]]
|-
! scope="row" | Rear-Admiral [[Charles Dwight Sigsbee|Charles D. Sigsbee]]
| 388
| Oil on canvas
| 1903
|
| Sold at auction in 2008 for $1,945,000<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159437348 Sotheby's listing for the portrait of Charles Dwight Sigsbee]{{dead link | date = June 2012}}</ref>
|
| [[File:Rear Admiral Charles Dwight Sigsbee G388.jpg|100px|]]
|-
! scope="row" | Mrs. M.S. Stokes
| 389
| Oil on canvas
| 1903
|
|
| [[Arkell Museum]], [[Canajoharie (village), New York|Canajoharie, New York]]<ref>{{cite web|author=The Arkell Museum at Canajoharie | url = http://www.arkellmuseum.org/coll_am05_eakins_mrsstokes.html | title = Portrait of Mrs. Stokes | Thomas Eakins | Artist – Painter | publisher = Arkellmuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Mrs M S Stokes.jpg|100px|]]
|-
! scope="row" | Mrs. Richard Day
| 390
| Oil on canvas
| Circa 1903
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6351]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Richard Day.jpg|100px|]]
|-
! scope="row" | Mother (Portrait of Annie Williams Gandy)
| 391
| Oil on canvas
| Circa 1903
|
| Donated to the Smithsonian by Annie Gandy's daughters, Lucy Rodman and [[Helen Gandy]].
| [[Smithsonian American Art Museum]]<ref>[http://americanart.si.edu/collections/search/artwork/?id=7710 Mother (Annie Williams Gandy)]. Smithsonian Museum of American Art</ref>
| [[File:Eakins, Mother 1903.jpg|100px|]]
|-
! scope="row" | Mrs. Helen MacKnight (also known as "The Lady in Grey" and "Portrait of a Mother")
| 392
| Oil on canvas
| Circa 1903
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6288]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Helen MacKnight - Portrait of a Mother G392.png|100px|]]
|-
! scope="row" | Francesco Romano
| 393
|
| Circa 1903
|
| Sold at auction in 1994 for $80,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/2093556 | title = Portrait of Francesco Romano by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1994-05-26 | accessdate = 2012-06-08}}</ref> Auctioned at Sotheby's NY, November 29, 2012; sold for $146,500.<ref>http://www.sothebys.com/en/auctions/ecatalogue/2012/american-art-n08911/lot.44.lotnum.html</ref>
|
| [[File:Francesco Romano.jpg|100px|]]
|-
! scope="row" | Robert C. Ogden
| 394
| Oil on canvas
| 1904
|
|Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, May 20, 2009, Sale #2171, Lot 128, sold for $338,500.<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5199747 | title = Thomas Eakins (1844–1916) | Robert C. Ogden | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref><ref>Rosenzweig, 20</ref>
|
| [[File:Eakins - Robert C Ogden.png|100px|]]
|-
! scope="row" | Study for [[Robert C. Ogden]]
| 394A
| Oil
|
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, March 3, 2011, Sale #2419, Lot 107, sold for $32,500.<ref>{{cite web | url = http://www.christies.com/lotfinder/thomas-eakins-study-for-portrait-of-robert/5409061/lot/lot_details.aspx?from=searchresults&intObjectID=5409061&sid=1ffb7c61-55fe-43f3-b274-17107f917b39 | title = Thomas Eakins (1844–1916) | Study for "Portrait of Robert C. Ogden" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Study for Robert C. Ogden 394A.jpg|100px|]]
|-
! scope="row" | [[James Carroll Beckwith|J. Carroll Beckwith]]
| 395
| Oil on canvas
| 1904
|
|
| [[San Diego Museum of Art]], [[San Diego, California]]<ref name="Wright" />
| [[File:J. Carroll Beckwith G395.png|100px|]]
|-
! scope="row" | Charles Percival Buck
| 396
| Oil on canvas
| 1904
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=4 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Charles Percival Buck.jpg|100px|]]
|-
! scope="row" | Mrs. James G. Carville (Portrait of Harriet Husson Carville)
| 397
| Oil on canvas
| 1904
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=55783 Harriet Husson Carville (Mrs. James G. Carville)]{{dead link | date = June 2012}}</ref>
| [[File:Harriet Husson Carville.jpg|100px|]]
|-
! scope="row" | Mrs. Kern Dodge
| 398
| Oil on canvas
| 1904
|
|
|
| [[File:Thomas Eakins - Portrait of Mrs Kern Dodge Helen Peterson Greene .jpg|100px|]]
|-
! scope="row" | Mrs. Kern Dodge
| 399
| Oil on canvas
|
|
|
|
|
|-
! scope="row" | Miss Beatrice Fenton (also known as "The Coral Necklace")
| 400
| Oil on canvas
| 1904
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Butler" />
| [[File:The Coral Necklace.jpg|100px|]]
|-
! scope="row" | William R. Hallowell
| 401
| Oil on canvas
| 1904
|
|
|
| [[File:William Hallowell G401.jpg|100px|]]
|-
! scope="row" | Music
| 402
| Oil on canvas
| 1904
|
|
| [[Albright-Knox Art Gallery]], [[Buffalo, New York]]<ref>http://66.251.89.230/detail.php?type=related&kv=433&t=objects</ref>
| [[File:Eakins, Music 1904.jpg|100px|]]
|-
! scope="row" | Sketch for Music
| 403
| Oil on canvas mounted on cardboard
|
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44149.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Music (The Violinist) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Music - The Violinist.png|100px|]]
|-
! scope="row" | The Violinist
| 404
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6271]{{dead link | date = June 2012}}</ref>
| [[File:The Violinist G404.png|100px|]]
|-
! scope="row" | Samuel Myers
| 405
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6285]{{dead link | date = June 2012}}</ref>
| [[File:Samuel Myers G405.jpg|100px|]]
|-
! scope="row" | Frank B.A. Linton
| 406
| Oil on canvas
| 1904
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6284]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Frank Linton 1904.jpg|100px|]]
|-
! scope="row" | Mrs. Edith Mahon
| 407
| Oil on canvas
| 1904
|
|
| [[Smith College Museum of Art]], [[Northampton, Massachusetts]]<ref>{{cite web | url = http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=3&maker=Eakins | title = Collections Database | publisher = Museums.fivecolleges.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:Edith Mahon.png|100px|]]
|-
! scope="row" | Rear-Admiral [[George W. Melville]]
| 408
| Oil on canvas
| 1904
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42534.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Rear Admiral George Wallace Melville | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Rear-Admiral George W. Melville, G408, by Thomas Eakins.jpg|100px|]]
|-
! scope="row" | William Murray
| 409
| Oil on canvas
| Circa 1904
|
|
|
| [[File:William Murray G409.jpg|100px|]]
|-
! scope="row" | Mrs. Matilda Searight
| 410
| Oil on canvas
| 1904
|
|
| [[La Salle University]] art gallery, [[Philadelphia, Pennsylvania]]
| [[File:Matilda Searight G410.jpg|100px|]]
|-
! scope="row" | [[Edward Taylor Snow]]
| 411
| Oil on canvas
| 1904
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/54251.html | title = Philadelphia Museum of Art – Collections Object : Portrait of Edward Taylor Snow | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Edward Taylor Snow.png|100px|]]
|-
! scope="row" | [[Bernard Blommers|B.J. Blommers]]
| 412
|
| 1904
|
|
| [[Toledo Museum of Art]], [[Toledo, Ohio]]<ref name="Wright" />
| [[File:BJ Blommers G413.png|100px|]]
|-
! scope="row" | Mrs. B.J. Blommers
| 413
|
| 1904
|
|
|
|
|-
! scope="row" | [[Charles P. Gruppe]]
| 414
| Oil on canvas
| 1904
| 22" × 18"
|
| David Dufour, New York
| [[File:Charles Gruppe.jpg|100px|]]
|-
! scope="row" | A. Bryan Wall
| 414A
| Oil
|
|
|
| [[Bowdoin College Museum of Art]], [[Brunswick, Maine]]<ref>{{cite web | url = http://www.bowdoin.edu/art-museum/exhibitions/2009/face-forward.shtml | title = Face Forward: Portraits from the American Collection (Bowdoin College Museum of Art) | publisher = Bowdoin.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:A Bryan Wall.jpg|100px]]
|-
! scope="row" | Joseph R. Woodwell
| 415
| Oil on canvas
| 1904
|
|
| [[Carnegie Museum of Art]], [[Pittsburgh, Pennsylvania]]<ref>{{cite web | url = http://www.cmoa.org/searchcollections/details.aspx?item=1006611 | title = Thomas Eakins: Joseph R. Woodwell | work = cmoa.org | accessdate = June 2, 2012}}</ref>
| [[File:Joseph R. Woodwell G415.jpg|100px|]]
|-
! scope="row" | William H. MacDowell
| 416
| Oil on canvas
| Circa 1904
|
|
| [[Memorial Art Gallery]], [[University of Rochester]], [[New York]]<ref>{{cite web | url = http://magart.rochester.edu/Obj356?sid=12820&x=226933 | title = Memorial Art Gallery Collection-William H. Macdowell, 41.26 | publisher = Magart.rochester.edu | date = 2012-05-31 | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, William MacDowell 1904.jpg|100px|]]
|-
! scope="row" | Walter MacDowell
| 417
| Oil on canvas
| Circa 1904
|
|
| [[Taubman Museum of Art]], [[Roanoke, Virginia]]<ref name="Peggy" />
| [[File:Walter S Macdowell.jpg|100px|]]
|-
! scope="row" | William H. Lippincott
| 418
|
| Late 1904 or early 1905
|
|
|
|
|-
! scope="row" | [[Edward Willis Redfield|Edward W. Redfield]]
| 419
| Oil on canvas
| 1905
|
|
| [[National Academy of Design]], [[New York City, New York]]
| [[File:Portrait of Edward Willis Redfield.jpg|100px|]]
|-
! scope="row" | Rear-Admiral [[George W. Melville]]
| 420
| Oil on canvas
| 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=72164 Rear Admiral George W. Melville]{{dead link | date = June 2012}}</ref>
| [[File:Rear Admiral George W Melville G420.jpg|100px|]]
|-
! scope="row" | Mrs. George Morris
| 421
| Oil on canvas
| 1905
|
|
|
|
|-
! scope="row" | Professor [[William S. Forbes|William Smith Forbes]]
| 422
| Oil on canvas
| 1905
|
| Deaccessioned from [[Thomas Jefferson University]], [[Philadelphia, Pennsylvania]] in 2007.
| Private collection
| [[File:Eakins Forbes.jpg|100px|]]
|-
! scope="row" | Charles L. Fussell
| 423
| Oil on canvas
| Circa 1905
|
|
| [[Montclair Art Museum]], [[Montclair, New Jersey]]<ref>[http://www.montclairartmuseum.org.asp1-6.websitetestlink.com/mcmullen/ (16 of 20)]</ref>
| [[File:Charles L Fussell.png|100px|]]
|-
! scope="row" | Study for Charles L. Fussell
| 423A
| Oil on board
| Circa 1905
|
| Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's New York, March 1, 2012; sold for $27,500.<ref>http://www.christies.com/lotfinder/paintings/thomas-eakins-study-for-a-portrait-of-5534229-details.aspx</ref>
|
| [[File:Charles Fussell G423A.jpg|100px|]]
|-
! scope="row" | Miss Florence Einstein
| 424
| Oil on canvas
| 1905
|
|
| [[Currier Museum of Art]], [[Manchester, New Hampshire]]<ref>{{cite web | url = http://collections.currier.org/Obj76?sid=33365&x=200993 | title = Currier Collections Online – "Florence Einstein" by Thomas Eakins | publisher = Collections.currier.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Florence Einstein.png|100px|]]
|-
! scope="row" | Monsignor Diomede Falconio
| 425
| Oil on canvas
| 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=33250 Archbishop Diomede Falconio]{{dead link | date = June 2012}}</ref>
| [[File:Eakins, Monsignor Diomede Falconia 1905.jpg|100px|]]
|-
! scope="row" | John B. Gest
| 426
| Oil on canvas
| 1905
|
|
| [[Museum of Fine Arts, Houston]], [[Houston, Texas]]<ref>Sewell, 2001, page 429, footnote 8</ref>
| [[File:Portrait of John B Gest 1905 large.jpg|100px|]]
|-
! scope="row" | Asbury.W. Lee
| 427
| Oil on canvas
| 1905
|
|
| [[Reynolda House Museum of American Art]], [[Winston-Salem, North Carolina]]<ref>{{cite web | url = http://www.reynoldahouse.org/discover/collections/services_detail02.php?service-id=303585981 | title = Selected Works | publisher = Reynoldahouse.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Ashbury W Lee 1905.jpg|100px|]]
|-
! scope="row" | Miss Elizabeth L. Burton
| 428
| Oil on canvas
| Circa 1905
|
|
| [[Minneapolis Institute of Arts]], [[Minneapolis, Minnesota]]<ref name="Wright" />
| [[File:Portrait of Elizabeth L Burton.jpg|100px|]]
|-
! scope="row" | Dr. Thomas H. Fenton
| 429
| Oil on canvas
| Circa 1905
|
|
| [[Delaware Art Museum]], [[Wilmington, Delaware]]
| [[File:Dr.-Thomas-H.-Fenton-large.jpg|100px|]]
|-
! scope="row" | Mrs. Louis Husson (Annie C. Lochrey)
| 430
| Oil on canvas
| Circa 1905
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=43674 Annie C. Lochrey Husson (Mrs. Louis Husson)]{{dead link | date = June 2012}}</ref>
| [[File:Mrs Louis Husson.jpg|100px|]]
|-
! scope="row" | Maurice Feeley
| 431
| Oil on canvas
| Circa 1905
|
||Deaccessioned from the [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]. Auctioned at Christie's NY, March 3, 2011; sold for $27,500<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5409066 | title = Thomas Eakins (1844–1916) | Maurice Feely | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Maurice Feely G431.jpg|100px|]]
|-
! scope="row" | Genjiro Yeto
| 432
|
| 1906
|
|
|
|
|-
! scope="row" | A Singer: Portrait of Mrs. W.H. Bowden
| 433
| Oil on canvas
| 1906
|
|
| [[Princeton University Art Museum]], [[Princeton, New Jersey]]<ref>{{cite web | url = http://mcis2.princeton.edu/emuseum/code/emuseum.asp?collection=594&collectionname=American%20Art&style=Text&currentrecord=1&page=search&profile=objects&searchdesc=Collection%20is%20American%20Art%20...&quicksearch=Eakins&sessionid=FB010CF8-829B-4B5A-8E31-7390BE0A0DD4&action=collectionquicksearch&style=single&currentrecord=3 | title = eMuseum | publisher = Mcis2.princeton.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:A Singer - Portrait of Mrs. W.H. Bowden.jpg|100px|]]
|-
! scope="row" | A Singer: Portrait of Mrs. Leigo
| 434
| Oil on canvas
| Circa 1906
|
|
| [[Berry-Hill Galleries]], [[New York City, New York]]
| [[File:Eakins, Singer - Mrs Leigo 1906.jpg|100px|]]
|-
! scope="row" | Richard Wood
| 435
| Oil on canvas
| 1906
|
|
|
|
|-
! scope="row" | Master Alfred Douty
| 436
| Oil on canvas
| 1906
|
|
| [[Santa Barbara Museum of Art]], [[Santa Barbara, California]]<ref>{{cite web | url = http://www.sbmuseart.org/collection/american.web | title = SBMA: museum collection > american | publisher = Sbmuseart.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of Master Alfred Douty.jpg|100px|]]
|-
! scope="row" | A Little Girl
| 437
| Oil on canvas
| Circa 1906
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/59552.html | title = Philadelphia Museum of Art – Collections Object : Portrait of a Little Girl | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Portrait of a Little Girl.png|100px|]]
|-
! scope="row" | Monsignor James P. Turner
| 438
| Oil on canvas
| Circa 1906
|
|
| [[Nelson-Atkins Museum of Art]], [[Kansas City, Missouri]]<ref>{{cite web | url = http://www.nelson-atkins.org/art/CollectionDatabase_ImageView.cfm?id=12000&theme=American | title = The Nelson-Atkins Museum of Art | Collection Database – Image View | publisher = Nelson-atkins.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Monsignor James P. Turner G438.png|100px|]]
|-
! scope="row" | Sketches
| 439
| Oil on cardboard
|
|
| Double sided: one side is a sketch for Monsignor James P. Turner. The reverse is a sketch for William Rush and His Model
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44125.html | title = Philadelphia Museum of Art – Collections Object : Sketch for Portrait of Monsignor James P. Turner | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref><ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/44126.html | title = Philadelphia Museum of Art – Collections Object : Sketch for William Rush and His Model | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Sketch for Portrait of Monsignor James P. Turner.png|100px|]] [[File:Sketch for William Rush and His Model.jpg|100px|]]
|-
! scope="row" | Thomas J. Eagan
| 440
| Oil on canvas
| 1907
|
|
| [[Terra Museum]], [[Chicago, Illinois]]<ref>[http://terraamericanart.org/collections/code/emuseum.asp?XXX_QS_XXX&newvalues=1&rawsearch=constituentid/,/is/,/98/,/false/,/true&newstyle=single&newprofile=people&newsearchdesc=Thomas%20Eakins&newcurrentrecord=1&module=people]{{dead link | date = June 2012}}</ref>
| [[File:Portrait of Thomas Eagan.jpg|100px|]]
|-
! scope="row" | Dr. Albert C. Getchell
| 441
| Oil on canvas
| 1907
|
|
| [[North Carolina Museum of Art]], [[Raleigh, North Carolina]]<ref name="Wright" />
| [[File:Albert C Getchell.jpg|100px|]]
|-
! scope="row" | Dr. William Thomson
| 442
| Oil on canvas
| 1907
|
|
| [[Mütter Museum]], [[College of Physicians of Philadelphia]], [[Philadelphia, Pennsylvania]]
| [[File:Eakins Dr William Thomson G442.jpg|100px|]]
|-
! scope="row" | Dr. William Thomson (unfinished)
| 443
| Oil on canvas
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/feature/wilmerding/jwcat08.htm NGA | John Wilmerding Collection | 08]{{dead link | date = June 2012}}</ref><ref>Myers, 83–84</ref>
| [[File:Eakins, Dr William Thompson 1907.jpg|100px|]]
|-
! scope="row" | Major Manuel Waldteufel
| 444
| Oil on canvas
| 1907
|
| Ex Collection: [[French Benevolent Society of Philadelphia]], [[Philadelphia, Pennsylvania]].<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5073668 | title = Christie's auction. Lot 88, sale 2003: Major Manuel Waldteufel. "Property from the Collection of La Société de Française de Bienfaisance de Philadelphie" | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref> Deaccessioned 2003
|Hirschl and Adler Galleries, New York
| [[File:Major Manuel Waldteufel .jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 445
| Oil on canvas
| 1908
|
|
| [[Brooklyn Museum of Art]], [[New York City, New York]]<ref>{{cite web | url = http://www.brooklynmuseum.org/opencollection/objects/486/William_Rush_Carving_His_Allegorical_Figure_of_the_Schuylkill_River/set/f75d18be541e880b9f38a2b247b910b0?referring-q=Eakins | title = American Art: William Rush Carving His Allegorical Figure of the Schuylkill River | publisher = Brooklyn Museum | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Rush carving his Allegorical Figure of the Schuylkill river.png|100px|]]
|-
! scope="row" | Sketch for ''[[William Rush and His Model]]''
| 446
| Oil on wood
| 1908
| 8¾ × 10
|
|
| [[File:William Rush Carving his Allegorical Figure of the Schuylkill River G446.jpg|100px]]
|-
! scope="row" | Sketch for ''[[William Rush and His Model]]''
| 447
| Oil on wood
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6311]{{dead link | date = June 2012}}</ref>
| [[File:William Rush Carving his Allegorical Figure of the Schuylkill River G447.jpg|100px|]]
|-
! scope="row" | Studies of Rush
| 448
| Oil on wood
|
|
| Originally a collage with 448A and 448B until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 448A
| Oil on wood
|
|
| Originally a collage with 448 and 448B until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 448B
| Oil on wood
|
|
| Originally a collage with 448 and 448A until the images were split.<ref name="GP" />
|
|
|-
! scope="row" | Study of Rush
| 449
| Oil on canvas
|
|
| Sold at auction in November 2009<ref>{{cite web | url = http://fineart.ha.com/common/view_item.php?Sale_No=638&Lot_No=24018 | title = THOMAS EAKINS (American 1844 – 1916). Study for the 1908 version | Lot # | Heritage Auctions | publisher = Fineart.ha.com | date = 2006-11-09 | accessdate = 2012-06-08}}</ref>
|
| [[File:Eakins Study for Rush G449.jpg|100px|]]
|-
! scope="row" | Study of the Negress (The Chaperone)
| 450
| Oil on canvas
| Circa 1908
|
|
| [[National Gallery of Art]], [[Washington, DC]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=72165 The Chaperone]{{dead link | date = June 2012}}</ref>
| [[File:Study of the Negress (The Chaperone) G450.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 451
| Oil on canvas
| 1907–1908
|
| In his book ''Eakins Revealed'' pp. 369–371, Henry Adams claims Eakins' friend #323, Miss Mary Adeline Williams was the nude model for ''William Rush and his Model'' in the collection of the [[Honolulu Museum of Art]], [[Honolulu]], [[Hawaii]], and related studies #'s 445,446, 447,452,453 and 454.
| [[Honolulu Museum of Art]], [[Honolulu, Hawaii]]<ref>http://www.honoluluacademy.org/cmshaa/academy/index.aspx?id=985</ref>
| [[File:William rush and his model thomas eakins.jpeg|100px|]]
|-
! scope="row" | The Model
| 452
| Oil on canvas
|
|
|Auctioned at Sotheby's New York, May 22, 2008, sold for US$1,273,000.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159451555]{{dead link | date = June 2012}}</ref>
|
| [[File:The Model G452.jpg|100px|]]
|-
! scope="row" | [[William Rush and His Model]]
| 453
| Oil on canvas
| 1908
|
|
| [[Smithsonian American Art Museum]], [[Washington, D.C.]]<ref>{{cite web | url = http://americanart.si.edu/collections/search/artwork/?id=7711 | title = William Rush's Model by Thomas Eakins / American Art | publisher = Americanart.si.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:William Rush's Model.jpg|100px|]]
|-
! scope="row" | Study for "William Rush's Model"
| 454
| Oil on canvas
| Circa 1908
|
| Deaccessioned from [[Hirshhorn Museum and Sculpture Garden]]. Auctioned at Christie's New York, May 20, 2009, Sale #2171, Lot 72, sold for $122,500.<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=5199691&sid=d926bf1b-b9a9-4019-9edb-5fa49690d8a8 | title = Thomas Eakins (1844–1916) | Study for "William Rush and his Model" | American Art Auction | 19th century, Paintings | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:William Rush and his Model.png|100px|]]
|-
! scope="row" | Miss Eleanor S.F. Pue
| 455
| Oil on canvas
| 1907
|
|
| [[Virginia Museum of Fine Arts]], [[Richmond, Virginia]]<ref name="Wright" />
| [[File:Eleanor S F Pue G455.png|100px|]]
|-
! scope="row" | Miss Rebecca MacDowell
| 456
| Oil on canvas
| Circa 1908
|
|
|
| [[File:Miss Rebecca MacDowell G456.jpg|100px|]]
|-
! scope="row" | The Old-Fashioned Dress: Portrait of Miss Helen Parker
| 457
| Oil on canvas
| Circa 1908
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>{{cite web | url = http://www.philamuseum.org/collections/permanent/42509.html | title = Philadelphia Museum of Art – Collections Object : The Old-Fashioned Dress (Portrait of Helen Montanverde Parker) | publisher = Philamuseum.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Miss Helen Parker 1908.jpg|100px|]]
|-
! scope="row" | Sketch for the Old-Fashioned Dress
| 458
| Oil on cardboard
|
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #6</ref>
| [[File:Sketch for the Old-Fashioned Dress G458.jpg|100px|]]
|-
! scope="row" | Study for the Old-Fashioned Dress
| 459
| Oil on canvas
| 1908
|
|
| Collection of Mr. and Mrs. Daniel Dietrich II<ref>Homer, 1980, Dietrich catalogue #7</ref><ref>Sewell, 1982, 131</ref>
| [[File:Study for the Old-Fashioned Dress G459.jpg|100px|]]
|-
! scope="row" | Mrs. Lucy Langdon W. Wilson
| 460
| Oil on canvas
| 1908
|
| Sold at auction in 1998 for $65,000<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=Z834 Sothebys auction listing for the Portrait of Lucy Langdon Williams Wilson]{{dead link | date = June 2012}}</ref>
|
| [[File:Portrait of Lucy Langdon Williams Wilson.jpg|100px|]]
|-
! scope="row" | Mrs. Lucy Langdon W. Wilson
| 461
| Oil on canvas
| Early 1909
|
|
|
|
|-
! scope="row" | Dr. William P. Wilson
| 462
| Oil on canvas
| 1909
|
|
|
|
|-
! scope="row" | Dr. Henry Beates Jr.
| 463
| Oil on canvas
| 1909
|
|
|
|
|-
! scope="row" | Henry Beates
| 464
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | Edward A. Schmidt
| 465
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | Reverend Cornelius J. O'Neill
| 466
| Oil on canvas
| Circa 1909
|
|
|
|
|-
! scope="row" | John J. Borie
| 467
| Oil on canvas
|
|
|
| [[Hood Museum of Art]], [[Hanover, New Hampshire]]<ref>{{cite web | url = http://hoodmuseum.dartmouth.edu/collections/overview/americas/northamerica/uscanada/painting/portraiture/P935119.html | title = Portraiture | publisher = Hoodmuseum.dartmouth.edu | date = | accessdate = 2012-06-08}}</ref>
| [[File:John J Borie G467.jpg|100px|]]
|-
! scope="row" | Mrs. Nicholas Douty
| 468
| Oil on canvas
| 1910
|
|
| [[Cummer Gallery of Art]], [[Jacksonville, Florida]]<ref name="Wright" />
| [[File:Mrs Nicholas Douty G468.png|100px|]]
|-
! scope="row" | Dr. Gilbert Lafayette Parker
| 469
| Oil on canvas
| 1910
|
| Sold at auction in 1986 for $125,000<ref>{{cite web | url = http://artsalesindex.artinfo.com/asi/lots/1349645 | title = Portrait of Dr Gilbert Lafayette Parker by Thomas Eakins | Blouin Art Sales Index | publisher = Artsalesindex.artinfo.com | date = 1986-05-29 | accessdate = 2012-06-08}}</ref>
|
| [[File:Gilbert Parker G469.jpg|100px|]]
|-
! scope="row" | Mrs. Gilbert Parker
| 470
| Oil on canvas
| 1910
|
|
| [[Museum of Fine Arts, Boston]], [[Boston, Massachusetts]]<ref>{{cite web | url = http://www.mfa.org/collections/search_art.asp?recview=true&id=32441 | title = Collections | Museum of Fine Arts, Boston | publisher = Mfa.org | date = | accessdate = 2012-06-08}}</ref>
| [[File:Eakins, Mrs. Gilbert Perker 1910.jpg|100px|]]
|-
! scope="row" | Gilbert Sunderland Parker
| 471
| Oil on canvas
| 1910
|
|
|
|
|-
! scope="row" | Ernest Lee Parker
| 472
| Oil on canvas
| 1910
|
|Ex-collection of the [[Westmoreland Museum of American Art]]. Sold in 2002 for $101,575<ref>{{cite web | url = http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&intObjectID=4013365&sid=c066c79f-b448-4b45-b4b9-aed21acb5015 | title = Thomas Eakins (1844–1916) | Ernest Lee Parker | Christie's | publisher = Christies.com | date = | accessdate = 2012-06-08}}</ref>
|
| [[File:Ernest Lee Parker.jpg|100px|]]
|-
! scope="row" | President Rutherford B. Hayes
| 473
| Oil on canvas
| 1912 or 1913
|
|
| [[Philipse Manor Hall]], [[Yonkers, New York]]
| [[File:Rutherford Hayes G473.jpg|100px|]]
|-
! scope="row" | Dr. Edward Anthony Spitzka
| 474
| Oil on canvas
| Circa 1913
|
| Eakins' last painting. This originally showed a full length Dr. Spitzka holding the cast of a brain. Sometime after it was cataloged in the 1933 Goodrich catalog (measuring 84×43½ inches), someone cut away the rest of the painting, leaving only the head and bust (30½×25? inches).<ref>Rosenzweig, 211–212</ref>
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6279]{{dead link | date = June 2012}}</ref>
| [[File:Edward Anthony Spitzka.jpg|100px|]]
|-
! scope="row" | President Rutherford B. Hayes
| 475
|
| 1877
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | James L. Wood
| 476
|
| Circa 1890
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | William Rudolf O'Donovan
| 477
|
| 1891 or early 1892
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Miss Emily Sartain
| 478
|
| Sometime in the 1890s
|
| Thought to have been lost ("Probably no longer in existence".) Later rediscovered. Passed on through the Sartain family to the Babcock Galleries, and was sold to Rita and Daniel Fraad in 1957. Sold at auction in 2004 for $198,400.<ref>[http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=4BZZ2 Southeby's – American Paintings, Drawings and Sculpture including Property from the Collection of Rita and Daniel Fraad]{{dead link | date = June 2012}}</ref>
|
| [[File:Eakins, Study for Portrait of Miss Emily Sartain 1895.jpg|100px|]]
|-
! scope="row" | Miss Emily Sartain
| 479
|
| Sometime in the 1890s
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. Hugh A. Clarke
| 480
|
| Circa 1893
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | James MacAlister
| 481
|
| Circa 1893
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Circus People
| 482
|
| Before 1876
|
| Sketch. "Probably no longer in existence"
|
|
|-
! scope="row" | Stewart Culin
| 483
|
| Circa 1899
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. George B. Wood
| 484
|
| Circa 1900
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. Patrick J. Garvey
| 485
| Oil on canvas
| 1902
|
| Thought to have been destroyed, rediscovered in 1959
| [[St. Charles Borromeo Seminary]], [[Wynnewood, Pennsylvania]]<ref name="Kimmelman" />
| [[File:Patrick J Garvey G485.jpg|100px|]]
|-
! scope="row" | Right Reverend Denis J. Dougherty
| 486
|
| 1903
|
|
|Private Collection<ref>Wilmderding, 1999, page 249</ref>
| [[File:Dennis Dougherty G486.jpg|100px|]]
|-
! scope="row" | Mother Patricia Waldron
| 487
|
| 1903
|
| "Probably no longer in existence" – loaned by the Sisters of Mercy to William Antrim, who had been commissioned to paint a new portrait of Waldron. Antrim stored the portrait in the attic of his studio. The portrait was lost when the building was demolished.<ref>Eakins Outrages a Convent, Connoisseur Magazine. July 1989, pages 75–76.</ref> For sketch, see above, G-375.
|
|
|-
! scope="row" | Mrs. Margaret Jane Gish
| 488
|
| Circa 1903
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Robert C. Ogden
| 489
|
|
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Dr. J. William White
| 490
|
| 1904
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Adolphie Borie
| 491
|
| Circa 1910
|
| "Probably no longer in existence"
|
|
|-
! scope="row" | Mrs. Charles Lester Leonard
| 492
|
| 1895
|
| No longer in existence
|
|
|-
! scope="row" | Mrs. Hubbard
| 493
|
| Circa 1895
|
| No longer in existence
|
|
|-
! scope="row" | Mrs. McKeever
| 494
|
| 1898
|
| No longer in existence
|
|
|-
! scope="row" | Bishop Edmond F. Prendergast
| 495
| Oil on canvas
| Circa 1903
|
| No longer in existence
|
|
|-
! scope="row" | Frank W. Stokes
| 496
|
| 1903
|
| No longer in existence
|
|
|-
! scope="row" | Edward S. Buckley
| 497
|
| 1906
|
| No longer in existence. According to Buckley's daughter: "It was so unsatisfactory that we destroyed it, not wishing his descendants to think of their grandfather as resembling the portrait."<ref>Adams, 410</ref>
|
|
|-
! scope="row" | Studies for ''[[William Rush and His Model]]''
| 498
| Sculpture, pigmented wax
| 1876–1877
|
| Five studies
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref>Sewell, 1982, 53</ref>
| [[File:William Rush study G498 2.jpg|100px|]] [[File:William Rush study G498 3.jpg|100px|]] [[File:William Rush study G498 4.jpg|100px|]] [[File:William Rush study G498 5.jpg|100px|]] [[File:William Rush study G498 6.jpg|100px|]]
|-
! scope="row" | The Mare 'Josephine'
| 499
| Sculpture, bronze
| 1878
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:The Mare Josephine Skeleton G500.jpg|100px|]]
|-
! scope="row" | The Mare 'Josephine': Skeleton
| 500
| Sculpture, bronze
| 1878
|
|
| [[Butler Institute of American Art]], [[Youngstown, Ohio]]<ref name="Sewell, 1982, 79">Sewell, 1982, 79</ref>
|
|-
! scope="row" | Ecorche
| 501
| Sculpture
|
|
|
| [[National Gallery of Art]], [[Washington, D.C.]]<ref>[http://www.nga.gov/fcgi-bin/tinfo_f?object=131666 Ecorché: Relief of a Horse (Josephine)]. National Gallery of Art.</ref>
|
|-
! scope="row" | Ecorche
| 502
| Sculpture
| 1882
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 79" />
|
|-
! scope="row" | Studies for The Fairman Rogers Four-in-Hand
| 503
| Sculpture, bronze with marble bases
| 1897
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
|
|-
! scope="row" | Spinning
| 504
| Sculpture
| Late 1882/early 1883
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]
| [[File:Spinning G504.jpg|100px|]]
|-
! scope="row" | Knitting
| 505
| Sculpture
| 1881
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 63" />
| [[File:Knitting G505.jpg|100px|]]
|-
! scope="row" | Arcadia
| 506
| Sculpture, bronze
| 1883
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6362]{{dead link | date = June 2012}}</ref>
| [[File:Arcadia G506.jpg|100px|]]
|-
! scope="row" | An Arcadian
| 507
| Sculpture
|
|
|
|
|
|-
! scope="row" | The Youth Playing the Pipes
| 508
| Sculpture
| 1883
|
|
|
| [[File:Youth Playing the Pipes G508.jpg|100px|]]
|-
! scope="row" | Abraham Lincoln's horse
| 509
| Sculpture
| 1893–1894
|
| Originally paired with G509A in the 1933 Goodrich catalog.<ref name="GP" />
| [[Soldiers' and Sailors' Memorial Arch]], [[Prospect Park (Brooklyn)|Prospect Park]], [[New York City, New York]]
| [[File:Lincoln bronze.jpg|100px]]
|-
! scope="row" | General Grant's Horse
| 509A
| Sculpture, bronze
| 1892
|
| Originally listed as G509 in the 1933 Goodrich catalog.<ref name="GP" />
| [[Soldiers' and Sailors' Memorial Arch]], [[Prospect Park (Brooklyn)|Prospect Park]], [[New York City, New York]]
| [[File:Grant bronze.jpg|100px]] [[File:Clinker G509A.jpg|100px]] Clinker as it originally appeared.
|-
! scope="row" | Clinker
| 510
| Sculpture
| 1892
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref>[http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=6361]{{dead link | date = June 2012}}</ref>
|
|-
! scope="row" | Clinker
| 511
| Sculpture, bronze
| 1892
|
|
| [[Philadelphia Museum of Art]], [[Philadelphia, Pennsylvania]]<ref name="Sewell, 1982, 79" />
| [[File:Clinker G511.jpg|100px|]]
|-
! scope="row" | Billy
| 512
| Sculpture, plaster
| Circa 1892–1893
|
|
|
|
|-
! scope="row" | The American Army Crossing the Delaware
| 513
| Sculpture, bronze relief
| Circa 1893
|
|
| [[New Jersey State Museum]], [[Trenton, New Jersey]]<ref>Goodrich, 1982, volume II, page 122</ref>
|
|-
! scope="row" | The Opening of the Fight, The Battle of Trenton
| 514
| Sculpture, bronze relief
| Circa 1893
|
|
| [[New Jersey State Museum]], [[Trenton, New Jersey]]<ref>Goodrich, 1982, volume II, page 123</ref>
|
|-
! scope="row" | Man on Horseback: Relief
| 514A
|
|
|
|
| [[Hirshhorn Museum and Sculpture Garden]], [[Washington, D.C.]]<ref name="GP" />
|
|-
! scope="row" | Mrs. Mary Hallock Greenewalt
| 515
| Sculpture
| 1905
|
|
|
|
|}

== Notes ==

{{reflist|30em}}

== References ==

{{refbegin}}
* Berger, Martin A. ''Man Made: Thomas Eakins and the Construction of Gilded Age Manhood.'' Berkeley: University Of California Press, 2000. ISBN 978-0-520-22209-0
* Bolger, Doreen; Cash, Sarah; et al. ''Thomas Eakins and the Swimming Picture''. Amon Carter Museum, 1996. ISBN 0-88360-085-4
* Braddock, Alan C. ''Thomas Eakins and the Cultures of Modernity.'' University of California Press, 2009. ISBN 0-520-25520-8
* Cooper, Helen A. ''Thomas Eakins: The Rowing Pictures''. Yale University Art Gallery, 1996. ISBN 0-300-06939-1
* Foster, Kathleen A. ''Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts.'' Yale University Press, 1997. ISBN 0-300-06174-9.
* [[Lloyd Goodrich|Goodrich, Lloyd]]. ''Thomas Eakins: His Life and Works''. William Edwin Rudge Printing House. New York, 1933. Catalogue of Works. Pages 161–209.
* [[Gordon Hendricks|Hendricks, Gordon]]. ''The Life and Works of Thomas Eakins''. New York: Grossman Publishers, 1974. ISBN 0-670-42795-0
* [[Gordon Hendricks|Hendricks, Gordon]]. ''The Photographs of Thomas Eakins''. New York: Grossman Publishers, 1972. ISBN 0-670-55261-5
* [[William Innes Homer|Homer, William Innes]]. ''The Paris Letters of Thomas Eakins.'' Princeton University Press, 2009. ISBN 978-0-691-13808-4
* [[William Innes Homer|Homer, William Innes]]. ''Thomas Eakins: His Life and His Art.'' Abbeville Press, 1992. ISBN 1-55859-281-4
* [[William Innes Homer|Homer, William Innes]]. ''Eakins at Avondale and Thomas Eakins: A Personal Collection.'' Science Press, 1980. Library of Congress catalogue no. 79-57527
* [[Donelson Hoopes|Hoopes, Donelson F]]. ''Eakins Watercolors''. Watson-Guptill Publications, 1971. Reprinted 1985. ISBN 0-8230-1592-0
* Johns, Elizabeth. ''Thomas Eakins: The Heroism of Modern Life.'' Princeton University Press, 1991. ISBN 0-691-00288-6.
* Myers, Jane E. Eakins and the Medical Milieu: The Physicians' Portraits. Master's Thesis, December 1982.
* Milroy, Elizabeth Lamotte Cates. ''Thomas Eakins Artistic Training, 1860–1870''. Phd Dissertation, University of Pennsylvania, 1986
* Rosenzweig, Phlyllis D. ''Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden.'' Washington DC: [[Smithsonian Institution Press]], 1977.
* Siegl, Theodor. The Thomas Eakins Collection. Philadelphia Museum of Art, 1978. ISBN 0-8122-1162-6
* Sewell, Darrel. ''Thomas Eakins: Artist of Philadelphia''. [[Philadelphia Museum of Art]], 1982. ISBN 0-87633-047-2
* Sewell, Darrel; et al. ''Thomas Eakins''. [[Yale University Press]], 2001. ISBN 0-87633-047-2.
* [[John Wilmerding|Wilmerding, John]]. ''Thomas Eakins''. Washington, DC: Smithsonian Institution Press, 1993. ISBN 1-56098-313-2
* [[John Wilmerding|Wilmerding, John]]. ''Compass and Clock: Defining Moments in American Culture : 1800, 1850, 1900.'' Harry N. Abrams, 1999. ISBN 0-8109-4096-5
{{refend}}

== External links ==
* [http://www.thomaseakins.org/ Thomas Cowperthwait Eakins Virtual Gallery]
* [http://www.cab.u-szeged.hu/cgfa/eakins/ CGFA – Thomas Eakins paintings]
* [http://siris-artinventories.si.edu/ipac20/ipac.jsp?session=1242HY29512N3.5649&profile=ariall&uri=link=3100006~!200061~!3100001~!3100002&aspect=Browse&menu=search&ri=3&source=~!siartinventories&term=Eakins%2C+Thomas%2C+1844-1916%2C+painter.&index=AUTHOR Smithsonian Catalog of Eakins' works]
* [http://www.artcyclopedia.com/artists/eakins_thomas.html Artcyclopedia entry for Thomas Eakins]

{{DEFAULTSORT:Eakins, Thomas, List Of Works}}
[[Category:Lists of works of art]]
[[Category:Paintings by Thomas Eakins|*]]

[[ro:Listă de lucrări de Thomas Eakins]]

Boston South Station

2013-02-18T16:37:11Z

Reify-tech: /* North Station connections */ Copyedits for readability and clarity

{{Use mdy dates|date=May 2012}}
{{For|the MBTA subway and bus rapid transit station|South Station (MBTA station)}}
{{For|other stations by this name|South Station (disambiguation)}}
{{Infobox station
| style=
| name= {{MBTA infobox header| title = {{uc:South Station}}| color1= Purple}}
| type=
| image=SouthStation.agr.JPG
| image_size =
| image_caption=
| address=700 Atlantic Avenue [[Boston|Boston, MA]] 02110
| coordinates =
| line = 
| other={{bus icon|14px|Bus Terminal}} '''[[South Station Bus Terminal|Bus Terminal]] '''[[MBTA Subway]]''' at [[South Station (MBTA station)|South Station Under]]''': {{rail color box|system=MBTA|line=Red}}{{rail color box|system=MBTA|line=Silver}}
| platform=7
| parking=privately owned garage
| bicycle=bike lockers
| passengers=
| pass_year=
| pass_percent=
| opened=1899 (Depot)
| rebuilt=1985
| ADA=yes
| code=BOS (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone= 1A (MBTA Commuter Rail)
| tracks= 13
| mpassengers=
{{rail pass box|system=MBTA|passengers=11.345 million|pass_year=2005|pass_percent=0}}
{{rail pass box|system=Amtrak|passengers=1,447,501<ref>{{cite web |title=Boston-South Station, MA (BOS)|publisher=Great American Stations|url=http://www.greatamericanstations.com/Stations/BOS|accessdate=November 20, 2012}}</ref>|pass_year=2012|pass_percent=6.4}}
| baggage_check=Available for [[Lake Shore Limited]] and [[Northeast Regional (Amtrak)|Northeast Regional]]s 66 and 67 only
| services={{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Acela Express|previous=Back Bay|next=|rows2=3}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Back Bay|next=|hide2=yes}}
{{s-rail-next|title=MBTA Commuter Rail}}
{{s-line|system=MBTA|line=Framingham|previous=Back Bay|next=|rows2=6}}
{{s-line|system=MBTA|line=Needham|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Back Bay|next=|hide2=yes|rowsmid=3}}
{{s-line|system=MBTA|line=Franklin|previous=Uphams Corner|next=|hide2=yes|note=(limited service)|hidemid=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Foxboro|next=|hide2=yes|type=Foxboro|note=(special events)|hidemid=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Back Bay|next=|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Fairmount|previous=Uphams Corner|hide2=yes}}
{{s-line|system=MBTA|line=Greenbush|next=JFK/UMass|rows1=4}}
{{s-line|system=MBTA|line=Middleborough|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=CapeFLYER|next=Middleborough/Lakeville|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=Plymouth|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-note|text=Former services}}
{{s-rail-next|title=NYC}}
{{s-line|system=NYC|line=B&A|previous=Back Bay|next=|rows2=2}}
{{s-line|system=NYC|line=Worcester Line|previous=Back Bay|next=|hide2=yes}}
| nrhp=
{{Infobox NRHP
| name =South Station Headhouse
| embed = yes
| nrhp_type =
| caption =
| location= [[Boston, Massachusetts]]
| lat_degrees = 42 | lat_minutes = 21 | lat_seconds = 07
| lat_direction = N
| long_degrees = 71 | long_minutes = 03 | long_seconds = 19
| long_direction = W
| coord_display = inline,title
| locmapin = Massachusetts
| built =1899
| architect= Shepley, Rutan & Coolidge; Norcross Bros.
| architecture= Classical Revival
| added = February 13, 1975
| area = {{convert|0.5|acre|ha|1}}
| governing_body = Local
| refnum = 75000299<ref name="nris">{{NRISref|version=2010a}}</ref>
}}
}}

'''South Station''', New England's second-largest transportation center<ref>{{cite web|url=http://www.pps.org/great_public_spaces/one?public_place_id=116|title=South Station – Great Public Spaces | Project for Public Spaces|publisher=PPS}}</ref> (after [[Logan International Airport]]), located at the intersection of [[Atlantic Avenue (Boston)|Atlantic Avenue]] and [[Summer Street (Boston)|Summer Street]] in [[Dewey Square]], [[Boston|Boston, Massachusetts]], is the largest train station and intercity bus terminal in [[Greater Boston]]. It serves as a major [[intermodal passenger transport|intermodal]] domestic transportation hub, with service to the [[Greater Boston]] region and the Midwestern and Northeastern United States. The historic station building was constructed in 1899 to replace the downtown terminals of several different railroads and is used by thousands of commuter rail and intercity rail passengers daily. The adjacent [[South Station (MBTA station)|subway station]] offers connections to the rapid transit [[Red Line (MBTA)|Red Line]] and [[Silver Line (MBTA)|Silver Line]].

==Facilities==
South Station's facilities and offerings include:

*The northern terminus of [[Amtrak]]'s [[Northeast Corridor]] train service, including ''[[Acela Express]]'' high-speed trains and ''[[Northeast Regional]]'' local trains. There is also a daily Amtrak train to [[Albany, New York]] and Chicago—the ''[[Lake Shore Limited]]''.
*The city terminus of the southern and western routes of the [[Massachusetts Bay Transportation Authority]] (MBTA) [[MBTA Commuter Rail|commuter rail]] system
*A [[South Station (MBTA subway station)|station stop]] on the Boston subway's [[Red Line (MBTA)|Red Line]] to downtown Boston and its northwestern and southern suburbs.
*The western terminus of Phase 2 of the [[Silver Line (MBTA)|Silver Line]], with direct service to all [[Logan International Airport]] terminals, the [[Boston Convention and Exhibition Center]], the Boston Design center and the Black Falcon Cruise Ship Terminal.
*The eastern terminus of the Silver Line Phase I SL4 line to [[Dudley (MBTA station)|Dudley Station]]
*Local bus service on lines 7, 11, 448, 449, 459
*Parking garage
*Staffed ticket windows
*24-hour baggage assistance
*A 24-hour information booth
*A ClubAcela lounge with several complimentary services
*A food court, small shopping variety and waiting area, with typical train station concessions
*[[Public art]], including a sculpture built of [[coupling (railway)|railroad car coupler]]s and a model of the planet [[Jupiter]], part of the [[Museum of Science, Boston|Museum of Science's]] [[solar system model|scale model of the solar system]]

The station is accessible by the general public 24 hours a day, every day of the year.

===Bus terminal===
Boston's main inter-city bus terminal, the [[South Station Bus Terminal]] is housed in a separate building built over the train platforms along Atlantic Avenue. The bus terminal hosts service by several bus companies to all of [[New England]], New York City, the Mid-Atlantic and [[Montreal]], Canada. It has its own concession area and can be accessed from the Track 1 platform or Atlantic Avenue.

===North Station connections===
Several [[MBTA Commuter Rail|MBTA commuter rail]] lines, plus Amtrak's ''[[Downeaster]]'' service to [[Maine]], originate from [[North Station]], located about 1¼ miles (2 km) around the Boston peninsula from South Station. Transfers from North Station to all other Amtrak trains and the MBTA Commuter Rail's [[Providence/Stoughton Line|Providence/Stoughton]], [[Needham Line|Needham]], [[Franklin Line|Franklin]] and [[Framingham/Worcester Line|Framingham/Worcester]] lines may be made at [[Back Bay (MBTA station)|Back Bay]] (via a one-seat ride on the [[Orange Line (MBTA)|Orange Line]]); transfers from the [[Fitchburg Line]] to South Station lines can be made via [[Porter (MBTA station)|Porter]] on the Red Line (a one-seat ride to South Station). All other transferring passengers have to change subway trains at either [[Park Street (MBTA station)|Park Street]] or [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations, requiring two different rapid transit lines for the relatively short traverse between South and North Stations.

A [[North-South Rail Link]] is proposed to unify the two halves of the rail system, to make passenger transfers much easier and faster. In addition, the ability to route through service would greatly improve speed and frequency, while avoiding the need to [[layover]] many trains at station platforms. Eliminating the need to reverse many trains would increase the effective capacity of the entire system.{{Citation needed|date=February 2013}}

However, as of May 2006 the Commonwealth of Massachusetts has withdrawn its sponsorship of the proposal due to its high cost.{{Citation needed|date=March 2009}} The North-South Rail Link is not mentioned in the MBTA's FY2010–FY2014 Capital Investment Program.<ref>{{cite web|url=http://www.mbta.com/uploadedfiles/About_the_T/Financials/MBTA%20FY10-FY14%20CIP.pdf|title=MBTA Capital Investment Program|publisher=Massachusetts Bay Transportation Authority|format=PDF}}</ref> Currently, passenger equipment is transferred between the two halves of the system via the [[Grand Junction Railroad]], which is not used for passenger service.

==Nearby destinations==
*Boston South Postal Annex, with a post office that is almost never closed. (There is a passageway to it at the foot of Track 13.)
*Boston's [[Financial District, Boston, Massachusetts|financial district]] including the [[Federal Reserve Bank Building (Boston)|Federal Reserve Bank Building]]
*[[Boston Children's Museum]]
*[[Boston Tea Party]] Ships & Museum
*[[Boston Convention and Exhibition Center]], about a 15 minute walk east, or one can take the Silver Line to the [[World Trade Center (MBTA station)|World Trade Center]] stop.
*Boston's [[Chinatown (Boston)|Chinatown]]
*[[Boston Harborwalk]]
*Boston's Theatre District
*[[Massachusetts Turnpike]]
*[[Institute of Contemporary Art, Boston]]
*[[Rose Kennedy Greenway]]
*Rowes Wharf ferry terminal, several blocks north of the station
*[[Tufts University]] medical campus and [[Tufts Medical Center]] hospital

==Accessibility==
The commuter rail and Amtrak platforms are fully accessible, with level access from the main station entrance and the waiting area onto the high-level platforms. Most southside commuter rail stations are also handicapped accessible, but some stations (mostly on the [[Framingham/Worcester Line]] and [[Franklin Line]]) are not. Most Amtrak stations on the Lake Shore Limited and the Northeast Corridor routes are also accessible.

Elevators are provided for handicapped access to the [[South Station (MBTA station)|subway station]]. ''See'' [[MBTA accessibility]].

==Ridership==
In the early 1900s, after South Sttation first opened, heavy commuter ridership made it the busiest station in the world.{{citation needed|date=February 2013}} However, massive cutbacks made by the bankrupt New Haven Railroad, and an increase in the popularity of automobile travel later left the station with far fewer riders than at the peak.

More recently, ridership has grown considerably, in part due to the reopening of Old Colony commuter rail service and the [[Railway electrification system|electrification]] of the Amtrak Northeast Corridor from New Haven to Boston, which allowed high speed ''Acela'' service.<ref>[http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]</ref>

'''South Station Ridership (passengers/year)'''
{| class="wikitable"
|-
!Service
!1975
!1990
!2001
|-
|Intercity rail
|537,000
|839,000
|1,060,000
|-
|Commuter rail
|2,774,000
|12,000,000
|18,000,000
|-
|Intercity Bus
|n/a
|n/a
|3,000,000
|}

==History==
===Need for a combined station===
{{multiple image
| align = left
| direction = vertical
| image1 = Boston railroad 1880.jpg
| width1 = 200
| alt1 =
| caption1 = Map showing Boston railroad terminals in 1880, before the construction of South Station
| image2 = South Station postcard front.jpg
| width2 = 200
| alt2 =
| caption2 = A view of the Atlantic Avenue Elevated in front of South Station; the elevated station was at far right.
| image3 = South Station, 1904.jpg
| width3 = 200
| alt3 =
| caption3 = Looking north at the merge of the two approaches, with the two pairs of tracks approaching the lower-level loop at right; the terminal is in the background.
}}

When the railroads serving Boston were first laid out and built, each one stopped at its own terminal. The four terminals serving the south-side railroads were as follows:
*The [[New York and New England Railroad]] crossed the [[Fort Point Channel]] from [[South Boston]], just south of the present [[Summer Street Bridge]], and terminated just east of [[Dewey Square]] (right at the north end of today's South Station).
*The [[Old Colony Railroad]] had a long passenger terminal on the east side of [[South Street (Boston)|South Street]], stretching from [[Kneeland Street (Boston)|Kneeland Street]] south to [[Harvard Street (Boston)|Harvard Street]]. This site is now part of the [[South Bay Interchange]], near the South Station bus terminal.
*The [[Boston and Albany Railroad]]'s passenger terminal was in the block bounded by Kneeland Street, [[Beach Street (Boston)|Beach Street]], [[Albany Street (Boston)|Albany Street]] (now [[Surface Artery (Boston)|Surface Artery]]) and [[Lincoln Street (Boston)|Lincoln Street]]. This later became a freight house, and is now a block in [[Chinatown (Boston)|Chinatown]]; the passenger terminal was moved to the west side of [[Utica Street (Boston)|Utica Street]], from Kneeland Street south to a bit past Harvard Street, now part of the [[South Bay Interchange]].
*The [[Boston and Providence Railroad]] continued straight where it now merges with the Boston and Albany, terminating at [[Park Square (Boston)|Park Square]], with the passenger terminal on the south side of [[Providence Street (Boston)|Providence Street]] from [[Columbus Avenue (Boston)|Columbus Avenue]] west about two-thirds of the way to [[Berkeley Street (Boston)|Berkeley Street]].

The Boston Terminal Company, established in 1897, was charged with the task of combining the four terminals into one consolidated terminal. South Station combined the four terminals in one spot (a [[union station]]).

===Early years===
[[Image:South Station lower level loop.jpg|thumb|200px|The never-used lower-level loop platforms]]
South Station opened as '''South Central Station''' on January 1, 1899 at a cost of $3.6 million (1899 dollars). The architects were [[Shepley, Rutan and Coolidge]] of Boston, with the actual construction undertaken by the engineering firm of Westinghouse, Church, Kerr & Co. It became the busiest station in the country by 1910.{{citation needed|date=February 2013}} A stop on the [[Atlantic Avenue Elevated]] served South Station from 1901 to 1938; what is now the Red Line subway was extended from [[Park Street (MBTA station)|Park Street]] to South Station in 1913. The train shed, originally one of the largest in the world, was eliminated in a 1930 renovation due to [[corrosion]] caused by the nearby ocean's salt air.<ref>{{cite web|url=http://books.google.com/books?id=qOIDAAAAMBAJ&pg=PA958&dq=Popular+Science+1930+plane+%22Popular+Mechanics%22&hl=en&ei=_7BlTsWeBYTWgQf9mIiLCg&sa=X&oi=book_result&ct=result&resnum=10&sqi=2&ved=0CE8Q6AEwCQ#v=onepage&q&f=true|title="Razing Rail Depot Tests Skill of Engineers" ''Popular Mechanics'', December 1930|publisher=Google Books}}</ref>

While the station handled 125,000 passengers each day during [[World War II]], post-war passenger rail traffic declined in the US. In 1959, the [[Old Colony Railroad]], which had served the South Shore and [[Cape Cod]], stopped passenger service. The [[New York, New Haven and Hartford Railroad]] went bankrupt in 1961. South Station was sold to the [[Boston Redevelopment Authority]] (BRA) in 1965.<ref>[http://www.greatamericanstations.com/Stations/BOS/Station_view Great American Stations: South Station]</ref> Portions of the station were demolished and the land was used to build the Boston South Postal Annex and the Stone and Webster building.

In the original configuration, two tracks came off each approach to join into a four-track line and then run under the main platforms in a two-track loop. These tracks were never put into service, and later became a [[parking lot]] and [[bowling alley]] for employees.<ref>{{cite web|url=http://www.southstation.org/southst.htm|title=South Station in Boston|work=Southstation.org|accessdate=June 10, 2012}}</ref>

===Renovation===
[[File:South Station Terminal Inside.jpg|thumb|200px|Inside the terminal building, with tracks accessible through the glass doors]]
In 1978, the BRA sold what was left of the station, now on the [[National Register of Historic Places]],<ref name=nris/> to the MBTA, though the BRA retained air rights over the station. Funding was obtained for a major renovation of the station that was completed in 1989. A total of 13 tracks became available, all with high level platforms and some capable of handling 12-car trains. Piers were installed for the eventual construction of an office building and bus station above the tracks. After some delays, an inter-city bus terminal opened in October 1995, replacing one on top of the [[I-93]] [[Dewey Square Tunnel]] diagonally across from the station between Summer Street and Congress Street. The new bus terminal has been called “the best bus facility in the country”{{Citation needed|date=February 2007}} and has direct ramp connections to I-93 and the [[Massachusetts Turnpike]] (though there are two traffic lights in the outbound direction). The renovations, including the bus terminal, cost $195 million (2001 dollars).

The Red Line subway platforms were extended in 1985 to allow six-car trains, and renovated again in 2005 as part of the Silver Line Phase II project, which serves the waterfront and Logan Airport. The Phase II tunnel was constructed in conjunction with Boston's "Big Dig" and was originally referred to as the South Boston Piers Transitway. Phase II opened on Friday, December 17, 2004, with the first route running only to Silver Line Way. A new Phase I Silver Line route, the SL4 was added on October 13, 2009, with a stop across the street from South Station.<ref>{{cite web|url=http://www.mbta.com/about_the_mbta/news_events/?id=18411&month=&year=|title=New Silver line service|date=October 13, 2009|publisher=Massachusetts Bay Transportation Authority}}</ref>

==Architecture==
[[File:The Boston Terminal Company plaque.jpg|thumb|'''The Boston Terminal Company 1897 commemorative plaque in South Station:''' * [[Josiah Quincy (1859–1919)|Josiah Quincy]], Mayor of Boston * The Boston Terminal Company: Samuel Hoar, [[Royal C. Taft|Royal Chapin Taft]], Charles Peter Clark, Charles Loughead Lovering, Francis Lee Higginson (Trustees) * George B. Francis, Resident Engineer * [[Norcross Brothers]], builders * [[Shepley, Rutan and Coolidge|Shepley, Rutan & Coolidge]] (architects) * Fayette Samuel Curtis, Walter Shepard, Lawson Bennett Bidwell (consulting engineers)]]

The South Station head house and wings incorporate [[Neoclassical architecture]]. The building’s symmetry and stone façade are common to the style. The granite came from nearby quarries in New England. The main doorways are located in a section that protrudes from the curving shape of the building. The doors are housed under tall arches that give the impression of grandeur while also making the building appear smaller from far away. This visual trick is common in classical buildings and is further amplified by the over-sized windows and large balustrade on the third floor and roof.

Above the doorways are classical [[Ionic order]] columns that ostensibly hold up the frieze and pediment. Uncommon for Ionic order columns is the lack of [[fluting (architecture)|fluting]], which is usually used to draw the eye upward, increasing the grandeur of the facade. The numerous projections and recessions on the façade attribute to the planar quality of the building, while also creating interesting shading and lighting patterns on the stone and within the building.

Inside, a [[Coffer|coffered ceiling]] adorns the terminal and protects travelers from the rain and snow.

Constructed over one hundred years ago, the clock on top of the main head house is the largest operating hand-wound clock mechanism in New England. The clock is styled after London’s [[Big Ben]], and has a 12-foot wide face. The mechanism weighs over 400 pounds. In 2008, the clock underwent a six-week restoration and repair. The clock mechanism was completely disassembled and transported to a nearby workshop, where replacement pieces had to be fabricated by hand. The clock, once one of many in the city, is a hallmark of a bygone era — something that commuters rely on to make their trains, and which visitors admire for its historical presence. The stone eagle that sits atop the clock is eight feet wide and weighs over eight tons. The eagle imitates the figurines commonly placed atop classically styled buildings.

The curved shape of the building facade pushes its presence into the surrounding area, making it much more prominent. This also gives the building a more distinctive and accessible main entrance from Atlantic Avenue, Summer Street, and Dewey Square. A similar concept is also seen in the [[Santa Maria della Pace]] in Rome, Italy. This church didn’t directly influence South Station, but the designs clearly share the same effects on the immediate area.

In the 1980s, with South Station in disrepair, a great effort began to revitalize the station using Federal funding. The revitalization included addition of two wings that extend from each side of the head house, constructed with granite from the same quarries to provide a consistent appearance. Renovation and expansion was completed in 1989, reinvigorating the area with a vital transportation link and a strong focal point. Office buildings began rising nearby, expanding the downtown area. With the completion of the [[Big Dig]] and the [[Rose Kennedy Greenway]], South Station has become an even more important feature in the area. The Greenway provides a pedestrian-friendly connection between South Station and [[North Station]].

==Future==
[[File:South Station Boston Feb 11 2013.jpg|thumb|right|South Station at evening rush hour, Monday, February 11, 2013 after the [[February 2013 nor'easter]]]]
As a major transfer station offering connections to multiple modes, South Station will see additional passenger throughput as a result of system improvements and a general increase in ridership. The existing underground Red Line and Silver Line stations are adequate for the near future, but the surface-level commuter rail and Amtrak platforms are at capacity.

A proposed relocation of the Boston General Mail Facility, which is located on Dorchester Avenue next to the station tracks, would allow for increased capacity at South Station. Seven more tracks are planned to be added to the existing thirteen tracks, allowing increased use by both [[MBTA Commuter Rail]] and [[Amtrak]] trains. A skyscraper, tentatively called the South Station Tower, was formerly proposed to be built over the new platforms, but the proposal was withdrawn. However, any expansion of South Station may include spaces for pillars for future air rights development.

In October 2010, the state of Massachusetts was awarded a [[United States dollar|$]]32.5 million grant from the federal government to begin planning for this expansion.<ref>{{cite news |title=Mass. Will Try to Buy Postal Annex to Save Rail Expansion|first1=Casey|last1=Ross|first2=Noah|last2=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2010/01/08/mass_will_try_to_buy_postal_annex_to_save_rail_expansion/|newspaper=[[The Boston Globe]]|date=January 8, 2010|accessdate=August 22, 2010}}</ref><ref>{{cite news |title=Mass. Receives Funds to Upgrade South Station|author=Associated Press|url=http://www.boston.com/news/local/massachusetts/articles/2010/10/25/mass_receives_funds_to_upgrade_south_station/|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref><ref>{{cite news |title=State Wins $32.5M Grant to Plan South Station Expansion|first=Martin|last=Finucane|url=http://www.boston.com/news/local/breaking_news/2010/10/state_wins_325m.html|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref> After deliberations, a $43 million contract (including $10.5 million in state funds) was awarded in August 2012.<ref name=43mil >{{cite news |title=State to Soon Launch $43m Planning Effort for Project to Expand South Station|first=Matt|last=Rocheleau|url=http://www.boston.com/yourtown/news/downtown/2012/08/state_to_soon_launch_43m_plann.html|newspaper=[[The Boston Globe]]|date=August 20, 2012|accessdate=August 21, 2012}}</ref> The planning project will advance the new station area, including a possible passenger mezzanine over the platforms, to the 30% design level. Other elements include a redesign of the South Station [[interlocking]], a new commuter rail layover facility, and the restoration of public access to the adjacent section of Dorchester Avenue and the Fort Point Channel. The station expansion is intended to allow for increases in commuter rail service on the [[Fairmount Line]] and [[Framingham/Worcester Line]], addition of [[South Coast Rail]] service, and increased Amtrak frequencies.<ref name=43mil />

==See also==
*[[Atlantic Avenue Elevated]]
*[[Fort Point Channel]]
*[[North Station]]
*[[North-South Rail Link]]
*[[South Station Bus Terminal]]
*[[South Station (MBTA subway station)]]

==References==
{{Reflist|2}}

===Bibliography for architecture section===
*{{cite web |url=http://www.south-station.net/Station-History.htm|title=History of the Station|publisher=South Station LLC|accessdate=March 29, 2012}}
*{{cite web |title=Boston South Station|first=Amanda|last=Sorrento|publisher=Foundations of America|url=http://foundationsofamerica.com/index.php?option=com_content&view=article&id=413:boston-south-station&catid=56:public-buildings&Itemid=68|date=November 4, 2010|accessdate=March 29, 2012}}
*{{cite web |title=South Station|publisher=Project for Public Spaces|accessdate=March 29, 2012|url=http://www.pps.org/great_public_spaces//one?public_place_id=116#}}
*{{cite news |title=Station Clock Takes Timeout|first=Noah|last=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2008/10/15/station_clock_takes_timeout|newspaper=[[The Boston Globe ]]|date=October 14, 2008|accessdate=March 29, 2012}}
* [http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]

==External links==
{{commons category|South Station (Boston)}}
{{Amtrak web|BOS|Boston South Station|MASSACHUSETTS}}
*[http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=191 MBTA – Boston South Station]
*{{official website|http://www.south-station.net/}} (with event listings)
*[http://www.trainweb.org/usarail/boston_south.htm Boston South Amtrak Station (USA RailGuide – TrainWeb)]
* [[Google Maps]] [[Google Street View|Street Views]]:
** [http://maps.google.com/?ie=UTF8&ll=42.352606,-71.055386&spn=0.003727,0.013518&z=17&layer=c&cbll=42.352537,-71.055437&panoid=V9fPTxl4KcuuJ_tnoQr5vA&cbp=12,141.76,,0,1.57 Station Building (Atlantic Avenue and Summer Street)]
** [http://maps.google.com/?ie=UTF8&ll=42.351686,-71.05589&spn=0.003727,0.013518&z=17&layer=c&cbll=42.35161,-71.055938&panoid=rigwYgZPQgfEvyffUpsD2w&cbp=12,101.48,,0,-1 South entrance on Atlantic Avenue]

{{MBTA}}
{{National Register of Historic Places}}

[[Category:Amtrak stations in Massachusetts|Boston South]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Bus stations in Massachusetts|Boston South]]
[[Category:Financial District, Boston]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:Railway stations on the National Register of Historic Places in Massachusetts]]
[[Category:Railway stations opened in 1899]]
[[Category:Stations along Boston and Albany Railroad lines|Boston South]]
[[Category:Stations along New York and New England Railroad lines|Boston South]]
[[Category:Stations along New York, New Haven and Hartford Railroad lines|Boston South]]
[[Category:Stations along Old Colony Railroad lines|Boston South]]
[[Category:Transit centers in the United States]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:Union stations in the United States|South Station]]

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Boston South Station

2013-02-18T16:09:07Z

Reify-tech: /* Opening */ Copyedit cleanup

{{Use mdy dates|date=May 2012}}
{{For|the MBTA subway and bus rapid transit station|South Station (MBTA station)}}
{{For|other stations by this name|South Station (disambiguation)}}
{{Infobox station
| style=
| name= {{MBTA infobox header| title = {{uc:South Station}}| color1= Purple}}
| type=
| image=SouthStation.agr.JPG
| image_size =
| image_caption=
| address=700 Atlantic Avenue [[Boston|Boston, MA]] 02110
| coordinates =
| line = 
| other={{bus icon|14px|Bus Terminal}} '''[[South Station Bus Terminal|Bus Terminal]] '''[[MBTA Subway]]''' at [[South Station (MBTA station)|South Station Under]]''': {{rail color box|system=MBTA|line=Red}}{{rail color box|system=MBTA|line=Silver}}
| platform=7
| parking=privately owned garage
| bicycle=bike lockers
| passengers=
| pass_year=
| pass_percent=
| opened=1899 (Depot)
| rebuilt=1985
| ADA=yes
| code=BOS (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone= 1A (MBTA Commuter Rail)
| tracks= 13
| mpassengers=
{{rail pass box|system=MBTA|passengers=11.345 million|pass_year=2005|pass_percent=0}}
{{rail pass box|system=Amtrak|passengers=1,447,501<ref>{{cite web |title=Boston-South Station, MA (BOS)|publisher=Great American Stations|url=http://www.greatamericanstations.com/Stations/BOS|accessdate=November 20, 2012}}</ref>|pass_year=2012|pass_percent=6.4}}
| baggage_check=Available for [[Lake Shore Limited]] and [[Northeast Regional (Amtrak)|Northeast Regional]]s 66 and 67 only
| services={{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Acela Express|previous=Back Bay|next=|rows2=3}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Back Bay|next=|hide2=yes}}
{{s-rail-next|title=MBTA Commuter Rail}}
{{s-line|system=MBTA|line=Framingham|previous=Back Bay|next=|rows2=6}}
{{s-line|system=MBTA|line=Needham|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Back Bay|next=|hide2=yes|rowsmid=3}}
{{s-line|system=MBTA|line=Franklin|previous=Uphams Corner|next=|hide2=yes|note=(limited service)|hidemid=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Foxboro|next=|hide2=yes|type=Foxboro|note=(special events)|hidemid=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Back Bay|next=|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Fairmount|previous=Uphams Corner|hide2=yes}}
{{s-line|system=MBTA|line=Greenbush|next=JFK/UMass|rows1=4}}
{{s-line|system=MBTA|line=Middleborough|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=CapeFLYER|next=Middleborough/Lakeville|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=Plymouth|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-note|text=Former services}}
{{s-rail-next|title=NYC}}
{{s-line|system=NYC|line=B&A|previous=Back Bay|next=|rows2=2}}
{{s-line|system=NYC|line=Worcester Line|previous=Back Bay|next=|hide2=yes}}
| nrhp=
{{Infobox NRHP
| name =South Station Headhouse
| embed = yes
| nrhp_type =
| caption =
| location= [[Boston, Massachusetts]]
| lat_degrees = 42 | lat_minutes = 21 | lat_seconds = 07
| lat_direction = N
| long_degrees = 71 | long_minutes = 03 | long_seconds = 19
| long_direction = W
| coord_display = inline,title
| locmapin = Massachusetts
| built =1899
| architect= Shepley, Rutan & Coolidge; Norcross Bros.
| architecture= Classical Revival
| added = February 13, 1975
| area = {{convert|0.5|acre|ha|1}}
| governing_body = Local
| refnum = 75000299<ref name="nris">{{NRISref|version=2010a}}</ref>
}}
}}

'''South Station''', New England's second-largest transportation center<ref>{{cite web|url=http://www.pps.org/great_public_spaces/one?public_place_id=116|title=South Station – Great Public Spaces | Project for Public Spaces|publisher=PPS}}</ref> (after [[Logan International Airport]]), located at the intersection of [[Atlantic Avenue (Boston)|Atlantic Avenue]] and [[Summer Street (Boston)|Summer Street]] in [[Dewey Square]], [[Boston|Boston, Massachusetts]], is the largest train station and intercity bus terminal in [[Greater Boston]]. It serves as a major [[intermodal passenger transport|intermodal]] domestic transportation hub, with service to the [[Greater Boston]] region and the Midwestern and Northeastern United States. The historic station building was constructed in 1899 to replace the downtown terminals of several different railroads and is used by thousands of commuter rail and intercity rail passengers daily. The adjacent [[South Station (MBTA station)|subway station]] offers connections to the rapid transit [[Red Line (MBTA)|Red Line]] and [[Silver Line (MBTA)|Silver Line]].

==Facilities==
South Station's facilities and offerings include:

*The northern terminus of [[Amtrak]]'s [[Northeast Corridor]] train service, including ''[[Acela Express]]'' high-speed trains and ''[[Northeast Regional]]'' local trains. There is also a daily Amtrak train to [[Albany, New York]] and Chicago—the ''[[Lake Shore Limited]]''.
*The city terminus of the southern and western routes of the [[Massachusetts Bay Transportation Authority]] (MBTA) [[MBTA Commuter Rail|commuter rail]] system
*A [[South Station (MBTA subway station)|station stop]] on the Boston subway's [[Red Line (MBTA)|Red Line]] to downtown Boston and its northwestern and southern suburbs.
*The western terminus of Phase 2 of the [[Silver Line (MBTA)|Silver Line]], with direct service to all [[Logan International Airport]] terminals, the [[Boston Convention and Exhibition Center]], the Boston Design center and the Black Falcon Cruise Ship Terminal.
*The eastern terminus of the Silver Line Phase I SL4 line to [[Dudley (MBTA station)|Dudley Station]]
*Local bus service on lines 7, 11, 448, 449, 459
*Parking garage
*Staffed ticket windows
*24-hour baggage assistance
*A 24-hour information booth
*A ClubAcela lounge with several complimentary services
*A food court, small shopping variety and waiting area, with typical train station concessions
*[[Public art]], including a sculpture built of [[coupling (railway)|railroad car coupler]]s and a model of the planet [[Jupiter]], part of the [[Museum of Science, Boston|Museum of Science's]] [[solar system model|scale model of the solar system]]

The station is accessible by the general public 24 hours a day, every day of the year.

===Bus terminal===
Boston's main inter-city bus terminal, the [[South Station Bus Terminal]] is housed in a separate building built over the train platforms along Atlantic Avenue. The bus terminal hosts service by several bus companies to all of [[New England]], New York City, the Mid-Atlantic and [[Montreal]], Canada. It has its own concession area and can be accessed from the Track 1 platform or Atlantic Avenue.

===North Station connections===
Several [[MBTA Commuter Rail|MBTA commuter rail]] lines, plus Amtrak's ''[[Downeaster]]'' service to [[Maine]], originate from [[North Station]], about 1¼ miles (2 km) around the Boston peninsula from South Station. Transfers from North Station to all other Amtrak trains and the MBTA Commuter Rail's [[Providence/Stoughton Line|Providence/Stoughton]], [[Needham Line|Needham]], [[Franklin Line|Franklin]] and [[Framingham/Worcester Line|Framingham/Worcester]] lines may be made at [[Back Bay (MBTA station)|Back Bay]] (a one-seat ride on the [[Orange Line (MBTA)|Orange Line]]); transfers from the [[Fitchburg Line]] to South Station lines can be made at [[Porter (MBTA station)|Porter]] on the Red Line; all other passengers have to change subway trains at either [[Park Street (MBTA station)|Park Street]] or [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations. A [[North-South Rail Link]] is proposed to unify the two halves of the rail system, but as of May 2006 the Commonwealth of Massachusetts has withdrawn its sponsorship of the proposal due to its high cost.{{Citation needed|date=March 2009}} The North-South Rail Link is not mentioned in the MBTA's FY2010–FY2014 Capital Investment Program.<ref>{{cite web|url=http://www.mbta.com/uploadedfiles/About_the_T/Financials/MBTA%20FY10-FY14%20CIP.pdf|title=MBTA Capital Investment Program|publisher=Massachusetts Bay Transportation Authority|format=PDF}}</ref> Currently passenger equipment is transferred between the two halves of the system via the [[Grand Junction Railroad]], which is not used for passenger service.

==Nearby destinations==
*Boston South Postal Annex, with a post office that is almost never closed. (There is a passageway to it at the foot of Track 13.)
*Boston's [[Financial District, Boston, Massachusetts|financial district]] including the [[Federal Reserve Bank Building (Boston)|Federal Reserve Bank Building]]
*[[Boston Children's Museum]]
*[[Boston Tea Party]] Ships & Museum
*[[Boston Convention and Exhibition Center]], about a 15 minute walk east, or one can take the Silver Line to the [[World Trade Center (MBTA station)|World Trade Center]] stop.
*Boston's [[Chinatown (Boston)|Chinatown]]
*[[Boston Harborwalk]]
*Boston's Theatre District
*[[Massachusetts Turnpike]]
*[[Institute of Contemporary Art, Boston]]
*[[Rose Kennedy Greenway]]
*Rowes Wharf ferry terminal, several blocks north of the station
*[[Tufts University]] medical campus and [[Tufts Medical Center]] hospital

==Accessibility==
The commuter rail and Amtrak platforms are fully accessible, with level access from the main station entrance and the waiting area onto the high-level platforms. Most southside commuter rail stations are also handicapped accessible, but some stations (mostly on the [[Framingham/Worcester Line]] and [[Franklin Line]]) are not. Most Amtrak stations on the Lake Shore Limited and the Northeast Corridor routes are also accessible.

Elevators are provided for handicapped access to the [[South Station (MBTA station)|subway station]]. ''See'' [[MBTA accessibility]].

==Ridership==
In the early 1900s, after South Sttation first opened, heavy commuter ridership made it the busiest station in the world.{{citation needed|date=February 2013}} However, massive cutbacks made by the bankrupt New Haven Railroad, and an increase in the popularity of automobile travel later left the station with far fewer riders than at the peak.

More recently, ridership has grown considerably, in part due to the reopening of Old Colony commuter rail service and the [[Railway electrification system|electrification]] of the Amtrak Northeast Corridor from New Haven to Boston, which allowed high speed ''Acela'' service.<ref>[http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]</ref>

'''South Station Ridership (passengers/year)'''
{| class="wikitable"
|-
!Service
!1975
!1990
!2001
|-
|Intercity rail
|537,000
|839,000
|1,060,000
|-
|Commuter rail
|2,774,000
|12,000,000
|18,000,000
|-
|Intercity Bus
|n/a
|n/a
|3,000,000
|}

==History==
===Need for a combined station===
{{multiple image
| align = left
| direction = vertical
| image1 = Boston railroad 1880.jpg
| width1 = 200
| alt1 =
| caption1 = Map showing Boston railroad terminals in 1880, before the construction of South Station
| image2 = South Station postcard front.jpg
| width2 = 200
| alt2 =
| caption2 = A view of the Atlantic Avenue Elevated in front of South Station; the elevated station was at far right.
| image3 = South Station, 1904.jpg
| width3 = 200
| alt3 =
| caption3 = Looking north at the merge of the two approaches, with the two pairs of tracks approaching the lower-level loop at right; the terminal is in the background.
}}

When the railroads serving Boston were first laid out and built, each one stopped at its own terminal. The four terminals serving the south-side railroads were as follows:
*The [[New York and New England Railroad]] crossed the [[Fort Point Channel]] from [[South Boston]], just south of the present [[Summer Street Bridge]], and terminated just east of [[Dewey Square]] (right at the north end of today's South Station).
*The [[Old Colony Railroad]] had a long passenger terminal on the east side of [[South Street (Boston)|South Street]], stretching from [[Kneeland Street (Boston)|Kneeland Street]] south to [[Harvard Street (Boston)|Harvard Street]]. This site is now part of the [[South Bay Interchange]], near the South Station bus terminal.
*The [[Boston and Albany Railroad]]'s passenger terminal was in the block bounded by Kneeland Street, [[Beach Street (Boston)|Beach Street]], [[Albany Street (Boston)|Albany Street]] (now [[Surface Artery (Boston)|Surface Artery]]) and [[Lincoln Street (Boston)|Lincoln Street]]. This later became a freight house, and is now a block in [[Chinatown (Boston)|Chinatown]]; the passenger terminal was moved to the west side of [[Utica Street (Boston)|Utica Street]], from Kneeland Street south to a bit past Harvard Street, now part of the [[South Bay Interchange]].
*The [[Boston and Providence Railroad]] continued straight where it now merges with the Boston and Albany, terminating at [[Park Square (Boston)|Park Square]], with the passenger terminal on the south side of [[Providence Street (Boston)|Providence Street]] from [[Columbus Avenue (Boston)|Columbus Avenue]] west about two-thirds of the way to [[Berkeley Street (Boston)|Berkeley Street]].

The Boston Terminal Company, established in 1897, was charged with the task of combining the four terminals into one consolidated terminal. South Station combined the four terminals in one spot (a [[union station]]).

===Early years===
[[Image:South Station lower level loop.jpg|thumb|200px|The never-used lower-level loop platforms]]
South Station opened as '''South Central Station''' on January 1, 1899 at a cost of $3.6 million (1899 dollars). The architects were [[Shepley, Rutan and Coolidge]] of Boston, with the actual construction undertaken by the engineering firm of Westinghouse, Church, Kerr & Co. It became the busiest station in the country by 1910.{{citation needed|date=February 2013}} A stop on the [[Atlantic Avenue Elevated]] served South Station from 1901 to 1938; what is now the Red Line subway was extended from [[Park Street (MBTA station)|Park Street]] to South Station in 1913. The train shed, originally one of the largest in the world, was eliminated in a 1930 renovation due to [[corrosion]] caused by the nearby ocean's salt air.<ref>{{cite web|url=http://books.google.com/books?id=qOIDAAAAMBAJ&pg=PA958&dq=Popular+Science+1930+plane+%22Popular+Mechanics%22&hl=en&ei=_7BlTsWeBYTWgQf9mIiLCg&sa=X&oi=book_result&ct=result&resnum=10&sqi=2&ved=0CE8Q6AEwCQ#v=onepage&q&f=true|title="Razing Rail Depot Tests Skill of Engineers" ''Popular Mechanics'', December 1930|publisher=Google Books}}</ref>

While the station handled 125,000 passengers each day during [[World War II]], post-war passenger rail traffic declined in the US. In 1959, the [[Old Colony Railroad]], which had served the South Shore and [[Cape Cod]], stopped passenger service. The [[New York, New Haven and Hartford Railroad]] went bankrupt in 1961. South Station was sold to the [[Boston Redevelopment Authority]] (BRA) in 1965.<ref>[http://www.greatamericanstations.com/Stations/BOS/Station_view Great American Stations: South Station]</ref> Portions of the station were demolished and the land was used to build the Boston South Postal Annex and the Stone and Webster building.

In the original configuration, two tracks came off each approach to join into a four-track line and then run under the main platforms in a two-track loop. These tracks were never put into service, and later became a [[parking lot]] and [[bowling alley]] for employees.<ref>{{cite web|url=http://www.southstation.org/southst.htm|title=South Station in Boston|work=Southstation.org|accessdate=June 10, 2012}}</ref>

===Renovation===
[[File:South Station Terminal Inside.jpg|thumb|200px|Inside the terminal building, with tracks accessible through the glass doors]]
In 1978, the BRA sold what was left of the station, now on the [[National Register of Historic Places]],<ref name=nris/> to the MBTA, though the BRA retained air rights over the station. Funding was obtained for a major renovation of the station that was completed in 1989. A total of 13 tracks became available, all with high level platforms and some capable of handling 12-car trains. Piers were installed for the eventual construction of an office building and bus station above the tracks. After some delays, an inter-city bus terminal opened in October 1995, replacing one on top of the [[I-93]] [[Dewey Square Tunnel]] diagonally across from the station between Summer Street and Congress Street. The new bus terminal has been called “the best bus facility in the country”{{Citation needed|date=February 2007}} and has direct ramp connections to I-93 and the [[Massachusetts Turnpike]] (though there are two traffic lights in the outbound direction). The renovations, including the bus terminal, cost $195 million (2001 dollars).

The Red Line subway platforms were extended in 1985 to allow six-car trains, and renovated again in 2005 as part of the Silver Line Phase II project, which serves the waterfront and Logan Airport. The Phase II tunnel was constructed in conjunction with Boston's "Big Dig" and was originally referred to as the South Boston Piers Transitway. Phase II opened on Friday, December 17, 2004, with the first route running only to Silver Line Way. A new Phase I Silver Line route, the SL4 was added on October 13, 2009, with a stop across the street from South Station.<ref>{{cite web|url=http://www.mbta.com/about_the_mbta/news_events/?id=18411&month=&year=|title=New Silver line service|date=October 13, 2009|publisher=Massachusetts Bay Transportation Authority}}</ref>

==Architecture==
[[File:The Boston Terminal Company plaque.jpg|thumb|'''The Boston Terminal Company 1897 commemorative plaque in South Station:''' * [[Josiah Quincy (1859–1919)|Josiah Quincy]], Mayor of Boston * The Boston Terminal Company: Samuel Hoar, [[Royal C. Taft|Royal Chapin Taft]], Charles Peter Clark, Charles Loughead Lovering, Francis Lee Higginson (Trustees) * George B. Francis, Resident Engineer * [[Norcross Brothers]], builders * [[Shepley, Rutan and Coolidge|Shepley, Rutan & Coolidge]] (architects) * Fayette Samuel Curtis, Walter Shepard, Lawson Bennett Bidwell (consulting engineers)]]

The South Station head house and wings incorporate [[Neoclassical architecture]]. The building’s symmetry and stone façade are common to the style. The granite came from nearby quarries in New England. The main doorways are located in a section that protrudes from the curving shape of the building. The doors are housed under tall arches that give the impression of grandeur while also making the building appear smaller from far away. This visual trick is common in classical buildings and is further amplified by the over-sized windows and large balustrade on the third floor and roof.

Above the doorways are classical [[Ionic order]] columns that ostensibly hold up the frieze and pediment. Uncommon for Ionic order columns is the lack of [[fluting (architecture)|fluting]], which is usually used to draw the eye upward, increasing the grandeur of the facade. The numerous projections and recessions on the façade attribute to the planar quality of the building, while also creating interesting shading and lighting patterns on the stone and within the building.

Inside, a [[Coffer|coffered ceiling]] adorns the terminal and protects travelers from the rain and snow.

Constructed over one hundred years ago, the clock on top of the main head house is the largest operating hand-wound clock mechanism in New England. The clock is styled after London’s [[Big Ben]], and has a 12-foot wide face. The mechanism weighs over 400 pounds. In 2008, the clock underwent a six-week restoration and repair. The clock mechanism was completely disassembled and transported to a nearby workshop, where replacement pieces had to be fabricated by hand. The clock, once one of many in the city, is a hallmark of a bygone era — something that commuters rely on to make their trains, and which visitors admire for its historical presence. The stone eagle that sits atop the clock is eight feet wide and weighs over eight tons. The eagle imitates the figurines commonly placed atop classically styled buildings.

The curved shape of the building facade pushes its presence into the surrounding area, making it much more prominent. This also gives the building a more distinctive and accessible main entrance from Atlantic Avenue, Summer Street, and Dewey Square. A similar concept is also seen in the [[Santa Maria della Pace]] in Rome, Italy. This church didn’t directly influence South Station, but the designs clearly share the same effects on the immediate area.

In the 1980s, with South Station in disrepair, a great effort began to revitalize the station using Federal funding. The revitalization included addition of two wings that extend from each side of the head house, constructed with granite from the same quarries to provide a consistent appearance. Renovation and expansion was completed in 1989, reinvigorating the area with a vital transportation link and a strong focal point. Office buildings began rising nearby, expanding the downtown area. With the completion of the [[Big Dig]] and the [[Rose Kennedy Greenway]], South Station has become an even more important feature in the area. The Greenway provides a pedestrian-friendly connection between South Station and [[North Station]].

==Future==
[[File:South Station Boston Feb 11 2013.jpg|thumb|right|South Station at evening rush hour, Monday, February 11, 2013 after the [[February 2013 nor'easter]]]]
As a major transfer station offering connections to multiple modes, South Station will see additional passenger throughput as a result of system improvements and a general increase in ridership. The existing underground Red Line and Silver Line stations are adequate for the near future, but the surface-level commuter rail and Amtrak platforms are at capacity.

A proposed relocation of the Boston General Mail Facility, which is located on Dorchester Avenue next to the station tracks, would allow for increased capacity at South Station. Seven more tracks are planned to be added to the existing thirteen tracks, allowing increased use by both [[MBTA Commuter Rail]] and [[Amtrak]] trains. A skyscraper, tentatively called the South Station Tower, was formerly proposed to be built over the new platforms, but the proposal was withdrawn. However, any expansion of South Station may include spaces for pillars for future air rights development.

In October 2010, the state of Massachusetts was awarded a [[United States dollar|$]]32.5 million grant from the federal government to begin planning for this expansion.<ref>{{cite news |title=Mass. Will Try to Buy Postal Annex to Save Rail Expansion|first1=Casey|last1=Ross|first2=Noah|last2=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2010/01/08/mass_will_try_to_buy_postal_annex_to_save_rail_expansion/|newspaper=[[The Boston Globe]]|date=January 8, 2010|accessdate=August 22, 2010}}</ref><ref>{{cite news |title=Mass. Receives Funds to Upgrade South Station|author=Associated Press|url=http://www.boston.com/news/local/massachusetts/articles/2010/10/25/mass_receives_funds_to_upgrade_south_station/|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref><ref>{{cite news |title=State Wins $32.5M Grant to Plan South Station Expansion|first=Martin|last=Finucane|url=http://www.boston.com/news/local/breaking_news/2010/10/state_wins_325m.html|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref> After deliberations, a $43 million contract (including $10.5 million in state funds) was awarded in August 2012.<ref name=43mil >{{cite news |title=State to Soon Launch $43m Planning Effort for Project to Expand South Station|first=Matt|last=Rocheleau|url=http://www.boston.com/yourtown/news/downtown/2012/08/state_to_soon_launch_43m_plann.html|newspaper=[[The Boston Globe]]|date=August 20, 2012|accessdate=August 21, 2012}}</ref> The planning project will advance the new station area, including a possible passenger mezzanine over the platforms, to the 30% design level. Other elements include a redesign of the South Station [[interlocking]], a new commuter rail layover facility, and the restoration of public access to the adjacent section of Dorchester Avenue and the Fort Point Channel. The station expansion is intended to allow for increases in commuter rail service on the [[Fairmount Line]] and [[Framingham/Worcester Line]], addition of [[South Coast Rail]] service, and increased Amtrak frequencies.<ref name=43mil />

==See also==
*[[Atlantic Avenue Elevated]]
*[[Fort Point Channel]]
*[[North Station]]
*[[North-South Rail Link]]
*[[South Station Bus Terminal]]
*[[South Station (MBTA subway station)]]

==References==
{{Reflist|2}}

===Bibliography for architecture section===
*{{cite web |url=http://www.south-station.net/Station-History.htm|title=History of the Station|publisher=South Station LLC|accessdate=March 29, 2012}}
*{{cite web |title=Boston South Station|first=Amanda|last=Sorrento|publisher=Foundations of America|url=http://foundationsofamerica.com/index.php?option=com_content&view=article&id=413:boston-south-station&catid=56:public-buildings&Itemid=68|date=November 4, 2010|accessdate=March 29, 2012}}
*{{cite web |title=South Station|publisher=Project for Public Spaces|accessdate=March 29, 2012|url=http://www.pps.org/great_public_spaces//one?public_place_id=116#}}
*{{cite news |title=Station Clock Takes Timeout|first=Noah|last=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2008/10/15/station_clock_takes_timeout|newspaper=[[The Boston Globe ]]|date=October 14, 2008|accessdate=March 29, 2012}}
* [http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]

==External links==
{{commons category|South Station (Boston)}}
{{Amtrak web|BOS|Boston South Station|MASSACHUSETTS}}
*[http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=191 MBTA – Boston South Station]
*{{official website|http://www.south-station.net/}} (with event listings)
*[http://www.trainweb.org/usarail/boston_south.htm Boston South Amtrak Station (USA RailGuide – TrainWeb)]
* [[Google Maps]] [[Google Street View|Street Views]]:
** [http://maps.google.com/?ie=UTF8&ll=42.352606,-71.055386&spn=0.003727,0.013518&z=17&layer=c&cbll=42.352537,-71.055437&panoid=V9fPTxl4KcuuJ_tnoQr5vA&cbp=12,141.76,,0,1.57 Station Building (Atlantic Avenue and Summer Street)]
** [http://maps.google.com/?ie=UTF8&ll=42.351686,-71.05589&spn=0.003727,0.013518&z=17&layer=c&cbll=42.35161,-71.055938&panoid=rigwYgZPQgfEvyffUpsD2w&cbp=12,101.48,,0,-1 South entrance on Atlantic Avenue]

{{MBTA}}
{{National Register of Historic Places}}

[[Category:Amtrak stations in Massachusetts|Boston South]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Bus stations in Massachusetts|Boston South]]
[[Category:Financial District, Boston]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:Railway stations on the National Register of Historic Places in Massachusetts]]
[[Category:Railway stations opened in 1899]]
[[Category:Stations along Boston and Albany Railroad lines|Boston South]]
[[Category:Stations along New York and New England Railroad lines|Boston South]]
[[Category:Stations along New York, New Haven and Hartford Railroad lines|Boston South]]
[[Category:Stations along Old Colony Railroad lines|Boston South]]
[[Category:Transit centers in the United States]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:Union stations in the United States|South Station]]

[[da:South Station]]
[[fr:South Station]]
[[pl:Boston South Station]]
[[pt:South Station]]
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Boston South Station

2013-02-18T15:56:59Z

Reify-tech: /* Architecture */ Copyedit cleanup

{{Use mdy dates|date=May 2012}}
{{For|the MBTA subway and bus rapid transit station|South Station (MBTA station)}}
{{For|other stations by this name|South Station (disambiguation)}}
{{Infobox station
| style=
| name= {{MBTA infobox header| title = {{uc:South Station}}| color1= Purple}}
| type=
| image=SouthStation.agr.JPG
| image_size =
| image_caption=
| address=700 Atlantic Avenue [[Boston|Boston, MA]] 02110
| coordinates =
| line = 
| other={{bus icon|14px|Bus Terminal}} '''[[South Station Bus Terminal|Bus Terminal]] '''[[MBTA Subway]]''' at [[South Station (MBTA station)|South Station Under]]''': {{rail color box|system=MBTA|line=Red}}{{rail color box|system=MBTA|line=Silver}}
| platform=7
| parking=privately owned garage
| bicycle=bike lockers
| passengers=
| pass_year=
| pass_percent=
| opened=1899 (Depot)
| rebuilt=1985
| ADA=yes
| code=BOS (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone= 1A (MBTA Commuter Rail)
| tracks= 13
| mpassengers=
{{rail pass box|system=MBTA|passengers=11.345 million|pass_year=2005|pass_percent=0}}
{{rail pass box|system=Amtrak|passengers=1,447,501<ref>{{cite web |title=Boston-South Station, MA (BOS)|publisher=Great American Stations|url=http://www.greatamericanstations.com/Stations/BOS|accessdate=November 20, 2012}}</ref>|pass_year=2012|pass_percent=6.4}}
| baggage_check=Available for [[Lake Shore Limited]] and [[Northeast Regional (Amtrak)|Northeast Regional]]s 66 and 67 only
| services={{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Acela Express|previous=Back Bay|next=|rows2=3}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Back Bay|next=|hide2=yes}}
{{s-rail-next|title=MBTA Commuter Rail}}
{{s-line|system=MBTA|line=Framingham|previous=Back Bay|next=|rows2=6}}
{{s-line|system=MBTA|line=Needham|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Back Bay|next=|hide2=yes|rowsmid=3}}
{{s-line|system=MBTA|line=Franklin|previous=Uphams Corner|next=|hide2=yes|note=(limited service)|hidemid=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Foxboro|next=|hide2=yes|type=Foxboro|note=(special events)|hidemid=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Back Bay|next=|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Fairmount|previous=Uphams Corner|hide2=yes}}
{{s-line|system=MBTA|line=Greenbush|next=JFK/UMass|rows1=4}}
{{s-line|system=MBTA|line=Middleborough|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=CapeFLYER|next=Middleborough/Lakeville|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=Plymouth|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-note|text=Former services}}
{{s-rail-next|title=NYC}}
{{s-line|system=NYC|line=B&A|previous=Back Bay|next=|rows2=2}}
{{s-line|system=NYC|line=Worcester Line|previous=Back Bay|next=|hide2=yes}}
| nrhp=
{{Infobox NRHP
| name =South Station Headhouse
| embed = yes
| nrhp_type =
| caption =
| location= [[Boston, Massachusetts]]
| lat_degrees = 42 | lat_minutes = 21 | lat_seconds = 07
| lat_direction = N
| long_degrees = 71 | long_minutes = 03 | long_seconds = 19
| long_direction = W
| coord_display = inline,title
| locmapin = Massachusetts
| built =1899
| architect= Shepley, Rutan & Coolidge; Norcross Bros.
| architecture= Classical Revival
| added = February 13, 1975
| area = {{convert|0.5|acre|ha|1}}
| governing_body = Local
| refnum = 75000299<ref name="nris">{{NRISref|version=2010a}}</ref>
}}
}}

'''South Station''', New England's second-largest transportation center<ref>{{cite web|url=http://www.pps.org/great_public_spaces/one?public_place_id=116|title=South Station – Great Public Spaces | Project for Public Spaces|publisher=PPS}}</ref> (after [[Logan International Airport]]), located at the intersection of [[Atlantic Avenue (Boston)|Atlantic Avenue]] and [[Summer Street (Boston)|Summer Street]] in [[Dewey Square]], [[Boston|Boston, Massachusetts]], is the largest train station and intercity bus terminal in [[Greater Boston]]. It serves as a major [[intermodal passenger transport|intermodal]] domestic transportation hub, with service to the [[Greater Boston]] region and the Midwestern and Northeastern United States. The historic station building was constructed in 1899 to replace the downtown terminals of several different railroads and is used by thousands of commuter rail and intercity rail passengers daily. The adjacent [[South Station (MBTA station)|subway station]] offers connections to the rapid transit [[Red Line (MBTA)|Red Line]] and [[Silver Line (MBTA)|Silver Line]].

==Facilities==
South Station's facilities and offerings include:

*The northern terminus of [[Amtrak]]'s [[Northeast Corridor]] train service, including ''[[Acela Express]]'' high-speed trains and ''[[Northeast Regional]]'' local trains. There is also a daily Amtrak train to [[Albany, New York]] and Chicago—the ''[[Lake Shore Limited]]''.
*The city terminus of the southern and western routes of the [[Massachusetts Bay Transportation Authority]] (MBTA) [[MBTA Commuter Rail|commuter rail]] system
*A [[South Station (MBTA subway station)|station stop]] on the Boston subway's [[Red Line (MBTA)|Red Line]] to downtown Boston and its northwestern and southern suburbs.
*The western terminus of Phase 2 of the [[Silver Line (MBTA)|Silver Line]], with direct service to all [[Logan International Airport]] terminals, the [[Boston Convention and Exhibition Center]], the Boston Design center and the Black Falcon Cruise Ship Terminal.
*The eastern terminus of the Silver Line Phase I SL4 line to [[Dudley (MBTA station)|Dudley Station]]
*Local bus service on lines 7, 11, 448, 449, 459
*Parking garage
*Staffed ticket windows
*24-hour baggage assistance
*A 24-hour information booth
*A ClubAcela lounge with several complimentary services
*A food court, small shopping variety and waiting area, with typical train station concessions
*[[Public art]], including a sculpture built of [[coupling (railway)|railroad car coupler]]s and a model of the planet [[Jupiter]], part of the [[Museum of Science, Boston|Museum of Science's]] [[solar system model|scale model of the solar system]]

The station is accessible by the general public 24 hours a day, every day of the year.

===Bus terminal===
Boston's main inter-city bus terminal, the [[South Station Bus Terminal]] is housed in a separate building built over the train platforms along Atlantic Avenue. The bus terminal hosts service by several bus companies to all of [[New England]], New York City, the Mid-Atlantic and [[Montreal]], Canada. It has its own concession area and can be accessed from the Track 1 platform or Atlantic Avenue.

===North Station connections===
Several [[MBTA Commuter Rail|MBTA commuter rail]] lines, plus Amtrak's ''[[Downeaster]]'' service to [[Maine]], originate from [[North Station]], about 1¼ miles (2 km) around the Boston peninsula from South Station. Transfers from North Station to all other Amtrak trains and the MBTA Commuter Rail's [[Providence/Stoughton Line|Providence/Stoughton]], [[Needham Line|Needham]], [[Franklin Line|Franklin]] and [[Framingham/Worcester Line|Framingham/Worcester]] lines may be made at [[Back Bay (MBTA station)|Back Bay]] (a one-seat ride on the [[Orange Line (MBTA)|Orange Line]]); transfers from the [[Fitchburg Line]] to South Station lines can be made at [[Porter (MBTA station)|Porter]] on the Red Line; all other passengers have to change subway trains at either [[Park Street (MBTA station)|Park Street]] or [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations. A [[North-South Rail Link]] is proposed to unify the two halves of the rail system, but as of May 2006 the Commonwealth of Massachusetts has withdrawn its sponsorship of the proposal due to its high cost.{{Citation needed|date=March 2009}} The North-South Rail Link is not mentioned in the MBTA's FY2010–FY2014 Capital Investment Program.<ref>{{cite web|url=http://www.mbta.com/uploadedfiles/About_the_T/Financials/MBTA%20FY10-FY14%20CIP.pdf|title=MBTA Capital Investment Program|publisher=Massachusetts Bay Transportation Authority|format=PDF}}</ref> Currently passenger equipment is transferred between the two halves of the system via the [[Grand Junction Railroad]], which is not used for passenger service.

==Nearby destinations==
*Boston South Postal Annex, with a post office that is almost never closed. (There is a passageway to it at the foot of Track 13.)
*Boston's [[Financial District, Boston, Massachusetts|financial district]] including the [[Federal Reserve Bank Building (Boston)|Federal Reserve Bank Building]]
*[[Boston Children's Museum]]
*[[Boston Tea Party]] Ships & Museum
*[[Boston Convention and Exhibition Center]], about a 15 minute walk east, or one can take the Silver Line to the [[World Trade Center (MBTA station)|World Trade Center]] stop.
*Boston's [[Chinatown (Boston)|Chinatown]]
*[[Boston Harborwalk]]
*Boston's Theatre District
*[[Massachusetts Turnpike]]
*[[Institute of Contemporary Art, Boston]]
*[[Rose Kennedy Greenway]]
*Rowes Wharf ferry terminal, several blocks north of the station
*[[Tufts University]] medical campus and [[Tufts Medical Center]] hospital

==Accessibility==
The commuter rail and Amtrak platforms are fully accessible, with level access from the main station entrance and the waiting area onto the high-level platforms. Most southside commuter rail stations are also handicapped accessible, but some stations (mostly on the [[Framingham/Worcester Line]] and [[Franklin Line]]) are not. Most Amtrak stations on the Lake Shore Limited and the Northeast Corridor routes are also accessible.

Elevators are provided for handicapped access to the [[South Station (MBTA station)|subway station]]. ''See'' [[MBTA accessibility]].

==Ridership==
In the early 1900s, after South Sttation first opened, heavy commuter ridership made it the busiest station in the world.{{citation needed|date=February 2013}} However, massive cutbacks made by the bankrupt New Haven Railroad, and an increase in the popularity of automobile travel later left the station with far fewer riders than at the peak.

More recently, ridership has grown considerably, in part due to the reopening of Old Colony commuter rail service and the [[Railway electrification system|electrification]] of the Amtrak Northeast Corridor from New Haven to Boston, which allowed high speed ''Acela'' service.<ref>[http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]</ref>

'''South Station Ridership (passengers/year)'''
{| class="wikitable"
|-
!Service
!1975
!1990
!2001
|-
|Intercity rail
|537,000
|839,000
|1,060,000
|-
|Commuter rail
|2,774,000
|12,000,000
|18,000,000
|-
|Intercity Bus
|n/a
|n/a
|3,000,000
|}

==History==
===Need for a combined station===
{{multiple image
| align = left
| direction = vertical
| image1 = Boston railroad 1880.jpg
| width1 = 200
| alt1 =
| caption1 = Map showing Boston railroad terminals in 1880, before the construction of South Station
| image2 = South Station postcard front.jpg
| width2 = 200
| alt2 =
| caption2 = A view of the Atlantic Avenue Elevated in front of South Station; the elevated station was at far right.
| image3 = South Station, 1904.jpg
| width3 = 200
| alt3 =
| caption3 = Looking north at the merge of the two approaches, with the two pairs of tracks approaching the lower-level loop at right; the terminal is in the background.
}}

When the railroads serving Boston were first laid out and built, each one stopped at its own terminal. The four terminals serving the south-side railroads were as follows:
*The [[New York and New England Railroad]] crossed the [[Fort Point Channel]] from [[South Boston]], just south of the present [[Summer Street Bridge]], and terminated just east of [[Dewey Square]] (right at the north end of today's South Station).
*The [[Old Colony Railroad]] had a long passenger terminal on the east side of [[South Street (Boston)|South Street]], stretching from [[Kneeland Street (Boston)|Kneeland Street]] south to [[Harvard Street (Boston)|Harvard Street]]. This site is now part of the [[South Bay Interchange]], near the South Station bus terminal.
*The [[Boston and Albany Railroad]]'s passenger terminal was in the block bounded by Kneeland Street, [[Beach Street (Boston)|Beach Street]], [[Albany Street (Boston)|Albany Street]] (now [[Surface Artery (Boston)|Surface Artery]]) and [[Lincoln Street (Boston)|Lincoln Street]]. This later became a freight house, and is now a block in [[Chinatown (Boston)|Chinatown]]; the passenger terminal was moved to the west side of [[Utica Street (Boston)|Utica Street]], from Kneeland Street south to a bit past Harvard Street, now part of the [[South Bay Interchange]].
*The [[Boston and Providence Railroad]] continued straight where it now merges with the Boston and Albany, terminating at [[Park Square (Boston)|Park Square]], with the passenger terminal on the south side of [[Providence Street (Boston)|Providence Street]] from [[Columbus Avenue (Boston)|Columbus Avenue]] west about two-thirds of the way to [[Berkeley Street (Boston)|Berkeley Street]].

The Boston Terminal Company, established in 1897, was charged with the task of combining the four terminals into one consolidated terminal. South Station combined the four terminals in one spot (a [[union station]]).

===Opening===
[[Image:South Station lower level loop.jpg|thumb|200px|The never-used lower-level loop platforms]]
South Station opened as '''South Central Station''' on January 1, 1899 at a cost of $3.6 million (1899 dollars). The architects were [[Shepley, Rutan and Coolidge]] of Boston, with the actual construction undertaken by the engineering firm of Westinghouse, Church, Kerr & Co. It became the busiest station in the country by 1910. A station on the [[Atlantic Avenue Elevated]] served the station from 1901 to 1938; what is now the Red Line subway was extended from [[Park Street (MBTA station)|Park Street]] to South Station in 1913. The train shed, one of the largest in the world, was eliminated in a 1930 renovation due to corrosion from the nearby ocean's salt air.<ref>{{cite web|url=http://books.google.com/books?id=qOIDAAAAMBAJ&pg=PA958&dq=Popular+Science+1930+plane+%22Popular+Mechanics%22&hl=en&ei=_7BlTsWeBYTWgQf9mIiLCg&sa=X&oi=book_result&ct=result&resnum=10&sqi=2&ved=0CE8Q6AEwCQ#v=onepage&q&f=true|title="Razing Rail Depot Tests Skill of Engineers" ''Popular Mechanics'', December 1930|publisher=Google Books}}</ref> While the station handled 125,000 passengers each day during [[World War II]], after the war passenger rail declined in the U.S. In 1959, the [[Old Colony Railroad]], which served the South Shore and [[Cape Cod]], stopped passenger service. The [[New York, New Haven and Hartford Railroad]] went bankrupt in 1961. South Station was sold to the [[Boston Redevelopment Authority]] (BRA) in 1965.<ref>[http://www.greatamericanstations.com/Stations/BOS/Station_view Great American Stations: South Station]</ref> Portions of the station were demolished and the land was used to build the Boston South Postal Annex and the Stone and Webster building.

In the original configuration, two tracks came off each approach to join into a four-track line and then run under the main platforms in a two-track loop. These tracks were never put into service, and later became a [[parking lot]] and [[bowling alley]] for employees.<ref>{{cite web|url=http://www.southstation.org/southst.htm|title=South Station in Boston|work=Southstation.org|accessdate=June 10, 2012}}</ref>

===Renovation===
[[File:South Station Terminal Inside.jpg|thumb|200px|Inside the terminal building, with tracks accessible through the glass doors]]
In 1978, the BRA sold what was left of the station, now on the [[National Register of Historic Places]],<ref name=nris/> to the MBTA, though the BRA retained air rights over the station. Funding was obtained for a major renovation of the station that was completed in 1989. A total of 13 tracks became available, all with high level platforms and some capable of handling 12-car trains. Piers were installed for the eventual construction of an office building and bus station above the tracks. After some delays, an inter-city bus terminal opened in October 1995, replacing one on top of the [[I-93]] [[Dewey Square Tunnel]] diagonally across from the station between Summer Street and Congress Street. The new bus terminal has been called “the best bus facility in the country”{{Citation needed|date=February 2007}} and has direct ramp connections to I-93 and the [[Massachusetts Turnpike]] (though there are two traffic lights in the outbound direction). The renovations, including the bus terminal, cost $195 million (2001 dollars).

The Red Line subway platforms were extended in 1985 to allow six-car trains, and renovated again in 2005 as part of the Silver Line Phase II project, which serves the waterfront and Logan Airport. The Phase II tunnel was constructed in conjunction with Boston's "Big Dig" and was originally referred to as the South Boston Piers Transitway. Phase II opened on Friday, December 17, 2004, with the first route running only to Silver Line Way. A new Phase I Silver Line route, the SL4 was added on October 13, 2009, with a stop across the street from South Station.<ref>{{cite web|url=http://www.mbta.com/about_the_mbta/news_events/?id=18411&month=&year=|title=New Silver line service|date=October 13, 2009|publisher=Massachusetts Bay Transportation Authority}}</ref>

==Architecture==
[[File:The Boston Terminal Company plaque.jpg|thumb|'''The Boston Terminal Company 1897 commemorative plaque in South Station:''' * [[Josiah Quincy (1859–1919)|Josiah Quincy]], Mayor of Boston * The Boston Terminal Company: Samuel Hoar, [[Royal C. Taft|Royal Chapin Taft]], Charles Peter Clark, Charles Loughead Lovering, Francis Lee Higginson (Trustees) * George B. Francis, Resident Engineer * [[Norcross Brothers]], builders * [[Shepley, Rutan and Coolidge|Shepley, Rutan & Coolidge]] (architects) * Fayette Samuel Curtis, Walter Shepard, Lawson Bennett Bidwell (consulting engineers)]]

The South Station head house and wings incorporate [[Neoclassical architecture]]. The building’s symmetry and stone façade are common to the style. The granite came from nearby quarries in New England. The main doorways are located in a section that protrudes from the curving shape of the building. The doors are housed under tall arches that give the impression of grandeur while also making the building appear smaller from far away. This visual trick is common in classical buildings and is further amplified by the over-sized windows and large balustrade on the third floor and roof.

Above the doorways are classical [[Ionic order]] columns that ostensibly hold up the frieze and pediment. Uncommon for Ionic order columns is the lack of [[fluting (architecture)|fluting]], which is usually used to draw the eye upward, increasing the grandeur of the facade. The numerous projections and recessions on the façade attribute to the planar quality of the building, while also creating interesting shading and lighting patterns on the stone and within the building.

Inside, a [[Coffer|coffered ceiling]] adorns the terminal and protects travelers from the rain and snow.

Constructed over one hundred years ago, the clock on top of the main head house is the largest operating hand-wound clock mechanism in New England. The clock is styled after London’s [[Big Ben]], and has a 12-foot wide face. The mechanism weighs over 400 pounds. In 2008, the clock underwent a six-week restoration and repair. The clock mechanism was completely disassembled and transported to a nearby workshop, where replacement pieces had to be fabricated by hand. The clock, once one of many in the city, is a hallmark of a bygone era — something that commuters rely on to make their trains, and which visitors admire for its historical presence. The stone eagle that sits atop the clock is eight feet wide and weighs over eight tons. The eagle imitates the figurines commonly placed atop classically styled buildings.

The curved shape of the building facade pushes its presence into the surrounding area, making it much more prominent. This also gives the building a more distinctive and accessible main entrance from Atlantic Avenue, Summer Street, and Dewey Square. A similar concept is also seen in the [[Santa Maria della Pace]] in Rome, Italy. This church didn’t directly influence South Station, but the designs clearly share the same effects on the immediate area.

In the 1980s, with South Station in disrepair, a great effort began to revitalize the station using Federal funding. The revitalization included addition of two wings that extend from each side of the head house, constructed with granite from the same quarries to provide a consistent appearance. Renovation and expansion was completed in 1989, reinvigorating the area with a vital transportation link and a strong focal point. Office buildings began rising nearby, expanding the downtown area. With the completion of the [[Big Dig]] and the [[Rose Kennedy Greenway]], South Station has become an even more important feature in the area. The Greenway provides a pedestrian-friendly connection between South Station and [[North Station]].

==Future==
[[File:South Station Boston Feb 11 2013.jpg|thumb|right|South Station at evening rush hour, Monday, February 11, 2013 after the [[February 2013 nor'easter]]]]
As a major transfer station offering connections to multiple modes, South Station will see additional passenger throughput as a result of system improvements and a general increase in ridership. The existing underground Red Line and Silver Line stations are adequate for the near future, but the surface-level commuter rail and Amtrak platforms are at capacity.

A proposed relocation of the Boston General Mail Facility, which is located on Dorchester Avenue next to the station tracks, would allow for increased capacity at South Station. Seven more tracks are planned to be added to the existing thirteen tracks, allowing increased use by both [[MBTA Commuter Rail]] and [[Amtrak]] trains. A skyscraper, tentatively called the South Station Tower, was formerly proposed to be built over the new platforms, but the proposal was withdrawn. However, any expansion of South Station may include spaces for pillars for future air rights development.

In October 2010, the state of Massachusetts was awarded a [[United States dollar|$]]32.5 million grant from the federal government to begin planning for this expansion.<ref>{{cite news |title=Mass. Will Try to Buy Postal Annex to Save Rail Expansion|first1=Casey|last1=Ross|first2=Noah|last2=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2010/01/08/mass_will_try_to_buy_postal_annex_to_save_rail_expansion/|newspaper=[[The Boston Globe]]|date=January 8, 2010|accessdate=August 22, 2010}}</ref><ref>{{cite news |title=Mass. Receives Funds to Upgrade South Station|author=Associated Press|url=http://www.boston.com/news/local/massachusetts/articles/2010/10/25/mass_receives_funds_to_upgrade_south_station/|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref><ref>{{cite news |title=State Wins $32.5M Grant to Plan South Station Expansion|first=Martin|last=Finucane|url=http://www.boston.com/news/local/breaking_news/2010/10/state_wins_325m.html|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref> After deliberations, a $43 million contract (including $10.5 million in state funds) was awarded in August 2012.<ref name=43mil >{{cite news |title=State to Soon Launch $43m Planning Effort for Project to Expand South Station|first=Matt|last=Rocheleau|url=http://www.boston.com/yourtown/news/downtown/2012/08/state_to_soon_launch_43m_plann.html|newspaper=[[The Boston Globe]]|date=August 20, 2012|accessdate=August 21, 2012}}</ref> The planning project will advance the new station area, including a possible passenger mezzanine over the platforms, to the 30% design level. Other elements include a redesign of the South Station [[interlocking]], a new commuter rail layover facility, and the restoration of public access to the adjacent section of Dorchester Avenue and the Fort Point Channel. The station expansion is intended to allow for increases in commuter rail service on the [[Fairmount Line]] and [[Framingham/Worcester Line]], addition of [[South Coast Rail]] service, and increased Amtrak frequencies.<ref name=43mil />

==See also==
*[[Atlantic Avenue Elevated]]
*[[Fort Point Channel]]
*[[North Station]]
*[[North-South Rail Link]]
*[[South Station Bus Terminal]]
*[[South Station (MBTA subway station)]]

==References==
{{Reflist|2}}

===Bibliography for architecture section===
*{{cite web |url=http://www.south-station.net/Station-History.htm|title=History of the Station|publisher=South Station LLC|accessdate=March 29, 2012}}
*{{cite web |title=Boston South Station|first=Amanda|last=Sorrento|publisher=Foundations of America|url=http://foundationsofamerica.com/index.php?option=com_content&view=article&id=413:boston-south-station&catid=56:public-buildings&Itemid=68|date=November 4, 2010|accessdate=March 29, 2012}}
*{{cite web |title=South Station|publisher=Project for Public Spaces|accessdate=March 29, 2012|url=http://www.pps.org/great_public_spaces//one?public_place_id=116#}}
*{{cite news |title=Station Clock Takes Timeout|first=Noah|last=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2008/10/15/station_clock_takes_timeout|newspaper=[[The Boston Globe ]]|date=October 14, 2008|accessdate=March 29, 2012}}
* [http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]

==External links==
{{commons category|South Station (Boston)}}
{{Amtrak web|BOS|Boston South Station|MASSACHUSETTS}}
*[http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=191 MBTA – Boston South Station]
*{{official website|http://www.south-station.net/}} (with event listings)
*[http://www.trainweb.org/usarail/boston_south.htm Boston South Amtrak Station (USA RailGuide – TrainWeb)]
* [[Google Maps]] [[Google Street View|Street Views]]:
** [http://maps.google.com/?ie=UTF8&ll=42.352606,-71.055386&spn=0.003727,0.013518&z=17&layer=c&cbll=42.352537,-71.055437&panoid=V9fPTxl4KcuuJ_tnoQr5vA&cbp=12,141.76,,0,1.57 Station Building (Atlantic Avenue and Summer Street)]
** [http://maps.google.com/?ie=UTF8&ll=42.351686,-71.05589&spn=0.003727,0.013518&z=17&layer=c&cbll=42.35161,-71.055938&panoid=rigwYgZPQgfEvyffUpsD2w&cbp=12,101.48,,0,-1 South entrance on Atlantic Avenue]

{{MBTA}}
{{National Register of Historic Places}}

[[Category:Amtrak stations in Massachusetts|Boston South]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Bus stations in Massachusetts|Boston South]]
[[Category:Financial District, Boston]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:Railway stations on the National Register of Historic Places in Massachusetts]]
[[Category:Railway stations opened in 1899]]
[[Category:Stations along Boston and Albany Railroad lines|Boston South]]
[[Category:Stations along New York and New England Railroad lines|Boston South]]
[[Category:Stations along New York, New Haven and Hartford Railroad lines|Boston South]]
[[Category:Stations along Old Colony Railroad lines|Boston South]]
[[Category:Transit centers in the United States]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:Union stations in the United States|South Station]]

[[da:South Station]]
[[fr:South Station]]
[[pl:Boston South Station]]
[[pt:South Station]]
[[sv:South Station]]
[[zh:南站]]

Boston South Station

2013-02-18T15:46:26Z

Reify-tech: /* Ridership */ ce; cn

{{Use mdy dates|date=May 2012}}
{{For|the MBTA subway and bus rapid transit station|South Station (MBTA station)}}
{{For|other stations by this name|South Station (disambiguation)}}
{{Infobox station
| style=
| name= {{MBTA infobox header| title = {{uc:South Station}}| color1= Purple}}
| type=
| image=SouthStation.agr.JPG
| image_size =
| image_caption=
| address=700 Atlantic Avenue [[Boston|Boston, MA]] 02110
| coordinates =
| line = 
| other={{bus icon|14px|Bus Terminal}} '''[[South Station Bus Terminal|Bus Terminal]] '''[[MBTA Subway]]''' at [[South Station (MBTA station)|South Station Under]]''': {{rail color box|system=MBTA|line=Red}}{{rail color box|system=MBTA|line=Silver}}
| platform=7
| parking=privately owned garage
| bicycle=bike lockers
| passengers=
| pass_year=
| pass_percent=
| opened=1899 (Depot)
| rebuilt=1985
| ADA=yes
| code=BOS (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone= 1A (MBTA Commuter Rail)
| tracks= 13
| mpassengers=
{{rail pass box|system=MBTA|passengers=11.345 million|pass_year=2005|pass_percent=0}}
{{rail pass box|system=Amtrak|passengers=1,447,501<ref>{{cite web |title=Boston-South Station, MA (BOS)|publisher=Great American Stations|url=http://www.greatamericanstations.com/Stations/BOS|accessdate=November 20, 2012}}</ref>|pass_year=2012|pass_percent=6.4}}
| baggage_check=Available for [[Lake Shore Limited]] and [[Northeast Regional (Amtrak)|Northeast Regional]]s 66 and 67 only
| services={{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Acela Express|previous=Back Bay|next=|rows2=3}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Back Bay|next=|hide2=yes}}
{{s-rail-next|title=MBTA Commuter Rail}}
{{s-line|system=MBTA|line=Framingham|previous=Back Bay|next=|rows2=6}}
{{s-line|system=MBTA|line=Needham|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Back Bay|next=|hide2=yes|rowsmid=3}}
{{s-line|system=MBTA|line=Franklin|previous=Uphams Corner|next=|hide2=yes|note=(limited service)|hidemid=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Foxboro|next=|hide2=yes|type=Foxboro|note=(special events)|hidemid=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Back Bay|next=|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Fairmount|previous=Uphams Corner|hide2=yes}}
{{s-line|system=MBTA|line=Greenbush|next=JFK/UMass|rows1=4}}
{{s-line|system=MBTA|line=Middleborough|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=CapeFLYER|next=Middleborough/Lakeville|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=Plymouth|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-note|text=Former services}}
{{s-rail-next|title=NYC}}
{{s-line|system=NYC|line=B&A|previous=Back Bay|next=|rows2=2}}
{{s-line|system=NYC|line=Worcester Line|previous=Back Bay|next=|hide2=yes}}
| nrhp=
{{Infobox NRHP
| name =South Station Headhouse
| embed = yes
| nrhp_type =
| caption =
| location= [[Boston, Massachusetts]]
| lat_degrees = 42 | lat_minutes = 21 | lat_seconds = 07
| lat_direction = N
| long_degrees = 71 | long_minutes = 03 | long_seconds = 19
| long_direction = W
| coord_display = inline,title
| locmapin = Massachusetts
| built =1899
| architect= Shepley, Rutan & Coolidge; Norcross Bros.
| architecture= Classical Revival
| added = February 13, 1975
| area = {{convert|0.5|acre|ha|1}}
| governing_body = Local
| refnum = 75000299<ref name="nris">{{NRISref|version=2010a}}</ref>
}}
}}

'''South Station''', New England's second-largest transportation center<ref>{{cite web|url=http://www.pps.org/great_public_spaces/one?public_place_id=116|title=South Station – Great Public Spaces | Project for Public Spaces|publisher=PPS}}</ref> (after [[Logan International Airport]]), located at the intersection of [[Atlantic Avenue (Boston)|Atlantic Avenue]] and [[Summer Street (Boston)|Summer Street]] in [[Dewey Square]], [[Boston|Boston, Massachusetts]], is the largest train station and intercity bus terminal in [[Greater Boston]]. It serves as a major [[intermodal passenger transport|intermodal]] domestic transportation hub, with service to the [[Greater Boston]] region and the Midwestern and Northeastern United States. The historic station building was constructed in 1899 to replace the downtown terminals of several different railroads and is used by thousands of commuter rail and intercity rail passengers daily. The adjacent [[South Station (MBTA station)|subway station]] offers connections to the rapid transit [[Red Line (MBTA)|Red Line]] and [[Silver Line (MBTA)|Silver Line]].

==Facilities==
South Station's facilities and offerings include:

*The northern terminus of [[Amtrak]]'s [[Northeast Corridor]] train service, including ''[[Acela Express]]'' high-speed trains and ''[[Northeast Regional]]'' local trains. There is also a daily Amtrak train to [[Albany, New York]] and Chicago—the ''[[Lake Shore Limited]]''.
*The city terminus of the southern and western routes of the [[Massachusetts Bay Transportation Authority]] (MBTA) [[MBTA Commuter Rail|commuter rail]] system
*A [[South Station (MBTA subway station)|station stop]] on the Boston subway's [[Red Line (MBTA)|Red Line]] to downtown Boston and its northwestern and southern suburbs.
*The western terminus of Phase 2 of the [[Silver Line (MBTA)|Silver Line]], with direct service to all [[Logan International Airport]] terminals, the [[Boston Convention and Exhibition Center]], the Boston Design center and the Black Falcon Cruise Ship Terminal.
*The eastern terminus of the Silver Line Phase I SL4 line to [[Dudley (MBTA station)|Dudley Station]]
*Local bus service on lines 7, 11, 448, 449, 459
*Parking garage
*Staffed ticket windows
*24-hour baggage assistance
*A 24-hour information booth
*A ClubAcela lounge with several complimentary services
*A food court, small shopping variety and waiting area, with typical train station concessions
*[[Public art]], including a sculpture built of [[coupling (railway)|railroad car coupler]]s and a model of the planet [[Jupiter]], part of the [[Museum of Science, Boston|Museum of Science's]] [[solar system model|scale model of the solar system]]

The station is accessible by the general public 24 hours a day, every day of the year.

===Bus terminal===
Boston's main inter-city bus terminal, the [[South Station Bus Terminal]] is housed in a separate building built over the train platforms along Atlantic Avenue. The bus terminal hosts service by several bus companies to all of [[New England]], New York City, the Mid-Atlantic and [[Montreal]], Canada. It has its own concession area and can be accessed from the Track 1 platform or Atlantic Avenue.

===North Station connections===
Several [[MBTA Commuter Rail|MBTA commuter rail]] lines, plus Amtrak's ''[[Downeaster]]'' service to [[Maine]], originate from [[North Station]], about 1¼ miles (2 km) around the Boston peninsula from South Station. Transfers from North Station to all other Amtrak trains and the MBTA Commuter Rail's [[Providence/Stoughton Line|Providence/Stoughton]], [[Needham Line|Needham]], [[Franklin Line|Franklin]] and [[Framingham/Worcester Line|Framingham/Worcester]] lines may be made at [[Back Bay (MBTA station)|Back Bay]] (a one-seat ride on the [[Orange Line (MBTA)|Orange Line]]); transfers from the [[Fitchburg Line]] to South Station lines can be made at [[Porter (MBTA station)|Porter]] on the Red Line; all other passengers have to change subway trains at either [[Park Street (MBTA station)|Park Street]] or [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations. A [[North-South Rail Link]] is proposed to unify the two halves of the rail system, but as of May 2006 the Commonwealth of Massachusetts has withdrawn its sponsorship of the proposal due to its high cost.{{Citation needed|date=March 2009}} The North-South Rail Link is not mentioned in the MBTA's FY2010–FY2014 Capital Investment Program.<ref>{{cite web|url=http://www.mbta.com/uploadedfiles/About_the_T/Financials/MBTA%20FY10-FY14%20CIP.pdf|title=MBTA Capital Investment Program|publisher=Massachusetts Bay Transportation Authority|format=PDF}}</ref> Currently passenger equipment is transferred between the two halves of the system via the [[Grand Junction Railroad]], which is not used for passenger service.

==Nearby destinations==
*Boston South Postal Annex, with a post office that is almost never closed. (There is a passageway to it at the foot of Track 13.)
*Boston's [[Financial District, Boston, Massachusetts|financial district]] including the [[Federal Reserve Bank Building (Boston)|Federal Reserve Bank Building]]
*[[Boston Children's Museum]]
*[[Boston Tea Party]] Ships & Museum
*[[Boston Convention and Exhibition Center]], about a 15 minute walk east, or one can take the Silver Line to the [[World Trade Center (MBTA station)|World Trade Center]] stop.
*Boston's [[Chinatown (Boston)|Chinatown]]
*[[Boston Harborwalk]]
*Boston's Theatre District
*[[Massachusetts Turnpike]]
*[[Institute of Contemporary Art, Boston]]
*[[Rose Kennedy Greenway]]
*Rowes Wharf ferry terminal, several blocks north of the station
*[[Tufts University]] medical campus and [[Tufts Medical Center]] hospital

==Accessibility==
The commuter rail and Amtrak platforms are fully accessible, with level access from the main station entrance and the waiting area onto the high-level platforms. Most southside commuter rail stations are also handicapped accessible, but some stations (mostly on the [[Framingham/Worcester Line]] and [[Franklin Line]]) are not. Most Amtrak stations on the Lake Shore Limited and the Northeast Corridor routes are also accessible.

Elevators are provided for handicapped access to the [[South Station (MBTA station)|subway station]]. ''See'' [[MBTA accessibility]].

==Ridership==
In the early 1900s, after South Sttation first opened, heavy commuter ridership made it the busiest station in the world.{{citation needed|date=February 2013}} However, massive cutbacks made by the bankrupt New Haven Railroad, and an increase in the popularity of automobile travel later left the station with far fewer riders than at the peak.

More recently, ridership has grown considerably, in part due to the reopening of Old Colony commuter rail service and the [[Railway electrification system|electrification]] of the Amtrak Northeast Corridor from New Haven to Boston, which allowed high speed ''Acela'' service.<ref>[http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]</ref>

'''South Station Ridership (passengers/year)'''
{| class="wikitable"
|-
!Service
!1975
!1990
!2001
|-
|Intercity rail
|537,000
|839,000
|1,060,000
|-
|Commuter rail
|2,774,000
|12,000,000
|18,000,000
|-
|Intercity Bus
|n/a
|n/a
|3,000,000
|}

==History==
===Need for a combined station===
{{multiple image
| align = left
| direction = vertical
| image1 = Boston railroad 1880.jpg
| width1 = 200
| alt1 =
| caption1 = Map showing Boston railroad terminals in 1880, before the construction of South Station
| image2 = South Station postcard front.jpg
| width2 = 200
| alt2 =
| caption2 = A view of the Atlantic Avenue Elevated in front of South Station; the elevated station was at far right.
| image3 = South Station, 1904.jpg
| width3 = 200
| alt3 =
| caption3 = Looking north at the merge of the two approaches, with the two pairs of tracks approaching the lower-level loop at right; the terminal is in the background.
}}

When the railroads serving Boston were first laid out and built, each one stopped at its own terminal. The four terminals serving the south-side railroads were as follows:
*The [[New York and New England Railroad]] crossed the [[Fort Point Channel]] from [[South Boston]], just south of the present [[Summer Street Bridge]], and terminated just east of [[Dewey Square]] (right at the north end of today's South Station).
*The [[Old Colony Railroad]] had a long passenger terminal on the east side of [[South Street (Boston)|South Street]], stretching from [[Kneeland Street (Boston)|Kneeland Street]] south to [[Harvard Street (Boston)|Harvard Street]]. This site is now part of the [[South Bay Interchange]], near the South Station bus terminal.
*The [[Boston and Albany Railroad]]'s passenger terminal was in the block bounded by Kneeland Street, [[Beach Street (Boston)|Beach Street]], [[Albany Street (Boston)|Albany Street]] (now [[Surface Artery (Boston)|Surface Artery]]) and [[Lincoln Street (Boston)|Lincoln Street]]. This later became a freight house, and is now a block in [[Chinatown (Boston)|Chinatown]]; the passenger terminal was moved to the west side of [[Utica Street (Boston)|Utica Street]], from Kneeland Street south to a bit past Harvard Street, now part of the [[South Bay Interchange]].
*The [[Boston and Providence Railroad]] continued straight where it now merges with the Boston and Albany, terminating at [[Park Square (Boston)|Park Square]], with the passenger terminal on the south side of [[Providence Street (Boston)|Providence Street]] from [[Columbus Avenue (Boston)|Columbus Avenue]] west about two-thirds of the way to [[Berkeley Street (Boston)|Berkeley Street]].

The Boston Terminal Company, established in 1897, was charged with the task of combining the four terminals into one consolidated terminal. South Station combined the four terminals in one spot (a [[union station]]).

===Opening===
[[Image:South Station lower level loop.jpg|thumb|200px|The never-used lower-level loop platforms]]
South Station opened as '''South Central Station''' on January 1, 1899 at a cost of $3.6 million (1899 dollars). The architects were [[Shepley, Rutan and Coolidge]] of Boston, with the actual construction undertaken by the engineering firm of Westinghouse, Church, Kerr & Co. It became the busiest station in the country by 1910. A station on the [[Atlantic Avenue Elevated]] served the station from 1901 to 1938; what is now the Red Line subway was extended from [[Park Street (MBTA station)|Park Street]] to South Station in 1913. The train shed, one of the largest in the world, was eliminated in a 1930 renovation due to corrosion from the nearby ocean's salt air.<ref>{{cite web|url=http://books.google.com/books?id=qOIDAAAAMBAJ&pg=PA958&dq=Popular+Science+1930+plane+%22Popular+Mechanics%22&hl=en&ei=_7BlTsWeBYTWgQf9mIiLCg&sa=X&oi=book_result&ct=result&resnum=10&sqi=2&ved=0CE8Q6AEwCQ#v=onepage&q&f=true|title="Razing Rail Depot Tests Skill of Engineers" ''Popular Mechanics'', December 1930|publisher=Google Books}}</ref> While the station handled 125,000 passengers each day during [[World War II]], after the war passenger rail declined in the U.S. In 1959, the [[Old Colony Railroad]], which served the South Shore and [[Cape Cod]], stopped passenger service. The [[New York, New Haven and Hartford Railroad]] went bankrupt in 1961. South Station was sold to the [[Boston Redevelopment Authority]] (BRA) in 1965.<ref>[http://www.greatamericanstations.com/Stations/BOS/Station_view Great American Stations: South Station]</ref> Portions of the station were demolished and the land was used to build the Boston South Postal Annex and the Stone and Webster building.

In the original configuration, two tracks came off each approach to join into a four-track line and then run under the main platforms in a two-track loop. These tracks were never put into service, and later became a [[parking lot]] and [[bowling alley]] for employees.<ref>{{cite web|url=http://www.southstation.org/southst.htm|title=South Station in Boston|work=Southstation.org|accessdate=June 10, 2012}}</ref>

===Renovation===
[[File:South Station Terminal Inside.jpg|thumb|200px|Inside the terminal building, with tracks accessible through the glass doors]]
In 1978, the BRA sold what was left of the station, now on the [[National Register of Historic Places]],<ref name=nris/> to the MBTA, though the BRA retained air rights over the station. Funding was obtained for a major renovation of the station that was completed in 1989. A total of 13 tracks became available, all with high level platforms and some capable of handling 12-car trains. Piers were installed for the eventual construction of an office building and bus station above the tracks. After some delays, an inter-city bus terminal opened in October 1995, replacing one on top of the [[I-93]] [[Dewey Square Tunnel]] diagonally across from the station between Summer Street and Congress Street. The new bus terminal has been called “the best bus facility in the country”{{Citation needed|date=February 2007}} and has direct ramp connections to I-93 and the [[Massachusetts Turnpike]] (though there are two traffic lights in the outbound direction). The renovations, including the bus terminal, cost $195 million (2001 dollars).

The Red Line subway platforms were extended in 1985 to allow six-car trains, and renovated again in 2005 as part of the Silver Line Phase II project, which serves the waterfront and Logan Airport. The Phase II tunnel was constructed in conjunction with Boston's "Big Dig" and was originally referred to as the South Boston Piers Transitway. Phase II opened on Friday, December 17, 2004, with the first route running only to Silver Line Way. A new Phase I Silver Line route, the SL4 was added on October 13, 2009, with a stop across the street from South Station.<ref>{{cite web|url=http://www.mbta.com/about_the_mbta/news_events/?id=18411&month=&year=|title=New Silver line service|date=October 13, 2009|publisher=Massachusetts Bay Transportation Authority}}</ref>

==Architecture==
[[File:The Boston Terminal Company plaque.jpg|thumb|'''The Boston Terminal Company 1897 commemorative plaque in South Station:''' * [[Josiah Quincy (1859–1919)|Josiah Quincy]], Mayor of Boston * The Boston Terminal Company: Samuel Hoar, [[Royal C. Taft|Royal Chapin Taft]], Charles Peter Clark, Charles Loughead Lovering, Francis Lee Higginson (Trustees) * George B. Francis, Resident Engineer * [[Norcross Brothers]], builders * [[Shepley, Rutan and Coolidge|Shepley, Rutan & Coolidge]] (architects) * Fayette Samuel Curtis, Walter Shepard, Lawson Bennett Bidwell (consulting engineers)]]

The South Station head house and wings incorporate [[Neoclassical architecture]]. The building’s symmetry and stone façade are common to the style. The granite came from nearby quarries in New England. The main doorways are located in a section that protrudes from the curving shape of the building. The doors are housed under tall arches that give the impression of grandeur while also making the building appear smaller from far away. This visual trick is common in classical buildings and is further amplified by the over-sized windows and large balustrade on the third floor and roof. Above the doorways are classical [[Ionic order]] columns that ostensibly hold up the frieze and pediment. Uncommon for Ionic order columns is the lack of [[Fluting (architecture)]], which is usually used to draw the eye upward, increasing the grandeur of the facade. The numerous projections and recessions on the façade attribute to the planar quality of the building, while also creating interesting shading and lighting patterns on the stone and within the building.

Inside, a [[Coffer|coiffered ceiling]] adorns the terminal and protects travelers from the rain and snow.

Constructed over one hundred years ago, the clock on top of the main head house is the largest remaining hand-wound clock mechanism in New England. The clock is styled after London’s Big Ben and has a 12-foot wide face. The mechanism weighs over 400 pounds. In 2008, the clock underwent a six-week restoration and repair. The clock mechanism was completely disassembled and transported to a nearby workshop where pieces had to be fabricated by hand. The clock, once one of many in the city, is a hallmark of a bygone era—something that commuters rely on to make their trains, and visitors admire for its historical presence. The eagle that sits atop the clock is eight feet wide and weighs over eight tons. The eagle imitates the figurines commonly placed atop classically styled buildings.

The curved shape of the building pushes its presence into the surrounding area, making it much more prominent. This also gives the building a more distinctive and accessible main entrance from Atlantic Avenue, Summer Street, and Dewey Square. A similar concept is also seen in the [[Santa Maria della Pace]] in Rome, Italy. This church didn’t influence South Station, but the designs clearly share the same effects on the immediate area.

In the 1980s, with South Station in disrepair, a great effort began to revitalize the station using Federal funding. The revitalization included two wings that extend from each side of the head house, constructed with granite from the same quarries to provide a consistent appearance. Renovation and expansion was completed in 1989, reinvigorating the area with a vital transportation link and a strong focal point. Office buildings began rising nearby, expanding the downtown area. With the completion of the [[Big Dig]] and the [[Rose Kennedy Greenway]], South Station has become an even more important feature in the area. The Greenway provides a pedestrian-friendly connection between South Station and [[North Station]].

==Future==
[[File:South Station Boston Feb 11 2013.jpg|thumb|right|South Station at evening rush hour, Monday, February 11, 2013 after the [[February 2013 nor'easter]]]]
As a major transfer station offering connections to multiple modes, South Station will see additional passenger throughput as a result of system improvements and a general increase in ridership. The existing underground Red Line and Silver Line stations are adequate for the near future, but the surface-level commuter rail and Amtrak platforms are at capacity.

A proposed relocation of the Boston General Mail Facility, which is located on Dorchester Avenue next to the station tracks, would allow for increased capacity at South Station. Seven more tracks are planned to be added to the existing thirteen tracks, allowing increased use by both [[MBTA Commuter Rail]] and [[Amtrak]] trains. A skyscraper, tentatively called the South Station Tower, was formerly proposed to be built over the new platforms, but the proposal was withdrawn. However, any expansion of South Station may include spaces for pillars for future air rights development.

In October 2010, the state of Massachusetts was awarded a [[United States dollar|$]]32.5 million grant from the federal government to begin planning for this expansion.<ref>{{cite news |title=Mass. Will Try to Buy Postal Annex to Save Rail Expansion|first1=Casey|last1=Ross|first2=Noah|last2=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2010/01/08/mass_will_try_to_buy_postal_annex_to_save_rail_expansion/|newspaper=[[The Boston Globe]]|date=January 8, 2010|accessdate=August 22, 2010}}</ref><ref>{{cite news |title=Mass. Receives Funds to Upgrade South Station|author=Associated Press|url=http://www.boston.com/news/local/massachusetts/articles/2010/10/25/mass_receives_funds_to_upgrade_south_station/|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref><ref>{{cite news |title=State Wins $32.5M Grant to Plan South Station Expansion|first=Martin|last=Finucane|url=http://www.boston.com/news/local/breaking_news/2010/10/state_wins_325m.html|newspaper=[[The Boston Globe]]|date=October 25, 2010|accessdate=October 26, 2010}}</ref> After deliberations, a $43 million contract (including $10.5 million in state funds) was awarded in August 2012.<ref name=43mil >{{cite news |title=State to Soon Launch $43m Planning Effort for Project to Expand South Station|first=Matt|last=Rocheleau|url=http://www.boston.com/yourtown/news/downtown/2012/08/state_to_soon_launch_43m_plann.html|newspaper=[[The Boston Globe]]|date=August 20, 2012|accessdate=August 21, 2012}}</ref> The planning project will advance the new station area, including a possible passenger mezzanine over the platforms, to the 30% design level. Other elements include a redesign of the South Station [[interlocking]], a new commuter rail layover facility, and the restoration of public access to the adjacent section of Dorchester Avenue and the Fort Point Channel. The station expansion is intended to allow for increases in commuter rail service on the [[Fairmount Line]] and [[Framingham/Worcester Line]], addition of [[South Coast Rail]] service, and increased Amtrak frequencies.<ref name=43mil />

==See also==
*[[Atlantic Avenue Elevated]]
*[[Fort Point Channel]]
*[[North Station]]
*[[North-South Rail Link]]
*[[South Station Bus Terminal]]
*[[South Station (MBTA subway station)]]

==References==
{{Reflist|2}}

===Bibliography for architecture section===
*{{cite web |url=http://www.south-station.net/Station-History.htm|title=History of the Station|publisher=South Station LLC|accessdate=March 29, 2012}}
*{{cite web |title=Boston South Station|first=Amanda|last=Sorrento|publisher=Foundations of America|url=http://foundationsofamerica.com/index.php?option=com_content&view=article&id=413:boston-south-station&catid=56:public-buildings&Itemid=68|date=November 4, 2010|accessdate=March 29, 2012}}
*{{cite web |title=South Station|publisher=Project for Public Spaces|accessdate=March 29, 2012|url=http://www.pps.org/great_public_spaces//one?public_place_id=116#}}
*{{cite news |title=Station Clock Takes Timeout|first=Noah|last=Bierman|url=http://www.boston.com/news/local/massachusetts/articles/2008/10/15/station_clock_takes_timeout|newspaper=[[The Boston Globe ]]|date=October 14, 2008|accessdate=March 29, 2012}}
* [http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]

==External links==
{{commons category|South Station (Boston)}}
{{Amtrak web|BOS|Boston South Station|MASSACHUSETTS}}
*[http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=191 MBTA – Boston South Station]
*{{official website|http://www.south-station.net/}} (with event listings)
*[http://www.trainweb.org/usarail/boston_south.htm Boston South Amtrak Station (USA RailGuide – TrainWeb)]
* [[Google Maps]] [[Google Street View|Street Views]]:
** [http://maps.google.com/?ie=UTF8&ll=42.352606,-71.055386&spn=0.003727,0.013518&z=17&layer=c&cbll=42.352537,-71.055437&panoid=V9fPTxl4KcuuJ_tnoQr5vA&cbp=12,141.76,,0,1.57 Station Building (Atlantic Avenue and Summer Street)]
** [http://maps.google.com/?ie=UTF8&ll=42.351686,-71.05589&spn=0.003727,0.013518&z=17&layer=c&cbll=42.35161,-71.055938&panoid=rigwYgZPQgfEvyffUpsD2w&cbp=12,101.48,,0,-1 South entrance on Atlantic Avenue]

{{MBTA}}
{{National Register of Historic Places}}

[[Category:Amtrak stations in Massachusetts|Boston South]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Bus stations in Massachusetts|Boston South]]
[[Category:Financial District, Boston]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:Railway stations on the National Register of Historic Places in Massachusetts]]
[[Category:Railway stations opened in 1899]]
[[Category:Stations along Boston and Albany Railroad lines|Boston South]]
[[Category:Stations along New York and New England Railroad lines|Boston South]]
[[Category:Stations along New York, New Haven and Hartford Railroad lines|Boston South]]
[[Category:Stations along Old Colony Railroad lines|Boston South]]
[[Category:Transit centers in the United States]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:Union stations in the United States|South Station]]

[[da:South Station]]
[[fr:South Station]]
[[pl:Boston South Station]]
[[pt:South Station]]
[[sv:South Station]]
[[zh:南站]]

Erik Demaine

2013-02-17T07:44:12Z

Reify-tech: ce

{{Infobox scientist
|name=Erik D. Demaine
|image=Erik Demaine et al 2005 cropped.jpg
|caption=Erik Demaine (left), Martin Demaine (center), and Bill Spight (right) watch [[John Horton Conway]] demonstrate a card trick (June 2005).
|birth_date = {{birth date and age|1981|2|28}}
|birth_place = [[City of Halifax|Halifax, Nova Scotia, Canada]]
|nationality = Canadian and American
|residence = [[Image:Flag of the United States.svg|20px]] [[United States|U.S.]]
|alma_mater = [[Dalhousie University]] [[University of Waterloo]]
|work_institution = [[Massachusetts Institute of Technology]]
|doctoral_students = [[Mihai Pătraşcu]]
|spouse =
|prizes=
|website=
}}
'''Erik D. Demaine''' (born February 28, 1981), is a [[professor]] of [[Computer Science]] at the [[Massachusetts Institute of Technology]].

==Early life==
Erik was born in Halifax, Nova Scotia. His parents are Martin Demaine and Judy Anderson. At age 7, he spent time travelling [[North America]] with his father, [[Martin Demaine]], an artist and sculptor; he was [[homeschooling|home-schooled]].<ref>{{cite news|url=http://nl.newsbank.com/nl-search/we/Archives?p_product=BG&p_theme=bg&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0F1C278D90533407&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM|title=Road Scholar Finds Home at MIT|last=Barry|first=Ellen|publisher=Boston Globe|date=2002-02-17|accessdate=2008-04-15}}</ref> Demaine was a child prodigy.<ref name="time">{{cite web|url=http://www.time.com/time/magazine/article/0,9171,1101327,00.html|title=Calculating Change: Why Origami Is Critical to New Drugs: The Folded Universe|last=Kher|first=Unmesh|date=2005-09-04|publisher=TIME|accessdate=28 February 2011}}</ref> He entered [[Dalhousie University]] in Canada at the age of 12, completed his [[bachelor's degree]] when only 14 and completed his PhD when only 20 years old.<ref name="NYT">{{cite news|url=http://www.nytimes.com/2005/02/15/science/15origami.html?pagewanted=1&ei=5090&en=7c6938eb4b440672&ex=1266210000&partner=rssuserland|title=Origami as the Shape of Things to Come|last=Wertheim|first=Margaret|publisher=The New York Times|date=2005-02-15|accessdate=2008-04-15}}</ref><ref>{{cite news|url=http://moreresults.factiva.com/results/index/index.aspx?ref=IRTI000020050819e18j00023|title= Commercial origami starts to take shape|last=O'Brien|first=Danny|publisher=Irish Times|date=2005-08-19|accessdate=2008-04-15}}</ref>

==Professional accomplishments==
His [[doctorate|PhD]] dissertation, a seminal work in the field of [[computational origami]], was completed at the [[University of Waterloo]].<ref>{{cite web|accessdate=2008-04-15|url=http://newsrelease.uwaterloo.ca/news.php?id=2852|title= National honour for Demaine|publisher=[[University of Waterloo]]|date=2003-03-31}}</ref> This work was awarded the Canadian [[Governor General's Academic Medal|Governor General's Gold Medal]] from the [[University of Waterloo]] and the [[NSERC]] Doctoral Prize (2003) for the best [[thesis|PhD thesis]] and research in Canada (one of four awards).
This thesis work was largely incorporated into a book.<ref name="GFALOP">
{{Cite book
| last1 = Demaine
| first1 = Erik
| last2 = O'Rourke
| first2 = Joseph
| authorlink2 = Joseph O'Rourke (professor)
| title = Geometric Folding Algorithms: Linkages, Origami, Polyhedra
| publisher = Cambridge University Press
| date = July 2007
| location =
| pages = Part II
| url = http://www.gfalop.org
| doi =
| isbn = 978-0-521-85757-4}}
</ref>

He joined the MIT faculty in 2001 at age 20, reportedly the youngest professor in the history of the Massachusetts Institute of Technology.<ref name="NYT" /><ref>{{cite journal|last=Beasley|first=Sandra|title=Knowing when to fold|journal=American Scholar|date=2006-09-22|volume=75|issue=4}}</ref>
In 2003 he was awarded a [[MacArthur Fellowship]].

He is a member of the [[theory of computation|Theory of Computation]] group at [[MIT Computer Science and Artificial Intelligence Laboratory]].

[[Mathematical origami]] artwork by Erik and Martin Demaine was part of the “Design and the Elastic Mind” exhibit at the [[Museum of Modern Art]] in 2008 and has been included in the MoMA permanent collection.<ref>[http://erikdemaine.org/curved/ Curved Origami Sculpture], Erik and Martin Demaine.</ref>

In 2013 he was nominated for the ETACS [[Presburger Award]] for young scientists.<ref>[http://www.eatcs.org/index.php/component/content/article/1-news/1512-presburger-award-2013| Presburger Award 2013], retrieved 2013-02-15</ref>

==See also==
*[[Bidimensionality]]

==References==
{{Reflist|2}}

==External links==
{{commons|Category:Erik Demaine}}
* [http://theory.lcs.mit.edu/~edemaine/ Erik Demaine]
*{{MathGenealogy|id=65084}}
* [http://web.mit.edu/newsoffice/2003/macarthur.html Biography in MIT News]
* [http://www.greenfusefilms.com/index.html ''Between the Folds''] Documentary film featuring Erik Demaine and 14 other international origami practitioners

{{Authority control|VIAF=27989030}}
{{Persondata 
| NAME = Demaine, Erik
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH = February 28, 1981
| PLACE OF BIRTH = [[City of Halifax|Halifax, Nova Scotia, Canada]]
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Demaine, Erik}}
[[Category:1981 births]]
[[Category:Living people]]
[[Category:MacArthur Fellows]]
[[Category:Canadian computer scientists]]
[[Category:Theoretical computer scientists]]
[[Category:Origami artists]]
[[Category:Researchers in geometric algorithms]]
[[Category:People from Halifax, Nova Scotia]]
[[Category:Massachusetts Institute of Technology faculty]]
[[Category:University of Waterloo alumni]]
[[Category:Dalhousie University alumni]]

[[sk:Erik Demaine]]
[[fi:Erik Demaine]]
[[ta:எரிக்கு தெமேன்]]

Massachusetts Route 128

2012-06-24T01:03:17Z

Reify-tech: Reverted 1 edit by 173.76.29.171 (talk) identified as vandalism to last revision by Erasmussen. (TW)

{{cleanup|date=July 2010}}
{{update|date=July 2011}}

{{Infobox road
|state=MA
|type=Route
|route=128
|map=Massachusetts_Route_128.png
|length_mi=57.5829
|length_ref=<ref name="inventory">[[Executive Office of Transportation (Massachusetts)|Executive Office of Transportation]], [http://www.eot.state.ma.us/default.asp?pgid=content/plan02&sid=about Office of Transportation Planning - 2005 Road Inventory]</ref>
|length_round=4
|established=by 1927
|direction_a=South
|direction_b=North
|terminus_a={{jct|state=MA|I|93|I|95|US|1}} in [[Canton, Massachusetts|Canton]]
|junction={{jct|state=MA|I|90}} in [[Weston, Massachusetts|Weston]] 
{{jct|state=MA|MA|2}} [[Lexington, Massachusetts|Lexington]] 
{{jct|state=MA|US|3}} in [[Burlington, Massachusetts|Burlington]] 
{{jct|state=MA|I|93}} in [[Reading, Massachusetts|Reading]] 
{{jct|state=MA|US|1}} in [[Lynnfield, Massachusetts|Lynnfield]] 
{{jct|state=MA|I|95}} in [[Peabody, Massachusetts|Peabody]]
|terminus_b={{jct|state=MA|MA|127A}} in [[Gloucester, Massachusetts|Gloucester]]
|counties=[[Norfolk County, Massachusetts|Norfolk]], [[Middlesex County, Massachusetts|Middlesex]], [[Essex County, Massachusetts|Essex]]
|previous_type=MA
|previous_route=127A
|next_type=MA
|next_route=129
}}

'''Route 128''', also known as the '''Yankee Division Highway''' (for the [[26th Infantry Division (United States)|26th Infantry Division]]), and originally the '''Circumferential Highway''', is a partial [[beltway]] around [[Boston]], [[Massachusetts]], [[United States]]. The majority of the highway is built to [[freeway]] standards, and about 3/5 of it is part of the [[Interstate Highway System]]. With the rapid growth of [[high-technology industry]] in the [[suburban]] areas along Route 128 from the 1960s to the 1980s, Route 128 came to symbolize the Boston high-tech community itself. However, today the industry has expanded significantly onto [[Interstate 495 (Massachusetts)|Interstate 495]] as well, the next beltway out.<ref>[http://www.massmoments.org/moment.cfm?mid=246 "MassMoments: Route 128 Opens Boston's High-Tech Age."] Massachusetts Foundation for the Humanities. Accessed 05-18-2010.</ref>
In local culture, Route 128 is seen as something of a dividing line between the inner municipalities of Greater Boston and the more far-flung suburbs. The road's roughly {{convert|10|mi|km|adj=on}} radius, for example, also delimits most of the area accessible by the [[MBTA]] [[rapid transit]] system. Much of the area within Route 128 was developed before World War II, while the area outside it was developed more recently.

The south end of Route 128 is in [[Canton (MA)|Canton]], where [[Interstate 95 (Massachusetts)|Interstate 95]] heads south toward [[Providence, Rhode Island|Providence]], [[Rhode Island]], just east of the [[Northeast Corridor]]'s [[Route 128 Station]]. Common usage, as well as signs until 1997, continues Route 128 east along the first 7 miles (11 km) of [[Interstate 93 (Massachusetts)|Interstate 93]] to the [[Braintree Split]] in [[Braintree (MA)|Braintree]], where I-93 turns north with [[Route 3 (Massachusetts)|Route 3]] toward downtown Boston. This section of former Route 128 serves as the north end of [[Route 24 (Massachusetts)|Route 24]] to [[Fall River (MA)|Fall River]]. (Until 1965, Route 128 continued further, southeast along [[Route 3 (Massachusetts)|Route 3]] and roughly north on [[Route 228 (Massachusetts)|Route 228]] to [[Hull (MA)|Hull]].)

From Canton, Route 128 and Interstate 95 heads northwest, north, northeast and east around the Boston area to [[Peabody (MA)|Peabody]], where I-95 splits to head north toward [[Portsmouth, New Hampshire|Portsmouth]], [[New Hampshire]]. Along this section, Route 128 has major [[interchange (road)|interchange]]s with [[Interstate 90 (Massachusetts)|Interstate 90]] (the [[Mass Pike]]), [[Route 2 (Massachusetts)|Route 2]], [[U.S. Route 3 (Massachusetts)|U.S. Route 3]], and [[Interstate 93 (Massachusetts)|Interstate 93]]. On roads approaching Route 128 here, guide signs only list I-95; Route 128 shields are in a separate sign assembly. [[U.S. Route 1 (Massachusetts)|U.S. Route 1]] has also run along Route 128 near [[Dedham (MA)|Dedham]] since 1989, forming a three-way [[wrong-way concurrency]], with I-95 and Route 128 going one way and US 1 the other. (US 1 continues east on I-93 — former Route 128 — to Braintree, and turns north there with I-93 into Boston.)

After it splits from I-95 in Peabody, Route 128 continues east into [[Cape Ann]]. The [[freeway]] (termed a highway or expressway in Massachusetts) ends at a [[rotary (intersection)|rotary]] with [[Route 127 (Massachusetts)|Route 127]] in [[Gloucester (MA)|Gloucester]], and the last bit of Route 128 is a surface road that bypasses downtown Gloucester to the northeast. After crossing Route 127 again (Route 127 runs in a loop through Gloucester and [[Rockport (MA)|Rockport]]), Route 128 ends at [[Route 127A (Massachusetts)|Route 127A]] east of downtown Gloucester.

==Route description==
The route 128 number dates from the origin of the Massachusetts highway system in the 1920s. By the 1950s, it ran from Nantasket Beach in [[Hull, Massachusetts|Hull]] to [[Gloucester, Massachusetts|Gloucester]]. The first, {{convert|27|mi|km|adj=on}}, section of the current limited-access highway from [[Braintree, Massachusetts|Braintree]] to Gloucester was opened in 1951. It was the first limited-access [[ring road|circumferential highway]] in the United States.

[[Image:128 south end.jpg|thumb|400px|Since 1997, the south end of Route 128 has been in [[Canton (MA)|Canton]], where [[Interstate 95 (Massachusetts)|Interstate 95]] south leaves the beltway and [[Interstate 93 (Massachusetts)|Interstate 93]] north begins. [[U.S. Route 1 (Massachusetts)|U.S. Route 1]] north continues straight.]]
Route 128 runs concurrently with [[Interstate 95 in Massachusetts|Interstate 95]] from [[Canton, Massachusetts|Canton]] north to [[Peabody, Massachusetts|Peabody]] and, when I-95 continues north from Peabody toward [[New Hampshire]], east from Peabody to Gloucester. Until the early 1990s, it also ran concurrently with the present [[Interstate 93]] from Canton to Braintree. This stretch of Interstate 93, which is now also designated as part of U.S. Route 1, though no longer officially part of Route 128, is still often referred to as "Route 128" by locals. The I-95 and I-93 signage were added in the mid-1970s when plans to construct [[Interstate 95 in Massachusetts|I-95]] through Boston, directly connecting the two I-95/Route 128 interchanges, were cancelled. An unused [[Cloverleaf interchange|cloverleaf]] in [[Canton, Massachusetts|Canton]], now removed, was the one leftover structure from this plan.

Until 1965, while and shortly after the [[Route 3 (Massachusetts)|Route 3]] freeway to Cape Cod was fully finished, the section of current Route 3 between exits 15 and 20 was also designated as Route 128. The route's southern end was then truncated to its intersection with Route 3 in Braintree. The non-freeway section of Route 128 from Route 3 through [[Hingham, Massachusetts|Hingham]] to Nantasket was redesignated Route 228. The [[MassHighway|Massachusetts Highway Department]] has tried twice, in 1997 and 2003, to truncate 128 even further, back to its intersection with [[Interstate 95 in Massachusetts|I-95]] in Peabody, but local opposition has convinced them to back down. A reflection of these attempts are along every interchange, where the main signage on the intersecting route indicates the highway as I-95, while smaller signage to the sides also identifies the road as Route 128.

[[Image:128 north end.jpg|thumb|300px|left|The north end of Route 128 is at [[Route 127A (Massachusetts)|Route 127A]] in [[Gloucester (MA)|Gloucester]]. The sign pointing Route 127A south straight is incorrect; it is actually to the right, where the sign points "ALT 127".]]
The area along the western part of Route 128 is home to a number of high-technology firms and corporations. This part of Route 128 has been dubbed "America's Technology Highway", and through to the end of the 1980s, was second only to [[Silicon Valley]].

Route 128 makes more than a 180-degree arc around Boston, and clockwise is "north" even when the road heads slightly south of east when approaching the Atlantic Ocean. [[Hacker (programmer subculture)|Hackers]] in the area refer to this as going "logical north" on the route. Interstate 93, going north-and-south, intersects Route 128, which nominally goes north-and-south, at a right angle, about {{convert|15|mi|km}} north of Boston. A traveller going "logical south" on 128 (compass west) from the I-93 interchange will soon find himself driving due west, travelling logically south on 128 and I-95, and north on [[U.S. Route 3|US 3]] in a [[wrong-way concurrency]].

Like the I-95 signage mapping onto 128, the mapping of US 3 onto this stretch of 128 is due to US 3 as a separate limited access highway terminating in [[Burlington, Massachusetts|Burlington]] on 128 instead of further south at [[Route 2 (Massachusetts)|Route 2]] in [[Lexington, Massachusetts|Lexington]] as originally envisioned. This abrupt termination requires the US 3 signage to continue along 128 for somewhat over a mile until it can interchange the old US 3 surface arterial. Moreover, when I-93 and Route 128 ran concurrently south of Boston, before the route was truncated to the I-95 interchange in Canton, they were signed in opposite directions, so it was possible to travel north on I-93 and south on Route 128 at the same time.

Much of Route 128 is now part of the Interstate system, being concurrent with I-95 (and formerly I-93). However, the vast majority of locals will refer to these stretches as 128; it is uncommon for a local to use the Interstate designation(s) in ordinary conversation or while giving directions.

[[Image:128 north approaching exit 10.jpg|thumb|150px|Exit 10 is signed heading northbound as the [[at-grade intersection]] with [[Route 127 (Massachusetts)|Route 127]].]]
The northernmost several exits along Route 128, past exit 12, are not [[grade separation|grade-separated]] [[interchange (road)|interchange]]s. Exit 10 is signed as the [[traffic signal|signalized]] intersection with [[Route 127 (Massachusetts)|Route 127]], and there are two [[rotaries (road)|rotaries]] between that and exit 12 (the Crafts Road interchange).

In the 1990s, the exit system was changed from concurrency along 128 to a system using the I-95 exits. The exits, which had gone from Gloucester to Braintree, were renumbered along I-95, from the [[Rhode Island]] state line to the border with [[New Hampshire]]. Exit 37 had been the interchange with I-93, which also had its exit numbered 37 at that interchange. Coincidentally, with the renumbering, exit 37 remained exit 37.

[[Route 128 Station]] is located along the highway in [[Westwood, Massachusetts|Westwood]], [[Massachusetts]] and is served by [[Amtrak]]'s [[Northeast Corridor]] line and [[MBTA]] [[commuter rail]].

==The high-tech region==
In 1955, ''Business Week'' ran an article titled "New England Highway Upsets Old Way of Life" and referred to Route 128 as "the Magic Semicircle". By 1958, it needed to be widened from six to eight lanes, and business growth continued. In 1957, there were 99 companies employing 17,000 workers along 128; in 1965, 574; in 1973, 1,212. In the 1980s, the positive effects of this growth on the Massachusetts economy were dubbed the "[[Massachusetts Miracle]]".

Major companies with locations in the broader Route 128 area included [[Digital Equipment Corporation]], [[Data General]], [[Thermo Fisher Scientific]], [[Analog Devices]], [[Computervision]], [[Microsoft]], [[GTE]], [[Polaroid Corporation|Polaroid]], [[Sun Microsystems]], [[BEA Systems]], [[EMC Corporation]], and [[Raytheon]].

==History==
===Surface roads and south Circumferential Highway===
Route 128 was assigned by 1927<ref name="1927 map">1927 Rand McNally Boston and vicinity map</ref> along local roads, running from [[Route 138 (Massachusetts)|Route 138]] in [[Milton (MA)|Milton]] around the west side of Boston to [[Route 107 (Massachusetts)|Route 107]] (Essex Street or Bridge Street) in [[Salem (MA)|Salem]]. Its route was as follows:
{| class=wikitable
!Town
!Streets
|-
|[[Milton (MA)|Milton]]
|Milton Street
|-
|[[Boston (MA)|Boston]] ([[Hyde Park (MA)|Hyde Park]])
|[[Neponset Valley Parkway]], Milton Street
|-
|[[Dedham (MA)|Dedham]]
|Milton Street, High Street, Common Street, West Street
|-
|[[Needham (MA)|Needham]]
|Dedham Avenue, Highland Avenue
|-
|[[Newton (MA)|Newton]]
|Needham Street, Winchester Street, Centre Street, Walnut Street, Crafts Street, Waltham Street
|-
|[[Waltham (MA)|Waltham]]
|High Street, Newton Street, Main Street ([[U.S. Route 20 (Massachusetts)|U.S. Route 20]]), Lexington Street
|-
|[[Lexington (MA)|Lexington]]
|Waltham Street, [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] ([[Route 2A (Massachusetts)|Route 2A]], now [[Route 4 (Massachusetts)|Route 4]]/[[Route 225 (Massachusetts)|Route 225]]), Woburn Street
|-
|[[Woburn (MA)|Woburn]]
|Lexington Street, Pleasant Street, Montvale Avenue
|-
|[[Stoneham (MA)|Stoneham]]
|Montvale Avenue, Main Street ([[Route 28 (Massachusetts)|Route 28]]), Elm Street
|-
|[[Wakefield (MA)|Wakefield]]
|Albion Street, North Avenue, Water Street, Vernon Street, New Salem Street, Salem Street
|-
|[[Lynnfield (MA)|Lynnfield]]
|Salem Street
|-
|[[Peabody (MA)|Peabody]]
|Lynnfield Street, Washington Street, Main Street
|-
|[[Salem (MA)|Salem]]
|Boston Street
|}

By 1928, it had been extended east to [[Quincy (MA)|Quincy]] from its south end along the following streets, ending at the intersection of [[Route 3 (Massachusetts)|Route 3]] and [[Route 3A (southeastern Massachusetts)|Route 3A]] (now Route 3A and [[Route 53 (Massachusetts)|Route 53]]):<ref name="1928 map">1928 map of numbered routes in Boston and vicinity, prepared by the [[Massachusetts Department of Public Works]] for the New England Affairs Bureau, Boston Chamber of Commerce</ref>
{| class=wikitable
!Town
!Streets
|-
|[[Quincy (MA)|Quincy]]
|Washington Street, Hancock Street, Adams Street
|-
|[[Milton (MA)|Milton]]
|Adams Street, Centre Street, Canton Avenue, Dollar Lane
|}

The first section of the new '''Circumferential Highway''', in no way the [[freeway]] that it is now, was the piece from [[Route 9 (Massachusetts)|Route 9]] in [[Wellesley (MA)|Wellesley]] around the south side of Boston to [[Route 3 (Massachusetts)|Route 3]] (now [[Route 53 (Massachusetts)|Route 53]]) in [[Hingham (MA)|Hingham]]. Parts of this were built as new roads, but most of it was along existing roads that were improved to handle the traffic. In 1931, the [[Massachusetts Department of Public Works]] acquired a [[easement|right-of-way]] from [[Route 138 (Massachusetts)|Route 138]] in [[Canton (MA)|Canton]] through [[Westwood (MA)|Westwood]], [[Dedham (MA)|Dedham]] and [[Needham (MA)|Needham]] to Route 9 in Wellesley. This was mostly 80 feet (24 m) wide, only shrinking to 70 feet (21 m) in Needham, in the area of Great Plain Avenue and the [[Needham Line]]. Much of this was along new alignment, but about half — mostly in Needham — was along existing roads:
*Royall Street from west of Route 138 to east of Green Street (Canton)
*Green Lodge Street from Royall Street (now cut by Route 128) to [[Route 128 Station]] (Canton and Westwood)
*Greendale Avenue from Lyons Street and Common Street just south of the [[Charles River]] to Hunting Avenue (Dedham and Needham)
*Fremont Street north from Highland Avenue (Needham)
*Reservoir Street from Central Avenue to Route 9 (Needham and Wellesley)<ref>[[MassHighway]] state highway layout plans:
*Canton: [http://www.mhd.state.ma.us/LayoutsImages/Canton/Layouts/2807/ 2807] (July 14, 1931)
*Westwood: [http://www.mhd.state.ma.us/LayoutsImages/Westwood/Layouts/2808/ 2808] (July 14, 1931); [http://www.mhd.state.ma.us/LayoutsImages/Westwood/Layouts/2831/ 2831] (October 13, 1931)
*Dedham: [http://www.mhd.state.ma.us/LayoutsImages/Dedham/Layouts/2806/ 2806] (July 14, 1931); [http://www.mhd.state.ma.us/LayoutsImages/Dedham/Layouts/2833/ 2833] (October 13, 1931)
*Needham: [http://www.mhd.state.ma.us/LayoutsImages/Needham/Layouts/2832/ 1832] (October 13, 1931); [http://www.mhd.state.ma.us/LayoutsImages/Needham/Layouts/2858/ 2858] (December 22, 1931)
*Wellesley: [http://www.mhd.state.ma.us/LayoutsImages/Wellesley/Layouts/2857/ 2857] (December 22, 1931)</ref>

From Route 138 in Canton east through the [[Blue Hills Reservation]] in Canton, [[Milton (MA)|Milton]], [[Quincy (MA)|Quincy]] and [[Braintree (MA)|Braintree]], [[Norfolk County (MA)|Norfolk County]] acquired a right-of-way in 1927<ref>[[MassHighway]] state highway layout plan [http://www.mhd.state.ma.us/LayoutsImages/Canton/Layouts/3960/3960.tif 3960]</ref> and built the Blue Hill River Road. This tied into West Street in northwest Braintree, which itself had been taken over by the county in 1923.<ref>[[MassHighway]] state highway layout plan [http://www.mhd.state.ma.us/LayoutsImages/Braintree/Layouts/6741/6741-6.TIF 6741]</ref>

West Street led to [[Route 37 (Massachusetts)|Route 37]], which ran southeast to Braintree center. This part of Route 37 had been taken over by the state in 1919 (to Braintree center)<ref>[[MassHighway]] state highway layout plan [http://www.mhd.state.ma.us/LayoutsImages/Braintree/Layouts/1823/ 1823] (June 24, 1919)</ref> and 1917 (in Braintree center).<ref>[[MassHighway]] state highway layout plan [http://www.mhd.state.ma.us/LayoutsImages/Braintree/Layouts/1765/ 1765] (September 4, 1917)</ref>

The rest of the new highway, from Route 37 east to [[Route 3 (Massachusetts)|Route 3]] (now [[Route 53 (Massachusetts)|Route 53]]), through Braintree, [[Weymouth (MA)|Weymouth]] and [[Hingham (MA)|Hingham]], was taken over by the state in 1929. This was all along existing roads, except possibly the part of Park Avenue west of [[Route 18 (Massachusetts)|Route 18]] in Weymouth.<ref>[[MassHighway]] state highway layout plans:
*Hingham: [http://www.mhd.state.ma.us/LayoutsImages/Hingham/Layouts/2604/ 2604] (September 3, 1929)
*Weymouth: plan 2603 is missing
*Braintree: [http://www.mhd.state.ma.us/LayoutsImages/Braintree/Layouts/2602/ 2602] (September 3, 1929)</ref>

By 1933,<ref name="1933 map">1933 General Drafting Boston and vicinity map</ref> the whole Circumferential Highway had been completed, and, except for the piece from [[Route 9 (Massachusetts)|Route 9]] in [[Wellesley (MA)|Wellesley]] south to Highland Avenue in [[Needham (MA)|Needham]], was designated as Route 128. Former Route 128 along Highland Avenue into Needham center was left unnumbered (as was the Circumferential Highway north of Highland Avenue), but the rest of former Route 128, from Needham center east to [[Quincy (MA)|Quincy]], became part of [[Route 135 (Massachusetts)|Route 135]]. Thus the full route of the Circumferential Highway, as it existed by 1933, is now the following roads:
{| class=wikitable
!Town
!Streets
|-
|[[Hingham (MA)|Hingham]]
|Derby Street, Old Derby Street
|-
|[[Weymouth (MA)|Weymouth]]
|Ralph Talbot Street, Park Avenue, Columbian Street
|-
|[[Braintree (MA)|Braintree]]
|Columbian Street, Grove Street, Washington Street ([[Route 37 (Massachusetts)|Route 37]]), Franklin Street (Route 37), West Street, closed road in the [[Blue Hills Reservation]]
|-
|[[Quincy (MA)|Quincy]]
|closed road in the Blue Hills Reservation (partly upgraded on the spot to Route 128), then known as Blue Hill River Road
|-
|[[Milton (MA)|Milton]]
|Blue Hill River Road, Hillside Street
|-
|[[Canton (MA)|Canton]]
|Blue Hill River Road, Royall Street, Green Lodge Street (cut by the Route 128/[[Interstate 95 (Massachusetts)|Interstate 95]] [[interchange (road)|interchange]])
|-
|[[Westwood (MA)|Westwood]]
|Blue Hill Drive (cut by [[Route 128 Station]], and later upgraded on the spot as northbound Route 128)
|-
|[[Dedham (MA)|Dedham]] and Westwood
|upgraded on the spot as northbound Route 128 (under [[U.S. Route 1 (Massachusetts)|U.S. Route 1]]) and then mostly in the [[median (road)|median]]
|-
|[[Needham (MA)|Needham]]
|Greendale Avenue, Hunting Road, southbound Route 128 under Highland Avenue, Reservoir Street
|-
|[[Wellesley (MA)|Wellesley]]
|inside the present [[Route 9 (Massachusetts)|Route 9]] [[interchange (road)|interchange]]
|}

At the same time as Route 128 was extended along the new Circumferential Highway, it was extended further into [[Hull (MA)|Hull]]. This alignment, not part of the Circumferential Highway, ran southeast on [[Route 3 (Massachusetts)|Route 3]] (now [[Route 53 (Massachusetts)|Route 53]]) (Whiting Street) to the border of [[Hingham (MA)|Hingham]] and [[Norwell (MA)|Norwell]], where it turned north on present [[Route 228 (Massachusetts)|Route 228]] (Main Street) through Hingham and into [[Hull (MA)|Hull]]. The exact route through Hingham was Main Street, Short Street, Leavitt Street, East Street, and Hull Street. The end of the numbered route was at the south end of [[Nantasket Beach, Massachusetts|Nantasket Beach]], where Nantasket Avenue curves northwest to follow the shore of [[Massachusetts Bay]].<ref>1937 Massachusetts Department of Public Works map of Hull</ref>

===West and North Circumferential Highway and extension to Gloucester===
{{Empty section|date=May 2008}}

===Route 128/I-95/I-93 Add-A-Lane Project===
The $315 Million MassDOT Highway Division Project has started widening on the project to upgrade the existing {{convert|14.3|mi|km|adj=on}} six-lane section of highway to eight lanes from north of Route 9 in Wellesley to Route 24 in Randolph. The project consists of adding a lane on the inside of each carriageway, complete with a 10-foot inside shoulder. The existing 1950s bridges, 22 in total, will be replaced as well. The project will be constructed in five phases over a twelve-year period. Construction of Phase 1 began in 2004. The first phase of the project consisted of replacing the existing three-lane Route 128 bridges over University Avenue/MBTA/Amtrak and the Neponset River with new four-lane bridges in [[Canton, Massachusetts|Canton]]. The project also included construction of a new two-lane ramp from Route 128 to I-95. The $33 million project was awarded to SPS New England of [[Salisbury, Massachusetts|Salisbury]].

During the initial construction of Route 128, a provision had already been made for a fourth lane within the widely-spaced [[median]] along the 1.5 mile (2.5 km) length of Route 128 running from just north of the U.S. Route 1 interchange in Dedham, MA, north-westwards to the Route 109 interchange, and this will finally be used for the Add-A-Lane project.

Construction on Phase 1 was officially completed in October 2009. Construction of Phase 2 of the project began in summer 2006. This phase of the project consisted of the replacement of the Route 1 and Route 1A bridges over Route 128 in [[Dedham, Massachusetts|Dedham]] along with the road widening between Exits 13 and 15 (US 1). Construction of four sound barriers between the US 1 and I-95 interchanges were also included. This phase was completed in the Spring of 2011.

Construction on Phase 3, begun in April 2009, is widening I-93/US 1 to 4 lanes in each direction from Route 24 to the I-95 interchange. This phase of the project was expected to be completed by September 2011, however now will not be finished until mid-2012. Phase 4 of the Project, which began in March 2011, is replacing 7 bridges and widens Route 128 (I-95) to 4 lanes in each direction from Route 109 to south of Highland Avenue in Needham. This phase of the project is expected to be completed by June 2015 with an estimated cost of $88 Million, the most expensive contract so far. The southeastern freeway that extends from Braintree to Cape Cod, [[Massachusetts Route 3|MA Route 3]], is also in the process of undergoing a similar "add-a-lane" project for much of its own 42 mile length.

==Route 128 Corridor Study==
The Boston area [[Metropolitan planning organization|MPO]] studied the Route 128/I-95 Corridor from approximately 2005–2010. The study focused on the heavily congested section from I-90 (Newton) to US 3 (Burlington), and was completed in November 2010. As of 2010, the highway carried over 200,000 vehicles per day. Some possible improvements to Route 128 include [[HOV]] or HOT Lanes, reconstruction of shoulders, [[ramp metering]], [[bus on shoulder]], and fiber optic traffic system improvements. More studies will need to be completed before projects will begin.

==Signage==
{| class=wikitable
|width=304|[[Image:9 west approaching 128 north.jpg|200px]][[Image:Washington south approaching elm in Dedham.jpg|100px]]
|Signs installed before [[Interstate 95 (Massachusetts)|Interstate 95]] was moved onto Route 128 in the 1970s prominently displayed the Route 128 designation. Even though it was built to freeway standards, Route 128 was never initially intended to be part of the Interstate system. ''The left sign was an overhead on Route 9 westbound for the interchange with 128 in Wellesley. This sign was replaced in 2009 with one indicating only the I-95 designation.'' ''The right sign was located on Washington Street approaching Elm Street in Dedham, and has since been removed.''
|-
|[[Image:I-90 east at I-95.jpg|300px]]
|Signage on [[Interstate 90 (Massachusetts)|Interstate 90]] - the [[Massachusetts Turnpike]] - clearly shows both routes. ''Westbound Exit 15 signage also shows both routes, and the signs remain present.''
|-
|[[Image:Old US 1 south at I-95 in Dedham.jpg|150px]][[Image:Walnut Street south at 95 north.jpg|150px]]
|After I-95 was moved to Route 128, new signs instead featured only that designation, with Route 128 marked only on separate sign assemblies. ''The left signage is present on US-1 northbound at its junction with I-95 (Exits 15A-B) in Dedham.'' ''The right signage is present on Walnut Street in Lynnfield, at the Exit 43 ramps to/from I-95.
|-
|[[Image:I-95 south exit 45.jpg|150px]][[Image:I-95 south exit 44.jpg|150px]]
|Other than on the [[Mass Pike]], the only overhead signs to include both I-95 and Route 128 are near their northern split in [[Peabody (MA)|Peabody]]. ''All signage in both directions for the I-95/Route 128 split was replaced in 2009 with I-95 the sole designation south of the split (with ground signage for 128 present). The right signage (at Exit 44 southbound) is the only remaining overhead on I-95 showing the Route 128 designation.
|-
|[[Image:US 1 north at I-95 128 old sign.jpg|250px]]
|The overhead sign on U.S. Route 1 north at the exit to Route 128 in [[Lynnfield (MA)|Lynnfield]], near the split in [[Peabody (MA)|Peabody]], originally indicated both directions of Route 128. (I-95 is only marked south because a more direct ramp to I-95 north exists straight ahead.) A standard sign assembly for Route 128 south was also installed.
|-
|[[Image:US 1 north at I-95 128.jpg|200px]]
|When the above sign was replaced in 2003 or 2004, Route 128 south was removed.
|-
|[[Image:US 1 north ramp to I-95 128.jpg|200px]]
|Overhead signage on the ramp from US 1 north to Route 128 similarly only shows Route 128 north.
|-
|[[Image:Independence south at 3 north.jpg|50px]][[Image:Ramp from independence to 3 north.jpg|250px]]
|Until 1997, Route 128's south end was at the [[Braintree Split]] in [[Braintree (MA)|Braintree]]. Several signs for [[Route 3 (Massachusetts)|Route 3]] in that area still indicated that in 2001.
|}

===Sign upgrade projects on Route 128===
As of the end of 2011, the state is between resigning projects on Route 128 that are replacing the 25-year-old signs with new exit, regulatory and route signs. Starting in 1998 and continuing through 2002, signs were replaced through a $1.1 million project between Reading and Lynnfield. Progress continued in 2005 and 2006 during a $2.2 million project which replaced the signs on from Peabody to Gloucester, and continued with a $1.4 million project in 2008 and 2009 that replaced signs in Peabody and the remaining ones in Lynnfield. A $2.9 million federal stimulus project helped replace exit and highway signs in 2010 and 2011 along Route 128 from I-93 in Woburn to US 3 in Burlington.

A project valued at $5.8 million is expected to begin in the Spring of 2012 that will replace 13 miles of traffic signs on Route 128 from Routes 4/225 (Exit 31) in Lexington to Route 9 (Exit 20) in Wellesley. The remainder of the older signs south of Wellesley are being replaced as part of the five-phase widening project from Route 9 (Exit 20) to Route 24 (Exit 4). New signage was put up between I-95 and US 1 in 2010 and most of the signage between I-95 and Route 24 has been replaced as of December 2011. New mileage markers were placed every 2/10 of a mile along the highway in 2010 (except for the area covered by the widening project) for I-93 between Braintree and Canton and I-95 from Canton to Peabody. New markers put along Route 128 from Peabody to Gloucester reflect the state highway's total mileage from Canton, indicating MassDOT's change of heart in decommissioning the route where it shares the road with I-95. The previous mile markers (reflected in the exit list below) had mile 0 in Peabody.

==Exit list==
This exit list covers all of Route 128 as it existed before 1997. The stretch north of I-95, as well as the rest of the length before I-95 exit numbering was applied, has decreasing exit numbers traveling northbound (this is contrary to almost all highways in the US with numbered exits). Additionally, the lowest exit number on the highway is Exit 10 (which is an at-grade intersection near the highway's northern end). Route 128 is also the only highway in the state to contain directional exit designations (N/S or E/W after the number, as opposed to the traditional A/B/C in Massachusetts).

Route 128 currently has 18 numbered interchanges, starting at 29 (southbound) and continuing downwards to 10 (former Exit 27, an at-grade intersection, was removed, and there is no Exit 11).

{| class=wikitable
|-
!rowspan=2|County
!rowspan=2|Location
!rowspan=2|Mile
!colspan=3|[[exit number|Exit]]
!rowspan=2|Destinations
!rowspan=2|Notes
|-
!colspan=2|Old
!
|-
|rowspan=16|[[Norfolk County, Massachusetts|Norfolk]]
|rowspan=3|[[Braintree, Massachusetts|Braintree]]
|
|
|69
|
|{{jct|state=MA|I|93|dir1=north|US|1|dir2=north|MA|3|dir3=north|city1=Boston}}
|southbound exit and northbound entrance
|-
|
|
|69
|7
|{{jct|state=MA|MA|3|dir1=south|city1=Cape Cod}}
|southbound exit and northbound entrance
|-
|
|
|68
|6
|{{jct|state=MA|MA|37|city1=Holbrook}}
|-
|rowspan=2|[[Randolph, Massachusetts|Randolph]]
|
|
|67
|5
|{{jct|state=MA|MA|28|city1=Milton}}
|split into 5A and 5B
|-
|
|
|66
|4
|{{jct|state=MA|MA|24|dir1=south|city1=Brockton|city2=Fall River}}
|-
|[[Milton, Massachusetts|Milton]]
|2.978
|
|65
|3
|Ponkapoag Trail – [[Houghton's Pond]]
|-
|rowspan=2|[[Canton, Massachusetts|Canton]]
|1.781
|61 60
|64
|2
|{{jct|state=MA|MA|138|city1=Stoughton|city2=Milton}}
|split into 2A and 2B
|-
|
|
|63
|1
|{{jct|state=MA|I|95|dir1=south}} – [[Providence, RI]]
|I-95 joins northbound and leaves southbound; I-93 ends southbound and begins northbound. This interchange has unused ramps and an unused bridge that would have been part of the [[Southwest Corridor (Boston)|Southwest Corridor]] project.
|-
|[[Dedham, Massachusetts|Dedham]]
|
|59
|62
|13
|University Avenue – [[Route 128 Station|MBTA/Amtrak station]]
|-
|[[Westwood, Massachusetts|Westwood]]
|28.553 28.719
|58
|61
|14
|East Street; Canton Street
|-
|rowspan=3|[[Dedham, Massachusetts|Dedham]]
|29.32
|57 56
|60
|15
|{{jct|state=MA|US|1|to2=to|MA|1A|dir1=south|city1=Norwood}}
|split into 15A and 15B
|-
|30.82
|55B 55A
|59
|16
|{{jct|state=MA|MA|109|city1=Westwood}}
|split into 16A and 16B
|-
|32.3
|55
|58
|17
|{{jct|state=MA|MA|135|city1=Needham|city2=Natick}}
|[[Norfolk County Correctional Center]] is in the median of Route 128 located on Route 135.
|-
|rowspan=2|[[Needham, Massachusetts|Needham]]
|32.77
|54A
|57
|18
|Great Plain Avenue – [[Dedham, Massachusetts|Dedham]]; [[West Roxbury, Massachusetts|West Roxbury]]
|-
|35.55
|54 53
|56
|19
|Highland Avenue – [[Newton Highlands, Massachusetts|Newton Highlands]]
|split into 19A and 19B
|-
|[[Wellesley, Massachusetts|Wellesley]]
|36.6
|52 51
|55
|20
|{{jct|state=MA|MA|9|city1=Brookline|city2=Boston|city3=Framingham|city4=Worcester}}
|split into 20A and 20B
|-
|rowspan=21|[[Middlesex County, Massachusetts|Middlesex]]
|rowspan=2|[[Newton, Massachusetts|Newton]]
|
|50 49
|54
|21
|{{jct|state=MA|MA|16|city1=Waban|city2=Wellesley}}
|split into 21A and 21B southbound
|-
|
|
|53
|22
|Grove Street – [[Riverside (MBTA station)|MBTA station]]; [[Auburndale (MA)|Auburndale]]
|-
|rowspan=3|[[Weston, Massachusetts|Weston]]
|
|
|52
|23
|Recreation Road
|northbound exit and entrance
|-
|39.218
|
|51
|24
|{{jct|state=MA|MA|30|city1=Newton|city2=Wayland}}
|-
|
|
|50
|25
|{{jct|state=MA|I|90|name1=[[Massachusetts Turnpike]]|city1=Worcester}}
|-
|rowspan=3|[[Waltham, Massachusetts|Waltham]]
|41.16 41.31
|44 43
|49
|26
|{{jct|state=MA|US|20|city1=Weston}}
|-
|43.09
|42A
|48
|27
|Totten Pond Road; Wyman Street; Winter Street – [[Waltham, Massachusetts|Waltham]]
|split into 27A and 27B northbound
|-
|44.35
|42
|47
|28
|Trapelo Road – [[Belmont, Massachusetts|Belmont]]; [[Lincoln, Massachusetts|Lincoln]]
|split into 28A and 28B northbound
|-
|rowspan=3|[[Lexington, Massachusetts|Lexington]]
|45.22
|41 40
|46
|29
|{{jct|state=MA|MA|2|city1=Arlington|city2=Cambridge|city3=Acton|city4=Fitchburg}}
|split into 29A and 29B
|-
|46.3
|39 38
|45
|30
|{{jct|state=MA|MA|2A|city1=East Lexington|city2=Concord}}, [[Hanscom Field]]
|split into 30A and 30B
|-
|48.5
|37 36
|44
|31
|{{jct|state=MA|MA|4|MA|225|city1=Bedford}}
|split into 31A and 31B
|-
|rowspan=4|[[Burlington, Massachusetts|Burlington]]
|49.87
|35A
|43
|32A
|{{jct|state=MA|US|3|dir1=north|city1=Lowell}}, [[Nashua, NH]]
|US 3 joins northbound and leaves southbound
|-
|
|35
|42
|32B
|[[Middlesex Turnpike (Massachusetts)|Middlesex Turnpike]] – [[Arlington, Massachusetts|Arlington]]
|-
|51.565
|34 33
|41
|33
|{{jct|state=MA|US|3|dir1=south|MA|3A|dab2=northeastern Massachusetts|dir2=north|city1=Winchester|city2=Billerica}}
|split into 33A and 33B; US 3 joins southbound and leaves northbound
|-
|52.44
|32
|40
|34
|Winn Street – [[Woburn, Massachusetts|Woburn]], [[Billerica, Massachusetts|Billerica]]
|-
|rowspan=2|[[Woburn, Massachusetts|Woburn]]
|53.487 53.581
|31 30
|39
|35
|{{jct|state=MA|MA|38|city1=Wilmington}}
|-
|
|
|38
|36
|Washington Street – [[Winchester, Massachusetts|Winchester]]
|-
|rowspan=2|[[Reading, Massachusetts|Reading]]
|55.151
|
|37
|37
|{{jct|state=MA|I|93|city1=Boston}}, [[Concord, NH]]
|split into 37A and 37B
|-
|
|
|36
|38
|{{jct|state=MA|MA|28|city1=Stoneham}}
|split into 38A and 38B
|-
|rowspan=2|[[Wakefield, Massachusetts|Wakefield]]
|57.590
|
|35
|39
|North Avenue – [[Reading, Massachusetts|Reading]]
|-
|58.259 58.416
|
|34
|40
|{{jct|state=MA|MA|129|city1=Wakefield Center|city2=Wilmington}}
|-
|[[Essex County, Massachusetts|Essex]]
|[[Lynnfield, Massachusetts|Lynnfield]]
|59.11
|
|33
|41
|Main Street – [[Lynnfield Center, Massachusetts|Lynnfield Center]]; [[Wakefield, Massachusetts|Wakefield]]
|-
|[[Middlesex County, Massachusetts|Middlesex]]
|[[Wakefield, Massachusetts|Wakefield]]
|60.669
|
|32
|42
|Salem Street
|-
|rowspan=24|[[Essex County, Massachusetts|Essex]]
|[[Lynnfield, Massachusetts|Lynnfield]]
|61.319
|
|31
|43
|Walnut Street – [[Saugus, Massachusetts|Saugus]]; [[Lynn, Massachusetts|Lynn]]
|-
|rowspan=5|[[Peabody, Massachusetts|Peabody]]
|62.701 0.000
|
|30
|44
|{{jct|state=MA|US|1|MA|129|city1=Boston|city2=Danvers}}
|split into 44A and 44B northbound
|-
|2.365
|
|colspan=2|29
|{{jct|state=MA|I|95|dir1=north}} – [[Portsmouth, NH]]
|I-95 joins southbound and leaves northbound
|-
|
|
|colspan=2|28
|Forest Street; Centennial Drive
|Summit Street, an at-grade intersection, was "exit 27"
|-
|
|18
|colspan=2|26
|Lowell Street – [[Salem, Massachusetts|Salem]]
|-
|3.71
|17 16
|colspan=2|25
|{{jct|state=MA|MA|114|city1=Salem|city2=Marblehead|city3=Middleton}}
|split into 25A and 25B
|-
|rowspan=5|[[Danvers, Massachusetts|Danvers]]
|4.42
|15A
|colspan=2|24
|Endicott Street
|-
|5.13
|
|colspan=2|23
|{{jct|state=MA|MA|35|city1=Salem}}
|split into 23N and 23S
|-
|5.73
|
|colspan=2|22
|{{jct|state=MA|MA|62|city1=Beverly|city2=Middleton}}
|split into 22W and 22E northbound
|-
|
|
|colspan=2|21
|Trask Lane – [[Folly Hill, Massachusetts|Folly Hill]]
|northbound exit and entrance
|-
|
|
|colspan=2|21
|Conant Street – Industrial Park
|southbound exit and entrance
|-
|rowspan=3|[[Beverly, Massachusetts|Beverly]]
|7.45
|
|colspan=2|20
|{{jct|state=MA|MA|1A|city1=Hamilton}}
|split into 20A and 20B
|-
|8.100
|
|colspan=2|19
|Sohier Road; Brimbal Avenue – [[Montserrat, Massachusetts|Montserrat]]
|-
|9.329
|
|colspan=2|18
|{{jct|state=MA|MA|22|city1=Essex|city2=Wenham}}
|-
|[[Wenham, Massachusetts|Wenham]]
|11.406
|
|colspan=2|17
|Grapevine Road – [[Beverly Farms, Massachusetts|Beverly Farms]], [[Prides Crossing, Massachusetts|Prides Crossing]]
|-
|rowspan=2|[[Manchester, Massachusetts|Manchester]]
|13.03
|
|colspan=2|16
|Pine Street – [[Magnolia, Massachusetts|Magnolia]]
|-
|14.391
|
|colspan=2|15
|School Street – [[Magnolia, Massachusetts|Magnolia]]
|-
|rowspan=7|[[Gloucester, Massachusetts|Gloucester]]
|17.469
|
|colspan=2|14
|{{jct|state=MA|MA|133|city1=West Gloucester|city2=Essex|city3=Ipswich}}
|-
|18.193
|
|colspan=2|13
|Concord Street – [[Wingaersheek Beach]]
|-
|18.942
|
|colspan=2|12
|Crafts Road – [[Rust Island]]
|-
|
|
|colspan=2|11
|{{jct|state=MA|MA|127|city1=Annisquam|city2=Pigeon Cove}}
|[[Grant Circle (Gloucester, Massachusetts)|Grant Circle]]
|-
|
|
|colspan=2|
|Blackburn Industrial Park Boulevard
|[[Blackburn Circle]]
|-
|21.6
|
|colspan=2|10
|{{jct|state=MA|MA|127|city1=Manchester|city2=Rockport}}
|[[at-grade intersection]]
|-
|21.769
|
|colspan=2|9
|{{jct|state=MA|MA|127A|city1=Bass Rocks|city2=Rockport|city3=Eastern Point}}, State Pier
|[[at-grade intersection]]
|}

==Cultural References==
Two songs by [[Massachusetts]] alternative rock artists, "[[Roadrunner (Jonathan Richman song)|Roadrunner]]" by [[The Modern Lovers]] and "Blue Thunder" by [[Galaxie 500]], prominently feature Route 128 in their lyrics.

==References==
{{Reflist}}

==Bibliography==
* Susan Rosegrant, David R. Lampe, ''Route 128: Lessons from Boston's High-Tech Community,'' Basic Books, 1992, ISBN 0-465-04639-8. The story of the Boston high-tech industry, starting from its 19th-century roots.

==External links==
{{Commons category|Massachusetts Route 128}}
* [http://www.128bc.org/ The Route 128 Business Council]
* http://www.bostonroads.com/roads/MA-128/ - Historical overview
* http://www.route128history.org/ - Links about the region's tech history
* http://www.bambinomusical.com/128 - Includes a "virtual tour" of the highway's early days and construction, as well as movies of the 1951 opening ceremony.

{{Boston Road Transportation|hide}}

{{DEFAULTSORT:128}}
[[Category:Numbered routes in Massachusetts]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:High-technology business districts|Route 128]]
[[Category:U.S. Route 1]]
[[Category:Interstate 95]]
[[Category:Economy of Massachusetts|Route 128]]
[[Category:Freeways in the United States|Massachusetts Route 128]]
[[Category:Braintree, Massachusetts]]
[[Category:Transportation in Norfolk County, Massachusetts]]
[[Category:Transportation in Middlesex County, Massachusetts]]
[[Category:Transportation in Essex County, Massachusetts]]

[[fr:Massachusetts Route 128]]
[[nl:Massachusetts Route 128]]
[[pl:Droga 128]]

Boston South Station

2012-05-24T13:38:22Z

Reify-tech: Partial update; Further updating needed

{{Use mdy dates|date=May 2012}}
{{For|the MBTA subway and bus rapid transit station|South Station (MBTA station)}}
{{Infobox station
| style=
| name= {{MBTA infobox header| title = {{uc:South Station}}| color1=Purple}}
| type=
| image=SouthStation.agr.JPG
| image_size=300px
| image_caption=
| address=700 Atlantic Avenue [[Boston, MA]] 02110
| coordinates =
| line='''[[MBTA Commuter Rail]]''':{{rail color box|system=MBTA|line=Framingham}}{{rail color box|system=MBTA|line=Needham}}{{rail color box|system=MBTA|line=Franklin}}{{rail color box|system=MBTA|line=Providence}}{{rail color box|system=MBTA|line=Fairmount}}{{rail color box|system=MBTA|line=Greenbush}}{{rail color box|system=MBTA|line=Middleborough}}{{rail color box|system=MBTA|line=Plymouth}}'''[[Amtrak]]''':{{rail color box|system=Amtrak|line=Acela Express}}{{rail color box|system=Amtrak|line=Lake Shore Limited}}{{rail color box|system=Amtrak|line=Regional}}
| other={{bus icon|14px|Bus Terminal}} '''[[South Station Bus Terminal|Bus Terminal]] '''[[MBTA Subway]]''' at [[South Station (MBTA subway station)|South Station Under]]''': {{rail color box|system=MBTA|line=Red}}{{rail color box|system=MBTA|line=Silver}}
| platform=7
| parking=privately owned garage
| bicycle=bike lockers
| passengers=
| pass_year=
| pass_percent=
| opened=1899 (Depot)
| rebuilt=1985
| ADA=yes
| code=BOS (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone= 1A (MBTA Commuter Rail only)
| tracks= 13
| mpassengers=
{{rail pass box|system=MBTA|passengers=11.345 million|pass_year=2005|pass_percent=0}}
{{rail pass box|system=Amtrak|passengers=1,360,162<ref>{{cite web |title= Amtrak Fact Sheet, FY2011, Commonwealth of Massachusetts|publisher= [[Amtrak]] |date= December 2011 |url= http://www.amtrak.com/pdf/factsheets/MASSACHUSETTS11.pdf |format= PDF |accessdate=February 4, 2012}}</ref>|pass_year=2011|pass_percent=3.7}}
| baggage_check=Available for [[Lake Shore Limited]] and [[Northeast Regional (Amtrak)|Northeast Regional]]s 66 and 67
| services={{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Acela Express|previous=Back Bay|next=|rows2=3}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Back Bay|next=|hide2=yes}}
{{s-rail-next|title=MBTA Commuter Rail}}
{{s-line|system=MBTA|line=Framingham|previous=Back Bay|next=|rows2=6}}
{{s-line|system=MBTA|line=Needham|previous=Back Bay|next=|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Back Bay|next=|hide2=yes|rowsmid=3}}
{{s-line|system=MBTA|line=Franklin|previous=Uphams Corner|next=|hide2=yes|note=(limited service)|hidemid=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Foxboro|next=|hide2=yes|type=Foxboro|note=(special events)|hidemid=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Back Bay|next=|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Fairmount|previous=Uphams Corner|hide2=yes}}
{{s-line|system=MBTA|line=Greenbush|next=JFK/UMass|rows1=3}}
{{s-line|system=MBTA|line=Middleborough|next=JFK/UMass|type2=Both|hide1=yes}}
{{s-line|system=MBTA|line=Plymouth|next=JFK/UMass|type2=Both|hide1=yes}}
| nrhp=
{{Infobox NRHP | name =South Station Headhouse
| nrhp_type =
| image =
| caption =
| location= [[Boston, Massachusetts]]
| lat_degrees = 42
| lat_minutes = 21
| lat_seconds = 07
| lat_direction = N
| long_degrees = 71
| long_minutes = 03
| long_seconds = 19
| long_direction = W
| coord_display = inline,title
| locmapin = Massachusetts
| built =1899
| architect= Shepley, Rutan & Coolidge; Norcross Bros.
| architecture= Classical Revival
| added = February 13, 1975
| area = {{convert|0.5|acre}}
| governing_body = Local
| refnum = 75000299<ref name="nris">{{NRISref|version=2010a}}</ref>
}}
}}

'''South Station''', New England's second-largest transportation center<ref>{{cite web|url=http://www.pps.org/great_public_spaces/one?public_place_id=116 |title=South Station – Great Public Spaces | Project for Public Spaces |publisher=PPS }}</ref> (after [[Logan International Airport]]), located at the intersection of [[Atlantic Avenue (Boston)|Atlantic Avenue]] and [[Summer Street (Boston)|Summer Street]] in [[Dewey Square]], [[Boston|Boston, Massachusetts]], is the largest train station and intercity bus terminal in [[Greater Boston]], a prominent train station in the northeastern United States and serves as a major [[intermodal passenger transport|intermodal]] domestic transportation hub, with service to the [[Greater Boston]] region and the Midwestern and Northeastern United States.

==Facilities==
South Station's facilities and offerings include:

*The northern terminus of [[Amtrak]]'s [[Northeast Corridor]] train service, including ''[[Acela Express]]'' high-speed trains and ''[[Northeast Regional]]'' local trains. There is also a daily Amtrak train to [[Albany, New York]] and Chicago—the ''[[Lake Shore Limited]]''.
*The city terminus of the southern and western routes of the [[Massachusetts Bay Transportation Authority]] (MBTA) [[MBTA Commuter Rail|commuter rail]] system
*A [[South Station (MBTA subway station)|station stop]] on the Boston subway's [[Red Line (MBTA)|Red Line]] to downtown Boston and its northwestern and southern suburbs.
*The western terminus of Phase 2 of the [[Silver Line (MBTA)|Silver Line]], with direct service to all [[Logan International Airport]] terminals, the [[Boston Convention and Exhibition Center]], the Boston Design center and the Black Falcon Cruise Ship Terminal.
*The eastern terminus of the Silver Line Phase I SL4 line to [[Dudley (MBTA station)|Dudley Station]]
*Local bus service on lines 7, 11, 448, 449, 459
*Parking garage
*Staffed ticket windows
*24-hour baggage assistance
*A 24-hour information booth
*A ClubAcela lounge with several complimentary services, similar to a typical airline lounge at Logan Airport.
*A food court, small shopping variety and waiting area, with typical train station concessions, such as [[Au Bon Pain]], [[McDonald's]] and [[Rosetta Stone (software)|Rosetta Stone]].
*[[Public art]], including a sculpture built of [[coupling (railway)|railroad car coupler]]s and a model of the planet [[Jupiter]], part of the [[Museum of Science, Boston|Museum of Science's]] [[solar system model|scale model of the solar system]]

The station is accessible by the general public 24 hours a day, every day of the year.

===Bus terminal===
Boston's main inter-city bus terminal, the [[South Station Bus Terminal]] is housed in a separate building built over the train platforms along Atlantic Avenue. The bus terminal hosts service by several bus companies to all of [[New England]], New York City, the Mid-Atlantic and [[Montreal]], Canada. It has its own concession area and can be accessed from the Track 1 platform or Atlantic Avenue.

===North Station connections===
Several [[MBTA Commuter Rail|MBTA commuter rail]] lines, plus Amtrak's ''[[Downeaster]]'' service to [[Maine]], originate from [[North Station]], about 1¼ miles (2 km) around the Boston peninsula from South Station. Transfers from North Station to all other Amtrak trains and the MBTA Commuter Rail's [[Providence/Stoughton Line|Providence/Stoughton]], [[Needham Line|Needham]], [[Franklin Line|Franklin]] and [[Framingham/Worcester Line|Framingham/Worcester]] lines may be made at [[Back Bay (MBTA station)|Back Bay]] (a one-seat ride on the [[Orange Line (MBTA)|Orange Line]]); transfers from the [[Fitchburg Line]] to South Station lines can be made at [[Porter (MBTA station)|Porter]] on the Red Line; all other passengers have to change subway trains at either [[Park Street (MBTA station)|Park Street]] or [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations. A [[North-South Rail Link]] is proposed to unify the two halves of the rail system, but as of May 2006 the Commonwealth of Massachusetts has withdrawn its sponsorship of the proposal due to its high cost.{{Citation needed|date=March 2009}} The North-South Rail Link is not mentioned in the MBTA's FY2010–FY2014 Capital Investment Program.<ref>{{cite web|url=http://www.mbta.com/uploadedfiles/About_the_T/Financials/MBTA%20FY10-FY14%20CIP.pdf |title=MBTA Capital Investment Program |format=PDF }}</ref> Currently passenger equipment is transferred between the two halves of the system via the [[Grand Junction Railroad]], which is not used for passenger service.

==Nearby attractions==
*Boston South Postal Annex, with a post office that is almost never closed. (There is a passageway to it at the foot of Track 13.)
*Boston's [[Financial District, Boston, Massachusetts|financial district]] including the [[Federal Reserve Bank Building (Boston)|Federal Reserve Bank Building]]
*[[Boston Children's Museum]]
*[[Boston Tea Party]] Ships & Museum (undergoing renovation, due to reopen in Summer 2012)
*[[Boston Convention and Exhibition Center]], about a 15 minute walk east, or one can take the Silver Line to the [[World Trade Center (MBTA station)|World Trade Center]] stop.
*Boston's [[Chinatown (Boston)|Chinatown]]
*[[Boston Harborwalk]]
*Boston's Theatre District
*[[Massachusetts Turnpike]]
*[[Institute of Contemporary Art, Boston]]
*[[Rose Kennedy Greenway]]
*Rowes Wharf ferry terminal, several blocks north of the station
*[[Tufts University]] medical campus and [[Tufts Medical Center]] hospital

==Accessibility==
*South Station is wheelchair accessible, but finding the elevator to the subway can be a bit tricky (it's in the corridor behind the information booth). There is another elevator directly outside the Dewey Square exit, but that elevator is often locked.
*Other Amtrak stations on the Northeast Corridor are generally accessible.
*Some MBTA commuter rail stations have no wheelchair access and many of those that do have short elevated platforms that only serve one or two cars, on the outbound end of the train. ''See'' [[MBTA accessibility]].

==Ridership==
In the early 1900s, after the station first opened, heavy commuter ridership made it the busiest station in the world. However, massive cutbacks made by the bankrupt New Haven Railroad, and an increase in the popularity of automobile travel later left the station with far fewer riders than at that time.

More recently, ridership has grown considerably, in part due to the reopening of Old Colony commuter rail service and the [[Railway electrification system|electrification]] of the Amtrak Northeast Corridor from New Haven to Boston, which allowed high speed ''Acela'' service.<ref>[http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]</ref>

'''South Station Ridership (passengers/year)'''
{| class="wikitable"
|-
!Service
!1975
!1990
!2001
|-
|Intercity rail
|537,000
|839,000
|1,060,000
|-
|Commuter rail
|2,774,000
|12,000,000
|18,000,000
|-
|Intercity Bus
|n/a
|n/a
|3,000,000
|}

==History==
===Need for a combined station===
{{multiple image
| align = left
| direction = vertical
| image1 = Boston railroad 1880.jpg
| width1 = 200
| alt1 =
| caption1 = Map showing Boston railroad terminals in 1880, before the construction of South Station
| image2 = South Station postcard front.jpg
| width2 = 200
| alt2 =
| caption2 = A view of the Atlantic Avenue Elevated in front of South Station; the elevated station was at far right
| image3 = 4a11367u.jpg
| width3 = 200
| alt3 =
| caption3 = Looking north at the merge of the two approaches, with the two pairs of tracks approaching the lower-level loop at right; the terminal is in the background
}}

When the railroads serving Boston were first laid out and built, each one stopped at its own terminal. The four terminals serving the south-side railroads were as follows:
*The [[New York and New England Railroad]] crossed the [[Fort Point Channel]] from [[South Boston]], just south of the present [[Summer Street Bridge]], and terminated just east of [[Dewey Square]] (right at the north end of today's South Station).
*The [[Old Colony Railroad]] had a long passenger terminal on the east side of [[South Street (Boston)|South Street]], stretching from [[Kneeland Street (Boston)|Kneeland Street]] south to [[Harvard Street (Boston)|Harvard Street]]. This site is now part of the [[South Bay Interchange]], near the South Station bus terminal.
*The [[Boston and Albany Railroad]]'s passenger terminal was in the block bounded by Kneeland Street, [[Beach Street (Boston)|Beach Street]], [[Albany Street (Boston)|Albany Street]] (now [[Surface Artery (Boston)|Surface Artery]]) and [[Lincoln Street (Boston)|Lincoln Street]]. This later became a freight house, and is now a block in [[Chinatown (Boston)|Chinatown]]; the passenger terminal was moved to the west side of [[Utica Street (Boston)|Utica Street]], from Kneeland Street south to a bit past Harvard Street, now part of the [[South Bay Interchange]].
*The [[Boston and Providence Railroad]] continued straight where it now merges with the Boston and Albany, terminating at [[Park Square (Boston)|Park Square]], with the passenger terminal on the south side of [[Providence Street (Boston)|Providence Street]] from [[Columbus Avenue (Boston)|Columbus Avenue]] west about two-thirds of the way to [[Berkeley Street (Boston)|Berkeley Street]].

South Station combined the four terminals in one spot (a [[union station]]).

===Opening===
[[Image:South Station lower level loop.jpg|thumb|200px|The never-used lower-level loop platforms]]
South Station opened as '''South Central Station''' on January 1, 1899 at a cost of $3.6 million (1899 dollars). The architects were [[Shepley, Rutan and Coolidge]] of Boston, with the actual construction undertaken by the engineering firm of Westinghouse, Church, Kerr & Co. It became the busiest station in the country by 1910. A station on the [[Atlantic Avenue Elevated]] served the station from 1901 to 1938; what is now the Red Line subway was extended from [[Park Street (MBTA station)|Park Street]] to South Station in 1913. The train shed, one of the largest in the world, was eliminated in a 1930 renovation due to corrosion from the nearby ocean's salt air.<ref>{{cite web|url=http://books.google.com/books?id=qOIDAAAAMBAJ&pg=PA958&dq=Popular+Science+1930+plane+%22Popular+Mechanics%22&hl=en&ei=_7BlTsWeBYTWgQf9mIiLCg&sa=X&oi=book_result&ct=result&resnum=10&sqi=2&ved=0CE8Q6AEwCQ#v=onepage&q&f=true |title="Razing Rail Depot Tests Skill of Engineers" ''Popular Mechanics'', December 1930 |publisher=Google Books }}</ref> While the station handled 125,000 passengers each day during [[World War II]], after the war passenger rail declined in the U.S. In 1959, the [[Old Colony Railroad]], which served the South Shore and [[Cape Cod]], stopped passenger service. The [[New York, New Haven and Hartford Railroad]] went bankrupt in 1961. South Station was sold to the [[Boston Redevelopment Authority]] (BRA) in 1965. Portions of the station were demolished and the land was used to build the Boston South Postal Annex and the Stone and Webster building.

In the original configuration, two tracks came off each approach to join into a four-track line and then run under the main platforms in a two-track loop. These tracks were never put into service, and later became a [[parking lot]] and [[bowling alley]] for employees.<ref>[http://www.southstation.org/southst.htm ]</ref>

===Renovation===
[[File:South Station Terminal Inside.jpg|thumb|200px|Inside the terminal building, with tracks accessible through the glass doors]]
In 1978, the BRA sold what was left of the station, now on the [[National Register of Historic Places]],<ref name=nris/> to the MBTA, though the BRA retained air rights over the station. Funding was obtained for a major renovation of the station that was completed in 1989. A total of 13 tracks became available, all with high level platforms and some capable of handling 12-car trains. Piers were installed for the eventual construction of an office building and bus station above the tracks. After some delays, an inter-city bus terminal opened in October 1995, replacing one on top of the [[I-93]] [[Dewey Square Tunnel]] diagonally across from the station between Summer Street and Congress Street. The new bus terminal has been called “the best bus facility in the country”{{Citation needed|date=February 2007}} and has direct ramp connections to I-93 and the [[Massachusetts Turnpike]] (though there are two traffic lights in the outbound direction). The renovations, including the bus terminal, cost $195 million (2001 dollars).

The Red Line subway platforms were extended in 1985 to allow six-car trains, and renovated again in 2005 as part of the Silver Line Phase II project, which serves the waterfront and Logan Airport. The Phase II tunnel was constructed in conjunction with Boston's "Big Dig" and was originally referred to as the South Boston Piers Transitway. Phase II opened on Friday, December 17, 2004, with the first route running only to Silver Line Way. A new Phase I Silver Line route, the SL4 was added on October 13, 2009, with a stop across the street from South Station.<ref>{{cite web|url=http://www.mbta.com/about_the_mbta/news_events/?id=18411&month=&year= |title=New Silver line service, MBTA press release, October 13, 2009 |publisher=Mbta.com }}</ref>

==Architecture==

The South Station head house and wings incorporate [[Neoclassical architecture]]. The building’s symmetry and stone façade are common to the style. The granite came from nearby quarries in New England. The main doorways are located in a section that protrudes from the curving shape of the building. The doors are housed under tall arches that give the impression of grandeur while also making the building appear smaller from far away. This visual trick is common in classical buildings and is further amplified by the over-sized windows and large balustrade on the third floor and roof. Above the doorways are classical [[Ionic order]] columns that ostensibly hold up the frieze and pediment. Uncommon for Ionic order columns is the lack of [[Fluting (architecture)]], which is usually used to draw the eye upward, increasing the grandeur of the facade. The numerous projections and recessions on the façade attribute to the planar quality of the building, while also creating interesting shading and lighting patterns on the stone and within the building.

Inside, a [[Coffer|coiffered ceiling]] adorns the terminal and protects travelers from the rain and snow.

Constructed over one hundred years ago, the clock on top of the main head house is the largest remaining hand-wound clock mechanism in New England. The clock is styled after London’s Big Ben and has a 12-foot wide face. The mechanism weighs over 400 pounds. In 2008, the clock underwent a six-week restoration and repair. The clock mechanism was completely disassembled and transported to a nearby workshop where pieces had to be fabricated by hand. The clock, once one of many in the city, is a hallmark of a bygone era—something that commuters rely on to make their trains, and visitors admire for its historical presence. The eagle that sits atop the clock is eight feet wide and weighs over eight tons. The eagle imitates the figurines commonly placed atop classically styled buildings.

The curved shape of the building pushes its presence into the surrounding area, making it much more prominent. This also gives the building a more distinctive and accessible main entrance from Atlantic Avenue, Summer Street, and Dewey Square. A similar concept is also seen in the [[Santa Maria della Pace]] in Rome, Italy. This church didn’t influence South Station, but the designs clearly share the same effects on the immediate area.

In the 1980s, with South Station in disrepair, a great effort began to revitalize the station using Federal funding. The revitalization included two wings that extend from each side of the head house, constructed with granite from the same quarries to provide a consistent appearance. Renovation and expansion was completed in 1989, reinvigorating the area with a vital transportation link and a strong focal point. Office buildings began rising nearby, expanding the downtown area. With the completion of the [[Big Dig]] and the [[Rose Kennedy Greenway]], South Station has become an even more important feature in the area. The Greenway provides a pedestrian-friendly connection between South Station and [[North Station]].

==Future==
Planned system improvements should result in additional passenger traffic. [[Silver Line (MBTA)|Silver Line]] Phase III would build a tunnel connecting South Station with the Silver Line Phase I BRT service to [[Dudley Square]], [[Roxbury, Massachusetts|Roxbury]]. From 2010, no further money is being spent on designing Phase III until some future funding becomes available, placing the project on indefinite hold.<ref>[http://www.mbta.com/uploadedfiles/About_the_T/Environment/2010%20Annual%20Report.pdf Annual Status Report to DEP], July 9, 2010</ref> Currently, those wishing to take the Silver Line to Dudley Square can walk to the Atlantic Avenue side of South Station (by Track 1) and cross Atlantic Avenue to the Silver Line bus stop.

[[T. F. Green Airport (MBTA station)|T. F. Green Airport Station]] in [[Rhode Island]] is complete with limited service. An extension to [[Fall River, Massachusetts|Fall River]] and [[New Bedford, Massachusetts|New Bedford]], Massachusetts is being planned.<ref>http://www.eot.state.ma.us/downloads/SCR_plan040407.pdf </ref>{{update after|date=May 2012}}


A proposed relocation of the Boston General Mail Facility would provide room for the addition of seven new tracks and would allow more MBTA Commuter Rail and Amtrak trains to use the station. In October 2010, the state of Massachusetts was awarded a US$32.5 million grant from the federal government to begin planning for this expansion.<ref>{{cite news |title=Mass. will try to buy Postal Annex to save rail expansion |first=Casey |last=Ross |author2=Noah Bierman |url=http://www.boston.com/news/local/massachusetts/articles/2010/01/08/mass_will_try_to_buy_postal_annex_to_save_rail_expansion/ |newspaper=[[The Boston Globe]] |date=January 8, 2010 |at= |accessdate=August 22, 2010 |trans_title= |quote= |ref= }}</ref><ref>{{cite web |title=Mass. receives funds to upgrade South Station |url=http://www.boston.com/news/local/massachusetts/articles/2010/10/25/mass_receives_funds_to_upgrade_south_station/ |work=The Boston Globe |accessdate=October 26, 2010 |date=October 25, 2010}}</ref><ref>{{cite web |title=State wins $32.5M grant to plan South Station expansion |url=http://www.boston.com/news/local/breaking_news/2010/10/state_wins_325m.html |work=The Boston Globe |accessdate=October 26, 2010 |date=October 25, 2010}}</ref>

==See also==
*[[Atlantic Avenue Elevated]]
*[[Fort Point Channel]]
*[[North Station]]
*[[North-South Rail Link]]
*[[South Station Bus Terminal]]
*[[South Station (MBTA subway station)]]

== References ==
{{reflist|colwidth=30em}}

===Bibliography for architecture section===
*{{cite web |url=http://www.south-station.net/Station-History.htm |title=History of the Station |publisher=South Station LLC |accessdate=March 29, 2012}}
*{{cite web |author=Sorrento, Amanda |title=Boston South Station |publisher=Foundations of America |url=http://foundationsofamerica.com/index.php?option=com_content&view=article&id=413:boston-south-station&catid=56:public-buildings&Itemid=68 |date=November 4, 2010 |accessdate=March 29, 2012}}
*{{cite web |title=South Station |publisher=Project for Public Spaces |accessdate=March 29, 2012 |url=http://www.pps.org/great_public_spaces//one?public_place_id=116# }}
*{{cite web |author=Bierman, Noah |url=http://www.boston.com/news/local/massachusetts/articles/2008/10/15/station_clock_takes_timeout |title=Station Clock Takes Timeout |work=Boston Globe |date=October 14, 2008 |accessdate=March 29, 2012}}
* [http://www.wilrf.us/pdf/work/south_station/South_Station_web.pdf French & Fowler, The Renovation of Boston’s South Station, 2003]

== External links ==
{{commons category|South Station (Boston)}}
{{Amtrak web|BOS|Boston South Station|MASSACHUSETTS}}
*[http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=191 MBTA – Boston South Station]
*{{official website|http://www.south-station.net/}} (with event listings)
*[http://www.trainweb.org/usarail/boston_south.htm Boston South Amtrak Station (USA RailGuide – TrainWeb)]
* [[Google Maps]] [[Google Street View|Street Views]]:
** [http://maps.google.com/?ie=UTF8&ll=42.352606,-71.055386&spn=0.003727,0.013518&z=17&layer=c&cbll=42.352537,-71.055437&panoid=V9fPTxl4KcuuJ_tnoQr5vA&cbp=12,141.76,,0,1.57 Station Building (Atlantic Avenue and Summer Street)]
** [http://maps.google.com/?ie=UTF8&ll=42.351686,-71.05589&spn=0.003727,0.013518&z=17&layer=c&cbll=42.35161,-71.055938&panoid=rigwYgZPQgfEvyffUpsD2w&cbp=12,101.48,,0,-1 South entrance on Atlantic Avenue]
{{National Register of Historic Places}}
[[Category:Amtrak stations in Massachusetts|Boston South]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Bus stations in Massachusetts|Boston South]]
[[Category:Financial District, Boston]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:Railway stations on the National Register of Historic Places in Massachusetts]]
[[Category:Railway stations opened in 1899]]
[[Category:Stations along Boston and Albany Railroad lines|Boston South]]
[[Category:Stations along New York and New England Railroad lines|Boston South]]
[[Category:Stations along New York, New Haven and Hartford Railroad lines|Boston South]]
[[Category:Stations along Old Colony Railroad lines|Boston South]]
[[Category:Transit centers in the United States]]
[[Category:Transportation in Boston, Massachusetts]]
[[Category:Union stations in the United States|South Station]]

[[da:South Station]]
[[fr:South Station]]
[[pl:Boston South Station]]
[[sv:South Station]]
[[zh:南站]]

Boston University Bridge

2012-04-25T02:54:49Z

Reify-tech: Tagged need for article update, since renovation has finished

{{out of date|Date=April 2012}}

{{Infobox Bridge
|bridge_name = Boston University Bridge
|image = Bu-bridge.jpg
|alt = The Boston University bridge and Grand Junction Railroad bridge, seen from the Boston side looking upstream.
|caption = The Boston University bridge and [[Grand Junction Railroad]] bridge, seen from the Boston side looking upstream.
|official_name =
|carries = {{Jct|state=MA|MA|2}}
|crosses = [[Charles River]]
|locale = [[Boston, Massachusetts]] to [[Cambridge, Massachusetts]]
|maint =
|id =
|designer = Andrew Canzanelli
|design = [[Truss bridge]], suspended deck
|material = [[steel]]
|spans =
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}}

The '''Boston University Bridge''' (originally the '''Cottage Farm Bridge'''<ref>Cottage Farm is the name of a neighborhood in Brookline.</ref>), and commonly referred to as the '''BU Bridge''', is a [[steel]] [[truss bridge]] with a suspended deck carrying [[Route 2 (Massachusetts)|Route 2]] over the [[Charles River]], connecting [[Boston]] to [[Cambridge, Massachusetts]]. According to the [[American Association of State Highway and Transportation Officials]] route log, the bridge also carries [[U.S. Route 3]] across the river to its southern terminus at [[U.S. Route 20]] (also known as Commonwealth Avenue). However, the [[Massachusetts Department of Transportation]] does not consider the bridge to be a part of US-3; it continues the route along Memorial Drive in Cambridge until it meets [[Massachusetts Route 2A|Route 2A]] at the end of the [[Harvard Bridge]].

It was renamed for [[Boston University]], which lies at the south end of the bridge, in 1949.<ref name=DCRplan />

==Construction==
The BU Bridge was built in 1928, on a design by Andrew Canzanelli,<ref name=crimaldi /> replacing an 1850s [[drawbridge]]<ref name=DCRplan /> known as the [[Brookline Bridge]].<ref>http://www.communityheritagemaps.com/cambridge_1873/cambridge_1873_zoomify/n.html</ref> Canzanelli also designed the [[John W. Weeks Bridge|Weeks footbridge]] and the first [[Hatch Shell|shell constructed on the Esplanade]].<ref name=crimaldi>{{cite web
|first = Laura
|last = Crimaldi
|author =
|authorlink =
|coauthors =
|title = BU eyesore considered safe
|url = http://news.bostonherald.com/localRegional/view.bg?articleid=1015263
|archiveurl = http://pqasb.pqarchiver.com/bostonherald/access/1315315071.html?dids=1315315071:1315315071&FMT=FT&FMTS=ABS:FT&date=Aug+5%2C+2007&author=LAURA+CRIMALDI&pub=Boston+Herald&edition=&startpage=3&desc=BRIDGE+COLLAPSE+NIGHTMARE
|work =
|publisher = Boston Herald
|location = [[Boston, Massachusetts]]
|page =
|pages =
|language =
|trans_title =
|format =
|doi =
|date = 2007-08-05
|month =
|year =
|archivedate = 2007-08-12
|accessdate = 2009-07-16
|quote =
}}</ref>

The bridge crosses diagonally over an older single-tracked railroad-only bridge carrying the [[Grand Junction Line]], formerly owned by [[CSX Transportation]] but purchased by the [[Commonwealth of Massachusetts]] for the [[MBTA]] in 2010. The long-postponed [[Urban Ring]] mass transit project is expected to include a bridge at or near this location, to carry the planned route across the Charles River.

During the period of planning for the [[Interstate 695 (Massachusetts)|Inner Belt]], the BU Bridge represented the planned crossing point of the highway from Boston to Cambridge. Several plans were discussed for the area; had the expressway been built over the river, the bridge would have been demolished and replaced with a high-level highway overpass, while if the road had been built as a tunnel, the bridge would have been left standing as a crossing for surface route traffic.

== Rehabilitation ==
As of 2008, the bridge deck, including the sidewalks and vehicular surface, were in severe disrepair; the water below was visible through holes in the deck, and the iron stairs leading from [[Storrow Drive]] were rusted through.<ref name=crimaldi /> These deficiencies triggered the bridge to be categorized as "structurally deficient" under the federal NBIS standards. Nevertheless, the main structural elements of the bridge have been determined to be sound.

The approximately twenty million dollar rehabilitation project has been among the first undertaken in the Commonwealth's Accelerated Bridge Program by the bridge owner, the [[Department of Conservation and Recreation]].

As of June 2008, one traffic lane and the west-side sidewalk had been closed so that this work could begin.{{Citation needed|date=October 2008}} The designated alternate route goes over the [[Harvard Bridge]], downstream.<ref name=DCRplan /> The project will be done in 3 phases to keep traffic open throughout construction. The project is expected to wrap up in late November 2011.

The BU Bridge is undergoing the first phase{{update after|2011|7}} of a planned renovation.<ref name=DCRplan>{{cite web
|first =
|last =
|author =
|authorlink =
|coauthors =
|title = Boston University Bridge Rehabilitation Project
|url = http://www.mass.gov/dcr/news/publicmeetings/materials/bubridge7-30-09.pdf
|archiveurl =
|work =
|publisher = Department of Conservation and Recreation
|location = [[Boston, Massachusetts]]
|page =
|pages =
|language =
|trans_title =
|format = pdf
|doi =
|date = 2009-06-30
|month =
|year =
|archivedate =
|accessdate = 2009-07-16
|quote =
}}</ref> The first phase is the replacement of the sidewalk with work being performed by Unified Construction Inc. The design consultant is STV Inc. of Boston.

==See also==
*[[List of crossings of the Charles River]]

==References==
{{reflist}}

==External links==
* {{Structurae|id=s0010280|title=Boston University Bridge}}
* {{Structurae|id=s0010281|title=Charles River Railroad Bridge}}



{{Crossings navbox
|structure = [[List of crossings of the Charles River|Crossings]]
|place = [[Charles River]]
|bridge = Boston University Bridge
|bridge signs = [[Image:MA Route 2.svg|20px]]
|upstream = [[Grand Junction Railroad Bridge]]
|upstream signs = ''Massachusetts Bay Transportation Authority''
|downstream = [[Harvard Bridge]]
|downstream signs = [[Image:MA Route 2A.svg|20px]]
}}

{{Boston Road Transportation}}

[[Category:Bridges in Boston, Massachusetts]]
[[Category:Bridges completed in 1928]]
[[Category:Buildings and structures in Cambridge, Massachusetts]]
[[Category:Bridges in Middlesex County, Massachusetts]]
[[Category:Road bridges in Massachusetts]]

Boston University Bridge

2012-04-25T02:51:28Z

Reify-tech: /* Construction */ Update ownership and status of nearby railroad bridge

{{Infobox Bridge
|bridge_name = Boston University Bridge
|image = Bu-bridge.jpg
|alt = The Boston University bridge and Grand Junction Railroad bridge, seen from the Boston side looking upstream.
|caption = The Boston University bridge and [[Grand Junction Railroad]] bridge, seen from the Boston side looking upstream.
|official_name =
|carries = {{Jct|state=MA|MA|2}}
|crosses = [[Charles River]]
|locale = [[Boston, Massachusetts]] to [[Cambridge, Massachusetts]]
|maint =
|id =
|designer = Andrew Canzanelli
|design = [[Truss bridge]], suspended deck
|material = [[steel]]
|spans =
|pierswater =
|mainspan =
|length =
|width =
|height =
|load =
|clearance =
|below =
|traffic =
|begin =
|complete =
|open = 1928<ref name=DCRplan />
|heritage =
|collapsed =
|preceded =
|followed =
|closed =
|toll =
|coordinates = {{coord|42.35238|-71.11066|type:landmark_scale:5000|display=title,inline}}
|extra ={{Location map | USA Massachusetts
|label =
|label_size =
|alt =
|position = right
|background =
|lon_dir=W
|lat_dir=N
|lat_deg =
|lat_min =
|lat_sec =
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|lat = 42.35238
|long = -71.11066
|mark =
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|border = none
|float =
|width = 250
|caption = 
}}
}}

The '''Boston University Bridge''' (originally the '''Cottage Farm Bridge'''<ref>Cottage Farm is the name of a neighborhood in Brookline.</ref>), and commonly referred to as the '''BU Bridge''', is a [[steel]] [[truss bridge]] with a suspended deck carrying [[Route 2 (Massachusetts)|Route 2]] over the [[Charles River]], connecting [[Boston]] to [[Cambridge, Massachusetts]]. According to the [[American Association of State Highway and Transportation Officials]] route log, the bridge also carries [[U.S. Route 3]] across the river to its southern terminus at [[U.S. Route 20]] (also known as Commonwealth Avenue). However, the [[Massachusetts Department of Transportation]] does not consider the bridge to be a part of US-3; it continues the route along Memorial Drive in Cambridge until it meets [[Massachusetts Route 2A|Route 2A]] at the end of the [[Harvard Bridge]].

It was renamed for [[Boston University]], which lies at the south end of the bridge, in 1949.<ref name=DCRplan />

==Construction==
The BU Bridge was built in 1928, on a design by Andrew Canzanelli,<ref name=crimaldi /> replacing an 1850s [[drawbridge]]<ref name=DCRplan /> known as the [[Brookline Bridge]].<ref>http://www.communityheritagemaps.com/cambridge_1873/cambridge_1873_zoomify/n.html</ref> Canzanelli also designed the [[John W. Weeks Bridge|Weeks footbridge]] and the first [[Hatch Shell|shell constructed on the Esplanade]].<ref name=crimaldi>{{cite web
|first = Laura
|last = Crimaldi
|author =
|authorlink =
|coauthors =
|title = BU eyesore considered safe
|url = http://news.bostonherald.com/localRegional/view.bg?articleid=1015263
|archiveurl = http://pqasb.pqarchiver.com/bostonherald/access/1315315071.html?dids=1315315071:1315315071&FMT=FT&FMTS=ABS:FT&date=Aug+5%2C+2007&author=LAURA+CRIMALDI&pub=Boston+Herald&edition=&startpage=3&desc=BRIDGE+COLLAPSE+NIGHTMARE
|work =
|publisher = Boston Herald
|location = [[Boston, Massachusetts]]
|page =
|pages =
|language =
|trans_title =
|format =
|doi =
|date = 2007-08-05
|month =
|year =
|archivedate = 2007-08-12
|accessdate = 2009-07-16
|quote =
}}</ref>

The bridge crosses diagonally over an older single-tracked railroad-only bridge carrying the [[Grand Junction Line]], formerly owned by [[CSX Transportation]] but purchased by the [[Commonwealth of Massachusetts]] for the [[MBTA]] in 2010. The long-postponed [[Urban Ring]] mass transit project is expected to include a bridge at or near this location, to carry the planned route across the Charles River.

During the period of planning for the [[Interstate 695 (Massachusetts)|Inner Belt]], the BU Bridge represented the planned crossing point of the highway from Boston to Cambridge. Several plans were discussed for the area; had the expressway been built over the river, the bridge would have been demolished and replaced with a high-level highway overpass, while if the road had been built as a tunnel, the bridge would have been left standing as a crossing for surface route traffic.

== Rehabilitation ==
As of 2008, the bridge deck, including the sidewalks and vehicular surface, were in severe disrepair; the water below was visible through holes in the deck, and the iron stairs leading from [[Storrow Drive]] were rusted through.<ref name=crimaldi /> These deficiencies triggered the bridge to be categorized as "structurally deficient" under the federal NBIS standards. Nevertheless, the main structural elements of the bridge have been determined to be sound.

The approximately twenty million dollar rehabilitation project has been among the first undertaken in the Commonwealth's Accelerated Bridge Program by the bridge owner, the [[Department of Conservation and Recreation]].

As of June 2008, one traffic lane and the west-side sidewalk had been closed so that this work could begin.{{Citation needed|date=October 2008}} The designated alternate route goes over the [[Harvard Bridge]], downstream.<ref name=DCRplan /> The project will be done in 3 phases to keep traffic open throughout construction. The project is expected to wrap up in late November 2011.

The BU Bridge is undergoing the first phase{{update after|2011|7}} of a planned renovation.<ref name=DCRplan>{{cite web
|first =
|last =
|author =
|authorlink =
|coauthors =
|title = Boston University Bridge Rehabilitation Project
|url = http://www.mass.gov/dcr/news/publicmeetings/materials/bubridge7-30-09.pdf
|archiveurl =
|work =
|publisher = Department of Conservation and Recreation
|location = [[Boston, Massachusetts]]
|page =
|pages =
|language =
|trans_title =
|format = pdf
|doi =
|date = 2009-06-30
|month =
|year =
|archivedate =
|accessdate = 2009-07-16
|quote =
}}</ref> The first phase is the replacement of the sidewalk with work being performed by Unified Construction Inc. The design consultant is STV Inc. of Boston.

==See also==
*[[List of crossings of the Charles River]]

==References==
{{reflist}}

==External links==
* {{Structurae|id=s0010280|title=Boston University Bridge}}
* {{Structurae|id=s0010281|title=Charles River Railroad Bridge}}



{{Crossings navbox
|structure = [[List of crossings of the Charles River|Crossings]]
|place = [[Charles River]]
|bridge = Boston University Bridge
|bridge signs = [[Image:MA Route 2.svg|20px]]
|upstream = [[Grand Junction Railroad Bridge]]
|upstream signs = ''Massachusetts Bay Transportation Authority''
|downstream = [[Harvard Bridge]]
|downstream signs = [[Image:MA Route 2A.svg|20px]]
}}

{{Boston Road Transportation}}

[[Category:Bridges in Boston, Massachusetts]]
[[Category:Bridges completed in 1928]]
[[Category:Buildings and structures in Cambridge, Massachusetts]]
[[Category:Bridges in Middlesex County, Massachusetts]]
[[Category:Road bridges in Massachusetts]]

Harvard Bridge

2012-04-17T23:00:26Z

Reify-tech: sp

{{Infobox bridge
|bridge_name=Harvard Bridge
|image=Harvard Bridge 20100116.jpg
|caption=Harvard Bridge crossing the frozen [[Charles River]] between [[Cambridge, Massachusetts|Cambridge]] and [[Boston, Massachusetts]]
|official_name=
|carries=[[Massachusetts Route 2A|Route 2A]]
|crosses=[[Charles River]]
|locale=[[Boston, Massachusetts]] to [[Cambridge, Massachusetts]], [[USA]]
|maint=[[Massachusetts Department of Transportation]] (MassDOT)
|id=B160124EYDOTNBI
|material=steel
|design= haunched [[girder bridge]]
|mainspan=
|span=25<ref name=nbi />
|piers=24<ref name=nbi />
|length={{convert|659.82|m|ft|sm|sp=us}}<ref name=structurae>{{Structurae|id=s0008796|title=Harvard Bridge}}</ref> (roadway) 364.4 [[smoot]]s ± one ear (620 m) (sidewalk from Storrow Drive to Cambridge only)
|width= {{convert|21.13|m|ft|sm|sp=us}} (total width)<ref name=structurae /> {{convert|15.8|m|ft|sm|sp=us}} (roadway)<ref name=nbi />
|height=
|load=78.4 metric tons (86.4 short tons)<ref name=nbi />
|clearance=
|below={{convert|3.7|m|sp=us}}<ref name=nbi />
|traffic={{Formatnum:49000}} as of 2005<ref name=nbi>{{cite web|url=http://www.nationalbridges.com/index.php?option=com_lqm&74ee3c81b32703eab25d9990685a4d36=1&task=showResults&query=8&lqm_id=266384&&format=raw&&Itemid=2 | title = Place Name: Boston, Massachusetts; NBI Structure Number: 417208078401120; Facility Carried: Route 2A; Feature Intersected: Charles River |author = [[Department of Conservation and Recreation]] [[National Bridge Inventory]] |year=2012 |publisher =Nationalbridges.com (Alexander Svirsky) |accessdate = 2012-03-28}}</ref>
|begin=1887
|complete=1891
|open=1891-09-01,<ref name=opening>Alger and Matthews, p. 15</ref> 1990
|closed=1983 (temporary closure for repairs)
|toll=
|map_cue=
|map_image=
|map_text=
|map_width=
|coordinates= {{coord|42.35457|-71.09132|scale:10000|display=inline,title|name=Harvard Bridge}}
|extra={{Location map | USA Massachusetts
|label =
|label_size =
|alt =
|position = right
|background =
|lon_dir=W
|lat_dir=N
|lat_deg =
|lat_min =
|lat_sec =
|lon_deg =
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|lon_sec =
|lat = 42.35457
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|border = none
|float =
|width = 250
|caption = 
}}
}}

The '''Harvard Bridge''' (also known locally as the '''MIT Bridge''', the '''Massachusetts Avenue Bridge''', and the '''"Mass. Ave." Bridge''') is a [[steel]] haunched [[girder bridge]] between [[Back Bay, Boston|Back Bay]], [[Boston, Massachusetts|Boston]] to [[Cambridge, Massachusetts|Cambridge]], [[Massachusetts]], [[USA]], carrying [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] ([[Massachusetts Route 2A|Route 2A]]) over the [[Charles River]]. It is the longest bridge over the Charles River at {{convert|659.82|m|sp=us}}.<ref name=structurae /> It is locally known for being measured, inaccurately, in the idiosyncratic unit of length called the [[smoot]].<ref name=haer5 /><ref name=mithistory49 />

After several legislative attempts fraught with antipathy on the part of Boston, it was finally built between 1887 and 1891 with a [[swing bridge|swing span]] by Boston and Cambridge, Massachusetts.<ref name=haer3 /> The bridge was revised over the years until its superstructure was completely replaced in the late 1980s due to unacceptable vibration and the collapse of a similar bridge. The bridge was named for the [[John Harvard (clergyman)|Reverend John Harvard]].<ref name=AM14 />

==Conception==
In the ''Acts of 1874'', the Massachusetts Legislature passed ''Chapters 175 and 314'' to authorize the construction of a bridge between Boston and Cambridge.<ref name=AM5>Alger and Matthews, p. 5</ref> Nothing further happened until 1882, when a follow-up law, ''Acts of 1882, Chapter 155'', with more specifics was enacted. The location was expressed as<ref name=report1892>Alger and Matthews, pp. 5-6</ref>

{{blockquote|''Acts of 1882, Chapter 155, Section 1:'' The cities of Boston and Cambridge are authorized to construct a bridge and avenue across Charles river, from a point on Beacon street, in Boston, to a point in Cambridge, west of the westerly line of the Boston and Albany railroad. ... to the limitation that the line thereof shall not be north-east of a line drawn from the junction of Beacon street and West Chester park, in Boston, to the junction of the harbor line with Front Street, extended, in Cambridge, nor south-west of a line drawn from the junction of Beacon street, Brookline avenue and Brighton avenue, in Boston, to the junction of the Boston and Albany railroad with Putnam avenue, extended, in Cambridge.}}

The bridge was to have a draw with an opening of at least {{convert|38|ft|sp=us}}.<ref name=report1892 /> Boston did not like this Act, mainly because it did not provide for an overhead crossing of the [[Grand Junction Railroad|Grand Junction Branch]] of the [[Boston and Albany Railroad]]. So nothing happened until the Act was amended by ''Acts of 1885, Chapter 129'', which changed the draw to a clear opening of at least {{convert|36|ft|sp=us}} and no more, until the other bridges below the proposed location were required to have a larger opening.<ref name=AM9>Alger and Matthews, p. 9</ref> Still nothing happened, until the City of Cambridge petitioned the Massachusetts Legislature in 1887 to compel Boston to proceed. This resulted in ''Acts of 1887, Chapter 282'', which was mandatory for both cities. It required that each city pay for half the bridge, and allowed Boston to raise up to [[United States dollar|US$]]250,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|250000|1887|r=-4}}}} with inflation{{Inflation-fn|US}}) for this purpose, in excess of its debt limit. This implied an estimated cost of [[United States dollar|US$]]500,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|500000|1887|r=-5}}}} with inflation<ref name=inflation-US />) for the bridge.

The Act authorized a commission to build the bridge. The commission was to consist of the mayors of Boston and Cambridge plus one additional person to be appointed by the mayors. If the mayors failed to appoint a third commissioner, the governor was to do it for them.<ref>Alger and Matthews, pp. 10-12</ref> The mayors of Boston and Cambridge, [[Hugh O'Brien]] and [[William Russell (governor)|William E. Russell]], appointed Leander Greeley of Cambridge as the third commissioner.<ref>Alger and Matthews, p. 13</ref> This changed over time.<ref name=AM31>Alger and Matthews, p. 31</ref>

{| class=wikitable
! Year(s)
! Mayor of Boston
! Mayor of Cambridge
! Third Commissioner
|-
|1887–1888
|[[Hugh O'Brien]]
|[[William E. Russell]]
|rowspan=2|Leander Greeley
|-
|1889–1890
|[[Thomas N. Hart]]
|Henry H. Gilmore
|-
|1891
|[[Nathan Matthews, Jr.]]
|Alpheus B. Alger
|Leander Greeley (died 15 February 1891<ref name=AH30 /> or 16 February 1891<ref>{{cite web
| url =http://news.google.com/newspapers?nid=2249&dat=18910216&id=qnU-AAAAIBAJ&sjid=mVkMAAAAIBAJ&pg=6652,3393706
| title =Recent Deaths
| date =16 February 1891
| month =
| year =
| work =Boston Evening Transcript
| publisher =Boston Transcript Company
| location =[[Boston, Massachusetts]]
| page =2
| archiveurl =
| archivedate =
| deadurl =
| accessdate =17 April 2012
| quote =Mr. Leander Greeley, a prominent master builder of Boston and Cambridge and one of the three Harvard Bridge Comissioners, died this morning. Mr. Greeley, who in health was a man of fine physique, had of late been subject to ailments for which he had sought Florida as a relief. He was an enterprising and public-spirited citizen of Cambridge, where he had often been called by the public to positions of trust. He was also a working member of several benevolent orders. There are man[y] monuments of his skill as a builder in and about Boston, including many churches. The Master Builders' Association will sincerely mourn his loss. He was about sixty years old and leaves a family.
| ref =
| postscript =
}}</ref>) George W. Gale
|}

The expectations of having built the bridge were clear.<ref name=AH30>Alger and Matthews, p. 30</ref>

{{blockquote|The effect that the bridge will have upon both cities is obvious. The low land and marshes on the Cambridge side, formerly almost valueless, have been filled in and have become valuable; and Cambridge is now connected with the choicest residential portions of Boston. The residents of the Back Bay, South End, Roxbury, and other southern sections of Boston are now connected directly, by way of West Chester park and the bridge, with Cambridge, Belmont, Arlington, and adjacent towns; and this thoroughfare in Boston, it is believed, will ultimately be the central one of the city.}}

==Engineering==
The ''Acts of 1887'' declared the bridge to be a wooden pile structure with stone pavement for the first {{convert|200|ft|sp=us}} because the Charles River Embankment extension was expected to take that space, but that was changed such that the whole distance would be of iron spans on stone piers. The general plans were approved on 14 July 1887.<ref name=AM1314>Alger and Matthews, pp.13-14</ref> The engineers were [[William Jackson (engineer)|William Jackson]] (Boston City Engineer), John E. Cheney (assistant Boston City Engineer), Samuel E. Tinkham (assistant engineer), and Nathan S. Brock (assistant engineer at bridge).<ref name=AM32>Alger and Matthews, p.32</ref>

The subsurface conditions at the bridge location are extreme. Much of Boston is underlain with clay, but the situation at the bridge is exacerbated by a fault which roughly follows the path of the Charles River itself. From a depth of approximately {{convert|200|to|300|ft|-1|sp=us}} below existing ground, is a very dense till composed of gravel and boulders with a silt-clay matrix. Above that to approximately {{convert|30|ft|0|sp=us}} below the surface is Boston blue clay (BBC). Over this are thin layers of sand, gravel, and fill. The BBC is [[Consolidation (soil)|overconsolidated]] up to a depth of approximately {{convert|70|ft|-1|sp=us}}.<ref name=haer4 />

The substructure originally consisted of two masonry abutments and twenty-three masonry piers, as well as one pile foundation with a [[fender pier]] for the draw span. The superstructure was originally twenty-three [[cantilever bridge|cantilevered fixed spans]] and suspended spans, of plate girders with one [[Swing bridge|swing span]].<ref name=AM1826>Alger and Matthews, pp. 18-26</ref> The Boston abutment rests on vertical piles, while the Cambridge end is directly on gravel.<ref name=haer4 />

[[File:Harvard Bridge postcard, 1910.jpg|thumb|left|300px|Postcard showing Harvard Bridge looking toward Boston in 1910, from the roof of the Riverbank Court Hotel (now [[List of Massachusetts Institute of Technology undergraduate dormitories|Maseeh Hall]], an MIT dormitory)]]
Originally, the bridge was built across the Charles River connecting West Chester Park, in Boston, with Front Street, in Cambridge. This is now called [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] on both sides of the river. As originally built, the total length between centers of bearings on abutments was {{convert|2164|ft|9|in|m|sp=us}} with a draw {{convert|48|ft|4|in|m|sp=us}} wide between centers. The width of the bridge was {{convert|69|ft|4|in|m|sp=us}} except near and on the draw.<ref name=AM17>Alger and Matthews, p. 17</ref>

The bridge as built was composed of fixed and suspended spans roughly {{convert|75|ft|sp=us}} long and piers {{convert|90|ft|sp=us}} apart, center to center.<ref name=AM18>Alger and Matthews, p. 18</ref> The span lengths alternated between {{convert|75|and|105|ft|sp=us}}. The longer spans were cantilevered, while the shorter spans were suspended between the cantilevers.<ref name=haer4 />

The original roadway contained two lanes for horse-drawn vehicles and two street car tracks, for a total width of {{convert|51.0|ft|sp=us}}. There were also two {{convert|9|ft|2|in|adj=on|sp=us}} sidewalks.<ref name=haer3>HAER, p. 3</ref> The original roadway and sidewalk stringers were of wood, with an approximately {{convert|1.25|in|mm|adj=on|sp=us}} thick covering of asphalt on the sidewalk.<ref name=haer3 />

The exception was at the swing span, which was {{convert|48|ft|sp=us}} wide. This span was approximately {{convert|149|ft|sp=us}} long, and sat on a wooden pier. It was a double-cantilevered, electrically-driven structure also carrying a bridge caretaker's house.<ref name=haer3 />
{{-}}

The bridge opened on 1 September 1891.<ref name=opening /> The original cost of construction to 1 March 1892 was [[United States dollar|US$]]510,642.86.<ref>Alger and Matthews, p. 29</ref> This is equivalent to [[United States dollar|US$]]{{formatnum:{{Inflation|US|510642.86|1891|r=-4}}}} with inflation.<ref name=inflation-US />

==Naming==
[[File:Harvard Bridge postcard 1920ish.jpg|left|thumb|300px|Postcard showing Harvard Bridge and MIT, photographed sometime between 1916 and 1924]]
The bridge was named for the [[John Harvard (clergyman)|Reverend John Harvard]], for whom [[Harvard University]] is also named, rather than after the university itself. Other names suggested included Blaxton, Chester, Shawmut, and Longfellow.<ref name=AM14>Alger and Matthews, p. 14</ref> The structure now called the [[Longfellow Bridge]] opened 15 years later. John Harvard was an early donor to what later became the university; not, as is often assumed, its founder.<ref>{{cite book
| title = John Harvard Facts, Information.
| url = http://www.encyclopedia.com/topic/John_Harvard.aspx
| year=2004
| edition=sixth
| series= Encyclopedia of World Biography
| publisher=The Gale Group Inc.
| accessdate = 2012-03-28
| quote = When Harvard died in 1638 he left half of his estate and his library of classic and theological texts to a college whose operations were overseen by the Great and General Court of the English Colony of Massachusetts Bay. In October of 1636, two years prior to Harvard's death, it was decided by this governing body that funds would be allocated for the establishment of a college especially for the advanced training of ministers for the Congregational Church. Originally called Newton the college's name was changed to Cambridge by 1638 but then ordered changed to 'Harvard' in 1639 following John Harvard's death and subsequent bequest.}}</ref>

Possibly due to its proximity to the bridge, there have been a number of tales reported at [[Massachusetts Institute of Technology|MIT]] as to how the bridge came to be named "Harvard", all apocryphal. The Harvard Bridge was first constructed in 1891. MIT did not move to its current location adjacent to the bridge until 1916.<ref name="Campus">{{cite web|url=http://web.mit.edu/facts/campus.html |title=MIT Facts: The Campus |publisher=MIT |accessdate=28 March 2012 |year=2010}}</ref>
{{-}}

==Maintenance and events==
[[File:Houdini Harvard Bridge 2.jpg|thumb|right|300px|[[Harry Houdini]] jumps from the bridge (1908)]]

In 1898, {{convert|3|ft|adj=on|sp=us}}-wide bicycle lanes were installed next to each curb.<ref name=haer3 /> In 2011 (113 years later), Boston finally connected to these lanes.<ref name=bglanes>{{cite news
| title = Mass. Ave, BU Bridge bike lanes completed
| author =
| first = Johanna
| last = Kaiser
| url = http://www.boston.com/yourtown/news/back_bay/2012/01/mass_ave_bu_bridge_bike_lanes.html
| format =
| agency =
| newspaper = Boston Globe
| publisher = New York Times, Co.
| location = [[New York, New York]]
| isbn =
| issn =
| oclc =
| pmid =
| pmd =
| bibcode =
| doi =
| id =
| date = 6 January 2012
| page =
| pages =
| at =
| accessdate = 20 March 2012
| language =
| trans_title =
| quote = The city installed bike lanes on the northbound and southbound lanes between Huntington Avenue and the Harvard Bridge, connecting them to existing bike lanes, just before the start of the new year.
| archiveurl =
| archivedate =
| deadurl =
| ref =
}}</ref>

According to a marker near the southeast end of the bridge, [[Harry Houdini]] performed one of his "well known escapes" from this bridge on 1 May 1908. Other sources have it as 30 April 1908.<ref name=clinger>{{cite book
|last=Clinger
|first=Julia
|authorlink=
|title=It Happened in Boston
|url=http://books.google.com/books?id=zdWslQ8nn50C&printsec=frontcover#PPA61,M1
|format=
|accessdate=
|edition=1st
|series=It Happened In
|volume=
|date=2007-06-01
|publisher=TwoDot
|location=
|isbn=978-0-7627-4134-2
|pages=61–63
|quote=
|ref=
}}
</ref>

The bridge was declared unsafe in 1909, requiring all of the iron and steel to be replaced. The draw was elevated slightly and the trolley rails were replaced as well.<ref name=nyt1906>{{cite news
| title = Famous Harvard Bridge Unsafe
| url = http://query.nytimes.com/mem/archive-free/pdf?res=9401E7D71731E733A25755C1A9619C946897D6CF
| format = pdf
| work = The New York Times
| date = 1909-07-16
| accessdate = 2012-03-20
| quote=The famous Harvard Bridge connecting Cambridge and Boston was declared to be unsafe in a report made to-day by a commission of Boston and Cambridge engineers, and announcement was made that work would be started on Monday next to strengthen the structure. The commission finds that all of the iron and steel beams of the bridge, which is nearly three-quarters of a mile long, will have to be replaced by new ones, at the same time the draw will be elevated slightly, and new surfacing will be put on. The Boston elevated railway company, which operates its cars across the bridge, is ordered to install new rails and new supports. 
}}</ref>

When the Metropolitan District Commission (MDC) took control of the bridge in 1924, they rebuilt much of the bridge superstructure. They replaced the wooden stringers with steel "I" beams, topped wooden deck elements with concrete and brick, and replaced the street car rails.<ref name=haer3 /> Structural steel hangers replaced wrought iron. The swing span was converted into two {{convert|75|ft|adj=on|sp=us}} fixed spans the same width as the rest of the bridge. The wooden pier was heavily modified with concrete and stone to make it resemble the other piers, increasing the number of stone piers from 23 to 24.<ref name=haer4>HAER, p.4</ref><ref name=tech044>{{cite news
| title = Commonwealth Begins Work on Harvard Bridge
| url = http://tech.mit.edu/archives/VOL_044/TECH_V044_S0154_P005.pdf
| format = pdf
| work = The Tech
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| date = 1924-10-03
| page = 5, col. 4
| accessdate = 2009-04-27
}}</ref>

Heavy traffic at the [[Massachusetts Avenue (Boston)|Mass Ave]] and Memorial Drive intersection on the Cambridge end of the bridge led to the construction of an underpass in 1931. The underpass eliminated the at-grade intersection.<ref name=haer5>HAER, p. 5</ref>

The bridge was often known as the "Xylophone Bridge" because of the sound its wooden decking made when traffic traveled over it. This decking was replaced in 1949 with {{convert|3|in|mm|adj=on|sp=us}} concrete-filled "I-beam lok" grating topped with a {{convert|2.25|in|mm|adj=on|sp=us}} thick bituminous wearing surface. At this time, all bearings were replaced, and the trolley car tracks were removed, as were granite blocks. The trolley car poles were reused for street lights. Ramps between the bridge and the under-construction [[Storrow Drive]] were added.<ref name=haer5 />

The 1924 sidewalk slabs were replaced by precast, prestressed slabs in 1962.<ref name=haer5 /> The fifteen expansion dams were replaced or repaired in 1969.<ref name=haer6>HAER, p.6</ref>

==Engineering study, 1971-1972==
An engineering study was performed by the Metropolitan District Commission (later merged into the [[Department of Conservation and Recreation (Massachusetts)|Department of Conservation and Recreation]]) in 1971-1972 due to complaints by bridge users of excessive vibration.<ref name=haer5 /><ref name=leet2>Leet, phase 2</ref> The bridge was found to be understrength for its load. Before the final study was complete, the recommendation was to place a load limit of {{convert|8|ST|MT|lk=on|sp=us}} per axle and a total of {{convert|15|ST|MT|sp=us}} per vehicle, or to restrict trucks to the interior lanes, where the bridge was stronger. A {{convert|25|ST|MT|adj=on|sp=us}} limit was imposed.<ref name=leet3>Leet, phase 3</ref>

Suggestions made included strengthening the existing structure by adding either struts or plates to make the existing four beams along the length of the bridge into a stiffening truss, or to replace the superstructure with a new one, made of either steel or concrete, which would be up to current standards.<ref name=leet2 /> The recommendation was to replace the superstructure with one weighing approximately the same in order to reuse the piers, which were in good condition.<ref name=leet3 />

The reasoning was that the cost of a new structure could be predicted much more easily than the cost of repairing and reinforcing the existing bridge. The resulting new bridge would be of known materials and quality, such as ductile structural steel rather than brittle wrought iron, and rated at [[AASHO]] HS-20. Repairing the existing structure would leave old wrought iron of uncertain quality and condition standing, and would not bring the design up to (then) current standards.<ref name=leet3 /> Detailed engineering calculations were included.<ref name=leet32>Leet, phase 3, appendices</ref> The price was estimated at 2.5 million to 3 million [[U.S. dollars]]<ref name=leet3 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|2500000|1972|r=-6}}}} to [[United States dollar|US$]]{{formatnum:{{Inflation|US|3000000|1972|r=-6}}}} with inflation<ref name=inflation-US />).

The action taken based on this study was to establish load restrictions on the bridge, {{convert|15|ST|MT|sp=us}} in the outer lanes, {{convert|25|ST|MT|sp=us}} on the inner lanes. This was expanded in 1979 to a flat limit of {{convert|15|ST|MT|sp=us}} on the whole bridge.<ref name=haer8>HAER, p.8</ref>

==Superstructure replacement, 1980s==
After the failure of the [[Mianus River Bridge]] at [[Greenwich, Connecticut]] in 1983, the Harvard Bridge was shut down and inspected because it contained similar elements, specifically the suspended spans.<ref>{{cite news
| last = Keane
| first = Tom
| title = It's the Engineering, Stupid
| work = Boston Globe Magazine
| publisher = [[Boston Globe]]
| date = 2006-09-10
| url = http://www.boston.com/news/globe/magazine/articles/2006/09/10/its_the_engineering_stupid/
| accessdate = 2006-09-11 }}</ref><ref>{{cite news
| agency = [[United Press International]]
| title = AROUND THE NATION; Boston's Harvard Bridge Closed to Heavy Trucks
| work = The New York Times
| publisher =
| date = 1983-07-06
| url = http://www.nytimes.com/1983/07/06/us/around-the-nation-boston-s-harvard-bridge-closed-to-heavy-trucks.html
| accessdate = 2009-04-13 }}</ref> Traffic was restricted to the inner two lanes due to the discovery of two failed hangers on span 14. A few days later, all trucks and buses were banned from the bridge.<ref name=haer8 />

In 1986, a report was published containing the plan to replace the superstructure on the existing supports. Alternatives considered were very similar to the [[#Engineering study, 1971-1972|1972 report]], and were similarly decided.<ref name=replacement7>Replacement, p.7</ref> Structural modifications included an upgrade from four longitudinal girders to six of the same shape, elimination of ramp "B", and replacement of a stairway with a handicapped pedestrian ramp on the Boston end of the bridge.<ref name=replacement>Replacement, p.4</ref>

The historic value of the bridge was considered significant, so the plan was to make the replacement superstructure appear similar, with similar railing and lighting. In order to document the pre-existing structure, a Historic American Engineering Record (HAER) would be prepared.<ref name=replacment11>Replacement, p.11. Note the use of the HAER document throughout this article.</ref>

Ramp "B", from southbound (Boston bound) bridge lanes to eastbound [[Storrow Drive]], caused traffic to merge onto Storrow Drive from the left (high speed) lanes using a short acceleration lane, causing safety issues. The MDC requested elimination of this ramp. Compared to overall bridge traffic of 30,000 vehicles per day, traffic on ramp B was found to be low, approximately 1,500 vehicles per day with a peak of 120 vehicles per hour.<ref name=replacement910>Replacement, page 4-6</ref>

Pier 12 was exhibiting inappropriate movement and was scheduled for reinforcement.<ref name=replacement5>Replacement, page 5</ref>

The work would be done in two phases. Phase 1 would reinforce the downstream side of the bridge to allow MBTA bus traffic, and was expected to take 5 months. Most of this effort would be spent on the underside of the bridge and would not affect existing traffic. Phase 2 would replace the entire superstructure and was expected to take three construction seasons to implement. Cost was estimated to be {{USD|20M}}<ref name=replacement5 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|20000000|1986|r=-6}}}} with inflation<ref name=inflation-US />). Phase 1 finished in 1987, and Phase 2 in 1990.<ref name=globe1990>{{cite news
| title = MASS. AVE. BRIDGE TO REOPEN FOUR LANES AFTER SEVEN YEARS
| curly =
| author = Ronald Rosenberg, Globe Staff
| first =
| last =
| authorlink =
| author2 =
| author3 =
| author4 =
| author5 =
| author6 =
| author7 =
| url =
| format =
| agency =
| work =
| publisher = Boston Globe
| location = Boston, Massachusetts
| isbn =
| issn =
| oclc =
| pmid =
| pmd =
| bibcode =
| doi =
| id =
| date = 1990-09-12
| page = 35 (METRO section)
| pages =
| accessdate = 2009-05-07
| language =
| quote =
| archiveurl =
| archivedate =
}}</ref>

<center>
<gallery caption="Before-and-after images" widths="225px" perrow="2" class="centered">
File:Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston ( Suffolk County, Massachusetts).jpg|Bridge viewed from the upstream Cambridge side in 1985. Construction barrels restricting traffic from the outside lanes, and general wear and tear are visible (click on image to enlarge)
File:Harvard Bridge from Cambridge, 2009.jpg|Roughly the same view, in 2009. Superstructure is in much better shape only 20 years after completion, than the 1985 superstructure was roughly 40 years after its most recent major work.
File:Underside, centerline, 1985.jpg|Underside of the bridge in 1985. Image shows how the bridge was originally built, and later modified, but before the superstructure was replaced.
File:Harvard Bridge, centerline, looking north, 2009.jpg|Underside of the bridge in 2009. Image shows how the replacement superstructure was built, with six longitudinal girders, different bracing, etc.
</gallery>
</center>

==Bridge length measurement==
{{Main|Smoot}}
[[File:Smoot mark 210, east.jpg|200px|thumb|left|Smoot mark 210, east side of the bridge]]
The Harvard Bridge is measured, locally, in ''[[smoot]]s''.

In 1958, members of the [[Lambda Chi Alpha]] fraternity at [[Massachusetts Institute of Technology|MIT]] measured the bridge's eastern sidewalk by carrying or dragging the shortest pledge that year, [[Oliver Smoot]] (who later became president of the [[International Standards Organization]]), end over end.<ref name=haer5 /><ref name=mithistory49>[http://tech.mit.edu/V119/N49/this_week-_49_c.49f.html ''This Month in MIT History'', "The Tech", volume 119, number 49]</ref>

Crossing pedestrians are informed by length markers painted at 10-smoot intervals that the bridge is 364.4 [[smoot]]s long, "plus one ear". The qualifier "plus or minus" was originally intended to express measurement uncertainty,<ref>[[Robert Tavernor|Tavernor, Robert]], ''Smoot’s Ear: the Measure of Humanity'' (Yale University Press, 2007; paperback edition 2008), ISBN 978-0-300-12492-7, Preface</ref> but over the years the words "or minus" have gone missing in many citations, including the markings on the bridge itself.<ref name="stone">{{cite web
| url = http://web.mit.edu/newsoffice/2009/smoot-0604.html
| title = Smoot in Stone
| first =
| last =
| author =
| authorlink =
| coauthors =
| date = 2009-06-04
| work = MIT News
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| accessdate = 2010-07-20
| quote = Specifically noting the bridge's length of 364.4 Smoots (+/- 1 ear), the plaque, a gift of the MIT Class of 1962, honors the prank's 50th anniversary.
}}</ref> The marks are repainted twice each year by members of the fraternity.<ref name=haer5 /><ref>[http://alumweb.mit.edu/classes/1962/techrev/9411.html MIT Tech Review article]</ref>

During the reconstruction in the 1980s, the smoot markings were repainted on the new deck, and the sidewalks were divided into [[smoot]]-length slabs rather than the standard six feet.<ref>{{cite news
| first = David A.
| last = Fahrenthold
| title = The Measure of This Man Is in the Smoot
| url = http://www.washingtonpost.com/wp-dyn/content/article/2005/12/07/AR2005120702328_pf.html
| publisher = The Washington Post
| location = Washington DC
| date = 2005-12-08
| accessdate = 2009-04-20
| language =
| quote = And then there was a little help from the government: When the bridge was renovated about 15 years ago, officials agreed to let the markings stay, even going so far as to score the sidewalk at 5-foot-7 Smoot intervals instead of the usual six-foot ones.
}}</ref> The Cambridge police use the smoot marks as a coordinate system when reporting accidents on the bridge.<ref>{{cite web
| url =http://web.mit.edu/newsoffice/1999/hacks-0901.html
| title =Keyser describes his top five hacks - MIT News Office
| first =Denise
| last =Brehm
| date =1999-09-01
| month =
| year =
| work =MIT News
| publisher =Massachusetts Institute of Technology
| location =[[Cambridge, Massachusetts]]
| page =
| arxiv =
| asin =
| bibcode =
| doi =
| doibroken =
| isbn =
| issn =
| jfm =
| jstor =
| lccn =
| mr =
| oclc =
| ol =
| osti =
| pmc =
| pmid =
| rfc =
| ssrn =
| zbl =
| id =
| archiveurl =
| archivedate =
| accessdate = 2012-03-04
| quote =When the bridge was rebuilt in the 1980s, the Cambridge police requested that the smoots remain because they use them to indicate precise locations in accident reports.
| ref =
| postscript =
}}</ref>

{{-}}

===Length discrepancy===
Given that Smoot was {{convert|5|ft|7|in|m|3|sp=us}} tall in 1958, the given measurement in smoots of 364.4 yields a "bridge length" of about {{convert|620|m|ft|-1|sp=us}}. Published sources<ref name=structurae /><ref name=AM17 /> give the length of the bridge as approximately {{convert|660|m|ft|-1|sp=us}}. The difference in length between the sidewalk markings and the published figure represents a {{convert|40|m|ft|-1|adj=on|sp=us}} discrepancy. 

{{-}}
{{wide image|Harvard_bridge_panorama.jpg|2300px|<center>Panoramic view from Harvard Bridge in the winter, looking east (downstream), with the [[Cambridge, Massachusetts|Cambridge]] shore on the left and the [[Boston]] shore on the right. The [[Longfellow Bridge]] is in the middle of the image, far downstream, with the triangular [[Zakim Bridge]] further behind it.</center>}}

[[Image:Harvard Bridge Art.JPG|thumb|The Harvard Bridge is decorated with both serious and comical statements of art.]]

==See also==
* [[List of crossings of the Charles River]]

==Notes==
:a.{{Note|a}} See the following sections, especially [[#Maintenance and events|Maintenance and events]] and following.

==References==
{{reflist|2}}

==Bibliography==
*(Nationalbridges.com): {{cite web|url=http://www.nationalbridges.com/index.php?option=com_lqm&74ee3c81b32703eab25d9990685a4d36=1&task=showResults&query=8&lqm_id=266384&&format=raw&&Itemid=2 | title = Place Name: Boston, Massachusetts; NBI Structure Number: 417208078401120; Facility Carried: Route 2A; Feature Intersected: Charles River |author = [[Department of Conservation and Recreation]] [[National Bridge Inventory]] |year=2012 |publisher =Nationalbridges.com (Alexander Svirsky) |accessdate = 2012-03-28}} ''Note'': this is a formatted [[Web scraping|scrape]] of the 2009 official website, which can be found here for Massachusetts: {{cite web| url = http://www.fhwa.dot.gov/bridge/nbi/2009/MA09.txt |title = MA09.txt |year = 2009 | publisher = Federal Highway Administration |accessdate = 2009-08-27}}
*{{cite book
|last1=Alger
|first1=Alpheus B.
|last2=Matthews
|first2=Nathan Jr.
|title=Harvard Bridge: Boston to Cambridge, March 1892
|url=http://books.google.com/books?id=1qQJAAAAIAAJ
|format=
|accessdate=2009-04-10
|date=
|origyear=
|year=1892
|month=
|publisher=Rockwell and Churchill
|location=Boston, Massachusetts
|language=
|page=
|pages=
}}
*{{cite book
|author=Historic American Engineering Record (HAER)
|title=Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston, Suffolk County, MA
|url=http://memory.loc.gov/cgi-bin/ampage?collId=pphhdatapage&fileName=ma/ma1200/ma1293/data/hhdatapage.db&title2=Harvard%20Bridge,%20Spanning%20Charles%20River%20at%20Massachusetts%20Avenue,%20Boston,%20Suffolk%20County,%20MA&recNum=0&itemLink=r?pp/PPALL:@field(NUMBER+@(ma1293))
|accessdate=2009-04-23
|year=1987
|publisher=Department of the Interior
|location=Philadelphia, Pennsylvania
|id=http://hdl.loc.gov/loc.pnp/hhh.ma1293
|page=
}}
*(Replacement): {{cite book
|author=[[United States Department of Transportation]], Massachusetts Department of Public Works
|others=
|title=Harvard Bridge/Massachusetts Avenue Bridge over the Charles River, Bridge replacement project, Environmental Assessment
|date= 1986-10-27
|publisher= The Administration
|location=[[Washington, D.C.]]
|language=
|isbn=
|oclc=
|doi=
|bibcode=
|id={{LCC|TG24.M4 H376 1986}}
|page=
|pages=
|nopp=
|chapter=
|chapterurl=
|quote=
|ref=
|laysummary=
|laydate=
|postscript=
|lastauthoramp=
}} Submitted pursuant to 42 U.S.C. 4332 (2) (c), and 23 U.S.C. 128 (a).
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, phase 2 report
|date=1972-07-07
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.2}}
|language=
}}
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, final report phase 3
|date=1972-10
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.3}}
|page=1
|language=
}}

==External links==
* {{Structurae|id=s0008796|title=Harvard Bridge}}
* [http://www.flickr.com/photos/boston_public_library/5143674560/in/set-72157627919338259/ 1895 photo]

{{Crossings navbox
|structure = [[List of crossings of the Charles River|Crossings]]
|place = [[Charles River]]
|bridge = Harvard Bridge
|bridge signs = [[Image:MA Route 2A.svg|20px]]
|upstream = [[Boston University Bridge]]
|upstream signs = [[Image:MA Route 2.svg|20px]]
|downstream = [[Longfellow Bridge]]
|downstream signs = [[Image:MA Route 3.svg|20px]]
}}

{{Boston Road Transportation}}
{{Use dmy dates|date=November 2010}}

[[Category:Bridges completed in 1891]]
[[Category:Bridges in Boston, Massachusetts]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:Landmarks in Cambridge, Massachusetts]]
[[Category:Massachusetts Institute of Technology]]
[[Category:Massachusetts Institute of Technology student life]]
[[Category:Buildings and structures in Cambridge, Massachusetts]]
[[Category:Transportation in Cambridge, Massachusetts]]
[[Category:Bridges in Middlesex County, Massachusetts]]
[[Category:Road bridges in Massachusetts]]

Harvard Bridge

2012-04-09T01:37:54Z

Reify-tech: Improved captions and layout

{{Infobox bridge
|bridge_name=Harvard Bridge
|image=Harvard Bridge 20100116.jpg
|caption=Harvard Bridge crossing the frozen [[Charles River]] between [[Cambridge, Massachusetts|Cambridge]] and [[Boston, Massachusetts]]
|official_name=
|carries=[[Massachusetts Route 2A|Route 2A]]
|crosses=[[Charles River]]
|locale=[[Boston, Massachusetts]] to [[Cambridge, Massachusetts]], [[USA]]
|maint=[[Massachusetts Department of Transportation]] (MassDOT)
|id=B160124EYDOTNBI
|material=steel
|design= haunched [[girder bridge]]
|mainspan=
|span=25<ref name=nbi />
|piers=24<ref name=nbi />
|length={{convert|659.82|m|ft|sm|sp=us}}<ref name=structurae>{{Structurae|id=s0008796|title=Harvard Bridge}}</ref> (roadway) 364.4 [[smoot]]s ± one ear (620 m) (sidewalk from Storrow Drive to Cambridge only)
|width= {{convert|21.13|m|ft|sm|sp=us}} (total width)<ref name=structurae /> {{convert|15.8|m|ft|sm|sp=us}} (roadway)<ref name=nbi />
|height=
|load=78.4 metric tons (86.4 short tons)<ref name=nbi />
|clearance=
|below={{convert|3.7|m|sp=us}}<ref name=nbi />
|traffic={{Formatnum:49000}} as of 2005<ref name=nbi>{{cite web|url=http://www.nationalbridges.com/index.php?option=com_lqm&74ee3c81b32703eab25d9990685a4d36=1&task=showResults&query=8&lqm_id=266384&&format=raw&&Itemid=2 | title = Place Name: Boston, Massachusetts; NBI Structure Number: 417208078401120; Facility Carried: Route 2A; Feature Intersected: Charles River |author = [[Department of Conservation and Recreation]] [[National Bridge Inventory]] |year=2012 |publisher =Nationalbridges.com (Alexander Svirsky) |accessdate = 2012-03-28}}</ref>
|begin=1887
|complete=1891
|open=1891-09-01,<ref name=opening>Alger and Matthews, p. 15</ref> 1990
|closed=1983 (temporary closure for repairs)
|toll=
|map_cue=
|map_image=
|map_text=
|map_width=
|coordinates= {{coord|42.35457|-71.09132|scale:10000|display=inline,title|name=Harvard Bridge}}
|extra={{Location map | USA Massachusetts
|label =
|label_size =
|alt =
|position = right
|background =
|lon_dir=W
|lat_dir=N
|lat_deg =
|lat_min =
|lat_sec =
|lon_deg =
|lon_min =
|lon_sec =
|lat = 42.35457
|long = -71.09132
|mark =
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|border = none
|float =
|width = 250
|caption = 
}}
}}

The '''Harvard Bridge''' (also known locally as the '''MIT Bridge''', the '''Massachusetts Avenue Bridge''', and the '''"Mass. Ave." Bridge''') is a [[steel]] haunched [[girder bridge]] between [[Back Bay, Boston|Back Bay]], [[Boston, Massachusetts|Boston]] to [[Cambridge, Massachusetts|Cambridge]], [[Massachusetts]], [[USA]], carrying [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] ([[Massachusetts Route 2A|Route 2A]]) over the [[Charles River]]. It is the longest bridge over the Charles River at {{convert|659.82|m|sp=us}}.<ref name=structurae /> It is locally known for being measured, inaccurately, in the idiosyncratic unit of length called the [[smoot]].<ref name=haer5 /><ref name=mithistory49 />

After several legislative attempts fraught with antipathy on the part of Boston, it was finally built between 1887 and 1891 with a [[swing bridge|swing span]] by Boston and Cambridge, Massachusetts.<ref name=haer3 /> The bridge was revised over the years until its superstructure was completely replaced in the late 1980s due to unacceptable vibration and the collapse of a similar bridge. The bridge was named for the [[John Harvard (clergyman)|Reverend John Harvard]].<ref name=AM14 />

==Conception==
In the ''Acts of 1874'', the Massachusetts Legislature passed ''Chapters 175 and 314'' to authorize the construction of a bridge between Boston and Cambridge.<ref name=AM5>Alger and Matthews, p. 5</ref> Nothing further happened until 1882, when a follow-up law, ''Acts of 1882, Chapter 155'', with more specifics was enacted. The location was expressed as<ref name=report1892>Alger and Matthews, pp. 5-6</ref>

{{blockquote|''Acts of 1882, Chapter 155, Section 1:'' The cities of Boston and Cambridge are authorized to construct a bridge and avenue across Charles river, from a point on Beacon street, in Boston, to a point in Cambridge, west of the westerly line of the Boston and Albany railroad. ... to the limitation that the line thereof shall not be north-east of a line drawn from the junction of Beacon street and West Chester park, in Boston, to the junction of the harbor line with Front Street, extended, in Cambridge, nor south-west of a line drawn from the junction of Beacon street, Brookline avenue and Brighton avenue, in Boston, to the junction of the Boston and Albany railroad with Putnam avenue, extended, in Cambridge.}}

The bridge was to have a draw with an opening of at least {{convert|38|ft|sp=us}}.<ref name=report1892 /> Boston did not like this Act, mainly because it did not provide for an overhead crossing of the [[Grand Junction Railroad|Grand Junction Branch]] of the [[Boston and Albany Railroad]]. So nothing happened until the Act was amended by ''Acts of 1885, Chapter 129'', which changed the draw to a clear opening of at least {{convert|36|ft|sp=us}} and no more, until the other bridges below the proposed location were required to have a larger opening.<ref name=AM9>Alger and Matthews, p. 9</ref> Still nothing happened, until the City of Cambridge petitioned the Massachusetts Legislature in 1887 to compel Boston to proceed. This resulted in ''Acts of 1887, Chapter 282'', which was mandatory for both cities. It required that each city pay for half the bridge, and allowed Boston to raise up to [[United States dollar|US$]]250,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|250000|1887|r=-4}}}} with inflation{{Inflation-fn|US}}) for this purpose, in excess of its debt limit. This implied an estimated cost of [[United States dollar|US$]]500,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|500000|1887|r=-5}}}} with inflation<ref name=inflation-US />) for the bridge.

The Act authorized a commission to build the bridge. The commission was to consist of the mayors of Boston and Cambridge plus one additional person to be appointed by the mayors. If the mayors failed to appoint a third commissioner, the governor was to do it for them.<ref>Alger and Matthews, pp. 10-12</ref> The mayors of Boston and Cambridge, [[Hugh O'Brien]] and [[William Russell (governor)|William E. Russell]], appointed Leander Greeley of Cambridge as the third commissioner.<ref>Alger and Matthews, p. 13</ref> This changed over time.<ref name=AM31>Alger and Matthews, p. 31</ref>

{| class=wikitable
! Year(s)
! Mayor of Boston
! Mayor of Cambridge
! Third Commissioner
|-
|1887–1888
|[[Hugh O'Brien]]
|[[William E. Russell]]
|rowspan=2|Leander Greeley
|-
|1889–1890
|[[Thomas N. Hart]]
|Henry H. Gilmore
|-
|1891
|[[Nathan Matthews, Jr.]]
|Alpheus B. Alger
|Leander Greeley (died 15 February 1891) George W. Gale
|}

The expectations of having built the bridge were clear.<ref name=AH30>Alger and Matthews, p. 30</ref>

{{blockquote|The effect that the bridge will have upon both cities is obvious. The low land and marshes on the Cambridge side, formerly almost valueless, have been filled in and have become valuable; and Cambridge is now connected with the choicest residential portions of Boston. The residents of the Back Bay, South End, Roxbury, and other southern sections of Boston are now connected directly, by way of West Chester park and the bridge, with Cambridge, Belmont, Arlington, and adjacent towns; and this thoroughfare in Boston, it is believed, will ultimately be the central one of the city.}}

==Engineering==
The ''Acts of 1887'' declared the bridge to be a wooden pile structure with stone pavement for the first {{convert|200|ft|sp=us}} because the Charles River Embankment extension was expected to take that space, but that was changed such that the whole distance would be of iron spans on stone piers. The general plans were approved on 14 July 1887.<ref name=AM1314>Alger and Matthews, pp.13-14</ref> The engineers were [[William Jackson (engineer)|William Jackson]] (Boston City Engineer), John E. Cheney (assistant Boston City Engineer), Samuel E. Tinkham (assistant engineer), and Nathan S. Brock (assistant engineer at bridge).<ref name=AM32>Alger and Matthews, p.32</ref>

The subsurface conditions at the bridge location are extreme. Much of Boston is underlain with clay, but the situation at the bridge is exacerbated by a fault which roughly follows the path of the Charles River itself. From a depth of approximately {{convert|200|to|300|ft|-1|sp=us}} below existing ground, is a very dense till composed of gravel and boulders with a silt-clay matrix. Above that to approximately {{convert|30|ft|0|sp=us}} below the surface is Boston blue clay (BBC). Over this are thin layers of sand, gravel, and fill. The BBC is [[Consolidation (soil)|overconsolidated]] up to a depth of approximately {{convert|70|ft|-1|sp=us}}.<ref name=haer4 />

The substructure originally consisted of two masonry abutments and twenty-three masonry piers, as well as one pile foundation with a [[fender pier]] for the draw span. The superstructure was originally twenty-three [[cantilever bridge|cantilevered fixed spans]] and suspended spans, of plate girders with one [[Swing bridge|swing span]].<ref name=AM1826>Alger and Matthews, pp. 18-26</ref> The Boston abutment rests on vertical piles, while the Cambridge end is directly on gravel.<ref name=haer4 />

[[File:Harvard Bridge postcard, 1910.jpg|thumb|left|300px|Postcard showing Harvard Bridge looking toward Boston in 1910, from the roof of the Riverbank Court Hotel (now [[List of Massachusetts Institute of Technology undergraduate dormitories|Maseeh Hall]], an MIT dormitory)]]
Originally, the bridge was built across the Charles River connecting West Chester Park, in Boston, with Front Street, in Cambridge. This is now called [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] on both sides of the river. As originally built, the total length between centers of bearings on abutments was {{convert|2164|ft|9|in|m|sp=us}} with a draw {{convert|48|ft|4|in|m|sp=us}} wide between centers. The width of the bridge was {{convert|69|ft|4|in|m|sp=us}} except near and on the draw.<ref name=AM17>Alger and Matthews, p. 17</ref>

The bridge as built was composed of fixed and suspended spans roughly {{convert|75|ft|sp=us}} long and piers {{convert|90|ft|sp=us}} apart, center to center.<ref name=AM18>Alger and Matthews, p. 18</ref> The span lengths alternated between {{convert|75|and|105|ft|sp=us}}. The longer spans were cantilevered, while the shorter spans were suspended between the cantilevers.<ref name=haer4 />

The original roadway contained two lanes for horse-drawn vehicles and two street car tracks, for a total width of {{convert|51.0|ft|sp=us}}. There were also two {{convert|9|ft|2|in|adj=on|sp=us}} sidewalks.<ref name=haer3>HAER, p. 3</ref> The original roadway and sidewalk stringers were of wood, with an approximately {{convert|1.25|in|mm|adj=on|sp=us}} thick covering of asphalt on the sidewalk.<ref name=haer3 />

The exception was at the swing span, which was {{convert|48|ft|sp=us}} wide. This span was approximately {{convert|149|ft|sp=us}} long, and sat on a wooden pier. It was a double-cantilevered, electrically-driven structure also carrying a bridge caretaker's house.<ref name=haer3 />
{{-}}

The bridge opened on 1 September 1891.<ref name=opening /> The original cost of construction to 1 March 1892 was [[United States dollar|US$]]510,642.86.<ref>Alger and Matthews, p. 29</ref> This is equivalent to [[United States dollar|US$]]{{formatnum:{{Inflation|US|510642.86|1891|r=-4}}}} with inflation.<ref name=inflation-US />

==Naming==
[[File:Harvard Bridge postcard 1920ish.jpg|left|thumb|300px|Postcard showing Harvard Bridge and MIT, photographed sometime between 1916 and 1924]]
The bridge was named for the [[John Harvard (clergyman)|Reverend John Harvard]], for whom [[Harvard University]] is also named, rather than after the university itself. Other names suggested included Blaxton, Chester, Shawmut, and Longfellow.<ref name=AM14>Alger and Matthews, p. 14</ref> The structure now called the [[Longfellow Bridge]] opened 15 years later. John Harvard was an early donor to what later became the university; not, as is often assumed, its founder.<ref>{{cite book
| title = John Harvard Facts, Information.
| url = http://www.encyclopedia.com/topic/John_Harvard.aspx
| year=2004
| edition=sixth
| series= Encyclopedia of World Biography
| publisher=The Gale Group Inc.
| accessdate = 2012-03-28
| quote = When Harvard died in 1638 he left half of his estate and his library of classic and theological texts to a college whose operations were overseen by the Great and General Court of the English Colony of Massachusetts Bay. In October of 1636, two years prior to Harvard's death, it was decided by this governing body that funds would be allocated for the establishment of a college especially for the advanced training of ministers for the Congregational Church. Originally called Newton the college's name was changed to Cambridge by 1638 but then ordered changed to 'Harvard' in 1639 following John Harvard's death and subsequent bequest.}}</ref>

Possibly due to its proximity to the bridge, there have been a number of tales reported at [[Massachusetts Institute of Technology|MIT]] as to how the bridge came to be named "Harvard", all apocryphal. The Harvard Bridge was first constructed in 1891. MIT did not move to its current location adjacent to the bridge until 1916.<ref name="Campus">{{cite web|url=http://web.mit.edu/facts/campus.html |title=MIT Facts: The Campus |publisher=MIT |accessdate=28 March 2012 |year=2010}}</ref>
{{-}}

==Maintenance and events==
[[File:Houdini Harvard Bridge 2.jpg|thumb|right|300px|[[Harry Houdini]] jumps from the bridge (1908)]]

In 1898, {{convert|3|ft|adj=on|sp=us}}-wide bicycle lanes were installed next to each curb.<ref name=haer3 /> In 2011 (113 years later), Boston finally connected to these lanes.<ref name=bglanes>{{cite news
| title = Mass. Ave, BU Bridge bike lanes completed
| author =
| first = Johanna
| last = Kaiser
| url = http://www.boston.com/yourtown/news/back_bay/2012/01/mass_ave_bu_bridge_bike_lanes.html
| format =
| agency =
| newspaper = Boston Globe
| publisher = New York Times, Co.
| location = [[New York, New York]]
| isbn =
| issn =
| oclc =
| pmid =
| pmd =
| bibcode =
| doi =
| id =
| date = 6 January 2012
| page =
| pages =
| at =
| accessdate = 20 March 2012
| language =
| trans_title =
| quote = The city installed bike lanes on the northbound and southbound lanes between Huntington Avenue and the Harvard Bridge, connecting them to existing bike lanes, just before the start of the new year.
| archiveurl =
| archivedate =
| deadurl =
| ref =
}}</ref>

According to a marker near the southeast end of the bridge, [[Harry Houdini]] performed one of his "well known escapes" from this bridge on 1 May 1908. Other sources have it as 30 April 1908.<ref name=clinger>{{cite book
|last=Clinger
|first=Julia
|authorlink=
|title=It Happened in Boston
|url=http://books.google.com/books?id=zdWslQ8nn50C&printsec=frontcover#PPA61,M1
|format=
|accessdate=
|edition=1st
|series=It Happened In
|volume=
|date=2007-06-01
|publisher=TwoDot
|location=
|isbn=978-0-7627-4134-2
|pages=61–63
|quote=
|ref=
}}
</ref>

The bridge was declared unsafe in 1909, requiring all of the iron and steel to be replaced. The draw was elevated slightly and the trolley rails were replaced as well.<ref name=nyt1906>{{cite news
| title = Famous Harvard Bridge Unsafe
| url = http://query.nytimes.com/mem/archive-free/pdf?res=9401E7D71731E733A25755C1A9619C946897D6CF
| format = pdf
| work = The New York Times
| date = 1909-07-16
| accessdate = 2012-03-20
| quote=The famous Harvard Bridge connecting Cambridge and Boston was declared to be unsafe in a report made to-day by a commission of Boston and Cambridge engineers, and announcement was made that work would be started on Monday next to strengthen the structure. The commission finds that all of the iron and steel beams of the bridge, which is nearly three-quarters of a mile long, will have to be replaced by new ones, at the same timethe draw will be elevated slightly, and new surfacing will be put on. The Boston elevated railway company, which operates its cars across the bridge, is ordered to install new rails and new supports. 
}}</ref>

When the Metropolitan District Commission (MDC) took control of the bridge in 1924, they rebuilt much of the bridge superstructure. They replaced the wooden stringers with steel "I" beams, topped wooden deck elements with concrete and brick, and replaced the street car rails.<ref name=haer3 /> Structural steel hangers replaced wrought iron. The swing span was converted into two {{convert|75|ft|adj=on|sp=us}} fixed spans the same width as the rest of the bridge. The wooden pier was heavily modified with concrete and stone to make it resemble the other piers, increasing the number of stone piers from 23 to 24.<ref name=haer4>HAER, p.4</ref><ref name=tech044>{{cite news
| title = Commonwealth Begins Work on Harvard Bridge
| url = http://tech.mit.edu/archives/VOL_044/TECH_V044_S0154_P005.pdf
| format = pdf
| work = The Tech
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| date = 1924-10-03
| page = 5, col. 4
| accessdate = 2009-04-27
}}</ref>

Heavy traffic at the [[Massachusetts Avenue (Boston)|Mass Ave]] and Memorial Drive intersection on the Cambridge end of the bridge led to the construction of an underpass in 1931. The underpass eliminated the at-grade intersection.<ref name=haer5>HAER, p. 5</ref>

The bridge was often known as the "Xylophone Bridge" because of the sound its wooden decking made when traffic traveled over it. This decking was replaced in 1949 with {{convert|3|in|mm|adj=on|sp=us}} concrete-filled "I-beam lok" grating topped with a {{convert|2.25|in|mm|adj=on|sp=us}} thick bituminous wearing surface. At this time, all bearings were replaced, and the trolley car tracks were removed, as were granite blocks. The trolley car poles were reused for street lights. Ramps between the bridge and the under-construction [[Storrow Drive]] were added.<ref name=haer5 />

The 1924 sidewalk slabs were replaced by precast, prestressed slabs in 1962.<ref name=haer5 /> The fifteen expansion dams were replaced or repaired in 1969.<ref name=haer6>HAER, p.6</ref>

==Engineering study, 1971-1972==
An engineering study was performed by the Metropolitan District Commission (later merged into the [[Department of Conservation and Recreation (Massachusetts)|Department of Conservation and Recreation]]) in 1971-1972 due to complaints by bridge users of excessive vibration.<ref name=haer5 /><ref name=leet2>Leet, phase 2</ref> The bridge was found to be understrength for its load. Before the final study was complete, the recommendation was to place a load limit of {{convert|8|ST|MT|lk=on|sp=us}} per axle and a total of {{convert|15|ST|MT|sp=us}} per vehicle, or to restrict trucks to the interior lanes, where the bridge was stronger. A {{convert|25|ST|MT|adj=on|sp=us}} limit was imposed.<ref name=leet3>Leet, phase 3</ref>

Suggestions made included strengthening the existing structure by adding either struts or plates to make the existing four beams along the length of the bridge into a stiffening truss, or to replace the superstructure with a new one, made of either steel or concrete, which would be up to current standards.<ref name=leet2 /> The recommendation was to replace the superstructure with one weighing approximately the same in order to reuse the piers, which were in good condition.<ref name=leet3 />

The reasoning was that the cost of a new structure could be predicted much more easily than the cost of repairing and reinforcing the existing bridge. The resulting new bridge would be of known materials and quality, such as ductile structural steel rather than brittle wrought iron, and rated at [[AASHO]] HS-20. Repairing the existing structure would leave old wrought iron of uncertain quality and condition standing, and would not bring the design up to (then) current standards.<ref name=leet3 /> Detailed engineering calculations were included.<ref name=leet32>Leet, phase 3, appendices</ref> The price was estimated at 2.5 million to 3 million [[U.S. dollars]]<ref name=leet3 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|2500000|1972|r=-6}}}} to [[United States dollar|US$]]{{formatnum:{{Inflation|US|3000000|1972|r=-6}}}} with inflation<ref name=inflation-US />).

The action taken based on this study was to establish load restrictions on the bridge, {{convert|15|ST|MT|sp=us}} in the outer lanes, {{convert|25|ST|MT|sp=us}} on the inner lanes. This was expanded in 1979 to a flat limit of {{convert|15|ST|MT|sp=us}} on the whole bridge.<ref name=haer8>HAER, p.8</ref>

==Superstructure replacement, 1980s==
After the failure of the [[Mianus River Bridge]] at [[Greenwich, Connecticut]] in 1983, the Harvard Bridge was shut down and inspected because it contained similar elements, specifically the suspended spans.<ref>{{cite news
| last = Keane
| first = Tom
| title = It's the Engineering, Stupid
| work = Boston Globe Magazine
| publisher = [[Boston Globe]]
| date = 2006-09-10
| url = http://www.boston.com/news/globe/magazine/articles/2006/09/10/its_the_engineering_stupid/
| accessdate = 2006-09-11 }}</ref><ref>{{cite news
| agency = [[United Press International]]
| title = AROUND THE NATION; Boston's Harvard Bridge Closed to Heavy Trucks
| work = The New York Times
| publisher =
| date = 1983-07-06
| url = http://www.nytimes.com/1983/07/06/us/around-the-nation-boston-s-harvard-bridge-closed-to-heavy-trucks.html
| accessdate = 2009-04-13 }}</ref> Traffic was restricted to the inner two lanes due to the discovery of two failed hangers on span 14. A few days later, all trucks and buses were banned from the bridge.<ref name=haer8 />

In 1986, a report was published containing the plan to replace the superstructure on the existing supports. Alternatives considered were very similar to the [[#Engineering study, 1971-1972|1972 report]], and were similarly decided.<ref name=replacement7>Replacement, p.7</ref> Structural modifications included an upgrade from four longitudinal girders to six of the same shape, elimination of ramp "B", and replacement of a stairway with a handicapped pedestrian ramp on the Boston end of the bridge.<ref name=replacement>Replacement, p.4</ref>

The historic value of the bridge was considered significant, so the plan was to make the replacement superstructure appear similar, with similar railing and lighting. In order to document the pre-existing structure, a Historic American Engineering Record (HAER) would be prepared.<ref name=replacment11>Replacement, p.11. Note the use of the HAER document throughout this article.</ref>

Ramp "B", from southbound (Boston bound) bridge lanes to eastbound [[Storrow Drive]], caused traffic to merge onto Storrow Drive from the left (high speed) lanes using a short acceleration lane, causing safety issues. The MDC requested elimination of this ramp. Compared to overall bridge traffic of 30,000 vehicles per day, traffic on ramp B was found to be low, approximately 1,500 vehicles per day with a peak of 120 vehicles per hour.<ref name=replacement910>Replacement, page 4-6</ref>

Pier 12 was exhibiting inappropriate movement and was scheduled for reinforcement.<ref name=replacement5>Replacement, page 5</ref>

The work would be done in two phases. Phase 1 would reinforce the downstream side of the bridge to allow MBTA bus traffic, and was expected to take 5 months. Most of this effort would be spent on the underside of the bridge and would not affect existing traffic. Phase 2 would replace the entire superstructure and was expected to take three construction seasons to implement. Cost was estimated to be {{USD|20M}}<ref name=replacement5 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|20000000|1986|r=-6}}}} with inflation<ref name=inflation-US />). Phase 1 finished in 1987, and Phase 2 in 1990.<ref name=globe1990>{{cite news
| title = MASS. AVE. BRIDGE TO REOPEN FOUR LANES AFTER SEVEN YEARS
| curly =
| author = Ronald Rosenberg, Globe Staff
| first =
| last =
| authorlink =
| author2 =
| author3 =
| author4 =
| author5 =
| author6 =
| author7 =
| url =
| format =
| agency =
| work =
| publisher = Boston Globe
| location = Boston, Massachusetts
| isbn =
| issn =
| oclc =
| pmid =
| pmd =
| bibcode =
| doi =
| id =
| date = 1990-09-12
| page = 35 (METRO section)
| pages =
| accessdate = 2009-05-07
| language =
| quote =
| archiveurl =
| archivedate =
}}</ref>

<center>
<gallery caption="Before-and-after images" widths="225px" perrow="2" class="centered">
File:Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston ( Suffolk County, Massachusetts).jpg|Bridge viewed from the upstream Cambridge side in 1985. Construction barrels restricting traffic from the outside lanes, and general wear and tear are visible (click on image to enlarge)
File:Harvard Bridge from Cambridge, 2009.jpg|Roughly the same view, in 2009. Superstructure is in much better shape only 20 years after completion, than the 1985 superstructure was roughly 40 years after its most recent major work.
File:Underside, centerline, 1985.jpg|Underside of the bridge in 1985. Image shows how the bridge was originally built and modified later, but before the superstructure was replaced.
File:Harvard Bridge, centerline, looking north, 2009.jpg|Underside of the bridge in 2009. Image shows how the replacement superstructure was built, with 6 longitudinal girders and different bracing, etc.
</gallery>
</center>

==Bridge length measurement==
{{Main|Smoot}}
[[File:Smoot mark 210, east.jpg|200px|thumb|left|Smoot mark 210, east side of the bridge]]
The Harvard Bridge is measured, locally, in ''[[smoot]]s''.

In 1958, members of the [[Lambda Chi Alpha]] fraternity at [[Massachusetts Institute of Technology|MIT]] measured the bridge's eastern sidewalk by carrying or dragging the shortest pledge that year, [[Oliver Smoot]] (who later became president of the [[International Standards Organization]]), end over end.<ref name=haer5 /><ref name=mithistory49>[http://tech.mit.edu/V119/N49/this_week-_49_c.49f.html ''This Month in MIT History'', "The Tech", volume 119, number 49]</ref>

Crossing pedestrians are informed by length markers painted at 10-smoot intervals that the bridge is 364.4 [[smoot]]s long, "plus one ear". The qualifier "plus or minus" was originally intended to express measurement uncertainty,<ref>[[Robert Tavernor|Tavernor, Robert]], ''Smoot’s Ear: the Measure of Humanity'' (Yale University Press, 2007; paperback edition 2008), ISBN 978-0-300-12492-7, Preface</ref> but over the years the words "or minus" have gone missing in many citations, including the markings on the bridge itself.<ref name="stone">{{cite web
| url = http://web.mit.edu/newsoffice/2009/smoot-0604.html
| title = Smoot in Stone
| first =
| last =
| author =
| authorlink =
| coauthors =
| date = 2009-06-04
| work = MIT News
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| accessdate = 2010-07-20
| quote = Specifically noting the bridge's length of 364.4 Smoots (+/- 1 ear), the plaque, a gift of the MIT Class of 1962, honors the prank's 50th anniversary.
}}</ref> The marks are repainted twice each year by members of the fraternity.<ref name=haer5 /><ref>[http://alumweb.mit.edu/classes/1962/techrev/9411.html MIT Tech Review article]</ref>

During the reconstruction in the 1980s, the smoot markings were repainted on the new deck, and the sidewalks were divided into [[smoot]]-length slabs rather than the standard six feet.<ref>{{cite news
| first = David A.
| last = Fahrenthold
| title = The Measure of This Man Is in the Smoot
| url = http://www.washingtonpost.com/wp-dyn/content/article/2005/12/07/AR2005120702328_pf.html
| publisher = The Washington Post
| location = Washington DC
| date = 2005-12-08
| accessdate = 2009-04-20
| language =
| quote = And then there was a little help from the government: When the bridge was renovated about 15 years ago, officials agreed to let the markings stay, even going so far as to score the sidewalk at 5-foot-7 Smoot intervals instead of the usual six-foot ones.
}}</ref> The Cambridge police use the smoot marks as a coordinate system when reporting accidents on the bridge.<ref>{{cite web
| url =http://web.mit.edu/newsoffice/1999/hacks-0901.html
| title =Keyser describes his top five hacks - MIT News Office
| first =Denise
| last =Brehm
| date =1999-09-01
| month =
| year =
| work =MIT News
| publisher =Massachusetts Institute of Technology
| location =[[Cambridge, Massachusetts]]
| page =
| arxiv =
| asin =
| bibcode =
| doi =
| doibroken =
| isbn =
| issn =
| jfm =
| jstor =
| lccn =
| mr =
| oclc =
| ol =
| osti =
| pmc =
| pmid =
| rfc =
| ssrn =
| zbl =
| id =
| archiveurl =
| archivedate =
| accessdate = 2012-03-04
| quote =When the bridge was rebuilt in the 1980s, the Cambridge police requested that the smoots remain because they use them to indicate precise locations in accident reports.
| ref =
| postscript =
}}</ref>

{{-}}

===Length discrepancy===
Given that Smoot was {{convert|5|ft|7|in|m|3|sp=us}} tall in 1958, the given measurement in smoots of 364.4 yields a "bridge length" of about {{convert|620|m|ft|-1|sp=us}}. Published sources<ref name=structurae /><ref name=AM17 /> give the length of the bridge as approximately {{convert|660|m|ft|-1|sp=us}}. The difference in length between the sidewalk markings and the published figure represents a {{convert|40|m|ft|-1|adj=on|sp=us}} discrepancy. 

{{-}}
{{wide image|Harvard_bridge_panorama.jpg|2300px|<center>Panoramic view from Harvard Bridge in the winter, looking east (downstream), with the [[Cambridge, Massachusetts|Cambridge]] shore on the left and the [[Boston]] shore on the right. The [[Longfellow Bridge]] is in the middle of the image, far downstream, with the triangular [[Zakim Bridge]] further behind it.</center>}}

[[Image:Harvard Bridge Art.JPG|thumb|The Harvard Bridge is decorated with both serious and comical statements of art.]]

==See also==
* [[List of crossings of the Charles River]]

==Notes==
:a.{{Note|a}} See the following sections, especially [[#Maintenance and events|Maintenance and events]] and following.

==References==
{{reflist|2}}

==Bibliography==
*(Nationalbridges.com): {{cite web|url=http://www.nationalbridges.com/index.php?option=com_lqm&74ee3c81b32703eab25d9990685a4d36=1&task=showResults&query=8&lqm_id=266384&&format=raw&&Itemid=2 | title = Place Name: Boston, Massachusetts; NBI Structure Number: 417208078401120; Facility Carried: Route 2A; Feature Intersected: Charles River |author = [[Department of Conservation and Recreation]] [[National Bridge Inventory]] |year=2012 |publisher =Nationalbridges.com (Alexander Svirsky) |accessdate = 2012-03-28}} ''Note'': this is a formatted [[Web scraping|scrape]] of the 2009 official website, which can be found here for Massachusetts: {{cite web| url = http://www.fhwa.dot.gov/bridge/nbi/2009/MA09.txt |title = MA09.txt |year = 2009 | publisher = Federal Highway Administration |accessdate = 2009-08-27}}
*{{cite book
|last1=Alger
|first1=Alpheus B.
|last2=Matthews
|first2=Nathan Jr.
|title=Harvard Bridge: Boston to Cambridge, March 1892
|url=http://books.google.com/books?id=1qQJAAAAIAAJ
|format=
|accessdate=2009-04-10
|date=
|origyear=
|year=1892
|month=
|publisher=Rockwell and Churchill
|location=Boston, Massachusetts
|language=
|page=
|pages=
}}
*{{cite book
|author=Historic American Engineering Record (HAER)
|title=Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston, Suffolk County, MA
|url=http://memory.loc.gov/cgi-bin/ampage?collId=pphhdatapage&fileName=ma/ma1200/ma1293/data/hhdatapage.db&title2=Harvard%20Bridge,%20Spanning%20Charles%20River%20at%20Massachusetts%20Avenue,%20Boston,%20Suffolk%20County,%20MA&recNum=0&itemLink=r?pp/PPALL:@field(NUMBER+@(ma1293))
|accessdate=2009-04-23
|year=1987
|publisher=Department of the Interior
|location=Philadelphia, Pennsylvania
|id=http://hdl.loc.gov/loc.pnp/hhh.ma1293
|page=
}}
*(Replacement): {{cite book
|author=[[United States Department of Transportation]], Massachusetts Department of Public Works
|others=
|title=Harvard Bridge/Massachusetts Avenue Bridge over the Charles River, Bridge replacement project, Environmental Assessment
|date= 1986-10-27
|publisher= The Administration
|location=[[Washington, D.C.]]
|language=
|isbn=
|oclc=
|doi=
|bibcode=
|id={{LCC|TG24.M4 H376 1986}}
|page=
|pages=
|nopp=
|chapter=
|chapterurl=
|quote=
|ref=
|laysummary=
|laydate=
|postscript=
|lastauthoramp=
}} Submitted pursuant to 42 U.S.C. 4332 (2) (c), and 23 U.S.C. 128 (a).
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, phase 2 report
|date=1972-07-07
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.2}}
|language=
}}
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, final report phase 3
|date=1972-10
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.3}}
|page=1
|language=
}}

==External links==
* {{Structurae|id=s0008796|title=Harvard Bridge}}
* [http://www.flickr.com/photos/boston_public_library/5143674560/in/set-72157627919338259/ 1895 photo]

{{Crossings navbox
|structure = [[List of crossings of the Charles River|Crossings]]
|place = [[Charles River]]
|bridge = Harvard Bridge
|bridge signs = [[Image:MA Route 2A.svg|20px]]
|upstream = [[Boston University Bridge]]
|upstream signs = [[Image:MA Route 2.svg|20px]]
|downstream = [[Longfellow Bridge]]
|downstream signs = [[Image:MA Route 3.svg|20px]]
}}

{{Boston Road Transportation}}
{{Use dmy dates|date=November 2010}}

[[Category:Bridges completed in 1891]]
[[Category:Bridges in Boston, Massachusetts]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:Landmarks in Cambridge, Massachusetts]]
[[Category:Massachusetts Institute of Technology]]
[[Category:Massachusetts Institute of Technology student life]]
[[Category:Buildings and structures in Cambridge, Massachusetts]]
[[Category:Transportation in Cambridge, Massachusetts]]
[[Category:Bridges in Middlesex County, Massachusetts]]
[[Category:Road bridges in Massachusetts]]

Back Bay (MBTA-Station)

2012-04-05T19:17:07Z

Reify-tech: Extensive copyedit text and caption refinements

{{Infobox station
| style=MBTA two lines
| type=
| name= {{MBTA infobox header| title = {{uc:Back Bay}}| color1 = Needham| color2 = Orange}}
| image=Boston - buildings 07.JPG
| image_size=250
| image_caption=Front entrance, viewed from Dartmouth Street
| address=145 Dartmouth Street [[Boston, MA]] 02116-5162
| coordinates = {{coord|42.3473|-71.0755 |format=dms |type:railwaystation_region:US-MA |display=inline,title}}
| line=Amtrak:
{{Rail color box|system=Amtrak|line=Acela Express}}
{{Rail color box|system=Amtrak|line=Lake Shore Limited}}
{{Rail color box|system=Amtrak|line=Regional}}
MBTA:
{{Rail color box|system=MBTA|line=Framingham}}
{{Rail color box|system=MBTA|line=Franklin}}
{{Rail color box|system=MBTA|line=Needham}}
{{Rail color box|system=MBTA|line=Providence}}
{{Rail color box|system=MBTA|line=Orange}}
| other={{bus icon|12px|Local Transit}} [[MBTA Bus]]
| platform=1 [[island platform]], 1 [[side platform]] ([[Northeast Corridor]]) 1 [[island platform]] (Orange Line) 1 [[island platform]] (Lake Shore Limited)
| tracks=3 (Northeast Corridor) 2 (Orange Line) 2 (Framingham/Worcester Line)
| parking=
| bicycle=
| passengers=479,951<ref>{{cite web |title= Amtrak Fact Sheet, FY2011, Commonwealth of Massachusetts|publisher= [[Amtrak]] |date= December 2011 |url= http://www.amtrak.com/pdf/factsheets/MASSACHUSETTS11.pdf |format= PDF |accessdate= 4 February 2012}}</ref>
| pass_year=2011
| pass_percent=7.8
| pass_system=Amtrak
| opened=May 4, 1987
| rebuilt=
| ADA=Yes
| code=BBY (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone=1A
| services=
{{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Framingham|next=Boston South|type2=Boston|rows2=3}}
{{s-line|system=Amtrak|line=Acela Express|previous=Route 128|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Route 128|hide2=yes}}
{{s-rail-next|title=MBTA}}
{{s-line|system=MBTA|line=Framingham|previous=Yawkey|next=South Station|rows2=4}}
{{s-line|system=MBTA|line=Needham|previous=Ruggles|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Ruggles|hide2=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Ruggles|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Orange|previous=Massachusetts Avenue|next=Tufts Medical Center}}
| map_locator={{Location map|Boston|lat=42.3473|long=-71.0755|width=300|caption=}}
}}

'''Back Bay''' station, located at 145 Dartmouth Street, between Stuart Street and Columbus Avenue, is a train station in the [[Back Bay, Boston|Back Bay]] neighborhood of [[Boston, Massachusetts|Boston]]. The present building was designed by [[Kallmann McKinnell & Wood]].

The station is serviced by [[Amtrak]], featuring ''[[Acela Express]]'' and [[Northeast Corridor]] regional trains, and the [[Massachusetts Bay Transportation Authority]] (MBTA) with access to Attleboro/Providence, Framingham/Worcester, Needham, and Franklin [[commuter rail]] lines, and [[Orange Line (MBTA)|Orange Line]] [[rapid transit]]. There is also a daily Amtrak train (''[[Lake Shore Limited]]'') to [[Chicago]], and access to local bus service.

==History==
The current Back Bay Station opened May 4, 1987 as part of the Orange Line's [[Southwest Corridor (Boston)|Southwest Corridor]] project and was dedicated by Governor [[Michael Dukakis]]. It replaced the 1899-built and 1929-rebuilt <ref>[http://www.lightlink.com/sglap3/massachusetts/suffolkco.html Existing Railroad Stations in Suffolk County, Massachusetts]</ref> former [[New York, New Haven and Hartford Railroad]] station of the same name, of which some remnants can still be found at the eastern end of the present station facilities, including a carved stone embedded in the brick wall on the east side of Columbus Avenue.<ref>{{cite web |url=http://maps.google.com/maps?hl=en&ll=42.347697,-71.072992&spn=0.000002,0.002642&z=19&vpsrc=6&layer=c&cbll=42.347565,-71.07315&panoid=wz3Kf6ew48OuagHXMYAoIQ&cbp=12,132.81,,0,1.19 |title=Google Maps Street View imagery |publisher=Google Inc. |accessdate=31 August 2011}}</ref> The main station building is located between Dartmouth Street and Clarendon Street; however, there are several additional emergency exits from the Amtrak / commuter rail platforms onto Dartmouth Street, Clarendon Street, and Columbus Avenue. The Dartmouth Street Underpass connects the [[Copley Place]] shopping mall with the main station building.

==Configuration==
[[File:Back Bay from Berkeley Street.JPG|thumb|left|240px|View of station from Berkeley Street overpass, looking westward. From left to right: Tracks 2, 1, 3; Orange Line tracks (note [[third rail]]); Tracks 5 and 7. Click to enlarge image.]]
[[File:Bus at Back Bay.jpg|left|thumb|240px|An articulated MBTA Bus serving the #39 route at the Back Bay Station rear entrance busway, off Clarendon Street]]

There are 5 tracks serving Amtrak and commuter rail service. Tracks 2, 1, and 3 (in order south to north) serve Amtrak's ''Acela Express'' and ''Northeast Regional'' plus the MBTA's [[Providence/Stoughton Line]], [[Franklin Line]], and [[Needham Line]]. Tracks 5 and 7 on the Framingham/Worcester Line and the ''Lake Shore Limited'' serve westbound trains from a separate island platform.<ref>{{cite book |title=Massachusetts Bay Colony Railroad track charts |author=Held, Patrick R. |year=2010}}</ref> The Orange Line tracks and platforms lie between these two groups of mainline rail tracks.

Because Amtrak's ''[[Downeaster]]'' trains traveling northeastward to [[Portland, Maine]] do not depart at Back Bay or [[South Station]], travelers that wish to make a connection via subway are advised to disembark at this station and take the Orange Line to [[North Station]], which is where ''Downeaster'' service originates.

== Bus connections ==
* 10 City Point – [[Copley Square]] via [[Andrew (MBTA station)|Andrew Station]] & [[BU Medical Center]]
* [[39 (MBTA bus)|39]] Back Bay – [[Forest Hills (MBTA station)|Forest Hills]] via [[Copley Square]] and [[Huntington Avenue]]
* 170 Central Square ([[Waltham, Massachusetts|Waltham]]) — [[Dudley Square (MBTA station)|Dudley Square]] via Copley Square, [[Massachusetts Turnpike|Mass Pike/I-90]]

== Accessibility ==
{{main|MBTA accessibility}}
* Back Bay Station is wheelchair accessible.
* Back Bay Station has full-length [[railway platform height|high-level platforms]] for Amtrak [[Northeast Corridor]] and MBTA Attleboro/Providence trains, but only a short high-level platform for MBTA Framingham/Worcester and Amtrak trains to Chicago (which operate on tracks other than those used by the Northeast Corridor service).
* Other Amtrak stations on the Northeast Corridor are generally accessible.
* Some MBTA commuter rail stations have no wheelchair access; many of those that do, have short high-level platforms that only serve one or two cars.

==Air quality==
[[File:Back Bay platform.JPG|thumb|left|240px|Island platform at Back Bay; fumes in the air cause the halos around the ceiling lights]]
Back Bay Station has suffered for some time from poor air quality, and people with lung conditions have been advised to avoid the station. A study conducted in 2006 and again in 2008 showed that "The air was many, many times below air-quality standards," due to trapped diesel exhaust and soot. Much of the commuter rail platforms at Back Bay are covered and enclosed, and so fumes cannot escape quickly to the outside air. An earlier study showed elevated levels of carbon monoxide, formaldehyde, particulates, and oxides of nitrogen, though it noted that there is no regulated standard to meet for indoor air quality in public spaces. Though simple changes were made regarding scheduling, and checking to make sure train engines were running properly, an MBTA spokesman stated that the MBTA did not have the financial resources to upgrade the ventilation system.<ref>{{cite web|url=http://www.boston.com/news/local/articles/2008/08/31/bad_air_at_back_bay_too_costly_to_fix_t_says/ |title=Bad air at Back Bay too costly to fix, T says - The Boston Globe |publisher=Boston.com |date=2008-08-31 |accessdate=2011-01-14}}</ref>

In 2010, the MBTA announced that it had secured $3.0 million to improve the ventilation in the lobby as a result of [[American Recovery and Reinvestment Act of 2009|federal stimulus money]].<ref>{{cite web|url=http://www.universalhub.com/2010/federal-stimulus-funds-mean-state-do-something-abo |title=Federal stimulus funds mean state to do something about the lung-cancer chamber known as Back Bay station |publisher=Universal Hub |date= |accessdate=2011-01-14}}</ref><ref>{{cite web|url=http://www.massdot.state.ma.us/recovery/resources/downloads/transitProjects.pdf|title=AMERICAN RECOVERY AND REINVESTMENT ACT OF 2009 MBTA PROJECT STATUS AS OF 7/1/10 |publisher=Massachusetts Department of Transportation |accessdate=14 January 2011}}</ref><ref>{{cite web|url=http://ncppp.org/publications/TransitBoston_0909/Waaramaa_0909.pdf |title=American Recovery and Reinvestment Act of 2009 MBTA Implementation & Oversight |publisher=National Council for Public-Private Partnerships |accessdate=14 January 2011}}</ref> While MBTA spokesman Joe Pesaturo said there was no health threat, a scientist at the Clean Air Task Force, a Boston-based nonprofit pollution research group stated, "Honestly, down on the platform it was some of the worst air quality I’ve measured." Additionally passengers and clerks working in the station have complained. The MBTA says it will complete an improved ventilation system by 2012.<ref>{{cite web|url=http://www.boston.com/yourtown/news/back_bay/2010/10/t_planning_project_to_rid_stat.html|title=Amid complaints, T aims to fix Back Bay station's ventilation system|accessdate=2011-07-07|publisher=Boston.com}}</ref>
{{clear left}}

==Gallery==
<gallery widths="220" heights="150" perrow="3">
File:Back Bay commuter rail sign.jpg|Station signs on the commuter rail platforms include old photographs of the system
File:Back Bay Columbus Avenue wall.JPG|A carving on Columbus Avenue honors the now-defunct New Haven Railroad
File:Back Bay Station.jpg|Station facade with [[John Hancock Tower]] behind
File:Back Bay structure.jpg|The main station arcade is supported by massive curved ribs
File:Orange Line turnstiles at Back Bay.jpg|Orange Line electronic fare gates
File:Back Bay tracks 5and7 stairs.jpg|Stairs down to Tracks 5 and 7, for service to the west of Boston
</gallery>

== See also ==
* [[Northeast Corridor]]
* [[North Station]]
* [[South Station]]
* [[North-South Rail Link]]

== References ==
{{Reflist}}

== External links ==
{{commons category}}
{{Amtrak web|BBY|Back Bay|MASSACHUSETTS}}
* [http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=13 MBTA - Back Bay Station]
* [http://www.trainweb.org/usarail/boston_backbay.htm Boston Back Bay Amtrak Station (USA RailGuide -- Train Web)]
* [http://railroads.uconn.edu/exhibits/railroadstations/ma/index.html "Back Bay station, November 16, 1960"] - photograph, Railroad History Archive, [[University of Connecticut]] Libraries Collection.
* [http://hdl.loc.gov/loc.pnp/hhh.ma1213 Library of Congress]. Historic American Buildings Survey. Back Bay Station, 145 Dartmouth Street, 1979.
* [http://maps.google.com/?ie=UTF8&ll=42.347801,-71.073325&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347558,-71.073158&panoid=wz3Kf6ew48OuagHXMYAoIQ&cbp=12,128.05,,0,2.57 Columbus Avenue entrance (exit only) from Google Maps Street View]
* [http://maps.google.com/?ie=UTF8&ll=42.347602,-71.073689&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347394,-71.073585&panoid=eyt2Ii4BAjUtqXqitfZ4kQ&cbp=12,276.3,,2,1.12 Bus Lane entrance from Google Maps Street View]
* [http://maps.google.com/?ie=UTF8&ll=42.34765,-71.07591&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347309,-71.076036&panoid=_C1k5cLn5_g2Xj_mfwzYnQ&cbp=12,64.99,,0,4.5 Dartmouth Street entrance from Google Maps Street View]

{{MBTA}}

{{DEFAULTSORT:Back Bay (Mbta Station)}}
[[Category:Orange Line (MBTA) stations]]
[[Category:Railway stations in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Amtrak stations in Massachusetts|Boston Back Bay]]
[[Category:Stations along Old Colony Railroad lines]]
[[Category:Railway stations opened in 1987]]
[[Category:Buildings and structures completed in 1987‎]]
[[Category:Back Bay, Boston]]
[[Category:South End, Boston]]
[[Category:Stations along Boston and Albany Railroad lines|Boston Back Bay]]

Harvard Bridge

2012-02-27T21:25:19Z

Reify-tech: Modified misleading infobox entry

{{Infobox bridge
|bridge_name=Harvard Bridge
|image=Harvard Bridge 20100116.jpg
|caption=Harvard Bridge crossing the frozen [[Charles River]] from [[Cambridge, Massachusetts|Cambridge]] to [[Boston, Massachusetts]]
|official_name=
|carries=[[Massachusetts Route 2A|Route 2A]]
|crosses=[[Charles River]]
|locale=[[Boston, Massachusetts]] to [[Cambridge, Massachusetts]]
|maint=[[Massachusetts Department of Transportation]] (MassDOT)
|id=B160124EYDOTNBI
|material=steel
|design= haunched [[girder bridge]]
|mainspan=
|span=25<ref name=nbi />
|piers=24<ref name=nbi />
|length={{convert|659.82|m|sp=us}}<ref name=structurae>{{Structurae|id=s0008796|title=Harvard Bridge}}</ref> (roadway) 364.4 [[smoot]]s ± one ear (620 m) (sidewalk from Storrow Drive to Cambridge only)
|width= {{convert|21.13|m|ft|sp=us}} (total width)<ref name=structurae /> {{convert|15.8|m|sp=us}} (roadway)<ref name=nbi />
|height=
|load=78.4 metric tons (86.4 short tons)<ref name=nbi />
|clearance=
|below={{convert|3.7|m|sp=us}}<ref name=nbi />
|traffic={{Formatnum:49000}} as of 2005<ref name=nbi>Nationalbridges.com</ref>
|begin=1887
|complete=1891
|open=1891-09-01,<ref name=opening>Alger and Matthews, p. 15</ref> 1990
|closed=1983 (temporary closure for repairs)
|toll=
|map_cue=
|map_image=
|map_text=
|map_width=
|coordinates= {{Coord|42.35457|-71.09132|scale:10000|display=inline,title}}
|lat=
|long=
|extra={{Location map | USA Massachusetts
|label =
|label_size =
|alt =
|position = right
|background =
|lon_dir=W
|lat_dir=N
|lat_deg =
|lat_min =
|lat_sec =
|lon_deg =
|lon_min =
|lon_sec =
|lat = 42.35457
|long = -71.09132
|mark =
|marksize =
|border = none
|float =
|width = 250
|caption = 
}}
}}

The '''Harvard Bridge''' (also known locally as the '''MIT bridge''' or the '''"Mass Ave" bridge''') carries [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] ([[Massachusetts Route 2A|Route 2A]]) from [[Back Bay, Boston|Back Bay]], [[Boston, Massachusetts|Boston]] to [[Cambridge, Massachusetts|Cambridge]], [[Massachusetts]]. It is the longest bridge over the [[Charles River]].<ref>[[List of crossings of the Charles River]]</ref>

Named for the [[John Harvard (clergyman)|Reverend John Harvard]],<ref name=AM14 /> it was originally built between 1887 and 1891 with a [[swing bridge|swing span]].<ref name=haer3 /> The bridge was revised over the years until its superstructure was completely replaced in the late 1980s. It is locally known for being measured in the idiosyncratic unit called the [[smoot]].

==Conception==
In 1874, the Massachusetts Legislature passed two acts, Chapters 175 and 314 to authorize the construction of a bridge between Boston and Cambridge.<ref name=AM5>Alger and Matthews, p. 5</ref> Nothing further happened until 1882, when a follow-up act (Chapter 155) with more specifics was enacted. The location was expressed as

{{blockquote|'''Acts of 1882, Chapter 155, Section 1:''' The cities of Boston and Cambridge are authorized to construct a bridge and avenue across Charles river, from a point on Beacon street, in Boston, to a point in Cambridge, west of the westerly line of the Boston and Albany railroad. ... to the limitation that the line thereof shall not be north-east of a line drawn from the junction of Beacon street and West Chester park, in Boston, to the junction of the harbor line with Front Street, extended, in Cambridge, nor south-west of a line drawn from the junction of Beacon street, Brookline avenue and Brighton avenue, in Boston, to the junction of the Boston and Albany railroad with Putnam avenue, extended, in Cambridge.}}<ref name=report1892>Alger and Matthews, pp. 5-6</ref>

The bridge was to have a draw with an opening of at least {{convert|38|ft|sp=us}}.<ref name=report1892 /> Unfortunately, Boston did not like this act, mainly because it did not provide for an overhead crossing of the [[Grand Junction Railroad|Grand Junction Branch]] of the [[Boston and Albany Railroad]]. So nothing happened until the act was amended by '''Acts of 1885, Chapter 129''', which changed the draw to a clear opening of at least {{convert|36|ft|sp=us}} and no more, until the other bridges below the proposed location were required to have a larger opening.<ref name=AM9>Alger and Matthews, p. 9</ref> Still nothing happened, until the City of Cambridge petitioned the Massachusetts Legislature in 1887 to compel Boston to proceed. This resulted in '''Acts of 1887, Chapter 282''', which was mandatory for both cities. It required that each city pay for half the bridge, and allowed Boston to raise up to [[United States dollar|US$]]250,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|250000|1887|r=-4}}}} with inflation{{Inflation-fn|US}}) for this purpose, in excess of its debt limit. This implied an estimated cost of [[United States dollar|US$]]500,000 ([[United States dollar|US$]]{{formatnum:{{Inflation|US|500000|1887|r=-5}}}} with inflation<ref name=inflation-US />) for the bridge.

The act authorized a commission to build the bridge. The commission was to consist of the mayors of Boston and Cambridge plus one additional person to be appointed by the mayors. If the mayors failed to appoint a third commissioner, the governor was to do it for them.<ref>Alger and Matthews, pp. 10-12</ref> The mayors of Boston and Cambridge, [[Hugh O'Brien]] and [[William Russell (governor)|William E. Russell]], appointed Leander Greeley of Cambridge as the third commissioner.<ref>Alger and Matthews, p. 13</ref> This changed over time.<ref name=AM31>Alger and Matthews, p. 31</ref>

{| class=wikitable
! Year(s)
! Mayor of Boston
! Mayor of Cambridge
! Third Commissioner
|-
|1887–1888
|[[Hugh O'Brien]]
|[[William E. Russell]]
|rowspan=2|Leander Greeley
|-
|1889–1890
|[[Thomas N. Hart]]
|Henry H. Gilmore
|-
|1891
|[[Nathan Matthews, Jr.]]
|Alpheus B. Alger
|Leander Greeley (died 15 February 1891) George W. Gale
|}

The bridge opened on 1 September 1891.<ref name=opening /> The original cost of construction to 1 March 1892 was [[United States dollar|US$]]510,642.86.<ref>Alger and Matthews, p. 29</ref> This is equivalent to [[United States dollar|US$]]{{formatnum:{{Inflation|US|510642.86|1891|r=-4}}}} with inflation.<ref name=inflation-US />

The expectations of having built the bridge were clear.<ref name=AH30>Alger and Matthews, p. 30</ref>

{{blockquote|The effect that the bridge will have upon both cities is obvious. The low land and marshes on the Cambridge side, formerly almost valueless, have been filled in and have become valuable; and Cambridge is now connected with the choicest residential portions of Boston. The residents of the Back Bay, South End, Roxbury, and other southern sections of Boston are now connected directly, by way of West Chester park and the bridge, with Cambridge, Belmont, Arlington, and adjacent towns; and this thoroughfare in Boston, it is believed, will ultimately be the central one of the city.}}

==Engineering==
In the Act of 1887, the bridge was to be a wooden pile structure with stone pavement for the first {{convert|200|ft|sp=us}} because the [[Charles River]] Embankment extension was expected to take that space, but that was changed such that the whole distance would be of iron spans on stone piers. The general plans were approved on 14 July 1887.<ref name=AM1314>Alger and Matthews, pp.13-14</ref> The engineers were [[William Jackson (engineer)|William Jackson]] (Boston City Engineer), John E. Cheney (assistant Boston City Engineer), Samuel E. Tinkham (assistant engineer), and Nathan S. Brock (assistant engineer at bridge).<ref name=AM32>Alger and Matthews, p.32</ref>

The subsurface conditions at the bridge location are extreme. Much of Boston is underlain with clay, but the situation at the bridge is exacerbated by a fault which roughly follows the path of the [[Charles River]] itself. From a depth of approximately {{convert|200|to|300|ft|-1|sp=us}} below existing ground, is a very dense till composed of gravel and boulders with a silt-clay matrix. Above that to approximately {{convert|30|ft|0|sp=us}} below the surface is Boston blue clay (BBC). Over this are thin layers of sand, gravel, and fill. The BBC is [[Consolidation (soil)|overconsolidated]] up to a depth of approximately {{convert|70|ft|-1|sp=us}}.<ref name=haer4 />

The substructure originally consisted of two masonry abutments and twenty-three masonry piers, as well as one pile foundation with a [[fender pier]] for the draw span. The superstructure was originally twenty-three [[cantilever bridge|cantilevered fixed spans]] and suspended spans, of plate girders with one [[Swing bridge|swing span]].<ref name=AM1826>Alger and Matthews, pp. 18-26</ref> The Boston abutment rests on vertical piles, while the Cambridge end is directly on gravel.<ref name=haer4 />

[[File:Harvard Bridge postcard, 1910.jpg|thumb|left|300px|Postcard of Harvard Bridge looking toward Boston in 1910]]
Originally, the bridge was built across the [[Charles River]] connecting West Chester Park, in Boston, with Front Street, in Cambridge. This is now called [[Massachusetts Avenue (Boston)|Massachusetts Avenue]] on both sides of the river. As originally built, the total length between centers of bearings on abutments was {{convert|2164|ft|9|in|m|sp=us}} with a draw {{convert|48|ft|4|in|m|sp=us}} wide between centers. The width of the bridge was {{convert|69|ft|4|in|m|sp=us}} except near and on the draw.<ref name=AM17>Alger and Matthews, p. 17</ref>

The bridge as built was composed of fixed and suspended spans roughly {{convert|75|ft|sp=us}} long and piers {{convert|90|ft|sp=us}} apart, center to center.<ref name=AM18>Alger and Matthews, p. 18</ref> The span lengths alternated between {{convert|75|and|105|ft|sp=us}}. The longer spans were cantilevered, while the shorter spans were suspended between the cantilevers.<ref name=haer4 />

The original roadway contained two lanes for horse-drawn vehicles and two street car tracks, for a total width of {{convert|51.0|ft|sp=us}}. There were also two {{convert|9|ft|2|in|adj=on|sp=us}} sidewalks.<ref name=haer3>HAER, p. 3</ref> The original roadway and sidewalk stringers were of wood, with an approximately {{convert|1.25|in|mm|adj=on|sp=us}} thick covering of asphalt on the sidewalk.<ref name=haer3 />

The exception was at the swing span, which was {{convert|48|ft|sp=us}} wide. This span was approximately {{convert|149|ft|sp=us}} long, and sat on a wooden pier. It was a double-cantilevered, electrically-driven structure also carrying a bridge caretaker's house.<ref name=haer3 />
{{-}}

==Naming==
[[File:Harvard Bridge postcard 1920ish.jpg|left|thumb|300px|Postcard of Harvard Bridge and MIT between 1916 and 1924]]
The bridge was named for the [[John Harvard (clergyman)|Reverend John Harvard]], for whom [[Harvard University]] is also named, rather than after the university itself. Other names suggested included Blaxton, Chester, Shawmut, and Longfellow.<ref name=AM14>Alger and Matthews, p. 14</ref> The structure now called the [[Longfellow Bridge]] opened 15 years later. John Harvard was an early donor to what later became the university; not, as is often assumed, its founder.<ref>[http://www.hno.harvard.edu/guide/to_do/to_do2.html Landmarks at Harvard]</ref>

Possibly due to its proximity to the bridge, there have been a number of tales reported at [[Massachusetts Institute of Technology|MIT]] as to how the bridge came to be named "Harvard", all apocryphal. The Harvard Bridge was first constructed in 1891. MIT did not move to its current location adjacent to the bridge until 1916.<ref>[http://books.google.com/books?id=yzB2Kx8RqngC&pg=PA119&lpg=PA119&dq=harvard+bridge+naming+legend&source=bl&ots=A_v5zRUTrQ&sig=eVO9dYnYanuLRWAHw0PHCBilXlc&hl=en&ei=Ej-3SYCEHdC5twf8ycWmCQ&sa=X&oi=book_result&resnum=5&ct=result A Walk Across the Harvard Bridge]</ref>
{{-}}

==Maintenance and updates==
In 1898, {{convert|3|ft|adj=on|sp=us}}-wide bicycle lanes were installed next to each curb.<ref name=haer3 />

The bridge was declared unsafe in 1909, requiring all of the iron and steel to be replaced. The draw was elevated slightly and the trolley rails were replaced as well.<ref name=nyt1906>{{cite news
| title = Famous Harvard Bridge Unsafe
| url = http://query.nytimes.com/mem/archive-free/pdf?res=9401E7D71731E733A25755C1A9619C946897D6CF
| format = pdf
| work = The New York Times
| date = 1909-07-16
| accessdate = 2009-04-11
}}</ref>

When the Metropolitan District Commission (MDC) took control of the bridge in 1924, they rebuilt much of the bridge superstructure. They replaced the wooden stringers with steel "I" beams, topped wooden deck elements with concrete and brick, and replaced the street car rails.<ref name=haer3 /> Structural steel hangers replaced wrought iron. The swing span was converted into two {{convert|75|ft|adj=on|sp=us}} fixed spans the same width as the rest of the bridge. The wooden pier was heavily modified with concrete and stone to make it resemble the other piers, increasing the number of stone piers from 23 to 24.<ref name=haer4>HAER, p.4</ref><ref name=tech044>{{cite news
| title = Commonwealth Begins Work on Harvard Bridge
| url = http://tech.mit.edu/archives/VOL_044/TECH_V044_S0154_P005.pdf
| format = pdf
| work = The Tech
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| date = 1924-10-03
| page = 5, col. 4
| accessdate = 2009-04-27
}}</ref>

Heavy traffic at the [[Massachusetts Avenue (Boston)|Mass Ave]] and Memorial Drive intersection on the Cambridge end of the bridge led to the construction of an underpass in 1931. The underpass eliminated the at-grade intersection.<ref name=haer5>HAER, p. 5</ref>

The bridge was often known as the "Xylophone Bridge" because of the sound its wooden decking made when traffic traveled over it. This decking was replaced in 1949 with {{convert|3|in|mm|adj=on|sp=us}} concrete-filled "I-beam lok" grating topped with a {{convert|2.25|in|mm|adj=on|sp=us}} thick bituminous wearing surface. At this time, all bearings were replaced, and the trolley car tracks were removed, as were granite blocks. The trolley car poles were reused for street lights. Ramps between the bridge and the under-construction [[Storrow Drive]] were added.<ref name=haer5 />

The 1924 sidewalk slabs were replaced by precast, prestressed slabs in 1962.<ref name=haer5 />

The fifteen expansion dams were replaced or repaired in 1969.<ref name=haer6>HAER, p.6</ref>

==Engineering study, 1971-1972==
An engineering study was performed by the Metropolitan District Commission (later merged into the [[Department of Conservation and Recreation (Massachusetts)|Department of Conservation and Recreation]]) in 1971-1972 due to complaints by bridge users of excessive vibration.<ref name=haer5 /><ref name=leet2>Leet, phase 2</ref> The bridge was found to be understrength for its load. Before the final study was complete, the recommendation was to place a load limit of {{convert|8|ST|MT|lk=on|sp=us}} per axle and a total of {{convert|15|ST|MT|sp=us}} per vehicle, or to restrict trucks to the interior lanes, where the bridge was stronger. A {{convert|25|ST|MT|adj=on|sp=us}} limit was imposed.<ref name=leet3>Leet, phase 3</ref>

Suggestions made included strengthening the existing structure by adding either struts or plates to make the existing four beams along the length of the bridge into a stiffening truss, or to replace the superstructure with a new one, made of either steel or concrete, which would be up to current standards.<ref name=leet2 /> The recommendation was to replace the superstructure with one weighing approximately the same in order to reuse the piers, which were in good condition.<ref name=leet3 />

The reasoning was that the cost of a new structure could be predicted much more easily than the cost of repairing and reinforcing the existing bridge. The resulting new bridge would be of known materials and quality, such as ductile structural steel rather than brittle wrought iron, and rated at [[AASHO]] HS-20. Repairing the existing structure would leave old wrought iron of uncertain quality and condition standing, and would not bring the design up to (then) current standards.<ref name=leet3 /> Detailed engineering calculations were included.<ref name=leet32>Leet, phase 3, appendices</ref> The price was estimated at 2.5 million to 3 million [[U.S. dollars]]<ref name=leet3 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|2500000|1972|r=-6}}}} to [[United States dollar|US$]]{{formatnum:{{Inflation|US|3000000|1972|r=-6}}}} with inflation<ref name=inflation-US />).

The action taken based on this study was to establish load restrictions on the bridge, {{convert|15|ST|MT|sp=us}} in the outer lanes, {{convert|25|ST|MT|sp=us}} on the inner lanes. This was expanded in 1979 to a flat limit of {{convert|15|ST|MT|sp=us}} on the whole bridge.<ref name=haer8>HAER, p.8</ref>

==Superstructure replacement, 1980s==
After the failure of the [[Mianus River Bridge]] at [[Greenwich, Connecticut]] in 1983, the Harvard Bridge was shut down and inspected because it contained similar elements, specifically the suspended spans.<ref>{{cite news
| last = Keane
| first = Tom
| title = It's the Engineering, Stupid
| work = Boston Globe Magazine
| publisher = [[Boston Globe]]
| date = 2006-09-10
| url = http://www.boston.com/news/globe/magazine/articles/2006/09/10/its_the_engineering_stupid/
| accessdate = 2006-09-11 }}</ref><ref>{{cite news
| agency = [[United Press International]]
| title = AROUND THE NATION; Boston's Harvard Bridge Closed to Heavy Trucks
| work = The New York Times
| publisher =
| date = 1983-07-06
| url = http://www.nytimes.com/1983/07/06/us/around-the-nation-boston-s-harvard-bridge-closed-to-heavy-trucks.html
| accessdate = 2009-04-13 }}</ref> Traffic was restricted to the inner two lanes due to the discovery of two failed hangers on span 14. A few days later, all trucks and buses were banned from the bridge.<ref name=haer8 />

In 1986, a report was published containing the plan to replace the superstructure on the existing supports. Alternatives considered were very similar to the [[#Engineering study, 1971-1972|1972 report]], and were similarly decided.<ref name=replacement7>Replacement, p.7</ref> Structural modifications included an upgrade from four longitudinal girders to six of the same shape, elimination of ramp "B", and replacement of a stairway with a handicapped pedestrian ramp on the Boston end of the bridge.<ref name=replacement>Replacement, p.4</ref>

The historic value of the bridge was considered significant, so the plan was to make the replacement superstructure appear similar, with similar railing and lighting. In order to document the pre-existing structure, a Historic American Engineering Record (HAER) would be prepared.<ref name=replacment11>Replacement, p.11. Note the use of the HAER document throughout this article.</ref>

Ramp "B", from southbound (Boston bound) bridge lanes to eastbound [[Storrow Drive]], caused traffic to merge onto Storrow Drive from the left (high speed) lanes using a short acceleration lane, causing safety issues. The MDC requested elimination of this ramp. Compared to overall bridge traffic of 30,000 vehicles per day, traffic on ramp B was found to be low, approximately 1,500 vehicles per day with a peak of 120 vehicles per hour.<ref name=replacement910>Replacement, page 4-6</ref>

Pier 12 was exhibiting inappropriate movement and was scheduled for reinforcement.<ref name=replacement5>Replacement, page 5</ref>

The work would be done in two phases. Phase 1 would reinforce the downstream side of the bridge to allow MBTA bus traffic, and was expected to take 5 months. Most of this effort would be spent on the underside of the bridge and would not affect existing traffic. Phase 2 would replace the entire superstructure and was expected to take three construction seasons to implement. Cost was estimated to be {{USD|20M}}<ref name=replacement5 /> ([[United States dollar|US$]]{{formatnum:{{Inflation|US|20000000|1986|r=-6}}}} with inflation<ref name=inflation-US />). Phase 1 finished in 1987, and Phase 2 in 1990.<ref name=globe1990>{{cite news
| title = MASS. AVE. BRIDGE TO REOPEN FOUR LANES AFTER SEVEN YEARS
| curly =
| author = Ronald Rosenberg, Globe Staff
| first =
| last =
| authorlink =
| author2 =
| author3 =
| author4 =
| author5 =
| author6 =
| author7 =
| url =
| format =
| agency =
| work =
| publisher = Boston Globe
| location = Boston, Massachusetts
| isbn =
| issn =
| oclc =
| pmid =
| pmd =
| bibcode =
| doi =
| id =
| date = 1990-09-12
| page = 35 (METRO section)
| pages =
| accessdate = 2009-05-07
| language =
| quote =
| archiveurl =
| archivedate =
}}</ref>

<gallery caption="Before-and-after images" widths="225px" perrow="2">
File:Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston ( Suffolk County, Massachusetts).jpg|This image shows the bridge from the upstream Cambridge side in 1985. If you click on the image, you can see construction barrels restricting traffic from the outside lanes, and how the bridge was showing wear.
File:Harvard Bridge from Cambridge, 2009.jpg|This is roughly the same view, in 2009. This superstructure is in much better shape, only 20 years after completion, than the 1985 image of the superstructure roughly 40 years after its most recent major work.
File:Underside, centerline, 1985.jpg|Underside of the bridge in 1985. Image shows how the bridge was originally built and modified later, but before the superstructure was replaced.
File:Harvard Bridge, centerline, looking north, 2009.jpg|Underside of the bridge in 2009. Image shows how the replacement superstructure was built, with 6 longitudinal girders and a different bracing, et cetera.
</gallery>

==Bridge length measurement==
{{Main|Smoot}}
[[File:Smoot mark 210, east.jpg|200px|thumb|left|Smoot mark 210, east side of the bridge]]
The Harvard Bridge is measured, locally, in ''[[smoot]]s''.

In 1958, members of the [[Lambda Chi Alpha]] fraternity at [[Massachusetts Institute of Technology|MIT]] measured the bridge's eastern sidewalk by carrying or dragging the shortest pledge that year, [[Oliver Smoot]], end over end.<ref name=haer5 /><ref>[http://tech.mit.edu/V119/N49/this_week-_49_c.49f.html ''This Month in MIT History'', "The Tech", volume 119, number 49]</ref>

Crossing pedestrians are informed by length markers painted at 10-smoot intervals that the bridge is 364.4 [[smoot]]s long, "plus one ear". The qualifier "plus or minus" was originally intended to express measurement uncertainty,<ref>[[Robert Tavernor|Tavernor, Robert]], ''Smoot’s Ear: the Measure of Humanity'' (Yale University Press, 2007; paperback edition 2008), ISBN: 9780300124927, Preface</ref> but over the years the words "or minus" have gone missing in many citations, including the markings on the bridge itself.<ref name="stone">{{cite web
| url = http://web.mit.edu/newsoffice/2009/smoot-0604.html
| title = Smoot in Stone
| first =
| last =
| author =
| authorlink =
| coauthors =
| date = 2009-06-04
| work = MIT News
| publisher = [[Massachusetts Institute of Technology]]
| location = [[Cambridge, Massachusetts]]
| accessdate = 2010-07-20
| quote = Specifically noting the bridge's length of 364.4 Smoots (+/- 1 ear), the plaque, a gift of the MIT Class of 1962, honors the prank's 50th anniversary.
}}</ref> The marks are repainted twice each year by members of the fraternity.<ref name=haer5 /><ref>[http://alumweb.mit.edu/classes/1962/techrev/9411.html MIT Tech Review article]</ref>

During the reconstruction in the 1980s, the smoot markings were repainted on the new deck, and the sidewalks were divided into [[smoot]]-length slabs rather than the standard six feet.<ref>{{cite news
| first = David A.
| last = Fahrenthold
| title = The Measure of This Man Is in the Smoot
| url = http://www.washingtonpost.com/wp-dyn/content/article/2005/12/07/AR2005120702328_pf.html
| publisher = The Washington Post
| location = Washington DC
| date = 2005-12-08
| accessdate = 2009-04-20
| language =
| quote = And then there was a little help from the government: When the bridge was renovated about 15 years ago, officials agreed to let the markings stay, even going so far as to score the sidewalk at 5-foot-7 Smoot intervals instead of the usual six-foot ones.
}}</ref> The Boston police use the smoot marks as a coordinate system when reporting accidents on the bridge.

{{-}}

===Length discrepancy===
Given that Smoot was {{convert|5|ft|7|in|m|3|sp=us}} tall in 1958, the given measurement in smoots of 364.4 yields a "bridge length" of about {{convert|620|m|ft|-1|sp=us}}. Published sources<ref name=structurae /><ref name=AM17 /> give the length of the bridge as approximately {{convert|660|m|ft|-1|sp=us}}. The difference in length between the sidewalk markings and the published figure represents a {{convert|40|m|ft|-1|adj=on|sp=us}} discrepancy. 

==Houdini==

According to a marker near the southeast end of the bridge, [[Harry Houdini]] performed one of his "well known escapes" from this bridge on 1 May 1908. Other sources have it as 30 April 1908.<ref name=clinger>{{cite book
|last=Clinger
|first=Julia
|authorlink=
|title=It Happened in Boston
|url=http://books.google.com/books?id=zdWslQ8nn50C&printsec=frontcover#PPA61,M1
|format=
|accessdate=
|edition=1st
|series=It Happened In
|volume=
|date=2007-06-01
|publisher=TwoDot
|location=
|isbn=978-0762741342
|pages=61–63
|quote=
|ref=
}}
</ref>

[[File:Houdini Harvard Bridge 2.jpg|thumb|center|Harry Houdini jumps from the bridge]]


{{-}}
{{wide image|Harvard_bridge_panorama.jpg|2300px|<center>Panoramic view from Harvard Bridge in the winter, looking east, with the [[Cambridge, Massachusetts|Cambridge]] shore on the left and the [[Boston]] shore on the right. The [[Longfellow Bridge]] is in the middle, downstream.</center>}}

[[Image:Harvard Bridge Art.JPG|thumb|The Harvard Bridge is decorated with both serious and comical statements of art.]]

==See also==
* [[List of crossings of the Charles River]]

==Notes==
:a.{{Note|a}} See the following sections, especially [[#Maintenance and updates]] and following.

==References==
{{reflist|2}}

==Bibliography==
*(Nationalbridges.com): {{cite web|url=http://nationalbridges.com/index.php?option=com_lqm&0d1591eef9aa7cce82db69b58f9aa091=1&task=showResults&query=8&lqm_id=265311&&format=raw&&Itemid=2 | title = Place Name: Boston, Massachusetts; NBI Structure Number: 417208078401120; Facility Carried: Route 2A; Feature Intersected: Charles River |author = [[Department of Conservation and Recreation]] [[National Bridge Inventory]] |year=2006 |publisher =Nationalbridges.com (Alexander Svirsky) |accessdate = 2011-05-23}} ''Note'': this is a formatted [[Web scraping|scrape]] of the 2009 official website, which can be found here for Massachusetts: {{cite web| url = http://www.fhwa.dot.gov/bridge/nbi/2009/MA09.txt |title = MA09.txt |year = 2009 | publisher = Federal Highway Administration |accessdate = 2009-08-27}}
*{{cite book
|last1=Alger
|first1=Alpheus B.
|last2=Matthews
|first2=Nathan Jr.
|title=Harvard Bridge: Boston to Cambridge, March 1892
|url=http://books.google.com/books?id=1qQJAAAAIAAJ
|format=
|accessdate=2009-04-10
|date=
|origyear=
|year=1892
|month=
|publisher=Rockwell and Churchill
|location=Boston, Massachusetts
|language=
|page=
|pages=
}}
*{{cite book
|author=Historic American Engineering Record (HAER)
|title=Harvard Bridge, Spanning Charles River at Massachusetts Avenue, Boston, Suffolk County, MA
|url=http://memory.loc.gov/cgi-bin/ampage?collId=pphhdatapage&fileName=ma/ma1200/ma1293/data/hhdatapage.db&title2=Harvard%20Bridge,%20Spanning%20Charles%20River%20at%20Massachusetts%20Avenue,%20Boston,%20Suffolk%20County,%20MA&recNum=0&itemLink=r?pp/PPALL:@field(NUMBER+@(ma1293))
|accessdate=2009-04-23
|year=1987
|publisher=Department of the Interior
|location=Philadelphia, Pennsylvania
|id=http://hdl.loc.gov/loc.pnp/hhh.ma1293
|page=
}}
*(Replacement): {{cite book
|author=[[United States Department of Transportation]], Massachusetts Department of Public Works
|others=
|title=Harvard Bridge/Massachusetts Avenue Bridge over the Charles River, Bridge replacement project, Environmental Assessment
|date= 1986-10-27
|publisher= The Administration
|location=[[Washington, D.C.]]
|language=
|isbn=
|oclc=
|doi=
|bibcode=
|id={{LCC|TG24.M4 H376 1986}}
|page=
|pages=
|nopp=
|chapter=
|chapterurl=
|quote=
|ref=
|laysummary=
|laydate=
|postscript=
|lastauthoramp=
}} Submitted pursuant to 42 U.S.C. 4332 (2) (c), and 23 U.S.C. 128 (a).
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, phase 2 report
|date=1972-07-07
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.2}}
|language=
}}
*{{cite book
|last=Leet
|first=Kenneth M., PhD
|title=The Harvard Bridge, final report phase 3
|date=1972-10
|publisher=Metropolitan District Commission
|location=Boston, Massachusetts
|id={{LCC|TG24.M4 H374 Ph.3}}
|page=1
|language=
}}

==External links==
* {{Structurae|id=s0008796|title=Harvard Bridge}}

{{Crossings navbox
|structure = [[List of crossings of the Charles River|Crossings]]
|place = [[Charles River]]
|bridge = Harvard Bridge
|bridge signs = [[Image:MA Route 2A.svg|20px]]
|upstream = [[Boston University Bridge]]
|upstream signs = [[Image:MA Route 2.svg|20px]]
|downstream = [[Longfellow Bridge]]
|downstream signs = [[Image:MA Route 3.svg|20px]]
}}

{{Boston Road Transportation}}
{{Use dmy dates|date=November 2010}}

[[Category:Bridges completed in 1891]]
[[Category:Bridges in Boston, Massachusetts]]
[[Category:Landmarks in Boston, Massachusetts]]
[[Category:Landmarks in Cambridge, Massachusetts]]
[[Category:Massachusetts Institute of Technology]]
[[Category:Massachusetts Institute of Technology student life]]
[[Category:Buildings and structures in Cambridge, Massachusetts]]
[[Category:Transportation in Cambridge, Massachusetts]]
[[Category:Bridges in Middlesex County, Massachusetts]]
[[Category:Road bridges in Massachusetts]]

Bay Village (Boston)

2012-02-23T00:40:42Z

Reify-tech: /* History */ Better word choice

{{Infobox settlement
|official_name = Bay Village
|settlement_type = [[Neighborhoods in Boston|Neighborhood of Boston]]
|nickname =
|motto =
|image_skyline = Bay Village, Boston, MA - view 1.JPG
|imagesize = 250px
|image_caption = Bay Village, Boston
|image_seal =
|image_flag =
|image_map =
|mapsize = 100px
|map_caption = Location in Boston, Massachusetts
|image_map1 =
|mapsize1 =
|map_caption1 =
|subdivision_type = Country
|subdivision_name = [[United States]]
|subdivision_type1 = State
|subdivision_name1 = [[Massachusetts]]
|subdivision_type2 = County
|subdivision_name2 = [[Suffolk County, Massachusetts|Suffolk]]
|subdivision_type3 = Neighborhood of
|subdivision_name3 = [[Boston]]
|established_title =
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|population_as_of = 2010
|population = 1,312
|population_density_km2 =
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|elevation_m =
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|timezone = [[Eastern Standard Time Zone|Eastern]]
|utc_offset = -5
|website = http://www.bayvillage.net
|postal_code_type = Zip Code
|postal_code = 02116
|area_code = [[Area code 617|617]] / [[Area code 857|857]]
|blank_name =
|blank_info =
|blank1_name =
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|footnotes =
}}

'''Bay Village''' is the second smallest and arguably least-known officially-recognized [[Neighborhoods in Boston|neighborhood]] of [[Boston]], [[Massachusetts]]. As of 2010, its population was approximately 1,312 residents living in 837 housing units, most of which are small brick rowhouses.<ref>Boston 2010 Census BRA neighborhood comparison [http://www.bostonredevelopmentauthoritynews.org/wp-content/uploads/2011/04/NBRHDPercentChange1.pdf]</ref>

== Description ==
The [[Massachusetts Turnpike]] is the southern boundary of the neighborhood, which coincides with the right-of-way of the [[Boston and Albany Railroad|Boston and Worcester Railroad]], laid down in the 1830s. Marginal Road and Cortes Street are the surface roads that parallel the Pike. Across the Pike to the southwest lies the [[South End, Boston, Massachusetts|South End]] neighborhood; to the southeast of the Pike and Tremont Street is the southern edge of [[Chinatown, Boston|Chinatown]]. To the west of Berkeley Street and north of Columbus Street (west of Arlington Street) is the [[Back Bay, Boston, Massachusetts|Back Bay]] neighborhood. To the north of Stuart Street is [[Park Square (Boston)|Park Square]], and to the east of [[Charles Street (Boston)|Charles Street]] is the [[Washington Street Theatre District|Theatre District]].<ref>Boundaries of the neighborhood as defined by the Bay Village Neighborhood Association - [http://www.bayvillage.net/neighborhood/bv_map.htm see map]{{dead link|date=July 2011}}</ref><ref name=BVHD-Map>{{cite web|title=Bay Village Historic District (map)|url=http://www.cityofboston.gov/Images_Documents/Bay%20Village%20Historic%20District%20map_tcm3-13483.pdf|work=CityofBoston.gov|accessdate=2011-07-26}}</ref>

The narrow one-way network and irregular grid arrangement of the streets make the interior urban spaces of Bay Village relatively quiet and pedestrian-friendly, due to sparse automobile traffic. Many of the sidewalks are paved with brick, and are lit by [[gas lighting|gas streetlamps]] at night. The exterior appearance of buildings is protected by a Historic District designation administered by the Bay Village Architectural Commission.<ref name=CoBHistoric>{{cite web|title=Bay Village|url=http://www.cityofboston.gov/landmarks/historic/bayvillage.asp|work=CityofBoston.gov|publisher=City of Boston|accessdate=2011-07-03}}</ref>

There are a few "vest-pocket" parks located within or nearby Bay Village, notably Eliot Norton Park, which although technically located in the Theatre District, is just across Charles Street from the eastern boundary of the neighborhood.<ref name="BVHD-Map"/> The [[Public Garden (Boston)|Boston Public Garden]] and [[Boston Common]] are located just two blocks away from the northern edge of Bay Village.

Traditionally middle to lower-middle class, the neighborhood has become relatively expensive and upscale, beginning around the 1990s.{{Citation needed|date=May 2007}} The Bay Village Neighborhood Association (BVNA) is very active in controlling urban nuisances, such as traffic, litter, graffiti, and pet wastes (an approved dog walking area is located next to Eliot Norton Park). The BVNA is also known for organizing Spring and Fall Cleanup days, a Book Club, and the Bay Village Annual Neighborhood Block Party (which often features restaurant tables and service literally in the middle of the narrow streets).<ref name=BVNA-Calendar>{{cite web|title=Calendar of Events|url=https://www.bayvillage.net/category/events/upcoming/|work=Bay Village Neighborhood Association (website)|publisher=Bay Village Neighborhood Association|accessdate=2011-07-26}}</ref>

== History ==
The western part of the neighborhood was originally part of the body of water known as the [[Back Bay, Boston, Massachusetts|Back Bay]], west of the [[Boston Neck]] [[isthmus]]. This area was once known as South Bay, as the original waterline was in the area of Arlington Street (formerly Ferdinand Street). In the 1820s, the neighborhood was [[landfill]]ed by developer [[Ephraim Marsh]], in partnership with [[Francis Cabot Lowell (businessman)|Francis Cabot Lowell]], before the more extensive landfills of the Back Bay and South End neighborhoods.<ref name=ExpBoston>{{cite web|last=Hughes|first=Carolyn|title=Beacon Hill & Bay Village|url=http://www.cityofboston.gov/Images_Documents/BeaconHill_BayVillage_brochure_tcm3-19113.pdf|work=Exploring Boston's Neighborhoods|publisher=Boston Landmarks Commission|accessdate=2011-07-25|year=1998}}</ref> Through its history, the neighborhood has been known at different times as the '''Church Street District''', '''South Cove''', and '''Kerry Village'''.<ref name=BVNAHistory>{{cite web|title=Bay Village History|url=http://www.bayvillage.net/neighborhood/|work=Bay Village Neighborhood Association|publisher=Bay Village Neighborhood Association|accessdate=2011-07-03}}</ref>

[[Image:BostonMA 1BayStreet.jpg|thumb|left|The [[House at 1 Bay Street]], an 1830 house listed on the [[National Register of Historic Places]]]]
Architecturally, many Bay Village homes look like smaller versions of [[Beacon Hill, Boston|Beacon Hill]] [[townhouse]]s. This is largely because many of the craftspeople who built the Beacon Hill residences settled in this area and built the local residences for their own use. Fayette Street, named for the [[American Revolutionary War]] soldier [[Marquis de Lafayette]], has numerous houses dating from the [[Federal Period]]. Grander five-story townhouses in the [[Greek Revival style]] may be found on Melrose Street. After the area west of Arlington Street (formerly known as Ferdinand Street) was filled in, developers built luxury residential "hotels" in the [[Victorian architecture|Victorian style]] on Cortes and Isabella Streets.

During the mid-to-late 19th century, some streets in Bay Village were raised 12–18 feet (4–6 m) as the adjacent [[South End, Boston, Massachusetts|South End]] and [[Back Bay, Boston, Massachusetts|Back Bay]] neighborhoods were created by continued landfill. Visitors can see evidence of this today by noting the location of the basement windows in some of the buildings on Fayette Street, as well as arches opening to horsewalks that ran under the houses to stables in the rear. In addition, some private gardens were never raised, and remain near their original elevations.

Bay Village was the site of the November 1942 fire at the [[Cocoanut Grove fire|Cocoanut Grove]] nightclub, in which 492 people lost their lives. Its terrible aftermath led to the creation and enforcement of stringent [[fire code]]s across the US, in the hope of preventing other such tragedies. Marking the 50th anniversary of the incident, the Bay Village Neighborhood Association placed a memorial plaque in the brick sidewalk near the club’s former site on Piedmont Street, now occupied by the Radisson Hotel.<ref name="BVNAHistory"/>

== Transportation ==
Several [[MBTA]] [[rapid transit]] stations are located just beyond the boundaries of Bay Village, which is also served by several local bus routes. [[Commuter rail]] and [[Amtrak]] long-haul trains stop at [[Back Bay (MBTA)|Back Bay station]] and [[South Station (MBTA)|South Station]], within walking distance to the west and east of Bay Village, respectively. Inter-city bus services depart from the regional bus terminal at South Station.

Nearby MBTA stations include:
* [[Arlington (MBTA station)]]
* [[Back Bay (MBTA station)]]
* [[Boylston (MBTA station)]]
* [[Tufts Medical Center (MBTA station)]]

On-street parking is very scarce within Bay Village, and is mostly reserved for holders of Residential Parking stickers. Commercial parking is available in numerous surface lots and [[parking garage]]s located near or in the neighborhood. Entrance ramps to the [[Massachusetts Turnpike]] ([[I-90]]) and the [[Central Artery]] ([[I-93]]) are a minute's drive away.

==See also==
Adjacent neighborhoods and districts:
* [[Back Bay, Boston, Massachusetts]]
* [[Chinatown, Boston, Massachusetts]]
* [[Park Square (Boston)]]
* [[South Bay, Boston, Massachusetts]]
* [[South End, Boston, Massachusetts]]
* [[Washington Street Theatre District]]

==References==
<references />

==External links==
*[http://www.bayvillage.net/ Bay Village Neighborhood Association (BVNA)]

{{coord|42.3491|-71.068|display=title}}
{{Boston neighborhoods}}

[[Category:Neighborhoods in Boston, Massachusetts]]

[[fr:Bay Village (Boston)]]

Orange Line (MBTA)

2011-10-10T03:18:29Z

Reify-tech: Typo

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:ORANGE LINE}}| color1 = Orange}}
|image = NorthStationOrange.jpg
|image_width = 250px
|caption = Inbound train at North Station
|type = [[Rapid transit]]
|system =
|status = Operational
|locale = [[Boston, Massachusetts]]
|start = [[Oak Grove (MBTA station)|Oak Grove]]
|end = [[Forest Hills (MBTA station)|Forest Hills]]
|stations = 19 (1 planned)
|routes =
|ridership = 184,961 ([[fiscal year|FY]]2010)<ref name="BlueBook2010">{{cite web|url=http://www.mbta.com/uploadedfiles/documents/Bluebook%202010.pdf|title=Ridership and Service Statistics, Twelfth Edition|year=2009|publisher=[[Massachusetts Bay Transportation Authority]]|page=6|accessdate=December 16, 2010}}</ref>
|open = 1901
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character =
|stock = [[Hawker Siddeley Canada|01200 series]]
|linelength = {{convert|11|mi|km}}
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}}
|el = [[Third Rail]]
|speed =
|elevation =
|map = {{Infobox rdt|MBTA Orange Line}}
|}}

The '''Orange Line''' is one of the four subway lines of the [[Massachusetts Bay Transportation Authority]]. It extends from [[Forest Hills (MBTA station)|Forest Hills]] in [[Jamaica Plain, Massachusetts|Jamaica Plain]], [[Boston, Massachusetts|Boston]] in the south to [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] in the north. It meets the [[Red Line (MBTA)|Red Line]] at [[Downtown Crossing (MBTA station)|Downtown Crossing]], the [[Blue Line (MBTA)|Blue Line]] at [[State (MBTA station)|State]], and the [[Green Line (MBTA)|Green Line]] at [[Haymarket (MBTA station)|Haymarket]] and [[North Station]]. It connects with [[Amtrak]] and Commuter Rail service at [[Back Bay (MBTA station)|Back Bay]] and North Station, and just the commuter rail at [[Ruggles (MBTA station)|Ruggles]] station in Roxbury and at [[Forest Hills (MBTA station)|Forest Hills]]. From 1901 to 1987 it provided the first elevated rapid transit in Boston; the last elevated section was torn down in 1987 when the southern portion of the line was moved to the [[Southwest Corridor]].

==History==
{{see also|History of the MBTA}}

===Names===
The current name, assigned in the 1960s, is derived from Orange Street, an old name for the section of Washington Street immediately south of downtown under which the '''Washington Street Tunnel''', forming the center of the line, still runs.<ref>[http://maps.bpl.org/id/06_01_001130/ Orange Street on Map of Boston 1775]</ref><ref>{{cite web |url=http://www.harvardsquare.com/History/Glimpses/Transportation.aspx |title=Transportation History |publisher=Harvard Square Business Association |author=Kleespies, Gavin W. and MacDonald, Katie |accessdate=4 October 2011}}</ref> Cars throughout the Boston rapid transit network were formerly painted orange or with orange stripes by MBTA predecessors, and restored [[streetcar]]s on the [[Ashmont-Mattapan High Speed Line]] wear their historical orange livery, but this is largely coincidental.

Several stations were renamed in 1967 and 1987 from the names of the nearest street intersections to those of local landmarks; for example, "Boylston-Essex" eventually was renamed "Chinatown".

===Construction===
[[File:Charlestown El on Charlestown Bridge.jpg|thumb|left|220px|The Charlestown El running over the old Charlestown Bridge]]
The Main Line of the electric [[Boston Elevated Railway]] opened in segments in 1901. It proceeded from [[Everett, Massachusetts|Everett]] along the [[Charlestown Elevated]] to the [[Canal Street Incline]] near [[North Station]]. It was carried underground by the [[Tremont Street Subway]] (now the [[Green Line (MBTA)|Green Line]]) returning above ground at the [[Pleasant Street Incline]] (now closed, located just outbound of [[Boylston (MBTA station)|Boylston Station]]). A temporary link connected it to the [[Washington Street Elevated]], which in 1901 ran from this point via Washington Street to Dudley Square (which is most of what is now Phase 1 of the [[Silver Line (MBTA)|Silver Line]]).

Also in 1901, the [[Atlantic Avenue Elevated]] opened, branching at Causeway Street to provide an alternate route through downtown Boston (along the shoreline, where today there is no rail transit) to the Washington Street Elevated.

In 1908, the '''Washington Street Tunnel''' opened, allowing Main Line service to travel from the [[Charlestown Elevated]], underground via new portals at the [[Canal Street Incline]], under downtown, and back up again to meet the Washington Street Elevated and Atlantic Avenue Elevated near [[Chinatown, Boston|Chinatown]]. Use of the Tremont Street Subway was returned to [[streetcar]]s exclusively.

By 1909, the Washington Street Elevated had been extended to [[Forest Hills (MBTA station)|Forest Hills]]. Trains from Washington Street were routed through the new subway, either all the way to Everett, or back around in a loop via both the subway and the Atlantic Avenue Elevated.

===Closure of Atlantic Elevated and ownership changes===
Following a 1928 accident at a tight curve on Beach Street, the southern connection between South Station and Washington Street was closed, breaking the loop. By 1938, the entire [[Atlantic Avenue Elevated]] had been closed, leaving the subway as the only route through downtown - what is now the Orange Line between [[Haymarket (MBTA station)|Haymarket]] and [[Chinatown (MBTA station)|Chinatown]] stations.

Ownership of the railway was transferred from the private Boston Elevated Railway to the public Metropolitan Transit Authority (MTA) in 1947, reconstituted as the modern [[Massachusetts Bay Transportation Authority]] in 1964.

===Rerouting of Charlestown and Everett service===
[[Image:Main Line Elevated.jpg|thumb|280px|The old Main Line Elevated and related lines]]
The [[Boston Transportation Planning Review]] looked at the line in the 1970s, considering extensions to the [[beltway]] [[Massachusetts Route 128|Route 128]] with termini at [[Reading, Massachusetts|Reading]] in the north and [[Dedham, Massachusetts|Dedham]] in the south. As a result of this review, the [[Charlestown Elevated]] - which served the [[Charlestown, Boston, Massachusetts|Charlestown]] neighborhood north of downtown Boston and the suburb [[Everett, Massachusetts|Everett]] - was demolished in 1975. The '''Haymarket North Extension''' rerouted the Orange Line through an [[Haymarket North Extension|underwater crossing]] of the [[Charles River]]. Service in Charlestown was replaced with service along [[Boston and Albany]] tracks under [[Interstate 93]], ultimately to [[Wellington (MBTA station)|Wellington]] and [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] instead of Everett. The service to Everett was not replaced.

===Closure of Washington Street elevated===
Construction of [[Interstate 95 in Massachusetts|Interstate 95]] into downtown Boston was cancelled in 1972 after [[NIMBY|local protest]] over the necessary demolition. However, land for the [[Southwest Corridor (Boston)|Southwest Corridor]] through [[Roxbury, Massachusetts|Roxbury]] had already been cleared of buildings. Instead of a highway, the Orange Line subway would be re-routed into the corridor. In 1987, the Washington Street Elevated was torn down as part of this re-routing, the last of the original elevated portions to be demolished.

Between April 30 and May 3, 1987, the [[Washington Street Elevated]] south of the [[Chinatown (MBTA station)|Chinatown station]] was closed to allow the Orange Line to be tied into the new Southwest Corridor. On May 4, 1987, the Orange Line was rerouted out of the southern end of the Washington Street Tunnel and onto the new Southwest Corridor. Instead of rising into elevated tracks, it instead veered west at the [[Massachusetts Turnpike]] and followed the Pike and the old [[Boston and Albany Railroad]] right-of-way to the existing [[MBTA Commuter Rail]] stop at [[Back Bay (MBTA station)|Back Bay]]. It then continued along new tracks, partially covered and partially open but depressed, to [[Forest Hills (MBTA station)|Forest Hills]]. This right-of-way is also shared by [[Amtrak]] as part of the national [[Northeast Corridor]].

While ending up more or less in the same place, the new routing bypassed Washington Street significantly to the west; local residents were promised replacement service. Originally, plans provided for [[light rail vehicle]] service on the streets, from Washington Street to Dudley Square, then diverting southeast-ward on Warren Street towards Dorchester. In 2002, Phase 1 of the [[Silver Line (MBTA)|Silver Line]] [[bus rapid transit]] was added to connect Washington Street to the downtown subways, attempting to address this. This was controversial, as many residents would prefer the return of rail transportation.

===Renovations during the Big Dig===
[[Haymarket (MBTA station)|Haymarket]] and [[North Station]] received major renovations during the [[Big Dig (Boston, Massachusetts)|Big Dig]] in the 1990s and first decade of the 21st century, as the [[Causeway Street Elevated]] portion of the [[Green Line (MBTA)|Green Line]] was buried, its physical connection to the Orange Line was improved to make transfers easier, the [[Canal Street Incline]] was finally closed, and the Green Line was re-rerouted through a new portal closer to the river, near the [[Zakim Bunker Hill Bridge]].

===Historical routes===
{| style="border: 1px solid darkgray;"
|-align="center"
|scope="col" width="400" |'''1901-1908'''
|scope="col" width="300" |'''1908-1938'''
|scope="col" width="300" |'''1938-1975'''
|-align="center"
|{{MBTA Orange Line 1901-1908}}
|{{MBTA Orange Line 1908-1938}}
|{{MBTA Orange Line 1938-1975}}
|-align="center"
|'''1975-1987'''
|'''1987-present'''
|'''Notes'''
|-
|align="center"|{{MBTA Orange Line 1975-1987}}
|align="center"|{{MBTA Orange Line 1987-present}}
|valign="top"|
*The Forest Hills extension of the Washington Street Elevated opened in 1909; the infill station at Green Street opened in 1912.
*The section of the Atlantic Avenue elevated between South Station and the junction near Dover was closed in 1928 after an accident.
*Haymarket and State got their modern names in 1967. Downtown Crossing and Chinatown also changed names in 1967, but changed again in 1987.
*Oak Grove opened in 1977, two years after the rest of the Haymarket North Extension.
*Tufts Medical Center was New England Medical Center until 2010.
|}

==Future plans==
===Assembly Square===
{{main|Assembly Square (MBTA station)}}
An infill station, [[Assembly Square (MBTA station)|Assembly Square]], at [[Assembly Square]] in Somerville is presently expected to open in 2014. The new station, located on the bank of the Mystic River between Wellington and Sullivan Square stations, will serve a new development at Assembly Square.<ref>http://www.assemblysquare.com/news.html</ref>

==Station listing==
{| class="wikitable"
!Station
!Time to Downtown Crossing (min)<ref>From [[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals and Visitors'', 10th ed. (2003), p.117, and [http://www.mbta.com/uploadedFiles/Documents/Schedules_and_Maps/Subway/frequency-schedule.pdf MBTA website], roughly interpolated by distance between stations.</ref>
!Opened
!Transfers and notes
|-
|{{access icon}} [[Oak Grove (MBTA station)|Oak Grove]]
| 15
|March 20, 1977
|
|-
|{{access icon}} [[Malden Center (MBTA station)|Malden Center]]
| 13
|December 27, 1975
|[[MBTA Commuter Rail|Commuter Rail]]: [[Haverhill/Reading Line]]
|-
|{{access icon}} [[Wellington (MBTA station)|Wellington]]
| 10
|September 6, 1975
|
|-
|{{access icon}} [[Assembly Square (MBTA station)|Assembly Square]]
| 9
|
|Expected to open in 2013
|-
|{{access icon}} [[Sullivan Square (MBTA station)|Sullivan Square]]
| 7
|April 7, 1975
|Separate station from one on the [[Charlestown Elevated]] closed April 4, 1975
|-
|{{access icon}} [[Community College (MBTA station)|Community College]]
| 5
|April 7, 1975
|Serves [[Bunker Hill Community College]]
|-
|{{access icon}} [[North Station]]
| 3
|April 7, 1975
|[[Green Line (MBTA)|Green Line]] and [[MBTA Commuter Rail|Commuter Rail]] north side lines
|-
|{{access icon}} [[Haymarket (MBTA station)|Haymarket]]
| 2
|November 30, 1908
|[[Green Line (MBTA)|Green Line]] Originally Friend-Union until January 25, 1967
|-
|{{access icon}} [[State (MBTA station)|State]]
| 1
|November 30, 1908
|[[Blue Line (MBTA)|Blue Line]] Originally Milk-State until January 24, 1967
|-
|{{access icon}} [[Downtown Crossing (MBTA station)|Downtown Crossing]]
| 0
|November 30, 1908
|[[Red Line (MBTA)|Red Line]], [[Green Line (MBTA)|Green Line]] and [[Silver Line (MBTA)|Silver Line]] Originally Winter-Summer until January 22, 1967, then Washington until May 3, 1987
|-
|{{access icon}} [[Chinatown (MBTA station)|Chinatown]]
| 2
|November 30, 1908
|[[Silver Line (MBTA)|Silver Line]] Originally Boylston-Essex until February 10, 1967, then Essex until May 3, 1987
|-
|{{access icon}} [[Tufts Medical Center (MBTA station)|Tufts Medical Center]]
| 3
|May 4, 1987
|[[Silver Line (MBTA)|Silver Line]] Originally New England Medical Center until April 2010
|-
|{{access icon}} [[Back Bay (MBTA station)|Back Bay]]
| 6
|May 4, 1987
|[[Amtrak]] station [[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Framingham/Worcester Line]], [[Franklin Line]] and [[Needham Line]] Also called Back Bay/South End
|-
|{{access icon}} [[Massachusetts Avenue (MBTA Orange Line station)|Massachusetts Avenue]]
| 8
|May 4, 1987
|
|-
|{{access icon}} [[Ruggles (MBTA station)|Ruggles]]
| 9
|May 4, 1987
|[[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Franklin Line]] and [[Needham Line]]
|-
|{{access icon}} [[Roxbury Crossing (MBTA station)|Roxbury Crossing]]
| 10
|May 4, 1987
|
|-
|{{access icon}} [[Jackson Square (MBTA station)|Jackson Square]]
| 12
|May 4, 1987
|
|-
|{{access icon}} [[Stony Brook (MBTA station)|Stony Brook]]
| 14
|May 4, 1987
|
|-
|{{access icon}} [[Green Street (MBTA station)|Green Street]]
| 16
|May 4, 1987
|Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987
|-
|{{access icon}} [[Forest Hills (MBTA station)|Forest Hills]]
| 18
|May 4, 1987
|[[Commuter Rail (MBTA)|Commuter Rail]]: [[Needham Line]] Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987 Former terminus of Green Line E branch
|}

==Equipment==
[[Image:NorthStationOrangeOutbound.jpg|thumb|250px|''Outbound Train at North Station'']]

The Orange Line is [[standard gauge]] [[heavy rail]], and uses [[third rail]] for power. The current fleet is the 01200 series, built 1980-1981 by [[Hawker Siddeley Canada]] Car and Foundry (now [[Bombardier Transportation]]) of [[Thunder Bay]], [[Ontario]], [[Canada]]. They are 65 feet (20 m) long and 111 inches (2.8 m) wide, with three pairs of doors on each side. They are based on the PA3 model used by [[Port Authority Trans-Hudson|PATH]] in [[New Jersey]]. There are 120 cars, numbered 01200-01319. All in-service Orange Line trains run in six-car configurations.

{| class="wikitable" border="1"
|-
!Year Built
!Make
!Model
!Length ft ( mm)
!Width in ( mm)
!Gauge
!Road Numbers
|-
| 1980–1981
| [[Hawker Siddeley Canada]]
| PA3
| {{convert|65|ft|mm|sigfig=5|abbr=on}}
| {{convert|111|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 1200–1319
|-
|}

===New trains===
It was announced in the Spring of 2009 that the planning process for new Orange and Red Line vehicles had begun. The simultaneous order calls for 146 Orange Line cars (to replace the whole fleet) and 74 Red Line cars (presumably to replace the 1500s and 1600s, of which there were 76, with 72 still in service). This order would be similar to the current Orange Line cars and the old Blue Line cars, ordered at the same time and largely identical except for size. The new cars would enter service between 2013 and 2017. The announcement also suggested that new Green Line cars will be planned at about the same time, although these cars would not be similar to the Orange and Red Line cars due to the differing natures of the lines.<ref>http://www.mbta.com/uploadedfiles/Accessibility/Access%20in%20Motion_Spring09%20-%20Word.doc</ref>

==Facilities==
The Orange Line has two tracks (one in each direction) except for a third track between Wellington and the Charles River portal.<ref name="nycsubway" /> This track can be used to bypass construction on the other two, or for testing newly delivered cars for the Orange and Blue lines. The primary maintenance and storage facility is at Wellington Station.<ref name="nycsubway">http://world.nycsubway.org/us/boston/orange.html</ref> Had the Orange Line been extended to Reading, the third track would have become an express track.

==Accessibility==
{{see also|MBTA accessibility}}
All stations on the Orange Line are [[handicapped accessible]]. Work on [[State (MBTA station)|State]] to make it fully accessible from the [[Blue Line (MBTA)|Blue Line]] was completed in Spring 2011 and officially announced on May 26th, 2011.<ref>http://www.mbta.com/about_the_mbta/news_events/?id=21720</ref>

== References ==
{{reflist}}

==External links==
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=ORANGE MBTA - Orange Line]
*[http://world.nycsubway.org/us/boston/orange.html Orange Line] from nycsubway.org - Includes detailed description and photos
*[http://www.jphs.org/transportation/orange-line-memories.html Jamaica Plain Historical Society - Orange Line Memories]
*[http://www.jphs.org/transportation/orange-line-replaced-old-railroad-embankment.html Jamaica Plain Historical Society - Orange Line Replaced Old Railroad Embankment]

{{MBTA}}
{{USSubway}}

{{coord missing|United States}}

{{DEFAULTSORT:Orange Line (Mbta)}}
[[Category:MBTA Rapid Transit]]
[[Category:Orange Line (MBTA)| ]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Old Colony Railroad lines]]
[[Category:Railway lines opened in 1901]]
[[Category:1901 establishments in the United States]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Laranja (Metro de Boston)]]

Orange Line (MBTA)

2011-09-09T02:28:58Z

Reify-tech: /* Assembly Square */ Add pointer to main article

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:ORANGE LINE}}| color1 = Orange}}
|image = NorthStationOrange.jpg
|image_width = 250px
|caption = Inbound train at North Station
|type = [[Rapid transit]]
|system =
|status = Operational
|locale = [[Boston, Massachusetts]]
|start = [[Oak Grove (MBTA station)|Oak Grove]]
|end = [[Forest Hills (MBTA station)|Forest Hills]]
|stations = 19 (1 planned)
|routes =
|ridership = 184,961 ([[fiscal year|FY]]2010)<ref name="BlueBook2010">{{cite web|url=http://www.mbta.com/uploadedfiles/documents/Bluebook%202010.pdf|title=Ridership and Service Statistics, Twelfth Edition|year=2009|publisher=[[Massachusetts Bay Transportation Authority]]|page=6|accessdate=December 16, 2010}}</ref>
|open = 1901
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character =
|stock = [[Hawker Siddeley Canada|01200 series]]
|linelength = {{convert|11|mi|km}}
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}}
|el = [[Third Rail]]
|speed =
|elevation =
|map = {{Infobox rdt|MBTA Orange Line}}
|}}

The '''Orange Line''' is one of the four subway lines of the [[Massachusetts Bay Transportation Authority]]. It extends from [[Forest Hills (MBTA station)|Forest Hills]] in [[Jamaica Plain, Massachusetts|Jamaica Plain]], [[Boston, Massachusetts|Boston]] in the south to [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] in the north. It meets the [[Red Line (MBTA)|Red Line]] at [[Downtown Crossing (MBTA station)|Downtown Crossing]], the [[Blue Line (MBTA)|Blue Line]] at [[State (MBTA station)|State]], and the [[Green Line (MBTA)|Green Line]] at [[Haymarket (MBTA station)|Haymarket]] and [[North Station]]. It connects with [[Amtrak]] and Commuter Rail service at [[Back Bay (MBTA station)|Back Bay]] and North Station, and just the commuter rail at [[Ruggles (MBTA station)|Ruggles]] station in Roxbury and at [[Forest Hills (MBTA station)|Forest Hills]]. From 1901 to 1987 it provided the first elevated rapid transit in Boston; the last elevated section was torn down in 1987 when the southern portion of the line was moved to the [[Southwest Corridor]].

==History==
{{see also|History of the MBTA}}

===Names===
The current name, assigned in the 1960s, is derived from Orange Street, an old name for the section of Washington Street immediately south of downtown under which the '''Washington Street Tunnel''', forming the center of the line, still runs.<ref>[http://maps.bpl.org/id/06_01_001130/ Orange Street on Map of Boston 1775]</ref> Cars throughout the Boston rapid transit network were formerly painted orange or with orange stripes by MBTA predecessors, and restored [[streetcar]]s on the [[Ashmont-Mattapan High Speed Line]] wear their historical orange livery, but this is largely coincidental.

Several stations were renamed in 1967 and 1987 from the names of the nearest street intersections to those of local landmarks; for example, "Boylston-Essex" eventually was renamed "Chinatown".

===Construction===
The Main Line of the electric [[Boston Elevated Railway]] opened in segments in 1901. It proceeded from [[Everett, Massachusetts|Everett]] along the [[Charlestown Elevated]] to the [[Canal Street Incline]] near [[North Station]]. It was carried underground by the [[Tremont Street Subway]] (now the [[Green Line (MBTA)|Green Line]]) returning above ground at the [[Pleasant Street Incline]] (now closed, located just outbound of [[Boylston (MBTA station)|Boylston Station]]). A temporary link connected it to the [[Washington Street Elevated]], which in 1901 ran from this point via Washington Street to Dudley Square (which is most of what is now Phase 1 of the [[Silver Line (MBTA)|Silver Line]]).

Also in 1901, the [[Atlantic Avenue Elevated]] opened, branching at Causeway Street to provide an alternate route through downtown Boston (along the shoreline, where today there is no rail transit) to the Washington Street Elevated.

In 1908, the '''Washington Street Tunnel''' opened, allowing Main Line service to travel from the [[Charlestown Elevated]], underground via new portals at the [[Canal Street Incline]], under downtown, and back up again to meet the Washington Street Elevated and Atlantic Avenue Elevated near [[Chinatown, Boston|Chinatown]]. Use of the Tremont Street Subway was returned to [[streetcar]]s exclusively.

By 1909, the Washington Street Elevated had been extended to [[Forest Hills (MBTA station)|Forest Hills]]. Trains from Washington Street were routed through the new subway, either all the way to Everett, or back around in a loop via both the subway and the Atlantic Avenue Elevated.

===Closure of Atlantic Elevated and ownership changes===
Following a 1928 accident at a tight curve on Beach Street, the southern connection between South Station and Washington Street was closed, breaking the loop. By 1938, the entire [[Atlantic Avenue Elevated]] had been closed, leaving the subway as the only route through downtown - what is now the Orange Line between [[Haymarket (MBTA station)|Haymarket]] and [[Chinatown (MBTA station)|Chinatown]] stations.

Ownership of the railway was transferred from the private Boston Elevated Railway to the public Metropolitan Transit Authority (MTA) in 1947, reconstituted as the modern [[Massachusetts Bay Transportation Authority]] in 1964.

===Rerouting of Charlestown and Everett service===
[[Image:Main Line Elevated.jpg|thumb|280px|The old Main Line Elevated and related lines]]
The [[Boston Transportation Planning Review]] looked at the line in the 1970s, considering extensions to the [[beltway]] [[Massachusetts Route 128|Route 128]] with termini at [[Reading, Massachusetts|Reading]] in the north and [[Dedham, Massachusetts|Dedham]] in the south. As a result of this review, the [[Charlestown Elevated]] - which served the [[Charlestown, Boston, Massachusetts|Charlestown]] neighborhood north of downtown Boston and the suburb [[Everett, Massachusetts|Everett]] - was demolished in 1975. The '''Haymarket North Extension''' rerouted the Orange Line through an [[Haymarket North Extension|underwater crossing]] of the [[Charles River]]. Service in Charlestown was replaced with service along [[Boston and Albany]] tracks under [[Interstate 93]], ultimately to [[Wellington (MBTA station)|Wellington]] and [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] instead of Everett. The service to Everett was not replaced.

===Closure of Washington Street elevated===
Construction of [[Interstate 95 in Massachusetts|Interstate 95]] into downtown Boston was cancelled in 1972 after [[NIMBY|local protest]] over the necessary demolition. However, land for the [[Southwest Corridor (Boston)|Southwest Corridor]] through [[Roxbury, Massachusetts|Roxbury]] had already been cleared of buildings. Instead of a highway, the Orange Line subway would be re-routed into the corridor. In 1987, the Washington Street Elevated was torn down as part of this re-routing, the last of the original elevated portions to be demolished.

Between April 30 and May 3, 1987, the [[Washington Street Elevated]] south of the [[Chinatown (MBTA station)|Chinatown station]] was closed to allow the Orange Line to be tied into the new Southwest Corridor. On May 4, 1987, the Orange Line was rerouted out of the southern end of the Washington Street Tunnel and onto the new Southwest Corridor. Instead of rising into elevated tracks, it instead veered west at the [[Massachusetts Turnpike]] and followed the Pike and the old [[Boston and Albany Railroad]] right-of-way to the existing [[MBTA Commuter Rail]] stop at [[Back Bay (MBTA station)|Back Bay]]. It then continued along new tracks, partially covered and partially open but depressed, to [[Forest Hills (MBTA station)|Forest Hills]]. This right-of-way is also shared by [[Amtrak]] as part of the national [[Northeast Corridor]].

While ending up more or less in the same place, the new routing bypassed Washington Street significantly to the west; local residents were promised replacement service. Originally, plans provided for [[light rail vehicle]] service on the streets, from Washington Street to Dudley Square, then diverting southeast-ward on Warren Street towards Dorchester. In 2002, Phase 1 of the [[Silver Line (MBTA)|Silver Line]] [[bus rapid transit]] was added to connect Washington Street to the downtown subways, attempting to address this. This was controversial, as many residents would prefer the return of rail transportation.

===Renovations during the Big Dig===
[[Haymarket (MBTA station)|Haymarket]] and [[North Station]] received major renovations during the [[Big Dig (Boston, Massachusetts)|Big Dig]] in the 1990s and first decade of the 21st century, as the [[Causeway Street Elevated]] portion of the [[Green Line (MBTA)|Green Line]] was buried, its physical connection to the Orange Line was improved to make transfers easier, the [[Canal Street Incline]] was finally closed, and the Green Line was re-rerouted through a new portal closer to the river, near the [[Zakim Bunker Hill Bridge]].

==Future plans==
===Assembly Square===
{{main|Assembly Square (MBTA station)}}
In August 2008, the federal Secretary of Transportation announced a federal and commercial commitment to provide funds for a new Orange Line station at [[Assembly Square]] in Somerville, presently expected to open in 2013. The new station, located on the bank of the Mystic River between Wellington and Sullivan Square stations, will serve a new development at [[Assembly Square (MBTA station)|Assembly square]].<ref>http://www.assemblysquare.com/news.html</ref>

{{clear}}

==Station listing==
{| class="wikitable"
!Station
!Time to Downtown Crossing (min)<ref>From [[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals and Visitors'', 10th ed. (2003), p.117, and [http://www.mbta.com/uploadedFiles/Documents/Schedules_and_Maps/Subway/frequency-schedule.pdf MBTA website], roughly interpolated by distance between stations.</ref>
!Opened
!Transfers and notes
|-
|{{access icon}} [[Oak Grove (MBTA station)|Oak Grove]]
| 15
|March 20, 1977
|
|-
|{{access icon}} [[Malden Center (MBTA station)|Malden Center]]
| 13
|December 27, 1975
|[[MBTA Commuter Rail|Commuter Rail]]: [[Haverhill/Reading Line]]
|-
|{{access icon}} [[Wellington (MBTA station)|Wellington]]
| 10
|September 6, 1975
|
|-
|{{access icon}} [[Assembly Square (MBTA station)|Assembly Square]]
| 9
|
|Expected to open in 2013
|-
|{{access icon}} [[Sullivan Square (MBTA station)|Sullivan Square]]
| 7
|April 7, 1975
|Separate station from one on the [[Charlestown Elevated]] closed April 4, 1975
|-
|{{access icon}} [[Community College (MBTA station)|Community College]]
| 5
|April 7, 1975
|Serves [[Bunker Hill Community College]]
|-
|{{access icon}} [[North Station]]
| 3
|April 7, 1975
|[[Green Line (MBTA)|Green Line]] and [[MBTA Commuter Rail|Commuter Rail]] north side lines
|-
|{{access icon}} [[Haymarket (MBTA station)|Haymarket]]
| 2
|November 30, 1908
|[[Green Line (MBTA)|Green Line]] Originally Friend-Union until January 25, 1967
|-
|{{access icon}} [[State (MBTA station)|State]]
| 1
|November 30, 1908
|[[Blue Line (MBTA)|Blue Line]] Originally Milk-State until January 24, 1967
|-
|{{access icon}} [[Downtown Crossing (MBTA station)|Downtown Crossing]]
| 0
|November 30, 1908
|[[Red Line (MBTA)|Red Line]], [[Green Line (MBTA)|Green Line]] and [[Silver Line (MBTA)|Silver Line]] Originally Winter-Summer until January 22, 1967, then Washington until May 3, 1987
|-
|{{access icon}} [[Chinatown (MBTA station)|Chinatown]]
| 2
|November 30, 1908
|[[Silver Line (MBTA)|Silver Line]] Originally Boylston-Essex until February 10, 1967, then Essex until May 3, 1987
|-
|{{access icon}} [[Tufts Medical Center (MBTA station)|Tufts Medical Center]]
| 3
|May 4, 1987
|[[Silver Line (MBTA)|Silver Line]] Originally New England Medical Center until April 2010
|-
|{{access icon}} [[Back Bay (MBTA station)|Back Bay]]
| 6
|May 4, 1987
|[[Amtrak]] station [[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Framingham/Worcester Line]], [[Franklin Line]] and [[Needham Line]] Also called Back Bay/South End
|-
|{{access icon}} [[Massachusetts Avenue (MBTA Orange Line station)|Massachusetts Avenue]]
| 8
|May 4, 1987
|
|-
|{{access icon}} [[Ruggles (MBTA station)|Ruggles]]
| 9
|May 4, 1987
|[[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Franklin Line]] and [[Needham Line]]
|-
|{{access icon}} [[Roxbury Crossing (MBTA station)|Roxbury Crossing]]
| 10
|May 4, 1987
|
|-
|{{access icon}} [[Jackson Square (MBTA station)|Jackson Square]]
| 12
|May 4, 1987
|
|-
|{{access icon}} [[Stony Brook (MBTA station)|Stony Brook]]
| 14
|May 4, 1987
|
|-
|{{access icon}} [[Green Street (MBTA station)|Green Street]]
| 16
|May 4, 1987
|Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987
|-
|{{access icon}} [[Forest Hills (MBTA station)|Forest Hills]]
| 18
|May 4, 1987
|[[Commuter Rail (MBTA)|Commuter Rail]]: [[Needham Line]] Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987 Former terminus of Green Line E branch
|}

==Equipment==
[[Image:NorthStationOrangeOutbound.jpg|thumb|250px|''Outbound Train at North Station'']]

The Orange Line is [[standard gauge]] [[heavy rail]], and uses [[third rail]] for power. The current fleet is the 01200 series, built 1980-1981 by [[Hawker Siddeley Canada]] Car and Foundry (now [[Bombardier Transportation]]) of [[Thunder Bay]], [[Ontario]], [[Canada]]. They are 65 feet (20 m) long and 111 inches (2.8 m) wide, with three pairs of doors on each side. They are based on the PA3 model used by [[Port Authority Trans-Hudson|PATH]] in [[New Jersey]]. There are 120 cars, numbered 01200-01319. All in-service Orange Line trains run in six-car configurations.

{| class="wikitable" border="1"
|-
!Year Built
!Make
!Model
!Length ft ( mm)
!Width in ( mm)
!Gauge
!Road Numbers
|-
| 1980–1981
| [[Hawker Siddeley Canada]]
| PA3
| {{convert|65|ft|mm|sigfig=5|abbr=on}}
| {{convert|111|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 1200–1319
|-
|}

===New trains===
It was announced in the Spring of 2009 that the planning process for new Orange and Red Line vehicles had begun. The simultaneous order calls for 146 Orange Line cars (to replace the whole fleet) and 74 Red Line cars (presumably to replace the 1500s and 1600s, of which there were 76, with 72 still in service). This order would be similar to the current Orange Line cars and the old Blue Line cars, ordered at the same time and largely identical except for size. The new cars would enter service between 2013 and 2017. The announcement also suggested that new Green Line cars will be planned at about the same time, although these cars would not be similar to the Orange and Red Line cars due to the differing natures of the lines.<ref>http://www.mbta.com/uploadedfiles/Accessibility/Access%20in%20Motion_Spring09%20-%20Word.doc</ref>

==Facilities==
The Orange Line has two tracks (one in each direction) except for a third track between Wellington and the Charles River portal.<ref name="nycsubway" /> This track can be used to bypass construction on the other two, or for testing newly delivered cars for the Orange and Blue lines. The primary maintenance and storage facility is at Wellington Station.<ref name="nycsubway">http://world.nycsubway.org/us/boston/orange.html</ref> Had the Orange Line been extended to Reading, the third track would have become an express track.

==Accessibility==
{{see also|MBTA accessibility}}
All stations on the Orange Line are [[handicapped accessible]]. Work on [[State (MBTA station)|State]] to make it fully accessible from the [[Blue Line (MBTA)|Blue Line]] was completed in Spring 2011 and officially announced on May 26th, 2011.<ref>http://www.mbta.com/about_the_mbta/news_events/?id=21720</ref>

== References ==
{{reflist}}

==External links==
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=ORANGE MBTA - Orange Line]
*[http://world.nycsubway.org/us/boston/orange.html Orange Line] from nycsubway.org - Includes detailed description and photos
*[http://www.jphs.org/transportation/orange-line-memories.html Jamaica Plain Historical Society - Orange Line Memories]
*[http://www.jphs.org/transportation/orange-line-replaced-old-railroad-embankment.html Jamaica Plain Historical Society - Orange Line Replaced Old Railroad Embankment]

{{MBTA}}
{{USSubway}}

{{coord missing|United States}}

{{DEFAULTSORT:Orange Line (Mbta)}}
[[Category:MBTA Rapid Transit]]
[[Category:Orange Line (MBTA)| ]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Old Colony Railroad lines]]
[[Category:Railway lines opened in 1901]]
[[Category:1901 establishments in the United States]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Laranja (Metro de Boston)]]

Orange Line (MBTA)

2011-09-09T02:24:59Z

Reify-tech: Move "Assembly Square" subsection to modest "Future plans" section in preparation for pointer from main MBTA article

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:ORANGE LINE}}| color1 = Orange}}
|image = NorthStationOrange.jpg
|image_width = 250px
|caption = Inbound train at North Station
|type = [[Rapid transit]]
|system =
|status = Operational
|locale = [[Boston, Massachusetts]]
|start = [[Oak Grove (MBTA station)|Oak Grove]]
|end = [[Forest Hills (MBTA station)|Forest Hills]]
|stations = 19 (1 planned)
|routes =
|ridership = 184,961 ([[fiscal year|FY]]2010)<ref name="BlueBook2010">{{cite web|url=http://www.mbta.com/uploadedfiles/documents/Bluebook%202010.pdf|title=Ridership and Service Statistics, Twelfth Edition|year=2009|publisher=[[Massachusetts Bay Transportation Authority]]|page=6|accessdate=December 16, 2010}}</ref>
|open = 1901
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character =
|stock = [[Hawker Siddeley Canada|01200 series]]
|linelength = {{convert|11|mi|km}}
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}}
|el = [[Third Rail]]
|speed =
|elevation =
|map = {{Infobox rdt|MBTA Orange Line}}
|}}

The '''Orange Line''' is one of the four subway lines of the [[Massachusetts Bay Transportation Authority]]. It extends from [[Forest Hills (MBTA station)|Forest Hills]] in [[Jamaica Plain, Massachusetts|Jamaica Plain]], [[Boston, Massachusetts|Boston]] in the south to [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] in the north. It meets the [[Red Line (MBTA)|Red Line]] at [[Downtown Crossing (MBTA station)|Downtown Crossing]], the [[Blue Line (MBTA)|Blue Line]] at [[State (MBTA station)|State]], and the [[Green Line (MBTA)|Green Line]] at [[Haymarket (MBTA station)|Haymarket]] and [[North Station]]. It connects with [[Amtrak]] and Commuter Rail service at [[Back Bay (MBTA station)|Back Bay]] and North Station, and just the commuter rail at [[Ruggles (MBTA station)|Ruggles]] station in Roxbury and at [[Forest Hills (MBTA station)|Forest Hills]]. From 1901 to 1987 it provided the first elevated rapid transit in Boston; the last elevated section was torn down in 1987 when the southern portion of the line was moved to the [[Southwest Corridor]].

==History==
{{see also|History of the MBTA}}

===Names===
The current name, assigned in the 1960s, is derived from Orange Street, an old name for the section of Washington Street immediately south of downtown under which the '''Washington Street Tunnel''', forming the center of the line, still runs.<ref>[http://maps.bpl.org/id/06_01_001130/ Orange Street on Map of Boston 1775]</ref> Cars throughout the Boston rapid transit network were formerly painted orange or with orange stripes by MBTA predecessors, and restored [[streetcar]]s on the [[Ashmont-Mattapan High Speed Line]] wear their historical orange livery, but this is largely coincidental.

Several stations were renamed in 1967 and 1987 from the names of the nearest street intersections to those of local landmarks; for example, "Boylston-Essex" eventually was renamed "Chinatown".

===Construction===
The Main Line of the electric [[Boston Elevated Railway]] opened in segments in 1901. It proceeded from [[Everett, Massachusetts|Everett]] along the [[Charlestown Elevated]] to the [[Canal Street Incline]] near [[North Station]]. It was carried underground by the [[Tremont Street Subway]] (now the [[Green Line (MBTA)|Green Line]]) returning above ground at the [[Pleasant Street Incline]] (now closed, located just outbound of [[Boylston (MBTA station)|Boylston Station]]). A temporary link connected it to the [[Washington Street Elevated]], which in 1901 ran from this point via Washington Street to Dudley Square (which is most of what is now Phase 1 of the [[Silver Line (MBTA)|Silver Line]]).

Also in 1901, the [[Atlantic Avenue Elevated]] opened, branching at Causeway Street to provide an alternate route through downtown Boston (along the shoreline, where today there is no rail transit) to the Washington Street Elevated.

In 1908, the '''Washington Street Tunnel''' opened, allowing Main Line service to travel from the [[Charlestown Elevated]], underground via new portals at the [[Canal Street Incline]], under downtown, and back up again to meet the Washington Street Elevated and Atlantic Avenue Elevated near [[Chinatown, Boston|Chinatown]]. Use of the Tremont Street Subway was returned to [[streetcar]]s exclusively.

By 1909, the Washington Street Elevated had been extended to [[Forest Hills (MBTA station)|Forest Hills]]. Trains from Washington Street were routed through the new subway, either all the way to Everett, or back around in a loop via both the subway and the Atlantic Avenue Elevated.

===Closure of Atlantic Elevated and ownership changes===
Following a 1928 accident at a tight curve on Beach Street, the southern connection between South Station and Washington Street was closed, breaking the loop. By 1938, the entire [[Atlantic Avenue Elevated]] had been closed, leaving the subway as the only route through downtown - what is now the Orange Line between [[Haymarket (MBTA station)|Haymarket]] and [[Chinatown (MBTA station)|Chinatown]] stations.

Ownership of the railway was transferred from the private Boston Elevated Railway to the public Metropolitan Transit Authority (MTA) in 1947, reconstituted as the modern [[Massachusetts Bay Transportation Authority]] in 1964.

===Rerouting of Charlestown and Everett service===
[[Image:Main Line Elevated.jpg|thumb|280px|The old Main Line Elevated and related lines]]
The [[Boston Transportation Planning Review]] looked at the line in the 1970s, considering extensions to the [[beltway]] [[Massachusetts Route 128|Route 128]] with termini at [[Reading, Massachusetts|Reading]] in the north and [[Dedham, Massachusetts|Dedham]] in the south. As a result of this review, the [[Charlestown Elevated]] - which served the [[Charlestown, Boston, Massachusetts|Charlestown]] neighborhood north of downtown Boston and the suburb [[Everett, Massachusetts|Everett]] - was demolished in 1975. The '''Haymarket North Extension''' rerouted the Orange Line through an [[Haymarket North Extension|underwater crossing]] of the [[Charles River]]. Service in Charlestown was replaced with service along [[Boston and Albany]] tracks under [[Interstate 93]], ultimately to [[Wellington (MBTA station)|Wellington]] and [[Oak Grove (MBTA station)|Oak Grove]] in [[Malden, Massachusetts]] instead of Everett. The service to Everett was not replaced.

===Closure of Washington Street elevated===
Construction of [[Interstate 95 in Massachusetts|Interstate 95]] into downtown Boston was cancelled in 1972 after [[NIMBY|local protest]] over the necessary demolition. However, land for the [[Southwest Corridor (Boston)|Southwest Corridor]] through [[Roxbury, Massachusetts|Roxbury]] had already been cleared of buildings. Instead of a highway, the Orange Line subway would be re-routed into the corridor. In 1987, the Washington Street Elevated was torn down as part of this re-routing, the last of the original elevated portions to be demolished.

Between April 30 and May 3, 1987, the [[Washington Street Elevated]] south of the [[Chinatown (MBTA station)|Chinatown station]] was closed to allow the Orange Line to be tied into the new Southwest Corridor. On May 4, 1987, the Orange Line was rerouted out of the southern end of the Washington Street Tunnel and onto the new Southwest Corridor. Instead of rising into elevated tracks, it instead veered west at the [[Massachusetts Turnpike]] and followed the Pike and the old [[Boston and Albany Railroad]] right-of-way to the existing [[MBTA Commuter Rail]] stop at [[Back Bay (MBTA station)|Back Bay]]. It then continued along new tracks, partially covered and partially open but depressed, to [[Forest Hills (MBTA station)|Forest Hills]]. This right-of-way is also shared by [[Amtrak]] as part of the national [[Northeast Corridor]].

While ending up more or less in the same place, the new routing bypassed Washington Street significantly to the west; local residents were promised replacement service. Originally, plans provided for [[light rail vehicle]] service on the streets, from Washington Street to Dudley Square, then diverting southeast-ward on Warren Street towards Dorchester. In 2002, Phase 1 of the [[Silver Line (MBTA)|Silver Line]] [[bus rapid transit]] was added to connect Washington Street to the downtown subways, attempting to address this. This was controversial, as many residents would prefer the return of rail transportation.

===Renovations during the Big Dig===
[[Haymarket (MBTA station)|Haymarket]] and [[North Station]] received major renovations during the [[Big Dig (Boston, Massachusetts)|Big Dig]] in the 1990s and first decade of the 21st century, as the [[Causeway Street Elevated]] portion of the [[Green Line (MBTA)|Green Line]] was buried, its physical connection to the Orange Line was improved to make transfers easier, the [[Canal Street Incline]] was finally closed, and the Green Line was re-rerouted through a new portal closer to the river, near the [[Zakim Bunker Hill Bridge]].

==Future plans==
===Assembly Square===
In August 2008, the federal Secretary of Transportation announced a federal and commercial commitment to provide funds for a new Orange Line station at [[Assembly Square]] in Somerville, presently expected to open in 2013. The new station, located on the bank of the Mystic River between Wellington and Sullivan Square stations, will serve a new development at [[Assembly Square (MBTA station)|Assembly square]].<ref>http://www.assemblysquare.com/news.html</ref>

{{clear}}

==Station listing==
{| class="wikitable"
!Station
!Time to Downtown Crossing (min)<ref>From [[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals and Visitors'', 10th ed. (2003), p.117, and [http://www.mbta.com/uploadedFiles/Documents/Schedules_and_Maps/Subway/frequency-schedule.pdf MBTA website], roughly interpolated by distance between stations.</ref>
!Opened
!Transfers and notes
|-
|{{access icon}} [[Oak Grove (MBTA station)|Oak Grove]]
| 15
|March 20, 1977
|
|-
|{{access icon}} [[Malden Center (MBTA station)|Malden Center]]
| 13
|December 27, 1975
|[[MBTA Commuter Rail|Commuter Rail]]: [[Haverhill/Reading Line]]
|-
|{{access icon}} [[Wellington (MBTA station)|Wellington]]
| 10
|September 6, 1975
|
|-
|{{access icon}} [[Assembly Square (MBTA station)|Assembly Square]]
| 9
|
|Expected to open in 2013
|-
|{{access icon}} [[Sullivan Square (MBTA station)|Sullivan Square]]
| 7
|April 7, 1975
|Separate station from one on the [[Charlestown Elevated]] closed April 4, 1975
|-
|{{access icon}} [[Community College (MBTA station)|Community College]]
| 5
|April 7, 1975
|Serves [[Bunker Hill Community College]]
|-
|{{access icon}} [[North Station]]
| 3
|April 7, 1975
|[[Green Line (MBTA)|Green Line]] and [[MBTA Commuter Rail|Commuter Rail]] north side lines
|-
|{{access icon}} [[Haymarket (MBTA station)|Haymarket]]
| 2
|November 30, 1908
|[[Green Line (MBTA)|Green Line]] Originally Friend-Union until January 25, 1967
|-
|{{access icon}} [[State (MBTA station)|State]]
| 1
|November 30, 1908
|[[Blue Line (MBTA)|Blue Line]] Originally Milk-State until January 24, 1967
|-
|{{access icon}} [[Downtown Crossing (MBTA station)|Downtown Crossing]]
| 0
|November 30, 1908
|[[Red Line (MBTA)|Red Line]], [[Green Line (MBTA)|Green Line]] and [[Silver Line (MBTA)|Silver Line]] Originally Winter-Summer until January 22, 1967, then Washington until May 3, 1987
|-
|{{access icon}} [[Chinatown (MBTA station)|Chinatown]]
| 2
|November 30, 1908
|[[Silver Line (MBTA)|Silver Line]] Originally Boylston-Essex until February 10, 1967, then Essex until May 3, 1987
|-
|{{access icon}} [[Tufts Medical Center (MBTA station)|Tufts Medical Center]]
| 3
|May 4, 1987
|[[Silver Line (MBTA)|Silver Line]] Originally New England Medical Center until April 2010
|-
|{{access icon}} [[Back Bay (MBTA station)|Back Bay]]
| 6
|May 4, 1987
|[[Amtrak]] station [[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Framingham/Worcester Line]], [[Franklin Line]] and [[Needham Line]] Also called Back Bay/South End
|-
|{{access icon}} [[Massachusetts Avenue (MBTA Orange Line station)|Massachusetts Avenue]]
| 8
|May 4, 1987
|
|-
|{{access icon}} [[Ruggles (MBTA station)|Ruggles]]
| 9
|May 4, 1987
|[[MBTA Commuter Rail|Commuter Rail]]: [[Providence/Stoughton Line]], [[Franklin Line]] and [[Needham Line]]
|-
|{{access icon}} [[Roxbury Crossing (MBTA station)|Roxbury Crossing]]
| 10
|May 4, 1987
|
|-
|{{access icon}} [[Jackson Square (MBTA station)|Jackson Square]]
| 12
|May 4, 1987
|
|-
|{{access icon}} [[Stony Brook (MBTA station)|Stony Brook]]
| 14
|May 4, 1987
|
|-
|{{access icon}} [[Green Street (MBTA station)|Green Street]]
| 16
|May 4, 1987
|Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987
|-
|{{access icon}} [[Forest Hills (MBTA station)|Forest Hills]]
| 18
|May 4, 1987
|[[Commuter Rail (MBTA)|Commuter Rail]]: [[Needham Line]] Separate station from one on the former [[Washington Street Elevated]] closed April 30, 1987 Former terminus of Green Line E branch
|}

==Equipment==
[[Image:NorthStationOrangeOutbound.jpg|thumb|250px|''Outbound Train at North Station'']]

The Orange Line is [[standard gauge]] [[heavy rail]], and uses [[third rail]] for power. The current fleet is the 01200 series, built 1980-1981 by [[Hawker Siddeley Canada]] Car and Foundry (now [[Bombardier Transportation]]) of [[Thunder Bay]], [[Ontario]], [[Canada]]. They are 65 feet (20 m) long and 111 inches (2.8 m) wide, with three pairs of doors on each side. They are based on the PA3 model used by [[Port Authority Trans-Hudson|PATH]] in [[New Jersey]]. There are 120 cars, numbered 01200-01319. All in-service Orange Line trains run in six-car configurations.

{| class="wikitable" border="1"
|-
!Year Built
!Make
!Model
!Length ft ( mm)
!Width in ( mm)
!Gauge
!Road Numbers
|-
| 1980–1981
| [[Hawker Siddeley Canada]]
| PA3
| {{convert|65|ft|mm|sigfig=5|abbr=on}}
| {{convert|111|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 1200–1319
|-
|}

===New trains===
It was announced in the Spring of 2009 that the planning process for new Orange and Red Line vehicles had begun. The simultaneous order calls for 146 Orange Line cars (to replace the whole fleet) and 74 Red Line cars (presumably to replace the 1500s and 1600s, of which there were 76, with 72 still in service). This order would be similar to the current Orange Line cars and the old Blue Line cars, ordered at the same time and largely identical except for size. The new cars would enter service between 2013 and 2017. The announcement also suggested that new Green Line cars will be planned at about the same time, although these cars would not be similar to the Orange and Red Line cars due to the differing natures of the lines.<ref>http://www.mbta.com/uploadedfiles/Accessibility/Access%20in%20Motion_Spring09%20-%20Word.doc</ref>

==Facilities==
The Orange Line has two tracks (one in each direction) except for a third track between Wellington and the Charles River portal.<ref name="nycsubway" /> This track can be used to bypass construction on the other two, or for testing newly delivered cars for the Orange and Blue lines. The primary maintenance and storage facility is at Wellington Station.<ref name="nycsubway">http://world.nycsubway.org/us/boston/orange.html</ref> Had the Orange Line been extended to Reading, the third track would have become an express track.

==Accessibility==
{{see also|MBTA accessibility}}
All stations on the Orange Line are [[handicapped accessible]]. Work on [[State (MBTA station)|State]] to make it fully accessible from the [[Blue Line (MBTA)|Blue Line]] was completed in Spring 2011 and officially announced on May 26th, 2011.<ref>http://www.mbta.com/about_the_mbta/news_events/?id=21720</ref>

== References ==
{{reflist}}

==External links==
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=ORANGE MBTA - Orange Line]
*[http://world.nycsubway.org/us/boston/orange.html Orange Line] from nycsubway.org - Includes detailed description and photos
*[http://www.jphs.org/transportation/orange-line-memories.html Jamaica Plain Historical Society - Orange Line Memories]
*[http://www.jphs.org/transportation/orange-line-replaced-old-railroad-embankment.html Jamaica Plain Historical Society - Orange Line Replaced Old Railroad Embankment]

{{MBTA}}
{{USSubway}}

{{coord missing|United States}}

{{DEFAULTSORT:Orange Line (Mbta)}}
[[Category:MBTA Rapid Transit]]
[[Category:Orange Line (MBTA)| ]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Old Colony Railroad lines]]
[[Category:Railway lines opened in 1901]]
[[Category:1901 establishments in the United States]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Laranja (Metro de Boston)]]

Blue Line (MBTA)

2011-09-09T01:36:31Z

Reify-tech: Minor reorganization of sections

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:BLUE LINE}}| color1 = Blue}}
|image = MBTA_Blue.jpg
|image_width = 250px
|caption = One of the new 0700 series Blue Line trains at the rebuilt [[Airport (MBTA station)|Airport]] station, outbound to Wonderland.
|type = [[Rapid transit]]
|system =
|status =
|locale = [[Boston, Massachusetts]]
|start = [[Bowdoin (MBTA station)|Bowdoin]]
|end = [[Wonderland (MBTA station)|Wonderland]]
|stations = 12
|routes =
|ridership = 66,933<ref>{{cite web |url=http://www.mbta.com/about_the_mbta/news_events/?id=15671&month=&year= |title=As Another Ridership Record is Set, MBTA Adds More Service|accessdate=2008-09-04 |work=MBTA.com}}</ref>
|open = 1904 (streetcar)<ref name="nycsubway" /> 1924 (rapid transit) 1952 (Revere extension)
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character =
|stock = Type 4 East Boston cars
|linelength =
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}}
|el =
|speed =
|elevation =
|map = {{infobox rdt|MBTA Blue Line}}
|}}
The '''Blue Line''' is one of four [[rapid transit|subway]] lines of the [[Massachusetts Bay Transportation Authority]] (MBTA) serving Downtown, East Boston and the North Shore. It runs from northeast to southwest, extending from [[Wonderland (MBTA station)|Wonderland station]] in [[Revere, Massachusetts]] to [[Bowdoin (MBTA station)|Bowdoin station]] near [[Beacon Hill, Boston, Massachusetts|Beacon Hill]] in [[Boston, Massachusetts|Boston]]. It meets the [[Green Line (MBTA)|Green Line]] at [[Government Center (MBTA station)|Government Center]], connects with the [[Orange Line (MBTA)|Orange Line]] at [[State (MBTA station)|State Street]], and provides service to [[Airport (MBTA station)|Airport station]] which has a free shuttle connection to [[Logan International Airport]].

The Blue Line is the only MBTA subway line to serve only a single district in the [[Massachusetts Senate|State Senate]] — the First Middlesex and Suffolk district.

==History==
[[File:PostcardBostonMAEastBostonTunnel1906.jpg|left|thumb|Tunnel entrance near Atlantic (now Aquarium) Station, 1906]]
{{see also|History of the MBTA}}
The '''East Boston Tunnel''', opened in 1904, was the first subway in the world to run underneath a section of the ocean.<ref name=nycsubway>{{cite web |url=http://world.nycsubway.org/us/boston/blue.html |title=MBTA Blue Line|accessdate=2008-02-21 |work=NYCsubway.org}}</ref> It was initially designed to carry [[Light rail|streetcar]]s, and ran from Maverick to Court Street via State.<ref name=nycsubway/> In 1906, Atlantic Station (now Aquarium) was opened, with a connection to the [[Atlantic Avenue Elevated]]. In 1916, the terminus at Court Street was moved to Bowdoin, and the [[Scollay Square]] station (now Government Center) was opened near the closed Court Street station.<ref name=nycsubway/>

In 1925, the subway portion of the line was retrofitted for [[railway platform height|high platform]] service, and [[rapid transit]] cars began shuttling between Bowdoin and Maverick. From 1952 to 1954, a surface extension was created along the disused [[Boston, Revere Beach and Lynn Railroad]], from Maverick to the current terminus at Wonderland. The old railroad was [[narrow gauge]], but was converted to [[standard gauge]] for this '''Revere Extension''' of the subway.

The line, officially known as the '''East Boston Tunnel & Revere Extension''' by the [[Metropolitan Transit Authority (Boston)|MTA]] since 1952, was redesignated ''Blue'' on August 26, 1965<ref>{{cite journal|last=Clarke|first=Bradley H.|title=The Boston Rapid Transit Album|journal=Boston Street Railway Association Bulletin|year=1981|issue=No. 17|pages=13}}</ref> as part of the new MBTA's color-based re-branding. The color blue represented water, as the line passes under [[Boston Harbor]] and travels near the coast for much of its length.

In the early part of the 20th century, the Blue Line was actually connected to the [[Red Line (MBTA)|Red Line]] by a direct rail connection (though the color designations of the subway lines had yet to be assigned at that time). Rail cars from the Blue Line could emerge from a ramp portal surfacing between Joy Street and Russell Street, just beyond [[Bowdoin (MBTA station)|Bowdoin]] station, and run on tracks down Cambridge Street to connect to the Red Line near what is now [[Charles/MGH (MBTA station)|Charles/MGH]] station. Because the tracks were unpowered, individual cars had to be towed along the street at night. This connection was never used in [[revenue service]], but was used to transport Blue Line cars to the Eliot Street Yard maintenance shops then located near [[Harvard Square (MBTA station)|Harvard Square]] station. When the Blue Line eventually got its own maintenance shops, the connection was removed and the ramp portal was permanently covered around 1952.<ref name=CAPSU>{{cite book|last=Cudahy|first=Brian J.|title=Change at Park Street Under; the story of Boston's subways|year=1972|publisher=S. Greene Press|location=Brattleboro, Vt.|isbn=978-0828901734}}</ref><ref name=RBC-Map>{{cite web|title=Red Line Blue Line Connector (map)|url=http://www.eot.state.ma.us/redblue/downloads/map.pdf|work=Mass.gov|publisher=Commonwealth of Massachusetts|accessdate=2011-07-28}}</ref><ref name="nycsubway"/>

As of 2011, there are plans to rebuild this historic Red/Blue Line connection, but in a more permanent manner. The new connection would be entirely underground, with no direct track connection — passengers would transfer at Charles/MGH inside a fare paid area.<ref name=RedBlue>{{cite web|title=Red Line Blue Line Connector|url=http://www.eot.state.ma.us/redblue/|work=Mass.gov|publisher=Commonwealth of Massachusetts|accessdate=2011-07-27}}</ref><ref name=RedBlueFact>{{cite web|title=Red Line Blue Line Connector Factsheet|url=http://www.eot.state.ma.us/redblue/downloads/FactSheet2_050310.pdf|work=Mass.gov|publisher=Commonwealth of Massachusetts|accessdate=2011-07-27}}</ref>

==Future plans==
=== Station renovations ===
The Blue Line Modernization Project begun in the late 1990s includes renovating stations to increase the length of trains from four to six cars, to make all stations wheelchair accessible, and to improve appearance. The first Blue Line six-car trains began service on September 15, 2008.<ref>Associated Press (15 Sept. 2008). [http://www.boston.com/news/local/articles/2008/09/15/six_car_trains_to_debut_today_on_blue_line/ Six-car trains to debut today on Blue Line]. [[The Boston Globe]]. Retrieved 13 March 2011.</ref><ref>[http://mbta.com/about_the_mbta/news_events/?id=15725 Six-Car Trains on the Blue Line]. [[Massachusetts Bay Transportation Authority]]. Retrieved 13 March 2011.</ref>

As of 2011, passengers can disembark from all 6 cars at the outbound platform of [[Bowdoin (MBTA station)|Bowdoin Station]], but due to the shape of the platform (which is inside a turn-around loop), passengers can only board 4 cars at the inbound side. The MBTA uses "POP buttons" on the outside of 6-car trains to allow passengers to open only the doors they need to board. The station may eventually be closed or reconfigured as part of the Red Line Blue Line Connector project, as discussed below.

===Extension to Lynn===
There is a proposal to extend the Blue Line northward to [[Lynn, Massachusetts]]. The land to extend the line was purchased for the initial construction of the Revere Extension, but due to budgetary constraints Wonderland station was designated the northern terminus. Two potential extension routes have been identified. One proposed path would run through marshland alongside the existing [[Newburyport/Rockport Line|Newburyport/Rockport commuter rail line]], on rail lines formerly operated by the [[Boston and Maine Railroad]]. An alternative route would extend the line alongside [[Revere Beach|Revere Beach Boulevard]] through Point of Pines and the [[Massachusetts Route 1A|Lynnway]], along the remainder of the [[Boston, Revere Beach & Lynn Railroad|BRB&L]] right of way.<ref>{{cite web |url=http://www.bostonmpo.org/bostonmpo/pmt-old/PMT-3.pdf |title=Chapter 5C System Expansion |accessdate=2007-10-14 |format=PDF |work=MBTA Program for Mass Transportation }}</ref> Other alternatives include increased commuter rail or bus service, or connecting the Blue Line to a commuter rail stop near Wonderland via a short connector.<ref name="boston.com">{{cite news| url=http://www.boston.com/news/local/articles/2007/12/13/plan_for_stretching_blue_line_to_lynn_gets_state_boost/?page=2 | work=The Boston Globe | title=Plan for stretching Blue Line to Lynn gets state boost | first=John | last=Laidler | date=December 13, 2007}}</ref>

In 2005, [[Lieutenant Governor of Massachusetts|Lieutenant Governor]] [[Kerry Healy]] estimated construction would begin in 2017.<ref>[http://www.lynndevelopment.com/dei_3_10_04.htm Blue Line Rolling into Lynn] by Thor Jourgensen. Lynn Office of Economic and Community Development. 10 March 2005.</ref> Authorization to bond for planning money for the project was included in an April 2008 state bond bill,<ref>[http://www.mass.gov/legis/laws/seslaw08/sl080086.htm Chapter 86 of the Acts of 2008]</ref> and $25 million in federal earmarks have been obtained.<ref name="Rosenberg">{{cite news| url=http://www.boston.com/news/local/articles/2008/04/06/blue_line_blues/ | work=The Boston Globe | title=Blue Line blues | first=Steven | last=Rosenberg | date=April 6, 2008}}</ref> A 2004 state bond bill authorized $246.5 million on the condition of finding 50% non-state matching funds (which presumably would come from the federal government).<ref name="boston.com"/> The Draft Environmental Impact Report was expected to be complete by the end of 2008,<ref name="Rosenberg"/> but has been delayed as planners focus on meeting the legal deadline for the Green Line extension to Somerville and Medford.<ref>[http://www.itemlive.com/articles/2009/02/04/updates/doc4989bda6849ef790855421.txt Blue Line extension being slowed but not derailed]</ref>

===Red Line-Blue Line Connector===
As of 2011, the [[Green Line (MBTA)|Green Line]] is the most convenient way to transfer between the Blue Line and the [[Red Line (MBTA)|Red Line]], thus causing the short Green Line segment between [[Government Center (MBTA station)|Government Center]] station and nearby [[Park Street (MBTA station)|Park Street]] station to be especially congested during peak travel times. This bottleneck, combined with tight platform clearances on the Green Line outbound side, has been the cause of significant delays and crowding on the Green Line. In the past, an underground pedestrian passage had been proposed, paralleling the Green Line tracks and connecting the two stations, but this idea was dropped in favor of a direct transfer connection between the Blue and Red Lines.

It also is possible to transfer between the Red and Blue Lines by traveling one stop on the [[Orange Line (MBTA)|Orange Line]] between [[State (MBTA station)|State]] and [[Downtown Crossing (MBTA station)|Downtown Crossing]] stations, but this path involves navigating a longer and more convoluted path through stairs and passages of those stations. The Red and Blue Lines are the only pair of rapid transit lines in the MBTA system that lack a direct transfer connection. The idea of connecting them was studied in the [[Boston Transportation Planning Review]] in 1972.{{citation needed|date=July 2011}}

As part of a lawsuit settlement relating to air quality mitigation for the [[Big Dig]] highway tunnel project, the [[Commonwealth of Massachusetts]] agreed to build a direct transfer connection between the Blue and Red Lines. This would be done by extending the Blue Line beyond [[Bowdoin (MBTA station)|Bowdoin]] station, continuing to run a further 1500 feet (450 m) beneath Cambridge Street to [[Charles/MGH (MBTA station)|Charles/MGH]] station on the Red Line. Unlike the historic Red/Blue Line connection described earlier, there would be no direct rail connection between lines at Charles/MGH station (the rail gauges are identical, but the Red and Blue Line railcars are otherwise dimensionally incompatible). However, passengers would be able to transfer between the Red and Blue Lines without needing to crowd onto the Green Line, and many passengers from the North Shore of Boston would be able to reach the [[Massachusetts General Hospital]] area directly without further transfers.

After failing to take any action for over a decade, and under threat of further lawsuits, the state finally agreed to start detailed engineering design for such an extension, which is ongoing as of 2011. Construction is expected to take 6 years, but a start date and funding scheme have not yet been announced.<ref name=RedBlue>{{cite web|title=Red Line Blue Line Connector|url=http://www.eot.state.ma.us/redblue/|work=Mass.gov|publisher=Commonwealth of Massachusetts|accessdate=2011-07-27}}</ref><ref name=RedBlueFact>{{cite web|title=Red Line Blue Line Connector Factsheet|url=http://www.eot.state.ma.us/redblue/downloads/FactSheet2_050310.pdf|work=Mass.gov|publisher=Commonwealth of Massachusetts|accessdate=2011-07-27}}</ref><ref>{{cite news |url=http://www.boston.com/news/local/articles/2006/11/30/state_agrees_to_design_link_between_red_and_blue_lines/ |title=State agrees to design link between Red and Blue lines |accessdate=2007-10-14 |work=The Boston Globe | date=November 30, 2006}}</ref>

==Station listing==
{| class="wikitable"
!Station
!Time to Government Center<ref>[[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals & Visitors'', 10th ed. (2003), p.117.</ref>
!Opened
!Transfers and notes
|-
|{{access icon}} [[Wonderland (MBTA station)|Wonderland]]
|21 minutes
|January 19, 1954
|Site of former [[Boston, Revere Beach and Lynn Railroad]] Bathhouse Station
|-
|{{access icon}} [[Revere Beach (MBTA station)|Revere Beach]]
|19 minutes
|January 19, 1954
|Site of former [[Boston, Revere Beach and Lynn Railroad]] Crescent Beach Station
|-
|{{access icon}} [[Beachmont (MBTA station)|Beachmont]]
|17 minutes
|January 19, 1954
|Elevated above the site of formerly [[at-grade]] [[Boston, Revere Beach and Lynn Railroad]] Beachmont station
|-
|{{access icon}} [[Suffolk Downs (MBTA station)|Suffolk Downs]]
|15 minutes
|April 21, 1952
|Site of former [[Boston, Revere Beach and Lynn Railroad]] Belle Isle Station and adjacent to former street car terminal
|-
|{{access icon}} [[Orient Heights (MBTA station)|Orient Heights]]
|13 minutes
|January 5, 1952
|Site of former [[Boston, Revere Beach and Lynn Railroad]] Orient Heights Station
|-
|{{access icon}} [[Wood Island (MBTA station)|Wood Island]]
|11 minutes
|January 5, 1952
|Formerly Day Square, renamed Wood Island Park October 21, 1954, renamed Wood Island 1967
|-
|{{access icon}} [[Airport (MBTA station)|Airport]]
|9 minutes
|June 3, 2004
|Replaced older station a few hundred feet south of current station. Old station opened January 5, 1952 and closed June 2, 2004. Connection to the [[Silver Line (MBTA)|Silver Line]] via the Massport Shuttle to the Airport Terminals.
|-
|{{access icon}} [[Maverick (MBTA station)|Maverick]]
|7 minutes
|April 18, 1924
|Streetcar portal opened December 30, 1904
|-
|{{access icon}} [[Aquarium (MBTA station)|Aquarium]]
|4 minutes
|April 5, 1906
|Transfer to [[MBTA Boat|Ferry]] Formerly Atlantic, renamed February 13, 1967 Transfer to [[Atlantic Avenue Elevated]] open from April 5, 1906 to October 1, 1938
|-
|[[State (MBTA station)|State]] {{access icon}} 
|2 minutes
|December 30, 1904
|Transfer to [[Orange Line (MBTA)|Orange Line]] Formerly Devonshire, renamed January 25, 1967
|-
|''(Court Street)''
|0 minutes
|December 30, 1904
|Formerly Scollay Square Upper; closed March 17, 1916, replaced by Government Center, partially demolished<ref>[http://www.celebrateboston.com/mbta/blue-line/court-street-station.htm Old Court Street Station]. Celebrate Boston. Retrieved 13 March 2011.</ref>
|-
|[[Government Center (MBTA station)|Government Center]]
|0 minutes
|March 18, 1916
|Transfer to [[Green Line (MBTA)|Green Line]] Formerly Scollay Square Under, renamed October 28, 1963
|-
|[[Bowdoin (MBTA station)|Bowdoin]]
|2 minutes
|March 18, 1916
|Closed evenings, holidays, and weekends; slated to be closed when expansions of Government Center are completed
|}

==Accessibility==
{{See also|MBTA accessibility}}
From approximately 1998-2011, the MBTA made most Blue Line stations fully accessible as part of a larger effort to accommodate 6-car trains on the line. As of 2011, the only stations on the Blue Line which are not fully accessible are Government Center and Bowdoin. A major rebuild of Government Center station is being planned; the future of Bowdoin station depends on the Red Line Blue Line Connector project, which is in the design phase.<ref name="RedBlue"/>

==Equipment==
[[File:Blue Line trains at Revere Beach.jpg|thumb|left|220px|Aboveground, Blue Line trains use pantographs to collect power from overhead wires]]
The Blue Line tracks are [[standard gauge]] [[heavy rail]].<ref>{{cite web |url=http://world.nycsubway.org/us/boston/blue.html |title=MBTA Blue Line |accessdate=2007-10-14 |work=NYC Subway}}</ref>

Blue Line cars are unique among rapid transit vehicles in Boston, in that they use both [[third rail]] power and [[pantograph (rail)|pantograph]] current pickup from [[overhead wires|overhead catenary]] wires. Trains switch between the two modes at [[Airport (MBTA station)|Airport station]], near where the line transitions between running in a tunnel and running above ground. Previously, the switchover was made underground at Maverick station, but the temporary loss of power and lighting during switchover is less disconcerting above ground. The overhead pantograph was implemented to avoid third rail icing that frequently occurs in winter. Third rail power is used in the original Blue Line tunnels, which are smaller than most modern subway tunnels.<ref name="CAPSU"/>

The Blue Line cars are also narrower and shorter than otherwise similar ones running on the Orange Line, due to the stations and tunnels on the former line having been originally designed to accommodate streetcars.<ref name="CAPSU"/><ref>{{cite book
| last = Clarke
| first = Bradley
| title = The Boston Rapid Transit Album
| publisher = Boston Street Railway Association
| year = 1981
| location = Cambridge, Mass.
| pages = 8
| url =
| isbn = }}</ref>

The Blue Line fleet consists mainly of 94 700-series cars (47 pairs) with [[stainless steel]] bodies from [[Siemens AG|Siemens]], with each car 48 feet (14.9m) long and 9 feet 3 inches wide (2.8m), with two pairs of doors per side. The cars are of a similar design to those built for the [[Tren Urbano]] system in [[San Juan, Puerto Rico]], also designed by Siemens. Originally scheduled to be delivered beginning in January, 2004, the development of the trains has been beset with problems.{{update after|2011|7}} The contract price of the cars is $174 million, with a total cost to the MBTA (including engineering and other related services) of $200 million.

Twenty of the older 600-series cars are also still in operable condition, though as of June 2010 they are only kept as a contingency fleet and are not in everyday use.<ref>[http://mysite.verizon.net/rtspcc/MBTAroster.html The MBTA Vehicle Inventory Page]. Retrieved 13 March 2011.</ref> Previously, all of the fleet consisted of the 0600 series, built 1978-1980 by [[Hawker Siddeley]] Canada Car and Foundry (now [[Bombardier Transportation]]) of [[Thunder Bay, Ontario]], [[Canada]]. They are 48 feet 10 inches (14.9 m) long and 9 feet 3 inches (2.8 m) wide, with two pairs of doors on each side, and a design maximum speed of 65 mph (105 km/h).<ref>Hawker Siddeley Canada Ltd. data sheet</ref> They are based on the PA3 model used by [[Port Authority Trans-Hudson|PATH]] in [[New Jersey]]. There were originally 70 Hawker cars, numbered 0600-0669. As of 2011, most of these cars have been retired because of severe corrosion, mainly caused by the salty air that results from much of the line being very close to the ocean. However, 12-20 cars will be retained until 2012. [[Seashore Trolley Museum]] received set 622-623 for their collection.<ref>[http://www.trolleymuseum.org/documents/fundraiser-EastBoston4.pdf We've saved a set of "bluebells" by acting quickly. Now we need your help to pay for the move]. [[Seashore Trolley Museum]].</ref>

==References==
<references />

==External links==
{{Commonscat|MBTA Blue Line}}
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=BLUE MBTA - Blue Line] (official site)
*[http://www.celebrateboston.com/mbta/blue-line/east-boston-tunnel.htm East Boston Tunnel images] Shows original streetcar tunnel from Maverick Square (East Boston) to State Street (Boston).
*[http://world.nycsubway.org/us/boston/blue.html Blue Line] at world.nycsubway.org
*[http://www.revere.org/history_fr.htm History of Revere], including the narrow-gauge predecessor of the Blue Line

{{MBTA}}{{USSubway}}

[[Category:MBTA Rapid Transit]]
[[Category:Blue Line (MBTA)| ]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Railroad tunnels in Massachusetts|East Boston Tunnel]]
[[Category:Buildings and structures in Boston, Massachusetts]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Azul (Metro de Boston)]]

Back Bay (Boston)

2011-09-09T00:55:46Z

Reify-tech: /* Other prominent Back Bay buildings */ Spelling fix; Wikilink now works; Copyedit

{{redirect6|Back Bay|the railroad/subway station therein|Back Bay (MBTA station)|other uses}}
{{Infobox NRHP
|name =Back Bay Historic District
|nrhp_type =hd
|image=Back_Bay1.jpg
|caption=Skyline of the Back Bay, from across the [[Charles River]]
|location=[[Boston]], [[Massachusetts]]
|locmapin = Massachusetts
|area=
|architect=Multiple
|architecture=Mid 19th Century Revival, Late 19th And 20th Century Revivals, Late Victorian
|added=August 14, 1973
|governing_body=Local
|settlement_type=[[Neighborhoods in Boston|Neighborhood of Boston]]
|refnum=73001948 <ref name="nris">{{NRISref|2007a}}</ref>
}}
'''Back Bay''' is an [[Neighborhoods in Boston|officially recognized neighborhood]] of [[Boston]], [[Massachusetts]] famous for its rows of [[Victorian architecture|Victorian]] [[brownstone]] homes, which are considered one of the best-preserved examples of 19th-century urban design in the United States, as well as numerous architecturally significant individual buildings and important cultural institutions such as the [[Boston Public Library]].
It is also a fashionable shopping destination, and home to some of Boston's tallest office buildings, the [[Hynes Convention Center]], and numerous major hotels.

Prior to a monumental 19th-century filling project, the Back Bay was an actual bay. Today, along with neighboring [[Beacon Hill, Boston|Beacon Hill]], it is one of Boston's two most expensive residential neighborhoods.<ref>[http://www.bostonbackbay.com/ Welcome to the Back Bay!]</ref><ref>[http://www.moving.com/real-estate/boston-massachusetts/boston-neighborhoods.asp Great Neighborhoods: Boston]</ref><ref>[http://www.luxist.com/2008/10/16/bostons-most-expensive-penthouse-listed-at-17-million/ Boston's Most Expensive Penthouse Listed at $17 Million]</ref>




The Neighborhood Association of the Back Bay considers the neighborhood's bounds to be "[[Charles River]] on the North; Arlington Street to Park Square on the East; Columbus Avenue to the New York New Haven and Hartford right-of-way (South of Stuart Street and Copley Place), [[Huntington Avenue (Boston)|Huntington Avenue]], Dalton Street, and the [[Massachusetts Turnpike]] on the South; Charlesgate East on the West."<ref>{{cite web|url=http://www.nabbonline.com/about_us/about_nabb|title=About NABB|publisher=Neighborhood Association of the Back Bay|accessdate=2009-02-25}} While the city of Boston does officially recognize various neighborhoods within its confines, it does not assign precise boundaries.{{citation needed|date=January 2011}}</ref><ref name="BBADbounds"/>

== History ==
[[Image:Oldandnewboston.jpg|200px|thumb|The effect of landfill on size of Boston.]]
[[Image:Middlesex_Canal_(Massachusetts)_map,_1852.jpg|thumb|right|200px|Map from 1852 depicting Back Bay as a part of the Charles River (see lower panel of map)]]

Before its transformation into buildable land by a 19th-century filling project, the Back Bay was literally a bay, located west of the [[Shawmut Peninsula]] (on the far side from [[Boston Harbor]]) between Boston and [[Cambridge, Massachusetts|Cambridge]], with the [[Charles River]] entering from the west. This bay was tidal: the water rose and fell several feet over the course of each day, and at low tide much of the bay's bed was exposed as a marshy flat.
As early as 5,200 years before present, Native Americans built fishweirs here, evidence of which was discovered during subway construction in 1913 (''see'' [[Ancient Fishweir Project]] and [[Boylston Street Fishweir]]).

In 1814, the Boston and Roxbury Mill Corporation was chartered to construct a [[milldam]], which would also serve as a toll road connecting Boston to [[Watertown, Massachusetts|Watertown]], bypassing [[Boston Neck]]. However, the project was an economic failure,{{Citation needed|date=January 2011}} and in 1857 a massive project was begun to "make land" by filling the area enclosed by the dam.

The firm of Goss and Munson built {{convert|6|mi|km}} of railroad from quarries in [[Needham, Massachusetts]]; 35-car trains arrived in the Back Bay 16 times each day, carrying gravel and other fill. ([[William Dean Howells]] recalled "the beginnings of Commonwealth Avenue, and the other streets of the Back Bay, laid out with their basements left hollowed in the made land, which the gravel trains were yet making out of the westward hills.") <ref>{{cite book|title=Boston: The Place and the People|last=Antony|first=Mark|authorlink=|coauthors=Howe, DeWolfe|year=1903|publisher=MacMillan|location=New York|isbn=|page=359|pages=|url=http://books.google.com/books?id=YToOAAAAYAAJ&printsec=toc#PPA360,M1}}</ref> Present-day Back Bay itself was filled by 1882; the project reached existing land at what is now [[Kenmore Square]] in 1890, and finished in the [[Back Bay Fens|Fens]]{{Vague|date=January 2011}} in 1900.<ref>However, the Kenmore and Fenway land was not all built up immediately, as explained by Bainbridge Bunting in 1967: ''By 1900 the Back Bay residential area had almost ceased to grow. After 1910 only thirty new houses were constructed, after 1917 none at all. Instead of paying high prices for filled land on which to erect a home within walking distance of his office, the potential home builder escaped to the suburbs on the electric trolley or in his automobile. This flight from the city left empty much of the area west of [[Kenmore Square]] and adjacent to [[Fenway Park]], and only later was it occupied by non-descript and closely-built apartments.''</ref> Much of the old mill dam remains buried under present-day Beacon Street.<ref>[http://www.nabbonline.com/about_us/back_bay_history Back Bay History] Accessed 2009-02-25</ref>
The project was the largest of a number of [[land reclamation]] projects which, beginning in 1820, more than doubled the size of the original Shawmut Peninsula. (It is frequently observed that this would have been impossible under modern environmental laws.){{Citation needed|date=January 2011}}

Completion, in 1910, of the [[Charles River Dam]] converted the former Charles estuary into a freshwater basin; the [[Charles River Esplanade]] was constructed to capitalize on the river's newly-enhanced recreational value.{{Vague|date=January 2011}}<ref name="100years">{{cite news|url=http://www.boston.com/yourtown/cambridge/articles/2010/07/04/100_years_of_celebrating_the_fourth_of_july_at_esplanade/|title=100 years of celebrating the Fourth of July at Esplanade|accessdate=2010-08-11|date=2010-07-04|work=The Boston Globe}}</ref> The Esplanade has since undergone several changes, including the construction of [[Storrow Drive]].

== Architecture ==
[[File:Boston backbay brownstones.jpg|thumb|left|The Back Bay's defining brownstones]]

The plan of Back Bay, by [[Arthur Gilman]] of the firm [[Gridley James Fox Bryant]], was greatly influenced by [[Haussmann's renovation of Paris]], with wide, parallel, tree-lined avenues unlike anything seen in other Boston neighborhoods.{{Citation needed|date=January 2011}} Five east-west corridors -- [[Beacon Street]] (closest to the Charles), Marlborough Street, [[Commonwealth Avenue, Boston|Commonwealth Avenue]], [[Newbury Street (Boston)|Newbury Street]] and [[Boylston Street]] -- are intersected at regular intervals by north-south cross streets: Arlington (running along the west boundary of the [[Public Garden (Boston)|Public Garden]]), Berkeley, Clarendon, Dartmouth, Exeter, Fairfield, Gloucester, and Hereford.<ref>A 1903 guidebook{{Citation needed|date=January 2011}} noted the trisyllabic-disyllabic alternation attending aforesaid alphabetic appellations, and the series continues in the adjacent Fenway neighborhood with Ipswich, Jersey, and Kilmarnock Streets.</ref>
Almost all of Back Bay's major streets are one-way with the exception of Commonwealth Avenue, which is actually two one-way thoroughfares flanking the tree-lined pedestrian Commonwealth Avenue Mall. 

[[Setback (land use)|Setback]] requirements and other restrictions, written into the lot deeds of the newly-filled Back Bay, produced harmonious rows of dignified three- and four-story residential [[brownstone]]s (though most along Newbury Street are now in commercial use). The Back Bay is listed on the [[National Register of Historic Places]], and is considered{{Citation needed|date=January 2011}} one of the best-preserved examples of 19th-century urban architecture in the United States. In 1966, the Massachusetts Legislature, "to safeguard the heritage of the city of Boston by preventing the despoliation" of the Back Bay, created the [[Back Bay Architectural Commission]] to regulate exterior changes to Back Bay buildings.<ref name="BBADbounds">The Back Bay Architectural District, somewhat smaller than "Back Bay" as defined by the Neighborhood Association of the Back Bay, is bounded by "the centerlines of Back Street on the north, Embankment Road and Arlington Street on the east, Boylston Street on the south, and Charlesgate East on the west."</ref><ref>[http://archives.lib.state.ma.us/bitstream/handle/2452/15993/1966acts0625.txt?sequence=1], [http://archives.lib.state.ma.us/bitstream/handle/2452/29930/1981acts0624.txt?sequence=1]</ref>

Since the 1960s, the concept of a [[High Spine]] has influenced large-project development in Boston, reinforced by [[zoning]] rules permitting high-rise construction along the axis of the [[Massachusetts Turnpike]], including [[air rights]] siting of buildings.{{citation needed|date=August 2011}}

===Copley Square===
[[Image:Trinitychurchboston.jpg|261px|right|thumb|Trinity Church c. 1903]]
[[Copley Square]] contains [[Trinity Church, Boston|Trinity Church]], the [[Boston Public Library]], the [[John Hancock Tower]], and other notable buildings.

* The first monumental structure in Copley Square was the original [[Museum of Fine Arts, Boston|Museum of Fine Arts]] building. Begun in 1870, it opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Its red [[Gothic Revival architecture|Gothic Revival]] style building was torn down and rebuilt as [[the Fairmont Copley Plaza Hotel]] (1912) which still exists today.
* The [[Boston Public Library]] (1888–92), designed by [[McKim, Mead, and White]], is a leading example of [[Beaux-Arts architecture]] in the US. Sited across Copley Square from Trinity Church, it was intended to be "a palace for the people." [[Baedeker]]'s 1893 guide terms it "dignified and imposing, simple and scholarly," and "a worthy mate... to Trinity Church." At that time, its 600,000 volumes made it the largest free public library in the world.
* The [[Old South Church]], also called the New Old South Church (645 Boylston Street on Copley Square), 1872–75, is located across the street from the Boston Public Library. It was designed by the Boston architectural firm of [[Cummings and Sears]] in the [[Venetian Gothic architecture|Venetian Gothic]] style. The style follows the precepts of the British cultural theorist and architectural critic [[John Ruskin]] (1819–1900) as outlined in his treatise ''The Stones of Venice''. Old South Church remains a significant example of Ruskin's influence on architecture in the US. [[Charles Amos Cummings]] and Willard T. Sears also designed the [[Isabella Stewart Gardner Museum]].
* [[Trinity Church, Boston|Trinity Church]] (1872–77), designed by [[Henry Hobson Richardson]], called "deservedly regarded as one of the finest buildings in America" by ''Baedeker's United States'' in 1893.

* There were at various time three different "Hancock buildings" in the Back Bay, culminating in a [[skyscraper]] flanking Trinity Church:
** The '''Stephen L. Brown Building''' ([[Parker, Thomas & Rice]], 1922) was the first of the three Hancock buildings:
** '''The Old John Hancock Building''' ([[HDB/Cram and Ferguson|Cram and Ferguson]], 1947) was the tallest building in Back Bay until construction of the Prudential Tower. (Sometimes called the [[Berkeley Building]], though not to be confused with the actual Berkeley Building, ''above''.)
** [[John Hancock Tower]] ([[I. M. Pei]] , 1972), New England's tallest building at 60 stories, is a dark-blue reflective glass tower with a footprint in the form of a narrow parallelogram. Admirers assert that it does not diminish the impact of Trinity Church, although its construction did damage the church's foundations.{{citation needed|date=January 2011}} The architect Donlyn Lyndon, who served as head the Department of Architecture at the Massachusetts Institute of Technology during the late 1960s and early 1970s, noted that an early Hancock press release had "the gall to pronounce that 'the building will reflect the architectural character of the neighborhood.'" Lyndon opines that it "may be nihilistic, overbearing, even elegantly rude, but it's not dull."<ref name="lyndon"/>

=== Other prominent Back Bay buildings ===
* The 52-story [[Prudential Tower]], thought to be a marvel in 1964, is now considered ugly by some critics.<ref name=lyndon>{{cite book|first=Donlyn|last=Lyndon|title=The City Observed: Boston|isbn=0-394-74894-8|publisher=Vintage|year=1982}}: the Hancock "may be nihilistic, overbearing, even elegantly rude, but it's not dull;" the Prudential is "an energetically ugly, square shaft that offends the Boston skyline more than any other structure."</ref> Although the [[Prudential Tower]] has garnered scant architectural acclaim, the Prudential Center overall was awarded the Urban Land Institute's "Award for Best Mixed Use Property" in 2006.<ref>[http://casestudies.uli.org "Case Studies"] -- Urban Land Institute</ref>
* '''[[111 Huntington Avenue]]''' (2002), a 36-story tower south of the Prudential Center, is Boston's eighth-tallest building. Crowned by a glass "Wintergarden",{{clarify|date=January 2011}} and featuring a {{convert|1.2|acre|m2|sing=on}} fully-landscaped South Garden, it was nominated for, but did not win, the 2002 Emporis Skyscraper Award.<ref>http://awards.emporis.com/?nav=award2002nominees&lng=3</ref>{{clarify|date=January 2011}}
* '''The Colonnade Hotel''' (1971) with its row of columns, delineates the "back side" of the Prudential Center complex. 

* '''[[Arlington Street Church]]''' ([[Arthur Gilman]], 1861), inspired by London's [[St Martin-in-the-Fields]], was the first church built in the newly-filled Back Bay. (Architect Gilman also designed Back Bay's grid-style street plan.)
* '''Berkeley Building''' ([[Codman and Despradelle|Constant-Désiré Despradelle]], 1905) features a white [[terra cotta]] [[Beaux-Arts architecture]] facade on a steel frame. 
* The '''[[Gibson House Museum|Gibson House]]''' (1860), preserved very much as it was in the 19th century, is now a museum.
* '''[[The First Church of Christ, Scientist]]''' (1894; extended 1904), the centerpiece of the Christian Science Plaza, which also features a reflecting pool and the nearby [[Mapparium]]. 
* The '''[[Saint Clement Eucharistic Shrine]]''' (Arthur F. Gray, 1922) is a Roman Catholic church built for the Second Universalist Society.{{clarify|date=January 2011}}
* '''[[Church of the Covenant (Boston)|Church of the Covenant]]''' ( [[Richard M. Upjohn]], 1865–1867) is a Presbyterian church of [[Roxbury conglomerate|Roxbury puddingstone]] in [[Gothic Revival architecture|Gothic Revival style]], which its designer intended as "a high gothic edifice ... which no ordinary dwelling house would overtop."<ref>[http://cotcbos.org/pmwiki.php?n=Main.TiffanyWindows "Church of the Covenant:Tiffany Windows"]</ref>

==Cultural and educational institutions==
[[Image:Boston Back Bay.jpg|thumb|300px|right|Aerial view of the "[[High Spine]]" of skyscrapers in the Back Bay, including the Prudential Center and [[John Hancock Tower]].]]


In the past, Back Bay has been home to some of Boston's leading institutions, which have eventually moved elsewhere when they needed more room for expansion. Other smaller cultural and educational organizations continue to enrich the neighborhood.

The art collection of the [[Museum of Fine Arts, Boston]], was located in Copley Square from 1876 until 1909, when it moved to its current much-larger quarters in the [[Fenway-Kenmore, Boston|Fenway]] neighborhood of Boston.

The current site of the Newbry Building (formerly the New England Life Building) was once occupied by one of Back Bay's first monumental structures, [[Massachusetts Institute of Technology|MIT's]] [[Rogers Building (MIT)|Rogers Building]] (1866-1939), designed by [[William G. Preston]]. It shared the same architect and city block with a smaller building for the [[Boston Society of Natural History]].<ref>[[Mark Jarzombek]], ''Designing MIT: Bosworth's New Tech'' (Northeastern University Press, 2004)</ref> The natural history society eventually became the [[Museum of Science, Boston]], and relocated to its current building on the [[Charles River Dam]] around 1950. The original Natural History building was the only structure on the block (bounded by Boylston, Newbury, Berkeley, and Clarendon Streets) to escape demolition, most recently housing the clothier Louis of Boston before its move to the [[South Boston]] waterfront. As of 2011, the building is vacant and available for lease, and it is under historical landmark protection.{{citation needed|date=August 2011}}

[[Emerson College]], a four-year [[liberal arts college]] specializing in communications and the [[theater arts]], once occupied a number of scattered buildings in Back Bay. Starting in the 1990s, the entire college gradually moved its facilities to the vicinity of the [[Washington Street Theatre District]] in downtown Boston, where it now has restored and refurbished several classic grand theater buildings.

The [[Berklee College of Music]] and the [[Boston Architectural College]] remain firmly esconced in the Back Bay area.

The Back Bay is the home of the [[New England Historic Genealogical Society]] (NEHGS), the oldest (1845) and largest genealogical society in the United States. A charitable, nonprofit educational institution, NEHGS is located at 99-101 Newbury Street, in an eight-story archive and research center.


== Commercial institutions==
[[Image:Backbay from south.jpg|thumb|300px|right|Back Bay in Boston at night as it is seen from the South End.]]

Back Bay is home to many boutiques and stores, primarily on [[Newbury Street (Boston)|Newbury]] and [[Boylston Street]]s and in the [[Prudential Tower|Prudential Center]] and [[Copley Place]] malls.
The [[Hynes Convention Center]] is complemented by numerous hotels, including the [[The Lenox Hotel|Lenox]], [[Colonnade Hotel (Boston)|Colonnade]], [[Westin Copley Place|Westin]], [[Fairmont Copley Plaza Hotel|Fairmont]], [[Marriott Hotels & Resorts|Marriott]], Four Seasons, [[Boston Park Plaza Hotel & Towers|Park Plaza]], and [[Mandarin Oriental Hotel Group#Mandarin Oriental, Boston|Mandarin Oriental]].

== The Saint Botolph neighborhood ==
The St. Botolph neighborhood, stretching from Huntington Ave. to the north, the Southwest Corridor to the south, Harcourt Ave. to the east, and Massachusetts Ave. to the west, is a lesser known part of the Back Bay. Residential parking is available to those with a Back Bay parking sticker. Consisting almost entirely of brownstones (row houses), with many dead-end streets abutting the Southwest Corridor, the neighborhood also borders the South End.

Cross streets in the St. Botolph neighborhood, like those that cross Newbury Street, are alphabetical with the exception of West Newton (Albermarle, Blackwood, Cumberland, Durham, West Newton, Follen, Garrison, Harcourt). Unlike the alphabetical streets in northern Back Bay, where Arlington is to the east and Hereford to the west, Albermarle is located to the west and Harcourt to the east.

==Transportation==
A number of local and express buses converge on Copley Square and Back Bay station, as listed in the Wikipedia article on [[Back Bay (MBTA station)|Back Bay station]].

The Back Bay neighborhood is served by several stations on the Boylston Street Subway section of the [[MBTA]] [[Green Line (MBTA)|Green Line]] [[light rail]] line. From east to west, the stations are [[Arlington (MBTA station)|Arlington]], [[Copley (MBTA station)|Copley]], and [[Hynes Convention Center (MBTA station)|Hynes Convention Center]]. The MBTA [[Orange Line (MBTA)|Orange Line]] stops at Back Bay station.

For regional travel, Back Bay station is served by [[MBTA Commuter Rail]] and [[Amtrak]] service to the south and west of Boston.

[[Image:Backbay.jpg|300px|thumb|left|Main streets of Back Bay.]]

==Seismic risk==
Because of extensive use of [[landfill]], the Back Bay neighborhood is extremely vulnerable to [[soil liquefaction]] in a severe [[earthquake]]. This could cause disastrous soil movements and building damage, as was seen in the similarly landfilled [[Marina District]] of [[San Francisco]] after the [[Loma Prieta Earthquake]] of 1989. Note that the very names of these two popular neighborhoods refer to their watery origins.

Many people are not aware that New England is considered by insurance companies to be a high earthquake risk area.{{cn|date=May 2011}} In 1755, a severe earthquake estimated above 6 on the [[Richter Scale]] and centered [[1755 Cape Ann Earthquake|near Cape Ann]] caused extensive building damage in Boston. Major [[intraplate earthquake]] events are rare in New England, but they are historical fact, and can be expected to recur with an unknown frequency.

The [[building code]] in Boston has been modified to require better seismic resistance, but many older buildings do not conform, and are at risk for major damage.{{cn|date=May 2011}}

== See also ==
* [[Boston By Foot]]
* [[Copley Square]]
* [[High Spine]]

== Notes ==
{{Reflist}}

== References ==
{{isbn|date=August 2011}}
* Bacon, Edwin M. (1903) ''Boston: A Guide Book.'' Ginn and Company, Boston, 1903.
* Bunting, Bainbridge (1967) "Houses of Boston's Back Bay", Harvard University Press, ISBN 0-674-40901-9
* Fields, W.C.: "My Little Chickadee" (1940), in which the Fields character calls himself "one of the Back Bay Twillies."
* [[Mark Jarzombek|Jarzombek, Mark]], ''Designing MIT: Bosworth's New Tech''. (Northeastern University Press, 2004)
* Museum of Fine Arts, Boston. Back Bay Boston: The City as a Work of Art. With Essays by Lewis Mumford & Walter Muir Whitehill (Boston, 1969).
* Shand-Tucci, Douglass, ''Built in Boston: City and Suburb, 1800-2000.''(Amherst: University of Massachusetts Press, 1999).
* Train, Arthur (1921), "The Kid and the Camel," from ''By Advice of Counsel.'' ("William Montague Pepperill was a very intense young person...")
* Howells, William Dean, ''Literary Friends and Acquaintance: My First Visit to New England''

== External links ==
{{Commons category|Back Bay, Boston}}
* [http://www.nabbonline.com/ Neighborhood Association of Back Bay]; [http://www.nabbonline.com/history.htm Back Bay timeline]
* [http://www.bc.edu/bc_org/avp/cas/fnart/fa267/bos_fill.html History of the Boston landfill projects] Course notes with illustrations by Professor Jeffrey Howe, Boston College
* [http://ocw.mit.edu/OcwWeb/Civil-and-Environmental-Engineering/1-012Spring2002/Readings/detail/build_back_bay_the_old_colony_trust_comp.htm MIT OpenCourseWare: "Building the Back Bay" (1926 account)] Accessed 2009-10-08
* [http://www.djtrealestate.com/back-bay-condos.htm Back Bay History]
* [http://www.visitbostonbackbay.com/site/about/history/ Concise Back Bay History] by [http://www.bostonbackbay.com/ Back Bay Association] business member group
* [http://beckydaroff.com/arthistory/backbay/index.html Interactive Back Bay map featuring architectural details and information]

{{Boston neighborhoods}}
{{Registered Historic Places}}

{{coord|42|21|4.66|N|71|4|49.28|W|name=Back Bay, Boston|display=title|type:landmark}}

[[Category:Neighborhoods in Boston, Massachusetts]]
[[Category:Historic districts in Massachusetts]]
[[Category:Back Bay, Boston| ]]

[[fr:Back Bay (Boston)]]

Back Bay (MBTA-Station)

2011-09-02T20:38:17Z

Reify-tech: Added Wikilink

{{Infobox station
| style=MBTA two lines
| type=
| name= {{MBTA infobox header| title = {{uc:Back Bay}}| color1 = Needham| color2 = Orange}}
| image=Boston - buildings 07.JPG
| image_size=250
| image_caption=
| address=145 Dartmouth Street [[Boston, MA]] 02116-5162
| coordinates = {{coord|42.3473|-71.0755 |format=dms |type:railwaystation_region:US-MA |display=inline,title}}
| line=Amtrak:
{{Rail color box|system=Amtrak|line=Acela Express}}
{{Rail color box|system=Amtrak|line=Lake Shore Limited}}
{{Rail color box|system=Amtrak|line=Regional}}
MBTA:
{{Rail color box|system=MBTA|line=Framingham}}
{{Rail color box|system=MBTA|line=Franklin}}
{{Rail color box|system=MBTA|line=Needham}}
{{Rail color box|system=MBTA|line=Providence}}
{{Rail color box|system=MBTA|line=Orange}}
| other=[[MBTA Bus]]
| platform=1 [[island platform]], 1 [[side platform]] ([[Northeast Corridor]]) 1 [[island platform]] (Orange Line) 1 [[island platform]] (Lake Shore Limited)
| tracks=3 (Northeast Corridor) 1 (Orange Line) 1 (Lake Shore Limited)
| parking=
| bicycle=
| passengers=445,074<ref>{{cite web |title= Amtrak Fact Sheet, FY2010, Commonwealth of Massachusetts|publisher= [http://www.amtrak.com Amtrak] |date= November 2010 |url= http://www.amtrak.com/pdf/factsheets/MASSACHUSETTS10.pdf |format= PDF |accessdate= 2011-01-06}}</ref>
| pass_year=2010
| pass_percent=12
| pass_system=Amtrak
| opened=May 4, 1987
| rebuilt=
| ADA=Yes
| code=BBY (Amtrak)
| owned=[[Massachusetts Bay Transportation Authority]]
| zone=1A
| services=
{{s-rail|title=Amtrak}}
{{s-line|system=Amtrak|line=Lake Shore Limited|previous=Framingham|next=Boston South|type2=Boston|rows2=3}}
{{s-line|system=Amtrak|line=Acela Express|previous=Route 128|hide2=yes}}
{{s-line|system=Amtrak|line=Regional|previous=Route 128|hide2=yes}}
{{s-rail-next|title=MBTA}}
{{s-line|system=MBTA|line=Framingham|previous=Yawkey|next=South Station|rows2=4}}
{{s-line|system=MBTA|line=Needham|previous=Ruggles|hide2=yes}}
{{s-line|system=MBTA|line=Franklin|previous=Ruggles|hide2=yes}}
{{s-line|system=MBTA|line=Providence/Stoughton|previous=Ruggles|type=Both|hide2=yes}}
{{s-line|system=MBTA|line=Orange|previous=Massachusetts Avenue|next=Tufts Medical Center}}
}}

'''Back Bay''' station, located at 145 Dartmouth Street, between Stuart Street and Columbus Avenue, is a train station in the [[Back Bay, Boston|Back Bay]] neighborhood of [[Boston, Massachusetts|Boston]]. The present building was designed by [[Kallmann McKinnell & Wood]].

The station is serviced by [[Amtrak]], featuring ''[[Acela Express]]'' and [[Northeast Corridor]] regional trains, and the [[Massachusetts Bay Transportation Authority]] (MBTA) with access to Attleboro/Providence, Framingham/Worcester, Needham, and Franklin [[commuter rail]] lines, and [[Orange Line (MBTA)|Orange Line]] [[rapid transit]]. There is also a daily Amtrak train (''[[Lake Shore Limited]]'') to [[Chicago]], and access to local bus service.

The current Back Bay Station opened May 4, 1987 as part of the Orange Line's [[Southwest Corridor (Boston)|Southwest Corridor]] project and was dedicated by Governor [[Michael Dukakis]]. It replaced the 1899-built and 1929-rebuilt <ref>[http://www.lightlink.com/sglap3/massachusetts/suffolkco.html Existing Railroad Stations in Suffolk County, Massachusetts]</ref> former [[New York, New Haven and Hartford Railroad]] station of the same name, of which some remnants can still be found at the eastern end of the present station facilities, including a carved brick wall on the east side of Columbus Avenue.<ref>{{cite web |url=http://maps.google.com/maps?hl=en&ll=42.347697,-71.072992&spn=0.000002,0.002642&z=19&vpsrc=6&layer=c&cbll=42.347565,-71.07315&panoid=wz3Kf6ew48OuagHXMYAoIQ&cbp=12,132.81,,0,1.19 |title=Google Maps Street View imagery |publisher=Google Inc. |accessdate=31 August 2011}}</ref> The main station building is located between Dartmouth Street and Clarendon Street; however, there are several additional exits from the Amtrak / commuter rail platforms on Dartmouth Street, Clarendon Street, and Columbus Avenue. The Dartmouth Street Underpass connects the [[Copley Place]] mall with the main station building.

==Configuration==
There are 5 tracks serving Amtrak and commuter rail service. Tracks 3, 1, and 2 (in order north to south) serve Amtrak's ''Acela Express'' and ''Northeast Regional'' plus the MBTA's [[Providence/Stoughton Line]], [[Franklin Line]], and [[Needham Line]]. Tracks 5 and 7 serve separate platforms for the Framingham/Worcester Line and the ''Lake Shore Limited''.<ref>{{cite book |title=Massachusetts Bay Colony Railroad track charts |author=Held, Patrick R. |date=2010}}</ref> The Orange Line tracks and platforms lie between these two groups of mainline rail tracks.

Because Amtrak's ''[[Downeaster]]'' trains traveling northeastward to [[Portland, Maine]] do not depart at Back Bay or [[South Station]], travelers that wish to make a connection via subway are advised to disembark at this station and take the Orange Line to [[North Station]], which is where ''Downeaster'' service originates.

== Bus connections ==
[[File:Bus at Back Bay.jpg|left|thumb|250px|An articulated MBTA Bus on the #39 route in the Back Bay Station busway off Clarendon Street]]
* 10 City Point – [[Copley Square]] via [[Andrew (MBTA station)|Andrew Station]] & [[BU Medical Center]]
* [[39 (MBTA bus)|39]] Back Bay – [[Forest Hills (MBTA station)|Forest Hills]] via [[Copley Square]] and [[Huntington Avenue]]
* 170 Central Square ([[Waltham, Massachusetts|Waltham]]) — [[Dudley Square (MBTA station)|Dudley Square]] via Copley Square, [[Massachusetts Turnpike|Mass Pike/I-90]]

== Accessibility ==
{{main|MBTA accessibility}}
* Back Bay Station is wheelchair accessible.
* Back Bay Station has full-length [[railway platform height|high-level platforms]] for Amtrak [[Northeast Corridor]] and MBTA Attleboro/Providence trains, but only a short high-level platform for MBTA Framingham/Worcester and Amtrak trains to Chicago (which operate on tracks other than those used by the Northeast Corridor service).
* Other Amtrak stations on the Northeast Corridor are generally accessible.
* Some MBTA commuter rail stations have no wheelchair access; many of those that do, have short high-level platforms that only serve one or two cars.

==Air quality==
Back Bay Station has suffered for some time from poor air quality, and people with lung conditions have been advised to avoid the station. A study conducted in 2006 and again in 2008 showed that "The air was many, many times below air-quality standards," due to trapped diesel exhaust and soot. An earlier study showed elevated levels of carbon monoxide, formaldehyde, particulates, and oxides of nitrogen, though it noted that there is no regulated standard to meet for indoor air quality in public spaces. Though simple changes were made regarding scheduling, and checking to make sure train engines were running properly, an MBTA spokesman stated that the MBTA did not have the financial resources to upgrade the ventilation system.<ref>{{cite web|url=http://www.boston.com/news/local/articles/2008/08/31/bad_air_at_back_bay_too_costly_to_fix_t_says/ |title=Bad air at Back Bay too costly to fix, T says - The Boston Globe |publisher=Boston.com |date=2008-08-31 |accessdate=2011-01-14}}</ref>

In 2010, the MBTA announced that it had secured $3.0 million to improve the ventilation in the lobby as a result of [[American Recovery and Reinvestment Act of 2009|federal stimulus money]].<ref>{{cite web|url=http://www.universalhub.com/2010/federal-stimulus-funds-mean-state-do-something-abo |title=Federal stimulus funds mean state to do something about the lung-cancer chamber known as Back Bay station |publisher=Universal Hub |date= |accessdate=2011-01-14}}</ref><ref>{{cite web|url=http://www.massdot.state.ma.us/recovery/resources/downloads/transitProjects.pdf|title=AMERICAN RECOVERY AND REINVESTMENT ACT OF 2009 MBTA PROJECT STATUS AS OF 7/1/10 |publisher=Massachusetts Department of Transportation |accessdate=14 January 2011}}</ref><ref>{{cite web|url=http://ncppp.org/publications/TransitBoston_0909/Waaramaa_0909.pdf |title=American Recovery and Reinvestment Act of 2009 MBTA Implementation & Oversight |publisher=National Council for Public-Private Partnerships |accessdate=14 January 2011}}</ref> While MBTA spokesman Joe Pesaturo said there was no health threat, a scientist at the Clean Air Task Force, a Boston-based nonprofit pollution research group stated, "Honestly, down on the platform it was some of the worst air quality I’ve measured." Additionally passengers and clerks working in the station have complained. The MBTA says it will complete an improved ventilation system by 2012.<ref>{{cite web|url=http://www.boston.com/yourtown/news/back_bay/2010/10/t_planning_project_to_rid_stat.html|title=Amid complaints, T aims to fix Back Bay station's ventilation system|accessdate=2011-07-07|publisher=Boston.com}}</ref>
{{clear left}}

==Gallery==
<gallery widths="220" heights="150" perrow="3">
File:Back Bay commuter rail sign.jpg|Station signs on the commuter rail platforms include old photographs of the system
File:Back Bay Station platform.jpg|Commuter rail train and platform
File:Back Bay Station.jpg|Station facade with [[John Hancock Tower]] behind
File:Back Bay structure.jpg|The main station building is supported by massive curved ribs
File:Orange Line turnstiles at Back Bay.jpg|Orange Line fare gates
File:Back Bay tracks 5and7 stairs.jpg|Stairs to tracks 5&7
</gallery>

== See also ==
* [[Northeast Corridor]]
* [[North Station]]
* [[South Station]]
* [[North-South Rail Link]]

== References ==
{{Reflist}}

== External links ==
{{commons category}}
{{Amtrak web|BBY|Back Bay|MASSACHUSETTS}}
* [http://www.mbta.com/schedules_and_maps/rail/lines/stations/?stopId=13 MBTA - Back Bay Station]
* [http://www.trainweb.org/usarail/boston_backbay.htm Boston Back Bay Amtrak Station (USA RailGuide -- Train Web)]
* [http://railroads.uconn.edu/exhibits/railroadstations/ma/index.html "Back Bay station, November 16, 1960"] - photograph, Railroad History Archive, [[University of Connecticut]] Libraries Collection.
* [http://hdl.loc.gov/loc.pnp/hhh.ma1213 Library of Congress]. Historic American Buildings Survey. Back Bay Station, 145 Dartmouth Street, 1979.
* [http://maps.google.com/?ie=UTF8&ll=42.347801,-71.073325&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347558,-71.073158&panoid=wz3Kf6ew48OuagHXMYAoIQ&cbp=12,128.05,,0,2.57 Columbus Avenue entrance (exit only) from Google Maps Street View]
* [http://maps.google.com/?ie=UTF8&ll=42.347602,-71.073689&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347394,-71.073585&panoid=eyt2Ii4BAjUtqXqitfZ4kQ&cbp=12,276.3,,2,1.12 Bus Lane entrance from Google Maps Street View]
* [http://maps.google.com/?ie=UTF8&ll=42.34765,-71.07591&spn=0.003727,0.013518&z=17&layer=c&cbll=42.347309,-71.076036&panoid=_C1k5cLn5_g2Xj_mfwzYnQ&cbp=12,64.99,,0,4.5 Dartmouth Street entrance from Google Maps Street View]

{{MBTA}}

{{DEFAULTSORT:Back Bay (Mbta Station)}}
[[Category:Orange Line (MBTA) stations in Boston, Massachusetts]]
[[Category:MBTA Commuter Rail stations in Boston, Massachusetts]]
[[Category:Amtrak stations in Massachusetts|Boston Back Bay]]
[[Category:Stations along Old Colony Railroad lines]]
[[Category:Railway stations opened in 1987]]
[[Category:1987 architecture]]
[[Category:Back Bay, Boston]]
[[Category:South End, Boston]]
[[Category:Stations along Boston and Albany Railroad lines|Boston Back Bay]]

Back Bay (Boston)

2011-08-20T13:17:04Z

Reify-tech: /* Seismic risk */ Added Wikilink

{{redirect6|Back Bay|the railroad/subway station therein|Back Bay (MBTA station)|other uses}}
{{Infobox NRHP
|name =Back Bay Historic District
|nrhp_type =hd
|image=Back_Bay1.jpg
|caption=Skyline of the Back Bay, from across the [[Charles River]]
|location=[[Boston]], [[Massachusetts]]
|locmapin = Massachusetts
|area=
|architect=Multiple
|architecture=Mid 19th Century Revival, Late 19th And 20th Century Revivals, Late Victorian
|added=August 14, 1973
|governing_body=Local
|settlement_type=[[Neighborhoods in Boston|Neighborhood of Boston]]
|refnum=73001948 <ref name="nris">{{NRISref|2007a}}</ref>
}}
'''Back Bay''' is an [[Neighborhoods in Boston|officially recognized neighborhood]] of [[Boston]], [[Massachusetts]] famous for its rows of [[Victorian architecture|Victorian]] [[brownstone]] homes, which are considered one of the best-preserved examples of 19th-century urban design in the United States, as well as numerous architecturally significant individual buildings and important cultural institutions such as the [[Boston Public Library]].
It is also a fashionable shopping destination, and home to some of Boston's tallest office buildings, the [[Hynes Convention Center]], and numerous major hotels.

Prior to a monumental 19th-century filling project, the Back Bay was an actual bay. Today, along with neighboring [[Beacon Hill, Boston|Beacon Hill]], it is one of Boston's two most expensive residential neighborhoods.<ref>[http://www.bostonbackbay.com/ Welcome to the Back Bay!]</ref><ref>[http://www.moving.com/real-estate/boston-massachusetts/boston-neighborhoods.asp Great Neighborhoods: Boston]</ref><ref>[http://www.luxist.com/2008/10/16/bostons-most-expensive-penthouse-listed-at-17-million/ Boston's Most Expensive Penthouse Listed at $17 Million]</ref>




The Neighborhood Association of the Back Bay considers the neighborhood's bounds to be "[[Charles River]] on the North; Arlington Street to Park Square on the East; Columbus Avenue to the New York New Haven and Hartford right-of-way (South of Stuart Street and Copley Place), [[Huntington Avenue (Boston)|Huntington Avenue]], Dalton Street, and the [[Massachusetts Turnpike]] on the South; Charlesgate East on the West."<ref>{{cite web|url=http://www.nabbonline.com/about_us/about_nabb|title=About NABB|publisher=Neighborhood Association of the Back Bay|accessdate=2009-02-25}} While the city of Boston does officially recognize various neighborhoods within its confines, it does not assign precise boundaries.{{citation needed|date=January 2011}}</ref><ref name="BBADbounds"/>

== History ==
[[Image:Oldandnewboston.jpg|200px|thumb|The effect of landfill on size of Boston.]]
[[Image:Middlesex_Canal_(Massachusetts)_map,_1852.jpg|thumb|right|200px|Map from 1852 depicting Back Bay as a part of the Charles River (see lower panel of map)]]

Before its transformation into buildable land by a 19th-century filling project, the Back Bay was literally a bay, located west of the [[Shawmut Peninsula]] (on the far side from [[Boston Harbor]]) between Boston and [[Cambridge, Massachusetts|Cambridge]], with the [[Charles River]] entering from the west. This bay was tidal: the water rose and fell several feet over the course of each day, and at low tide much of the bay's bed was exposed as a marshy flat.
As early as 5,200 years before present, Native Americans built fishweirs here, evidence of which was discovered during subway construction in 1913 (''see'' [[Ancient Fishweir Project]] and [[Boylston Street Fishweir]]).

In 1814, the Boston and Roxbury Mill Corporation was chartered to construct a [[milldam]], which would also serve as a toll road connecting Boston to [[Watertown, Massachusetts|Watertown]], bypassing [[Boston Neck]]. However, the project was an economic failure,{{Citation needed|date=January 2011}} and in 1857 a massive project was begun to "make land" by filling the area enclosed by the dam.

The firm of Goss and Munson built {{convert|6|mi|km}} of railroad from quarries in [[Needham, Massachusetts]]; 35-car trains arrived in the Back Bay 16 times each day, carrying gravel and other fill. ([[William Dean Howells]] recalled "the beginnings of Commonwealth Avenue, and the other streets of the Back Bay, laid out with their basements left hollowed in the made land, which the gravel trains were yet making out of the westward hills.") <ref>{{cite book|title=Boston: The Place and the People|last=Antony|first=Mark|authorlink=|coauthors=Howe, DeWolfe|year=1903|publisher=MacMillan|location=New York|isbn=|page=359|pages=|url=http://books.google.com/books?id=YToOAAAAYAAJ&printsec=toc#PPA360,M1}}</ref> Present-day Back Bay itself was filled by 1882; the project reached existing land at what is now [[Kenmore Square]] in 1890, and finished in the [[Back Bay Fens|Fens]]{{Vague|date=January 2011}} in 1900.<ref>However, the Kenmore and Fenway land was not all built up immediately, as explained by Bainbridge Bunting in 1967: ''By 1900 the Back Bay residential area had almost ceased to grow. After 1910 only thirty new houses were constructed, after 1917 none at all. Instead of paying high prices for filled land on which to erect a home within walking distance of his office, the potential home builder escaped to the suburbs on the electric trolley or in his automobile. This flight from the city left empty much of the area west of [[Kenmore Square]] and adjacent to [[Fenway Park]], and only later was it occupied by non-descript and closely-built apartments.''</ref> Much of the old mill dam remains buried under present-day Beacon Street.<ref>[http://www.nabbonline.com/about_us/back_bay_history Back Bay History] Accessed 2009-02-25</ref>
The project was the largest of a number of [[land reclamation]] projects which, beginning in 1820, more than doubled the size of the original Shawmut Peninsula. (It is frequently observed that this would have been impossible under modern environmental laws.){{Citation needed|date=January 2011}}

Completion, in 1910, of the [[Charles River Dam]] converted the former Charles estuary into a freshwater basin; the [[Charles River Esplanade]] was constructed to capitalize on the river's newly-enhanced recreational value.{{Vague|date=January 2011}}<ref name="100years">{{cite news|url=http://www.boston.com/yourtown/cambridge/articles/2010/07/04/100_years_of_celebrating_the_fourth_of_july_at_esplanade/|title=100 years of celebrating the Fourth of July at Esplanade|accessdate=2010-08-11|date=2010-07-04|work=The Boston Globe}}</ref> The Esplanade has since undergone several changes, including the construction of [[Storrow Drive]].

== Architecture ==
[[File:Boston backbay brownstones.jpg|thumb|left|The Back Bay's defining brownstones]]

The plan of Back Bay, by [[Arthur Gilman]] of the firm [[Gridley James Fox Bryant]], was greatly influenced by [[Haussmann's renovation of Paris]], with wide, parallel, tree-lined avenues unlike anything seen in other Boston neighborhoods.{{Citation needed|date=January 2011}} Five east-west corridors -- [[Beacon Street]] (closest to the Charles), Marlborough Street, [[Commonwealth Avenue, Boston|Commonwealth Avenue]], [[Newbury Street (Boston)|Newbury Street]] and [[Boylston Street]] -- are intersected at regular intervals by north-south cross streets: Arlington (running along the west boundary of the [[Public Garden (Boston)|Public Garden]]), Berkeley, Clarendon, Dartmouth, Exeter, Fairfield, Gloucester, and Hereford.<ref>A 1903 guidebook{{Citation needed|date=January 2011}} noted the trisyllabic-disyllabic alternation attending aforesaid alphabetic appellations, and the series continues in the adjacent Fenway neighborhood with Ipswich, Jersey, and Kilmarnock Streets.</ref>
Almost all of Back Bay's major streets are one-way with the exception of Commonwealth Avenue, which is actually two one-way thoroughfares flanking the tree-lined pedestrian Commonwealth Avenue Mall. 

[[Setback (land use)|Setback]] requirements and other restrictions, written into the lot deeds of the newly-filled Back Bay, produced harmonious rows of dignified three- and four-story residential [[brownstone]]s (though most along Newbury Street are now in commercial use). The Back Bay is listed on the [[National Register of Historic Places]], and is considered{{Citation needed|date=January 2011}} one of the best-preserved examples of 19th-century urban architecture in the United States. In 1966, the Massachusetts Legislature, "to safeguard the heritage of the city of Boston by preventing the despoliation" of the Back Bay, created the [[Back Bay Architectural Commission]] to regulate exterior changes to Back Bay buildings.<ref name="BBADbounds">The Back Bay Architectural District, somewhat smaller than "Back Bay" as defined by the Neighborhood Association of the Back Bay, is bounded by "the centerlines of Back Street on the north, Embankment Road and Arlington Street on the east, Boylston Street on the south, and Charlesgate East on the west."</ref><ref>[http://archives.lib.state.ma.us/bitstream/handle/2452/15993/1966acts0625.txt?sequence=1], [http://archives.lib.state.ma.us/bitstream/handle/2452/29930/1981acts0624.txt?sequence=1]</ref>

Since the 1960s, the concept of a [[High Spine]] has influenced large-project development in Boston, reinforced by [[zoning]] rules permitting high-rise construction along the axis of the [[Massachusetts Turnpike]], including [[air rights]] siting of buildings.{{citation needed|date=August 2011}}

===Copley Square===
[[Image:Trinitychurchboston.jpg|261px|right|thumb|Trinity Church c. 1903]]
[[Copley Square]] contains [[Trinity Church, Boston|Trinity Church]], the [[Boston Public Library]], the [[John Hancock Tower]], and other notable buildings.

* The first monumental structure in Copley Square was the original [[Museum of Fine Arts, Boston|Museum of Fine Arts]] building. Begun in 1870, it opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Its red [[Gothic Revival architecture|Gothic Revival]] style building was torn down and rebuilt as [[the Fairmont Copley Plaza Hotel]] (1912) which still exists today.
* The [[Boston Public Library]] (1888–92), designed by [[McKim, Mead, and White]], is a leading example of [[Beaux-Arts architecture]] in the US. Sited across Copley Square from Trinity Church, it was intended to be "a palace for the people." [[Baedeker]]'s 1893 guide terms it "dignified and imposing, simple and scholarly," and "a worthy mate... to Trinity Church." At that time, its 600,000 volumes made it the largest free public library in the world.
* The [[Old South Church]], also called the New Old South Church (645 Boylston Street on Copley Square), 1872–75, is located across the street from the Boston Public Library. It was designed by the Boston architectural firm of [[Cummings and Sears]] in the [[Venetian Gothic architecture|Venetian Gothic]] style. The style follows the precepts of the British cultural theorist and architectural critic [[John Ruskin]] (1819–1900) as outlined in his treatise ''The Stones of Venice''. Old South Church remains a significant example of Ruskin's influence on architecture in the US. [[Charles Amos Cummings]] and Willard T. Sears also designed the [[Isabella Stewart Gardner Museum]].
* [[Trinity Church, Boston|Trinity Church]] (1872–77), designed by [[Henry Hobson Richardson]], called "deservedly regarded as one of the finest buildings in America" by ''Baedeker's United States'' in 1893.

* There were at various time three different "Hancock buildings" in the Back Bay, culminating in a [[skyscraper]] flanking Trinity Church:
** The '''Stephen L. Brown Building''' ([[Parker, Thomas & Rice]], 1922) was the first of the three Hancock buildings:
** '''The Old John Hancock Building''' ([[HDB/Cram and Ferguson|Cram and Ferguson]], 1947) was the tallest building in Back Bay until construction of the Prudential Tower. (Sometimes called the [[Berkeley Building]], though not to be confused with the actual Berkeley Building, ''above''.)
** [[John Hancock Tower]] ([[I. M. Pei]] , 1972), New England's tallest building at 60 stories, is a dark-blue reflective glass tower with a footprint in the form of a narrow parallelogram. Admirers assert that it does not diminish the impact of Trinity Church, although its construction did damage the church's foundations.{{citation needed|date=January 2011}} The architect Donlyn Lyndon, who served as head the Department of Architecture at the Massachusetts Institute of Technology during the late 1960s and early 1970s, noted that an early Hancock press release had "the gall to pronounce that 'the building will reflect the architectural character of the neighborhood.'" Lyndon opines that it "may be nihilistic, overbearing, even elegantly rude, but it's not dull."<ref name="lyndon"/>

=== Other prominent Back Bay buildings ===
* The 52-story [[Prudential Tower]], thought to be a marvel in 1964, is now considered ugly by some critics.<ref name=lyndon>{{cite book|first=Donlyn|last=Lyndon|title=The City Observed: Boston|isbn=0-394-74894-8|publisher=Vintage|year=1982}}: the Hancock "may be nihilistic, overbearing, even elegantly rude, but it's not dull;" the Prudential is "an energetically ugly, square shaft that offends the Boston skyline more than any other structure."</ref> Although the [[Prudential Tower]] has garnered scant architectural acclaim, the Prudential Center overall was awarded the Urban Land Institute's "Award for Best Mixed Use Property" in 2006.<ref>[http://casestudies.uli.org "Case Studies"] -- Urban Land Institute</ref>
* '''[[111 Huntington Avenue]]''' (2002), a 36-story tower south of the Prudential Center, is Boston's eighth-tallest building. Crowned by a glass "Wintergarden",{{clarify|date=January 2011}} and featuring a {{convert|1.2|acre|m2|sing=on}} fully-landscaped South Garden, it was nominated for, but did not win, the 2002 Emporis Skyscraper Award.<ref>http://awards.emporis.com/?nav=award2002nominees&lng=3</ref>{{clarify|date=January 2011}}
* '''The Colonnade Hotel''' (1971) with its row of columns, delineates the "back side" of the Prudential Center complex. 

* '''[[Arlington Street Church]]''' ([[Arthur Gilman]], 1861), inspired by London's [[St Martin-in-the-Fields]], was the first church built in the newly-filled Back Bay. (Architect Gilman also designed Back Bay's grid-style street plan.)
* '''Berkeley Building''' ([[Codman and Despradelle|Constant-Désiré Despradelle]], 1905) features a white [[terra cotta]] [[Beaux-Arts architecture]] facade on a steel frame. 
* The '''[[Gibson House Museum|Gibson House]]''' (1860), preserved very much as it was in the 19th century, is now a museum.
* '''[[The First Church of Christ, Scientist]]''' (1894; extended 1904), the centerpiece of the Christian Science Plaza, which also features a reflecting pool and the [[Maparium]]. 
* The '''[[Saint Clement Eucharistic Shrine]]''' (Arthur F. Gray, 1922) is a Roman Catholic church built for the Second Universalist Society.{{clarify|date=January 2011}}
* '''[[Church of the Covenant (Boston)|Church of the Covenant]]''' ( [[Richard M. Upjohn]], 1865–1867) is a Presbyterian church of [[Roxbury conglomerate|Roxbury puddingstone]] in [[Gothic Revival architecture|Gothic Revival style]], which its designer intended as "a high gothic edifice ... which no ordinary dwelling house would overtop."<ref>[http://cotcbos.org/pmwiki.php?n=Main.TiffanyWindows "Church of the Covenant:Tiffany Windows"]</ref>

==Cultural and educational institutions==
[[Image:Boston Back Bay.jpg|thumb|300px|right|Aerial view of the "[[High Spine]]" of skyscrapers in the Back Bay, including the Prudential Center and [[John Hancock Tower]].]]


In the past, Back Bay has been home to some of Boston's leading institutions, which have eventually moved elsewhere when they needed more room for expansion. Other smaller cultural and educational organizations continue to enrich the neighborhood.

The art collection of the [[Museum of Fine Arts, Boston]], was located in Copley Square from 1876 until 1909, when it moved to its current much-larger quarters in the [[Fenway-Kenmore, Boston|Fenway]] neighborhood of Boston.

The current site of the Newbry Building (formerly the New England Life Building) was once occupied by one of Back Bay's first monumental structures, [[Massachusetts Institute of Technology|MIT's]] [[Rogers Building (MIT)|Rogers Building]] (1866-1939), designed by [[William G. Preston]]. It shared the same architect and city block with a smaller building for the [[Boston Society of Natural History]].<ref>[[Mark Jarzombek]], ''Designing MIT: Bosworth's New Tech'' (Northeastern University Press, 2004)</ref> The natural history society eventually became the [[Museum of Science, Boston]], and relocated to its current building on the [[Charles River Dam]] around 1950. The original Natural History building was the only structure on the block (bounded by Boylston, Newbury, Berkeley, and Clarendon Streets) to escape demolition, most recently housing the clothier Louis of Boston before its move to the [[South Boston]] waterfront. As of 2011, the building is vacant and available for lease, and it is under historical landmark protection.{{citation needed|date=August 2011}}

[[Emerson College]], a four-year [[liberal arts college]] specializing in communications and the [[theater arts]], once occupied a number of scattered buildings in Back Bay. Starting in the 1990s, the entire college gradually moved its facilities to the vicinity of the [[Washington Street Theatre District]] in downtown Boston, where it now has restored and refurbished several classic grand theater buildings.

The [[Berklee College of Music]] and the [[Boston Architectural College]] remain firmly esconced in the Back Bay area.

The Back Bay is the home of the [[New England Historic Genealogical Society]] (NEHGS), the oldest (1845) and largest genealogical society in the United States. A charitable, nonprofit educational institution, NEHGS is located at 99-101 Newbury Street, in an eight-story archive and research center.


== Commercial institutions==
[[Image:Backbay from south.jpg|thumb|300px|right|Back Bay in Boston at night as it is seen from the South End.]]

Back Bay is home to many boutiques and stores, primarily on [[Newbury Street (Boston)|Newbury]] and [[Boylston Street]]s and in the [[Prudential Tower|Prudential Center]] and [[Copley Place]] malls.
The [[Hynes Convention Center]] is complemented by numerous hotels, including the [[The Lenox Hotel|Lenox]], [[Colonnade Hotel (Boston)|Colonnade]], [[Westin Copley Place|Westin]], [[Fairmont Copley Plaza Hotel|Fairmont]], [[Marriott Hotels & Resorts|Marriott]], Four Seasons, [[Boston Park Plaza Hotel & Towers|Park Plaza]], and [[Mandarin Oriental Hotel Group#Mandarin Oriental, Boston|Mandarin Oriental]].

== The Saint Botolph neighborhood ==
The St. Botolph neighborhood, stretching from Huntington Ave. to the north, the Southwest Corridor to the south, Harcourt Ave. to the east, and Massachusetts Ave. to the west, is a lesser known part of the Back Bay. Residential parking is available to those with a Back Bay parking sticker. Consisting almost entirely of brownstones (row houses), with many dead-end streets abutting the Southwest Corridor, the neighborhood also borders the South End.

Cross streets in the St. Botolph neighborhood, like those that cross Newbury Street, are alphabetical with the exception of West Newton (Albermarle, Blackwood, Cumberland, Durham, West Newton, Follen, Garrison, Harcourt). Unlike the alphabetical streets in northern Back Bay, where Arlington is to the east and Hereford to the west, Albermarle is located to the west and Harcourt to the east.

==Transportation==
A number of local and express buses converge on Copley Square and Back Bay station, as listed in the Wikipedia article on [[Back Bay (MBTA station)|Back Bay station]].

The Back Bay neighborhood is served by several stations on the Boylston Street Subway section of the [[MBTA]] [[Green Line (MBTA)|Green Line]] [[light rail]] line. From east to west, the stations are [[Arlington (MBTA station)|Arlington]], [[Copley (MBTA station)|Copley]], and [[Hynes Convention Center (MBTA station)|Hynes Convention Center]]. The MBTA [[Orange Line (MBTA)|Orange Line]] stops at Back Bay station.

For regional travel, Back Bay station is served by [[MBTA Commuter Rail]] and [[Amtrak]] service to the south and west of Boston.

[[Image:Backbay.jpg|300px|thumb|left|Main streets of Back Bay.]]

==Seismic risk==
Because of extensive use of [[landfill]], the Back Bay neighborhood is extremely vulnerable to [[soil liquefaction]] in a severe [[earthquake]]. This could cause disastrous soil movements and building damage, as was seen in the similarly landfilled [[Marina District]] of [[San Francisco]] after the [[Loma Prieta Earthquake]] of 1989. Note that the very names of these two popular neighborhoods refer to their watery origins.

Many people are not aware that New England is considered by insurance companies to be a high earthquake risk area.{{cn|date=May 2011}} In 1755, a severe earthquake estimated above 6 on the [[Richter Scale]] and centered [[1755 Cape Ann Earthquake|near Cape Ann]] caused extensive building damage in Boston. Major [[intraplate earthquake]] events are rare in New England, but they are historical fact, and can be expected to recur with an unknown frequency.

The [[building code]] in Boston has been modified to require better seismic resistance, but many older buildings do not conform, and are at risk for major damage.{{cn|date=May 2011}}

== See also ==
* [[Boston By Foot]]
* [[Copley Square]]
* [[High Spine]]

== Notes ==
{{Reflist}}

== References ==
{{isbn|date=August 2011}}
* Bacon, Edwin M. (1903) ''Boston: A Guide Book.'' Ginn and Company, Boston, 1903.
* Bunting, Bainbridge (1967) "Houses of Boston's Back Bay", Harvard University Press, ISBN 0-674-40901-9
* Fields, W.C.: "My Little Chickadee" (1940), in which the Fields character calls himself "one of the Back Bay Twillies."
* [[Mark Jarzombek|Jarzombek, Mark]], ''Designing MIT: Bosworth's New Tech''. (Northeastern University Press, 2004)
* Museum of Fine Arts, Boston. Back Bay Boston: The City as a Work of Art. With Essays by Lewis Mumford & Walter Muir Whitehill (Boston, 1969).
* Shand-Tucci, Douglass, ''Built in Boston: City and Suburb, 1800-2000.''(Amherst: University of Massachusetts Press, 1999).
* Train, Arthur (1921), "The Kid and the Camel," from ''By Advice of Counsel.'' ("William Montague Pepperill was a very intense young person...")
* Howells, William Dean, ''Literary Friends and Acquaintance: My First Visit to New England''

== External links ==
{{Commons category|Back Bay, Boston}}
* [http://www.nabbonline.com/ Neighborhood Association of Back Bay]; [http://www.nabbonline.com/history.htm Back Bay timeline]
* [http://www.bc.edu/bc_org/avp/cas/fnart/fa267/bos_fill.html History of the Boston landfill projects] Course notes with illustrations by Professor Jeffrey Howe, Boston College
* [http://ocw.mit.edu/OcwWeb/Civil-and-Environmental-Engineering/1-012Spring2002/Readings/detail/build_back_bay_the_old_colony_trust_comp.htm MIT OpenCourseWare: "Building the Back Bay" (1926 account)] Accessed 2009-10-08
* [http://www.djtrealestate.com/back-bay-condos.htm Back Bay History]
* [http://www.visitbostonbackbay.com/site/about/history/ Concise Back Bay History] by [http://www.bostonbackbay.com/ Back Bay Association] business member group
* [http://beckydaroff.com/arthistory/backbay/index.html Interactive Back Bay map featuring architectural details and information]

{{Boston neighborhoods}}
{{Registered Historic Places}}

{{coord|42|21|4.66|N|71|4|49.28|W|name=Back Bay, Boston|display=title|type:landmark}}

[[Category:Neighborhoods in Boston, Massachusetts]]
[[Category:Historic districts in Massachusetts]]
[[Category:Back Bay, Boston| ]]

[[fr:Back Bay (Boston)]]

Bay Village (Boston)

2011-08-09T14:00:04Z

Reify-tech: /* Transportation */ Clarification

{{Infobox settlement
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'''Bay Village''' is the second smallest and arguably least-known officially-recognized [[Neighborhoods in Boston|neighborhood]] of [[Boston]], [[Massachusetts]]. As of 2010, its population was approximately 1,312 residents living in 837 housing units, most of which are small brick rowhouses.<ref>Boston 2010 Census BRA neighborhood comparison [http://www.bostonredevelopmentauthoritynews.org/wp-content/uploads/2011/04/NBRHDPercentChange1.pdf]</ref>

== Description ==
The [[Massachusetts Turnpike]] is the southern boundary of the neighborhood, which coincides with the right-of-way of the [[Boston and Albany Railroad|Boston and Worcester Railroad]], laid down in the 1830s. Marginal Road and Cortes Street are the surface roads that parallel the Pike. Across the Pike to the southwest lies the [[South End, Boston, Massachusetts|South End]] neighborhood; to the southeast of the Pike and Tremont Street is the southern edge of [[Chinatown, Boston|Chinatown]]. To the west of Berkeley Street and north of Columbus Street (west of Arlington Street) is the [[Back Bay, Boston, Massachusetts|Back Bay]] neighborhood. To the north of Stuart Street is [[Park Square (Boston)|Park Square]], and to the east of [[Charles Street (Boston)|Charles Street]] is the [[Washington Street Theatre District|Theatre District]].<ref>Boundaries of the neighborhood as defined by the Bay Village Neighborhood Association - [http://www.bayvillage.net/neighborhood/bv_map.htm see map]{{dead link|date=July 2011}}</ref><ref name=BVHD-Map>{{cite web|title=Bay Village Historic District (map)|url=http://www.cityofboston.gov/Images_Documents/Bay%20Village%20Historic%20District%20map_tcm3-13483.pdf|work=CityofBoston.gov|accessdate=2011-07-26}}</ref>

The narrow one-way network and irregular grid arrangement of the streets make the interior urban spaces of Bay Village relatively quiet and pedestrian-friendly, due to sparse automobile traffic. Many of the sidewalks are paved with brick, and are lit by [[gas lighting|gas streetlamps]] at night. The exterior appearance of buildings is protected by a Historic District designation administered by the Bay Village Architectural Commission.<ref name=CoBHistoric>{{cite web|title=Bay Village|url=http://www.cityofboston.gov/landmarks/historic/bayvillage.asp|work=CityofBoston.gov|publisher=City of Boston|accessdate=2011-07-03}}</ref>

There are a few "vest-pocket" parks located within or nearby Bay Village, notably Eliot Norton Park, which although technically located in the Theatre District, is just across Charles Street from the eastern boundary of the neighborhood.<ref name="BVHD-Map"/> The [[Public Garden (Boston)|Boston Public Garden]] and [[Boston Common]] are located just two blocks away from the northern edge of Bay Village.

Traditionally middle to lower-middle class, the neighborhood has become relatively expensive and upscale, beginning around the 1990s.{{Citation needed|date=May 2007}} The Bay Village Neighborhood Association (BVNA) is very active in controlling urban nuisances, such as traffic, litter, graffiti, and pet wastes (an approved dog walking area is located next to Eliot Norton Park). The BVNA is also known for organizing Spring and Fall Cleanup days, a Book Club, and the Bay Village Annual Neighborhood Block Party (which often features restaurant tables and service literally in the middle of the narrow streets).<ref name=BVNA-Calendar>{{cite web|title=Calendar of Events|url=https://www.bayvillage.net/category/events/upcoming/|work=Bay Village Neighborhood Association (website)|publisher=Bay Village Neighborhood Association|accessdate=2011-07-26}}</ref>

== History ==
The western part of the neighborhood was originally part of the body of water known as the [[Back Bay, Boston, Massachusetts|Back Bay]], west of the [[Boston Neck]] [[isthmus]]. This area was once known as South Bay, as the original waterline was in the area of Arlington Street (formerly Ferdinand Street). In the 1820s, the neighborhood was [[landfill]]ed by developer [[Ephraim Marsh]], in partnership with [[Francis Cabot Lowell (businessman)|Francis Cabot Lowell]], before the more extensive landfills of the Back Bay and South End neighborhoods.<ref name=ExpBoston>{{cite web|last=Hughes|first=Carolyn|title=Beacon Hill & Bay Village|url=http://www.cityofboston.gov/Images_Documents/BeaconHill_BayVillage_brochure_tcm3-19113.pdf|work=Exploring Boston's Neighborhoods|publisher=Boston Landmarks Commission|accessdate=2011-07-25|year=1998}}</ref> Through its history, the neighborhood has been known at different times as the '''Church Street District''', '''South Cove''', and '''Kerry Village'''.<ref name=BVNAHistory>{{cite web|title=Bay Village History|url=http://www.bayvillage.net/neighborhood/|work=Bay Village Neighborhood Association|publisher=Bay Village Neighborhood Association|accessdate=2011-07-03}}</ref>

Architecturally, many Bay Village homes look like smaller versions of [[Beacon Hill, Boston|Beacon Hill]] [[townhouse]]s. This is largely because many of the craftspeople who built the Beacon Hill residences settled in this area and built the local residences for their own use. Fayette Street, named for the [[Revolutionary War]] hero [[Marquis de Lafayette]], has numerous houses dating from the [[Federal Period]]. Grander five-story townhouses in the [[Greek Revival style]] may be found on Melrose Street. After the area west of Arlington Street was filled in, developers built luxury residential "hotels" in the [[Victorian architecture|Victorian style]] on Cortes and Isabella Streets.

During the mid-to-late 19th century, some streets in Bay Village were raised 12–18 feet (4–6 m) as the adjacent [[South End, Boston, Massachusetts|South End]] and [[Back Bay, Boston, Massachusetts|Back Bay]] neighborhoods were created by continued landfill. Visitors can see evidence of this today by noting the location of the basement windows in some of the buildings on Fayette Street, as well as arches opening to horsewalks that ran under the houses to stables in the rear. In addition, some private gardens were never raised, and remain near their original elevations.

Bay Village was the site of the [[Cocoanut Grove fire]] in an overcrowded nightclub, which quickly burned to the ground in November of 1942, killing 492 people. Its terrible aftermath led to the creation and enforcement of stringent [[fire code]]s across the US, in the hope of preventing other such tragedies. Marking the 50th anniversary of the incident, the Bay Village Neighborhood Association placed a commemorative plaque in the brick sidewalk near the club’s former site on Piedmont Street, now occupied by the Radisson Hotel.<ref name="BVNAHistory"/>

== Transportation ==
Several [[MBTA]] [[rapid transit]] stations are located just beyond the boundaries of Bay Village, which is also served by several local bus routes. [[Commuter rail]] and [[Amtrak]] long-haul trains stop at [[Back Bay (MBTA)|Back Bay station]] and [[South Station (MBTA)|South Station]], within walking distance to the west and east of Bay Village, respectively. Inter-city bus services depart from the regional bus terminal at South Station.

Nearby MBTA stations include:
* [[Arlington (MBTA station)]]
* [[Back Bay (MBTA station)]]
* [[Boylston (MBTA station)]]
* [[Tufts Medical Center (MBTA station)]]

On-street parking is very scarce within Bay Village, and is mostly reserved for holders of Residential Parking stickers. Commercial parking is available in numerous surface lots and [[parking garage]]s located near or in the neighborhood. Entrance ramps to the [[Massachusetts Turnpike]] ([[I-90]]) and the [[Central Artery]] ([[I-93]]) are a minute's drive away.

==See also==
Adjacent neighborhoods and districts:
* [[Back Bay, Boston, Massachusetts]]
* [[Chinatown, Boston, Massachusetts]]
* [[Park Square (Boston)]]
* [[South Bay, Boston, Massachusetts]]
* [[South End, Boston, Massachusetts]]
* [[Washington Street Theatre District]]

==References==
<references />

==External links==
*[http://www.bayvillage.net/ Bay Village Neighborhood Association (BVNA)]

{{coord|42.3491|-71.068|display=title}}
{{Boston neighborhoods}}

[[Category:Neighborhoods in Boston, Massachusetts]]

[[fr:Bay Village (Boston)]]

Green Line (MBTA)

2011-08-05T05:35:02Z

Reify-tech: Re-organized material more logically; Consolidated accessibility information

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:GREEN LINE}}| color1 = Green}}
|image = Green-line-sideview.jpg
|image_width = 250px
|caption = Green Line train at the Heath Street station
|type = [[Light rail]]
|system =
|status =
|locale = [[Boston, Massachusetts]]
|start = '''East terminals''': [[Lechmere (MBTA station)|Lechmere]] ([[Green Line "E" Branch|E]]) [[North Station]] ([[Green Line "C" Branch|C]]) [[Government Center (MBTA station)|Government Center]] ([[Green Line "B" Branch|B]], [[Green Line "D" Branch|D]])
|end = '''West terminals''': [[Boston College (MBTA station)|Boston College]] ([[Green Line "B" Branch|B]]) [[Cleveland Circle and Reservoir (MBTA stations)|Cleveland Circle]] ([[Green Line "C" Branch|C]]) [[Riverside (MBTA station)|Riverside]] ([[Green Line "D" Branch|D]]) [[Heath Street (MBTA station)|Heath Street]] ([[Green Line "E" Branch|E]])
|stations = 66 (total)
|routes = <ul><li>[[Green Line "B" Branch|"B" Branch]] ([[Commonwealth Avenue, Boston|Commonwealth Ave]]) (Boston College) <li>[[Green Line "C" Branch|"C" Branch]] ([[Beacon Street]]) (Cleveland Circle)<li>[[Green Line "D" Branch|"D" Branch]] (Highland) (Riverside)<li>[[Green Line "E" Branch|"E" Branch]] ([[Huntington Avenue]]) (Heath Street) </ul>
|ridership = 237,700<ref name=APTA>American Public Transportation Association, [http://www.apta.com/resources/statistics/Documents/Ridership/2009_q3_ridership_APTA.pdf APTA transit ridership report], Third Quarter 2009.</ref>
|open = 1897
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character = Subway, grade-separated [[Right-of-way (transportation)|ROW]], [[street running]]
|stock = [[Kinki Sharyo]] Type 7 [[AnsaldoBreda]] Type 8
|linelength = {{convert|22.6|mi}}<ref>[http://www.urbanrail.net/am/bost/boston.htm Boston] at urbanrail.net</ref>
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}} ([[Standard gauge]])
|minradius = {{convert|33|ft|m|3|abbr=on}} <ref>[http://onlinepubs.trb.org/Onlinepubs/tcrp/tcrp_rpt_02.pdf On line pubs] TRANSPORTATION RESEARCH BOARD EXECUTIVE COMMITTEE 1995 </ref>
|el = [[Overhead catenary]]
|speed =
|elevation =
|map = {{MBTA Green Line}}

}}
The '''Green Line''' is a [[streetcar]] system run by the [[Massachusetts Bay Transportation Authority]] (MBTA) in the [[Boston, Massachusetts|Boston]], [[Massachusetts]] area of the [[United States]]. It is the oldest line of Boston's [[rapid transit|subway]], which is known locally as the 'T'. The Green Line runs underground downtown and on the surface in outlying areas. With a daily weekday ridership of 241,100,<ref name=APTA /> it is also [[list of United States Light Rail systems by ridership|the most heavily-used light rail line in the country]]. The line was given the green color because it goes primarily though an area called the [[Emerald Necklace]] of Boston.{{Citation needed|date=November 2007}} The four branches are the remnants of a once large system of streetcar lines, begun in 1856 with the [[Cambridge Horse Railroad]]. The [[Tremont Street Subway]] carries cars of all branches under downtown, and is the oldest subway tunnel in [[North America]], opened in stages between September 1, 1897, and September 3, 1898, to take streetcars off surface streets.

==Description==
[[Image:GreenAtParkStreet.jpg|thumb|Two trains at Park Street. Left, Type 7 Kinki-Sharyo train bound for Boston College. Background, Type 8 AnsaldoBreda train departs for Government Center.]]

The modern-day Green Line has its northern terminus at [[Lechmere (MBTA station)|Lechmere]] station in eastern [[Cambridge, Massachusetts|Cambridge]]. From there it runs south in the [[Tremont Street Subway]] under downtown Boston, then west in the [[Boylston Street Subway]] to [[Kenmore (MBTA station)|Kenmore]]. Collectively, the Green Line tunnels through Downtown Boston and the Back Bay are sometimes called the Central Subway in planning documents. Along the way, the [[Green Line "E" Branch|"E" Branch]] splits just west of [[Copley (MBTA station)|Copley]] station, running southwest through the [[Huntington Avenue Subway]], eventually ramping up to the surface, continuing along Huntington Avenue, and terminating at [[Heath Street (MBTA station)|Heath Street]].

The [[Green Line "B" Branch|"B"]], [[Green Line "C" Branch|"C"]], and [[Green Line "D" Branch|"D"]] Branches all diverge west of Kenmore. From south to north, the "D" Branch surfaces onto the grade-separated [[Highland Branch]], a branch of the [[Boston and Albany Railroad]] until 1958, running to [[Riverside (MBTA station)|Riverside]]. The "C" Branch surfaces onto [[Beacon Street (Boston)|Beacon Street]], running to [[Cleveland Circle (MBTA station)|Cleveland Circle]], and the "B" Branch runs along [[Commonwealth Avenue (Boston)|Commonwealth Avenue]] to [[Boston College (MBTA station)|Boston College]].

The [[Green Line "A" Branch|"A" Branch]] ran to [[Watertown (MBTA station)|Watertown]] until 1969. Although the route-letter scheme had been introduced two years prior to its closure, the "A" designation was never signed on streetcars operating to Watertown. It was, however, included in the [[destination sign]]s on the [[US Standard Light Rail Vehicle|Boeing-Vertol LRV]]s ordered in the mid-1970s, when reopening the Watertown service was still under consideration. The A line tracks remained in non-revenue service to access maintenance facilities at Watertown until 1994.

The elevated tracks north of the Central Subway near [[North Station]] were closed from June, 2004 until November 12, 2005 for replacement of the [[Causeway Street Elevated]] with a new tunnel under Causeway Street, still connecting to the [[Lechmere Viaduct]].<ref>{{cite news| url=http://www.boston.com/news/local/massachusetts/articles/2005/11/11/lechmere_science_park_stations_reopen/ | work=The Boston Globe | title=Lechmere, Science Park stations reopen | first=Mac | last=Daniel | date=November 11, 2005}}</ref> The historic [[concrete]] Viaduct across the [[Charles River]] remains in service, although it has been closed for a number of months in 2011 to allow a complete rebuilding of [[Science Park (MBTA station)|Science Park]] station.

The original Tremont Street Subway south of [[Boylston (MBTA station)|Boylston]] station has been closed since 1962, and the streetcar lines feeding into it were replaced by bus service. The [[Pleasant Street Portal]] at its southern end has been covered over, but there were plans to build a new portal and reuse part of the tunnel for Phase III of the [[Silver Line (MBTA)|Silver Line]] [[bus rapid transit]] project. As of 2011, all Phase III tunnel construction plans are on indefinite hold, due to lack of funding, and heavy community opposition.

==Rolling stock ==
[[Image:MBTA Green Line Type 7 LRV at Park Street station.jpg|thumb|Front view of a "Type 7" [[Kinki Sharyo]] streetcar at Park Street station.]]
[[Image:GreenEnterNorthStation.jpg|thumb|right|A two car Type 7 ([[Kinki Sharyo]]) train enters North Station bound for Lechmere.]]
[[Image:BoeingUSSRLV.jpg|thumb|Front view of a Boeing-Vertol LRV, most of which were scrapped in 2007.]]

Like the three other MBTA subway lines, the Green Line uses [[standard gauge]] tracks.

===Active fleet===
The Green Line's rolling stock as of the end of 2007 includes:{{Update after|2011|7|29}}
{| class="wikitable" border="1"
|-
!Year Built
!Make
!Model
!Length ft ( mm)
!Width in ( mm)
!Gauge
!Road Numbers
|-
| 1986–1988
| [[Kinki-Sharyo]]
| Type 7 LRV
| {{convert|72|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (36xx): 3600–3699, 1986–88 (98 active)
|-
| 1997
| [[Kinki-Sharyo]]
| Type 7 LRV
| {{convert|72|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (37xx): 3700–3719
|-
| 1999-2008
| [[AnsaldoBreda]]
| Type 8 LRV
| {{convert|74|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (38xx): 3800–3894
|}

===Retired fleet===
(Does not include even older cars from the Boston Elevated era)
{| class="wikitable" border="1"
|-
!Years in Service
!Make
!Model
!Length ft ( mm)
!Width in ( mm)

!Gauge
!Total Number of Cars
|-
| 1976–2007
| [[US Standard Light Rail Vehicle]] [[Boeing Vertol]]
| LRV
| {{convert|71|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 150
|-
| 1937–1985 (10 still in revenue service on [[Ashmont-Mattapan High Speed Line|Ashmont-Mattapan line]])
| [[PCC streetcar|Presidents' Conference Committee streetcar]]
| PCC
| {{convert|48|ft|mm|sigfig=5|abbr=on}}
| {{convert|100|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 10
|}

At the end of the 19th century, the original purpose of the [[Tremont Street Subway]] was to allow ordinary streetcars to bypass the worst street congestion in crowded sections of downtown Boston. Thus, ordinary street cars were the first rolling stock used on what would later be designated the Green Line.

For many years, the Green Line used the [[PCC streetcar]]s developed during the [[Great Depression|Depression]]. These were finally phased out in favor of the [[US Standard Light Rail Vehicle]] supplied by the new US venture [[Boeing Helicopters|Boeing-Vertol]] in the mid-1970s. The introduction of the LRV cars was initially heralded as part of an effort to rejuvenate mass transit in medium-sized metropolises.<ref>U.S. DOT / Boeing brochure</ref> This first series of LRVs were subject to chronic breakdowns, and Boeing soon abandoned its venture into ground transit vehicles.<ref>[http://members.aol.com/netransit/private/LRV.html Boston's Green Line Crisis]</ref>

Desperate for reliable rolling stock, the MBTA launched a PCC overhaul program to extend their life, and these classic cars were still used into the 1980s in the Central Subway. As of 2011, several of the surviving PCC cars are still run on the [[Ashmont-Mattapan High Speed Line|Ashmont-Mattapan]] portion of the [[Red Line (MBTA)|Red Line]].

In 1987, 100 second generation LRVs were ordered from the Japanese firm [[Kinki Sharyo]], with an additional set of 20 cars ordered and delivered in 1997. The last of the Boeing-Vertol cars were retired in March, 2007, and almost all of them were scrapped.<ref>{{cite news| url=http://www.boston.com/news/local/articles/2007/03/16/end_of_the_line_for_t_pioneers/ | work=The Boston Globe | title=End of the line for T pioneers | date=March 16, 2007}}</ref> As of 2011, the Kinki Sharyo cars now make up the bulk of the Green Line's rolling stock, plus the newer "Breda" cars, as described under the "Accessibility" section of this article.


One of the earliest surviving pre-PCC cars, Type 5 5734, can still be seen parked on a sidetrack at the Boylston station, along with PCC 3295. These two cars used to be in working condition and were frequently used for [[fantrip]]s.{{Citation needed|date=November 2007}} The most recent fantrip was in 1997, and now the railcars sit at Boylston collecting dust. It is highly doubtful that these cars are still in working condition, and Type 5 5734 reportedly has structural problems with the roof. The [[San Francisco, California|San Francisco]] [[San Francisco Municipal Railway|Muni]] [[F Market]] line historic street railway runs a PCC car in Boston colors, but that specific car never actually ran in Boston.

==Accessibiity==
{{See also|MBTA accessibility}}

Unlike the [[Red Line (MBTA)|Red Line]], [[Blue Line (MBTA)|Blue Line]], and [[Orange Line (MBTA)|Orange Line]], all of which run [[rapid transit]] cars and use stations with [[railway platform height|elevated platforms]] (so that the car floor is level with the platform and thus the cars are easily handicap-accessible), the Green Line is a [[tram|trolley]]/[[streetcar line]] and has used a variety of trolley cars and [[light rail]] vehicles throughout its history.

Originally, none of the Green Line stations included elevated or raised platforms, and the passengers had to ascend several steps up into the vehicles, limiting accessibility for persons with disabilities. To address this, two changes have been made:<ref>[http://www.mbta.com/about_the_mbta/t_projects/projects_accessibility/ MBTA > About the MBTA > Transit Projects > Transit Projects and Accessibility]</ref>

* Non-elevated platforms and "wheelchair lifts" at some stops. The lifts have turned out to be quite time-consuming to operate, causing serious delays on the entire Green Line during peak periods.
* An attempt to phase-in [[low-floor tram|low-floor streetcars]] and slightly raised platforms to allow faster direct boarding of wheelchairs onto these vehicles

[[Image:MBTA Green Line Type 8 LRV at Park Street station.jpg|thumb|right|Front of a Type 8 ([[AnsaldoBreda]]) Light Rail Vehicle.]]
[[Image:BredaRearTruck.jpg|thumb|right|Rear Wheel Truck of a Type 8 ([[AnsaldoBreda]]) Light Rail Vehicle.]]

One hundred low-floor cars were purchased from the [[Italy|Italian]] vendor [[AnsaldoBreda]] (Breda), with styling by [[Pininfarina]]. These cars initially proved to be problematic and difficult to maintain. The first cars delivered failed every 400 miles (640 km), far less than the 9,000 miles (14,500 km) specified by the MBTA, and were prone to derailments. The MBTA has been forced to spend an additional [[United States dollar|US$]]9.5 million to modify tracks to prevent the derailment problems, echoing early problems with the Boeing stock. The MBTA has been criticized for their failure to assess Breda's reliability before entering into the deal, and during the delivery of the vehicles.

In December 2004, the MBTA canceled orders for the remaining cars still to be delivered as part of the authority's nine-year, US$225 million-dollar deal with Breda.<ref>Flint, Anthony. "[http://www.boston.com/news/local/massachusetts/articles/2004/12/12/mbta_halts_purchase_of_green_line_lemons?mode=PF MBTA Halts Purchase of Green Line 'Lemons']" ([http://64.233.161.104/search?q=cache:iwJ7LI9Q88AJ:www.urbanplanet.org/forums/index.php%3Fshowtopic%3D7451+%22Mulhern+said+last+week+he+will+take+Breda+to+court+to+recoup+the+millions+of+dollars%22&hl=en&hs=W1V&lr=&client=firefox-a&strip=1 mirrored copy]). ''[[The Boston Globe]]''. December 12, 2004.</ref> One year later, in December 2005 the MBTA announced that it had entered into a restructuring of the deal with the Italian vendor, reducing the order to 85 cars (with spare parts to be provided in lieu of the 15 remaining cars), and providing for the remaining payment under the original 1995 deal only if the cars meet performance requirements.<ref>{{cite news| url=http://www.boston.com/news/local/massachusetts/articles/2005/12/17/green_line_seeks_zippier_service_with_upgrade_plan/ | work=The Boston Globe | title=Green Line seeks zippier service with upgrade plan | first=Mac | last=Daniel | date=December 17, 2005}}</ref> Construction of the last car under the order was completed on December 14, 2006;<ref>{{cite news| url=http://www.boston.com/news/local/startsandstops/blog/2006/12/bredas.html | work=The Boston Globe | title=Bredas | date=December 14, 2006}}</ref> though in late 2007 the MBTA announced it had contracted with Breda to deliver another 10 cars, bringing the total order to 95 production cars and 5 car shells for parts.<ref>{{cite news| url=http://www.boston.com/news/local/articles/2007/11/12/t_will_take_10_new_cars_for_its_busy_green_line/ | work=The Boston Globe | title=T will take 10 new cars for its busy Green Line | first=Noah | last=Bierman | date=November 12, 2007}}</ref> As of June 2008, 90 of the Type 8 cars were in service; one was damaged in a derailment/fire incident, and four are still in testing.

After several years of modifications to the [[Green Line "D" Branch]] tracks, the Breda cars finally returned to service on that line, and now provide service to every branch of the Green Line.

The MBTA runs one-, two-, and, rarely, three-car trains on the Green Line, depending on travel demand and vehicle availability. As of January 14, 2009, two-car trains now run from the start to end of service Monday through Friday, with the promise that three-car trains will be in service after conclusion of station reconstruction on the Central Subway to make it ADA compliant. The MBTA has promised that each two-car train on the system will contain at least one Type 8 low-platform car to facilitate access for disabled persons.

==History==
{{see also|History of the MBTA}}
[[Image:West End Street Railway 1885.png|thumb|Map of the planned West End Street Railway network from 1885. These existing routes were officially merged in 1887.]]

{{Split section|MBTA History (Green Line)|date=August 2011}}
{{Merge from|Tremont Street Subway|date=January 2009}}
The name "Green Line" was assigned in the 1960s as part of a major reorganization of the MBTA system's branding.

The predecessor of today's Green Line was created by the Massachusetts legislature, but under private ownership, as the [[West End Street Railway]] in 1887. This system of horse-drawn streetcars was the merger of numerous independently operated railways built from the 1850s onward. At the time of the merger, West End operated 1,480 cars with a team of 7,816 horses.<ref>[http://www.ieeeboston.org/mbta_milestone.htm Boston IEEE Section Techsite-MBTA Milestone]</ref>

The Allston - Park Square line (which served the general area of the [[Green Line "A" Branch|"A" Branch]], and is covered in that article) was the first section to be converted to electric traction in 1889, using modified existing horsecars outfitted with [[Frank J. Sprague]]'s equipment first demonstrated in [[Richmond, Virginia]]. This initial line used overhead [[trolley wire]]s for most of its length, but also [[third rail]] equipment supplied by the [[Bentley-Knight Electric Railway Company]] in sections where residents initially objected to overhead lines. The Bentley-Knight approach was abandoned soon after several horses were electrocuted due to inadequate insulation.<ref>[http://www.ieee.org/organizations/history_center/mbta.html IEEE - IEEE History Center]</ref> By 1889, the Sprague equipment was dropped in favor of [[Thomson-Houston]] (now [[General Electric]]) [[electric motor|motors]] and [[electrical generator|generators]], to which the rest of the system was converted.

In 1897, the West End Street Railway property was handed over to the [[Boston Elevated Railway]] (BERy) in the form of a 24 year lease, and the companies were ultimately combined. BERy, now under state ownership, evolved into today's MBTA, which was called the [[Metropolitan Transit Authority (Boston)|Metropolitan Transit Authority]] (MTA) in the interim from 1947 to 1964.

As a tunnel built to get [[streetcar line]]s off the streets, rather than a [[rapid transit]] line, the Tremont Street Subway has had many connecting surface branches, with many services operating in many patterns. Additionally, many services from other companies, notably the [[Eastern Massachusetts Street Railway]] and its predecessors, have run into the subway from outer [[suburb]]an points via BERy trackage. A partial list of these services is in the green rows on [[Boston-area streetcar lines]].

In the 1970s the Green Line and all other MBTA lines were re-evaluated by the [[BTPR|Boston Transportation Planning Review]] for region-wide efficacy and future modernization alternatives initiated as far as physical plant and operating measures.{{Clarify|2011|07|date=July 2011}}

===Portals===
Cars entered the subway from the surface at a number of portals or inclines, listed here from north to south/east to west.

====Lechmere====
[[Lechmere (MBTA station)|Lechmere]] is the north end of the Green Line. From the opening of the [[Lechmere Viaduct]] leading to it in 1912 until 1922, streetcar lines simply fed onto the viaduct from [[Cambridge Street (Cambridge)|Cambridge Street]] and [[Bridge Street (Cambridge)|Bridge Street]] (now [[Monsignor O'Brien Highway (Cambridge)|Monsignor O'Brien Highway]]). In 1922 a [[prepayment station]] was opened, with a new loop for subway trains to turn around and a separate loop for surface cars, and no intermingling between the two. The surface lines have since been replaced with [[bus]]es, but the Green Line still turns around at Lechmere.

====Canal Street====
The [[Canal Street Portal]] (also Haymarket Portal, North Station Portal or Causeway Street Portal, often referred to in revenue service as the Canal Street Loop) was part of the transition between subway and [[elevated railway]] on the Green Line, as it transitioned from the [[Tremont Street Subway]] to the [[Causeway Street Elevated]] towards the [[Lechmere Viaduct]] until 2004, when the Green Line north of [[North Station]] was closed for building of a new tunnel and portal. Certain trains turned at Canal Street, while others emerged from the subway to a viaduct to Lechmere. It was, however, possible for a passenger to alight from a train at Canal Street and proceed up a series of stairways to the Lechmere Viaduct. However most passengers desiring to continue to Science Park or Lechmere would have changed to a Lechmere signed car from a North Station signed car prior to the emergence from the central subway.

The original four-track portal opened in 1898 at the north end of the first subway; cars could turn east or west on [[Causeway Street (Boston)|Causeway Street]]. In 1901 the [[Charlestown Elevated]] was connected to the outer tracks, and streetcars only operated via the inner tracks. The [[Washington Street Tunnel (Boston)|Washington Street Tunnel]] opened in 1908, connecting to the Elevated via a new portal just east of the streetcar one, and all four tracks were once again open for streetcar use until 1975. In 1912 the Lechmere Viaduct opened, again using the two outer tracks for an elevated line. The inner tracks continued to serve the surface, including a surface station at [[North Station]], until 1997, when they were closed for construction of the new tunnel and the Green Line was shifted to the old Orange Line (Charlestown Elevated) portal along the way. The {{MBTABus|93}} was the last service to continue onto surface streets from the portal, last running in 1949.

====Pleasant Street====
[[Image:Pleasant Street Incline junction.jpg|thumb|[[Flying junction]] on the [[Tremont Street Subway]] approaching the [[Pleasant Street Incline]].]]

The [[Pleasant Street Portal]] was the south end of the [[Tremont Street Subway]], opened one month after the original subway in 1897. It split from the [[Boylston Street Subway]] at a [[flying junction]] at [[Boylston (MBTA station)|Boylston]], and another flying junction split the tunnel into two side-by-side tunnels to the four-track portal. The two west tracks rose onto [[Tremont Street (Boston)|Tremont Street]] and the two east ones onto [[Pleasant Street (Boston)|Pleasant Street]], later part of [[Broadway (Boston)|Broadway]]. From 1901 to 1908 the portal was only used by [[Washington Street Elevated]] trains, after which streetcar service was restored—though much of it had been cut back to [[Dudley Square (MBTA station)|Dudley]] for transfer to the Elevated. The last cars ran through the portal in 1961 as part of the {{MBTABus|43}}, and in 1962 a shuttle service from Boylston to the portal was ended. The portal has since been covered.

====Boylston Street====
The first portal to open, on September 1, 1897, was the [[Boylston Street Portal]] or Public Garden Portal, providing an outlet for the subway on the north side of [[Boylston Street (Boston)|Boylston Street]] in the [[Public Garden (Boston, Massachusetts)|Public Garden]]. When the [[Boylston Street Subway]] opened in 1914, extending the subway west, the incline and portal were relocated to the center of Boylston Street. The last cars to use the portal ran in 1941 from [[Huntington Avenue (Boston)|Huntington Avenue]], when the [[Huntington Avenue Subway]] opened as a branch off the main subway and the portal was closed.

====Northeastern====
The [[Northeastern Portal]] lies in the [[median (highway)|median]] of [[Huntington Avenue (Boston)|Huntington Avenue]] at the end of the [[Huntington Avenue Subway]], just east of [[Northeastern University (MBTA station)|Northeastern University]]. It opened in 1941 and carries [[Green Line "E" Branch|"E" Branch]] trains.

The incline was built as a wooden trestle to the street atop a level grade, as the original plans called for eventual extension of the subway; in the mid 1980s the trestle was replaced with fill (which greatly quieted the sound).

====Kenmore====
The [[Kenmore Portal]] or Kenmore Square Portal opened in 1914 with the building of the [[Boylston Street Subway]] west to the east side of [[Kenmore Square (Boston)|Kenmore Square]], in the [[median (highway)|median]] of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]]. It closed in 1932 when the subway station at [[Kenmore (MBTA station)|Kenmore]] was built and two new portals opened to the west.

====Blandford Street, St. Marys Street, and Fenway====
The [[Blandford Street Portal]] and [[St. Marys Street Portal]], in the [[median (highway)|median]]s of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]] and [[Beacon Street (Boston)|Beacon Street]] respectively, opened in 1932 as part of the extension of the [[Boylston Street Subway]] under [[Kenmore Square (Boston)|Kenmore Square]] and the opening of the new [[Kenmore (MBTA station)|Kenmore]] station. They are currently used by the [[Green Line "B" Branch|"B"]] and [[Green Line "C" Branch|"C"]] Branches respectively. The [[Fenway Portal]] opened in 1959 along with the opening of the [[Highland Branch]], and provides a third exit from Kenmore, south of the St. Marys Street Portal. It carries trains of the [[Green Line "D" Branch|"D" Branch]].

===Turnarounds===

Cars can reverse direction at a number of stations

[[Lechmere (MBTA station)|Lechmere]] is currently the north end of the Green Line, and consists of a balloon-shaped turnaround.

At [[North Station]], trains heading eastbound/outbound toward [[Lechmere (MBTA station)|Lechmere]] can turn around. No turnaround is available in the westbound/inbound direction.

At [[Government Center (MBTA station)|Government Center]], trains entering from either the east or west can turn around.

At [[Park Street (MBTA station)|Park Street]] trains can turn around in one direction only. Trains headed toward [[Lechmere (MBTA station)|Lechmere]] upon entering [[Park Street (MBTA station)|Park Street]] on the inside track can turn around on a tight turn and end up on the so called fence track. This is the track that takes trains out to [[Boston College (MBTA station)|Boston College]] and [[Heath Street (MBTA station)|Heath Street]].

[[Kenmore (MBTA station)|Kenmore]] is where trains coming from Cleveland Circle or the Riverside Branch can turn around to the outbound track that takes trains to Cleveland Circle or Riverside. No turnaround is available for the "Boston College" or "Commonwealth Avenue" Branch.

===Branches===
The branches were given letters in 1967, two years after the green color was assigned to the line on August 26, 1965. The letters were assigned increasing from north to south, to the five remaining branches. No branches had used the [[Canal Street Portal]] except as a terminal since 1949 with the {{MBTABus|93}} or the [[Pleasant Street Portal]] since 1961 with the {{MBTABus|43}}, and a shuttle until 1962. All trains stop at Government Center, Park Street, Boylston, Arlington, and Copley. All trains except "E" also stop at Hynes Convention Center and Kenmore. Only "E" trains stop at Prudential and Symphony. On the eastern end, only "C" and "E" trains go past Government Center to Haymarket and North Station; the only train that services Science Park and Lechmere is the "E" train. A red line through the letter on a sign means that the train goes only part way on that branch (for example, a D-line car only going as far as Reservoir).

{{main|Green Line "B" Branch}}
The "B", "Boston College" or "Commonwealth Avenue" Branch is the northernmost of the three lines that split west of Kenmore. It travels west down the middle of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]], ending at [[Boston College (MBTA station)|Boston College]]. {{As of|2009|alt=As of February 2009}}, regular B service turns around at [[Government Center (MBTA station)|Government Center]]. It is the most criticized line in the Green Line, primarily due to its high frequency of densely located stops. This causes the branch to bear the highest average per-mile operations cost, the slowest passenger riding time, and the greatest number of complaints.{{Citation needed|date=February 2009}}

{{main|Green Line "C" Branch}}
The "C", "Cleveland Circle" or "Beacon Street" Branch is the middle one of the three branches heading west from Kenmore, and the straightest, running down the middle of [[Beacon Street (Boston)|Beacon Street]] through [[Brookline (MA)|Brookline]] to [[Cleveland Circle (MBTA station)|Cleveland Circle]]. {{As of|2009|alt=As of February 2009}}, regular "C" service turns around at [[North Station]].

{{main|Green Line "D" Branch}}
The "D" or "Highland" Branch is the southernmost of the three lines that separate west of Kenmore. It is the longest branch, ending in [[Newton, MA|Newton]] at [[Riverside (MBTA station)|Riverside]]. It is the most recent branch, opening in 1959 along the former right-of-way of the Highland Branch of the [[Boston and Albany Railroad]], and has full grade separation, entering the subway at the [[Fenway Portal]]. {{As of|2009|alt=As of February 2009}}, regular "D" service turns around at [[Government Center (MBTA station)|Government Center]].

{{main|Green Line "E" Branch}}
The "E" or "Arborway" Branch diverges from the other three lines just west of Copley. It travels mainly on the surface of [[Huntington Avenue (Boston)|Huntington Avenue]], emerging from the [[Huntington Avenue Subway]] at the [[Northeastern Portal]]. Since 1985, service has been truncated to [[Heath Street (MBTA station)|Heath Street]], with continuing service to [[Arborway (MBTA station)|Arborway]] provided by the {{MBTABus|39}} bus. In 2008, the tracks from Heath Street to Arborway were paved over. The "E" is the only branch to have a regularly used street-running section. {{As of|2009|alt=As of February 2009}}, regular "E" service turns around at [[Lechmere (MBTA station)|Lechmere]]. Passengers must board "E" Branch trains to get to station stops between [[Lechmere (MBTA station)|Lechmere]] and [[North Station]].<ref>[http://mbta.com/schedules_and_maps/subway/lines/?route=GREEN mbta.com/schedules and maps/subway/lines]
</ref>

===Former branches===
{{mainlist|Boston-area streetcar lines}}

The [[Green Line "A" Branch]] was the northernmost of the branches, running from the [[Blandford Street Portal]], which is still used by the "B" Branch, west to [[Watertown Square (MBTA station)|Watertown]], mostly street-running. The {{MBTABus|57}} bus replaced the streetcar line in 1969.

The [[Pleasant Street Portal]] hosted two services in its final days. The {{MBTABus|9}} to [[City Point (MBTA station)|City Point]] ended in 1953, and the {{MBTABus|43}} to [[Egleston (MBTA station)|Egleston]] was cut back to [[Lenox Street (MBTA station)|Lenox Street]] in 1956, cut back to the portal in 1961, and ended operation in 1962. Prior to that, the {{MBTABus|48}} ran out [[Tremont Street (Boston)|Tremont Street]] to [[Dover Street (Boston)|Dover Street]] and [[Washington Street (Boston)|Washington Street]], ending at [[Dudley Square (MBTA station)|Dudley]], and last running in 1938.

The last two routes to continue beyond the [[Canal Street Portal]] both ran to [[Sullivan Square (MBTA station)|Sullivan]]. The {{MBTABus|92}} ran via [[Main Street (Charlestown)|Main Street]], last running in 1948, and the {{MBTABus|93}} via [[Bunker Hill Street (Boston)|Bunker Hill Street]] last ran in 1949. Until 1997 trains continued to use the portal and its [[North Station]] surface station as a terminal.

In addition to the lines that later became the "E" Branch, the predecessors to the {{MBTABus|58}} and {{MBTABus|60}} split in [[Brookline, Massachusetts|Brookline]], one branch running into the current "E" tracks and into the [[Boylston Street Portal]], and the other running up [[Brookline Street (Boston)|Brookline Street]] to end at [[Hynes Convention Center (MBTA station)|Massachusetts Avenue]] station. These were truncated in 1932 into a shorter route from [[Brookline Village (MBTA station)|Brookline Village]] to the subway via the Boylston Street Portal, which itself stopped running in 1938 (being cut back to [[Brigham Circle (MBTA station)|Brigham Circle]] short-turn trips), three years before the closure of that portal.

The last "foreign" cars to operate in the subway were those of the [[Eastern Massachusetts Street Railway]], running from the [[Canal Street Portal]] to the [[Brattle Loop]] at [[Government Center (MBTA station)|Scollay Square]] until 1935. It was then that the old [[Mystic River Bridge]] to [[Chelsea, Massachusetts|Chelsea]] was closed to streetcars and the lines were replaced by bus service; the next year the BERy bought the Eastern Mass Chelsea Division and through-routed it with its lines connecting to the [[East Boston Tunnel]] at [[Maverick (MBTA station)|Maverick]].

From the [[Lechmere (MBTA station)|Lechmere]] terminal opening on July 10, 1922 to February 6, 1931, special service ran from Lechmere to various points on the subway. These trips were replaced on February 7, 1931 by extensions of the various branches from the west, which had terminated at [[Park Street (MBTA station)|Park Street]], through to Lechmere.

==Operations and signalling==
The Green Line is signalled with advisory wayside signals except on surface portions in street medians or in-street running. Wayside signal territory stretches from Lechmere to the surface portals at Kenmore, and along the D-Riverside branch. There are no automatic protection devices, as the vehicles are equipped with track brakes—giving the operator the ability to stop quickly. Interlockings are controlled through a wayside Automatic Vehicle Identification (AVI) system that relies on the operator properly entering the destination manually on a roto-wheel in the train cab.

The Green Line is monitored from the 45 High Street rapid transit control room. Responsibility for controlling service is shared by the control room and field personnel located along the right of way. Track circuit and signal indications are not transmitted to the operational personnel sites. In lieu of track circuit indications, the AVI system is displayed in the control room to provide a periodic update to train position wherever AVI detectors exist. The AVI system user interface was solely text based until the current control room was opened, in which a new schematic display based on AVI data was instituted. Track circuit indications are available digitally in three signal houses but not transmitted to central control—at Park Street interlocking, at the new North Station interlocking, and at the new Kenmore interlocking.

Plans to reinstitute a crossover for through movements from the terminating (inner) northbound platform at Park Street towards Government Center are expected to increase capacity on the Green Line.

==Future plans==

===Somerville/Medford extension (Green Line Extension Project)===
To settle a lawsuit with the [[Conservation Law Foundation]] to mitigate increased automobile emissions from the [[Big Dig (Boston, Massachusetts)|Big Dig]], the Commonwealth of Massachusetts agreed to extend the Green Line from its present northern terminus at [[Lechmere (MBTA station)|Lechmere]] to Medford Hillside. The extension would pass through [[Somerville, Massachusetts|Somerville]] and [[Medford, Massachusetts|Medford]], two suburbs currently underserved by the MBTA relative to their population densities, commercial importance, and proximity to Boston. The line would use two railroad [[Right-of-way (transportation)|rights-of-way]] that currently serve the [[Lowell Line]] (which also carries [[Amtrak]]'s ''[[Downeaster]]'') and the [[Fitchburg Line]] MBTA Commuter Rail. The extension is projected to have a total weekday ridership of about 52,000.<ref name="collegeaveterminus">{{cite|url=https://www.commentmgr.com/Projects/1228/docs/13886feir.pdf|title=Final Environmental Impact Report|last=Bowles|first=Ian|date=July 30, 2010|page=5|accessdate=October 16, 2010}}</ref> The Green Line would see an increase in boardings of 30,700, and the MBTA system would see between 7,000 and 8,000 new transit users.<ref name="collegeaveterminus"/>

As of February 2, 2009, the stops planned for the Green Line Extension would be a relocated [[Lechmere (MBTA station)|Lechmere Station]], [[Brickbottom]] at Washington Street, Gilman Square at Medford Street, Lowell Street, [[Ball Square]], Hillside (at College Avenue in Medford, on the edge of [[Tufts University]] campus), and a terminus at Route 16 and Mystic Valley Parkway in Somerville (on the [[Mystic River]]). A potential stop at Winthrop Street and Boston Ave was dropped due to the proximity of other stations and neighborhood opposition. A branch line would split off after Lechmere station, ending at [[Union Square, Somerville|Union Square]] in Somerville (or slightly south thereof, on the [[Fitchburg Line]]). The plan was designed to extend the Green Line to Mystic Valley Parkway by the settlement-imposed deadline of December 31, 2014.<ref>[http://www.boston.com/news/local/breaking_news/2008/05/potential_green.html Boston Globe article - Potential Green Line stops announced]. May 7, 2008</ref>

Stops are designed to be accessible by pedestrians and bikes or drop-off, but with no new parking. The 2003 PMT{{expand acronym|date=August 2011}} estimated a cost of $375,000,000 for the Green Line Extension, a figure that presumed the Extension would reach West Medford (about {{convert|1500|ft|m}} further than the current plan) with a daily ridership of 8,420 and 3,540 of those diverted from non-transit modes.<ref>Appendix, tables C-10 and C-11. http://www.bostonmpo.org/bostonmpo/pmt-old/pmt.htm</ref> At 10% design, the Final Environmental Impact Report estimated a cost of $953.7 million (in "year of expenditure" dollars) for seven new stations and 24 new light rail vehicles.

The MBTA plans to extend the E branch from Lechmere to Union Square, and extend the D branch from Government Center to College Avenue. The contract for construction would be a Design/Build construction contract. The contract was expected to be advertised for Design/Build Ventures to bid on in Fall 2011. Construction would begin in Spring 2012 with an expected cost of $953.7 Million. The project would be partially funded by the Commonwealth and the Federal Government under the New Starts Program.

In 2010, the [[Massachusetts Department of Transportation]] (MDOT) announced that the new service was expected to be operational in October 2015; interim air quality offset measures would need to be taken if the project misses its December 2014 deadline as expected. The Department of Transportation had previously announced that due to budget limitations, the portion from College Avenue to Route 16 would be a future second phase of the extension, not included in the current proposed project.<ref name="collegeaveterminus">{{cite news|url=http://www.boston.com/yourtown/news/medford/2010/06/final_impact_report_filed_for.html|title=Latest plan has Green Line ending at College Avenue|last=Alix|first=Roy|date=June 21, 2010|publisher=''[[The Boston Globe]]''|accessdate=July 10, 2010}}</ref>

As of August 2011, MDOT has announced that opening of the Extension has been postponed to Fall 2018 at the earliest. Completion of the Extension to College Avenue near Tufts University could be delayed to 2020, while the terminus at Mystic Valley Parkway remains deferred indefinitely. The stated reason for the delays is difficulties in land acquisition, plus implied concerns about cost controls and financing.<ref name=Green2018>{{cite news|last=Byrne|first=Matt|title=State: Green Line extension will be delayed til 2018|url=http://www.boston.com/yourtown/news/medford/2011/08/state_greenline_extension_will.html|accessdate=2011-08-01|newspaper=boston.com (The Boston Globe)|date=August 1, 2011}}</ref>

===Arborway restoration cancelled===
Another mitigation project in the initial lawsuit settlement was restoration of service on the [[Green Line "E" Branch|"E" Branch]] between [[Heath Street (MBTA station)|Heath Street]] and [[Forest Hills (MBTA station)|Arborway/Forest Hills]]. After some internal and community opposition, a revised settlement agreement resulted in the substitution of other projects with similar air quality benefits. In lieu of the rail project, the state undertook a project to speed the Route 39 bus by making improvements such as consolidating bus stops, lengthening stops, and re-timing traffic lights. Improvements were funded by the federal [[American Recovery and Reinvestment Act of 2009]] and were expected to be completed in 2010.<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=19047#rt39</ref>

===Light Rail Accessibility Project===
{{see also|MBTA accessibility}}
As of 2011, the [[Kenmore (MBTA station)|Kenmore Square]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=992</ref> and [[Copley (MBTA station)|Copley Square]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=5160</ref> stations are currently being rebuilt for reasons of [[Accessibility#Disabilities|accessibility]]. [[Arlington (MBTA station)|Arlington]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=978</ref><ref>http://mbta.com/schedules_and_maps/subway/lines/stations/?stopId=15595&lat=42.351847&lng=-71.070817</ref> station was recently rebuilt and is now wheelchair accessible, equipped with elevators, mobile lifts and raised platforms. As of 2011, the MBTA was planning a $72 million project to rebuild [[Government Center (MBTA station)|Government Center]] station in Boston for [[ADA compliance]].

==Fare prepaid station listing==
The following table lists Green Line stations which have [[paid area|prepaid fare areas]] (also called [[fare control]]), which allow quick boarding through front and rear doors at a train stop. At all other stations, passengers must line up at the front entrance to the railcar to pay fares, slowing travel times especially during peak periods.
{| border="1" class="wikitable"
|-
!Station
!Location
!Time to [[Park Street (MBTA station)|Park Street]]<ref>[[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals and Visitors'', 10th ed. (2003), p. 117.</ref>
!Opened
!Transfers and notes
|-
|colspan="5" style="text-align: center;"|'''Main line: [[Lechmere Viaduct]], [[Tremont Street Subway]] and [[Boylston Street Subway]]'''
|-
|{{Access icon}} [[Lechmere (MBTA station)|Lechmere]]
|Cambridge Street, [[Cambridge (MA)|(Cambridge)]] [[Lechmere Square]]
|13 minutes (sign said 12)
|July 10, 1922
|[[Green Line "E" Branch|"E"]] Branch terminus Viaduct to Lechmere opened June 1, 1912, with tracks running directly onto streets through July 9, 1922
|-
|[[Science Park (MBTA station)|Science Park]]
|[[Charles River Dam Bridge]] (Boston) [[Museum of Science, Boston|Museum of Science]]
|8 minutes
|August 20, 1955
|Located on [[Lechmere Viaduct]] Only surviving elevated station on the Green Line
|-
|{{Access icon}} [[North Station]]
|Canal Street (Boston) [[TD Garden]] sports arena
|
|June 28, 2004
|[[Green Line "C" Branch|"C"]] Branch terminates here [[Orange Line (MBTA)|Orange Line]] and [[MBTA Commuter Rail|Commuter Rail]] north side lines Surface station opened September 3, 1898 and closed March 27, 1997 Elevated station opened June 1, 1912 and closed June 24, 2004
|-
|{{Access icon}} [[Haymarket (MBTA station)|Haymarket]]
|Congress and New Sudbury Streets (Boston)
|
|May 10, 1971
|[[Orange Line (MBTA)|Orange Line]] Original station opened September 3, 1898
|-
|[[Government Center (MBTA station)|Government Center]]
|Tremont, Court, and Cambridge Streets (Boston) [[Boston City Hall]], [[Faneuil Hall]]/Quincy Market area
|2 minutes
|September 3, 1898
|[[Green Line "B" Branch|"B"]] and [[Green Line "D" Branch|"D"]] Branches terminate here [[Blue Line (MBTA)|Blue Line]] Formerly "Scollay Square" until October 27, 1963
|-
|{{Access icon}} [[Park Street (MBTA station)|Park Street]]
|Tremont, Park, and Winter Streets (Boston) [[Boston Common (park)|Boston Common]]
|0 minutes
|September 1, 1897
|[[Red Line (MBTA)|Red Line]], [[Orange Line (MBTA)|Orange Line]], and [[Silver Line (MBTA)|Silver Line]] (must exit [[fare control]] area for Silver Line)
|-
|[[Boylston (MBTA station)|Boylston]]
|Tremont and Boylston Streets (Boston) Boston Common
|1 minute
|September 1, 1897
|[[Silver Line (MBTA)|Silver Line]] (must exit [[fare control]] area) Abandoned tracks split off at Boylston to the [[Pleasant Street Incline]]
|-
||{{Access icon}} [[Arlington (MBTA station)|Arlington]]
|Boylston and Arlington Streets (Boston) [[Public Garden (Boston, Massachusetts)|Boston Public Garden]]
|3 minutes
|November 13, 1921
|Free crossover allowed at mezzanine level, to reverse direction of travel
|-
||{{Access icon}}[[Copley (MBTA station)|Copley]]
|[[Boylston Street]] (Boston) [[Copley Square]]
|4 minutes
|October 3, 1914
|[[Green Line "E" Branch|"E"]] Branch splits off after Copley No crossover between directions at Copley; use Arlington to reverse direction
|-
|[[Hynes Convention Center (MBTA station)|Hynes Convention Center]]
|[[Massachusetts Avenue (Boston)|Massachusetts Avenue]] and [[Newbury Street (Boston)|Newbury Street]] (Boston) [[Hynes Convention Center]]
|
|October 3, 1914
|Formerly "Massachusetts" until February 17, 1965, then "Auditorium" until March 27, 1990, then "Hynes Convention Center/ICA" until November 2006.
|-
|{{Access icon}}[[Kenmore (MBTA station)|Kenmore]]
|[[Kenmore Square]] (Boston) [[Fenway Park]]
|12 minutes
|October 23, 1932
|[[Green Line "B" Branch|"B"]], [[Green Line "C" Branch|"C"]], and [[Green Line "D" Branch|"D"]] Branches split here
|-
|colspan="5" style="text-align: center;"|'''E Branch (splits off after Copley)'''
|-
|{{Access icon}}[[Prudential (MBTA station)|Prudential]]
|[[Huntington Avenue (Boston)|Huntington Avenue]] (Boston) [[Prudential Center]]
|
|February 16, 1941
|[[Green Line "E" Branch|"E"]] Branch Formerly "Mechanics" until (TBD)
|-
|[[Symphony (MBTA station)|Symphony]]
|[[Massachusetts Avenue (Boston)|Massachusetts Avenue]] and [[Huntington Avenue (Boston)|Huntington Avenue]] (Boston) [[Boston Symphony Hall]]
|
|February 16, 1941
|[[Green Line "E" Branch|"E"]] Branch
|-
|colspan="5" style="text-align: center;"|'''D Branch'''
|-
|{{Access icon}}[[Riverside (MBTA station)|Riverside]]
|[[Auburndale, Massachusetts|Auburndale]] in [[Newton, Massachusetts]]
|
|July 4, 1949
|[[Green Line "D" Branch|"D"]] Branch terminus
|}

==Incidents and accidents==
On May 28, 2008, two 'D-line' trains collided in [[Newton, Massachusetts|Newton]]. The operator of one of the trains was killed and numerous riders were taken to the hospital with injuries of varying degrees of seriousness. While it was originally thought that cell phone use was responsible for the accident, it was determined that the actual cause of the crash was an episode of micro-sleep caused by the driver's [[sleep apnea]].<ref>http://www.ntsb.gov/publictn/2009/RAR0902.pdf</ref>

On May 8, 2009, two Green Line trolleys rear-end collided underground between the [[Park Street (MBTA station)|Park Street Station]] and [[Government Center (MBTA station)|Government Center Station]] when the driver of one of the trolleys, 24-year-old Aiden Quinn, was [[Texting while driving|text messaging his girlfriend while driving]] the train.<ref>[http://www.thebostonchannel.com/news/19411812/detail.html "Trolley Driver Was Texting Girlfriend At Time Of Crash: 46 Injured In Green Line Crash"], WCVB, Boston, May 8, 2009.</ref> A tougher policy on cell phones by the MBTA was put in place.<ref>[http://www.thebostonchannel.com/news/19417457/detail.html "Trolley Crash Inspires Tougher Cell Phone Policy: NTSB Still Investigating Crash"], WCVB, May 9, 2009</ref> Quinn had run through a red light before the trolley crash. The crash injured 46 people. MBTA officials estimated that the cost of damages from the crash was $9.6 million. <ref>[http://abcnews.go.com/US/story?id=7561561&page=1 Texting Trolley Driver Is Transgendered Male], ABC News, May 11, 2009</ref>

A pilot test of collision-avoidance technology on the [[Ashmont–Mattapan High Speed Line]] is expected planned in 2009, which will inform the adoption of similar technology on the Green Line.

==Gallery==
<gallery>
Image:Mbta-prudential.jpg‎|MBTA Prudential station
Image:MBTA Breda3824.JPG|Front of a Type 8 car
</gallery>

==See also==
*[[Boston-area streetcar lines]]
*[[History of the MBTA]]
*[[MBTA accessibility]]
*[[US Standard Light Rail Vehicle]]

==Notes==
{{reflist|2}}

==External links==
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=GREEN MBTA - Green Line]
*[http://www.wizeguides.com/wizeguides/ Interactive Map (Unofficial)]
*[http://www.somervillestep.org STEP (Somerville Transportation Equity Partnership)]
*[http://www.medfordgreenline.org/ Medford Green Line Neighborhood Alliance (MGNA)]
*[http://www.eot.state.ma.us/default.asp?pgid=content/grLineExt&sid=about Mass.gov Executive Office of Transportation Plans for Green Line Extension]
*[http://www.jphs.org/transportation/streetcars-in-jamaica-plain-a-history.html Jamaica Plain Historical Society - Streetcars in Jamaica Plain: A History]
*[http://cdl.library.cornell.edu/cgi-bin/moa/pageviewer?frames=1&cite=http%3A%2F%2Fcdl.library.cornell.edu%2Fcgi-bin%2Fmoa%2Fmoa-cgi%3Fnotisid%3DABS1821-0021-9&coll=moa&view=50&root=%2Fmoa%2Fmanu%2Fmanu0021%2F&tif=00011.TIF&pagenum=6 The Bentley-Knight Electric Railway System] from ''The Manufacturer and Builder'', January, 1889

*[http://www.youtube.com/watch?v=n64duG73Sak Video of LRV Boeing 3461 being scrapped at Riverside yard]

===Extension project===
*[http://www.greenlineextension.org Green Line Extension Project Website] (MassDOT)
*[http://www.eot.state.ma.us/glx/ Green Line Extension Interactive Map]
* {{cite web|url=http://www.somervillestep.org/map/|title=Map of the Green Line Extension|publisher=Somerville Transportation Equity Partnership (STEP)|accessdate=2009-06-03}}
* {{cite news|url=http://www.wickedlocal.com/somerville/news/x845560555/Green-Line-extension-plans-excite-neighbors-worried-about-change|title=Green Line extension plans excite neighbors worried about change|last=Guha|first=Auditi|date=May 6, 2009|publisher=Somerville Journal|accessdate=2009-05-14}}
* [http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=117372349771811545494.0004620a8086643090b39&t=h&z=13 Route Map on Google Maps]

{{MBTA}}
{{USLightRail}}

[[Category:Green Line (MBTA)| ]]
[[Category:Light rail in Massachusetts]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Verde (Metro de Boston)]]

Green Line (MBTA)

2011-08-03T21:24:31Z

Reify-tech: Copyedits; Completed table

{{Infobox rail line
|name = {{MBTA infobox header| title = {{uc:GREEN LINE}}| color1 = Green}}
|image = Green-line-sideview.jpg
|image_width = 250px
|caption = Green Line train at the Heath Street station
|type = [[Light rail]]
|system =
|status =
|locale = [[Boston, Massachusetts]]
|start = '''East terminals''': [[Lechmere (MBTA station)|Lechmere]] ([[Green Line "E" Branch|E]]) [[North Station]] ([[Green Line "C" Branch|C]]) [[Government Center (MBTA station)|Government Center]] ([[Green Line "B" Branch|B]], [[Green Line "D" Branch|D]])
|end = '''West terminals''': [[Boston College (MBTA station)|Boston College]] ([[Green Line "B" Branch|B]]) [[Cleveland Circle and Reservoir (MBTA stations)|Cleveland Circle]] ([[Green Line "C" Branch|C]]) [[Riverside (MBTA station)|Riverside]] ([[Green Line "D" Branch|D]]) [[Heath Street (MBTA station)|Heath Street]] ([[Green Line "E" Branch|E]])
|stations = 66 (total)
|routes = <ul><li>[[Green Line "B" Branch|"B" Branch]] ([[Commonwealth Avenue, Boston|Commonwealth Ave]]) (Boston College) <li>[[Green Line "C" Branch|"C" Branch]] ([[Beacon Street]]) (Cleveland Circle)<li>[[Green Line "D" Branch|"D" Branch]] (Highland) (Riverside)<li>[[Green Line "E" Branch|"E" Branch]] ([[Huntington Avenue]]) (Heath Street) </ul>
|ridership = 237,700<ref name=APTA>American Public Transportation Association, [http://www.apta.com/resources/statistics/Documents/Ridership/2009_q3_ridership_APTA.pdf APTA transit ridership report], Third Quarter 2009.</ref>
|open = 1897
|close =
|owner = [[Massachusetts Bay Transportation Authority|MBTA]]
|operator = MBTA
|character = Subway, grade-separated [[Right-of-way (transportation)|ROW]], [[street running]]
|stock = [[Kinki Sharyo]] Type 7 [[AnsaldoBreda]] Type 8
|linelength = {{convert|22.6|mi}}<ref>[http://www.urbanrail.net/am/bost/boston.htm Boston] at urbanrail.net</ref>
|tracklength =
|notrack =
|gauge = {{RailGauge|ussg}} ([[Standard gauge]])
|minradius = {{convert|33|ft|m|3|abbr=on}} <ref>[http://onlinepubs.trb.org/Onlinepubs/tcrp/tcrp_rpt_02.pdf On line pubs] TRANSPORTATION RESEARCH BOARD EXECUTIVE COMMITTEE 1995 </ref>
|el = [[Overhead catenary]]
|speed =
|elevation =
|map = {{MBTA Green Line}}

}}
The '''Green Line''' is a [[streetcar]] system run by the [[Massachusetts Bay Transportation Authority]] (MBTA) in the [[Boston, Massachusetts|Boston]], [[Massachusetts]] area of the [[United States]]. It is the oldest line of Boston's [[rapid transit|subway]], which is known locally as the 'T'. The Green Line runs underground downtown and on the surface in outlying areas. With a daily weekday ridership of 241,100,<ref name=APTA /> it is also [[list of United States Light Rail systems by ridership|the most heavily-used light rail line in the country]]. The line was given the green color because it goes primarily though an area called the [[Emerald Necklace]] of Boston.{{Citation needed|date=November 2007}} The four branches are the remnants of a once large system of streetcar lines, begun in 1856 with the [[Cambridge Horse Railroad]]. The [[Tremont Street Subway]] carries cars of all branches under downtown, and is the oldest subway tunnel in [[North America]], opened in stages between September 1, 1897, and September 3, 1898, to take streetcars off surface streets.

==Description==
[[Image:GreenAtParkStreet.jpg|thumb|Two trains at Park Street. Left, Type 7 Kinki-Sharyo train bound for Boston College. Background, Type 8 AnsaldoBreda train departs for Government Center.]]

The modern-day Green Line has its northern terminus at [[Lechmere (MBTA station)|Lechmere]] station in eastern [[Cambridge, Massachusetts|Cambridge]]. From there it runs south in the [[Tremont Street Subway]] under downtown Boston, then west in the [[Boylston Street Subway]] to [[Kenmore (MBTA station)|Kenmore]]. Collectively, the Green Line tunnels through Downtown Boston and the Back Bay are sometimes called the Central Subway in planning documents. Along the way, the [[Green Line "E" Branch|"E" Branch]] splits just west of [[Copley (MBTA station)|Copley]] station, running southwest through the [[Huntington Avenue Subway]], eventually ramping up to the surface, continuing along Huntington Avenue, and terminating at [[Heath Street (MBTA station)|Heath Street]].

The [[Green Line "B" Branch|"B"]], [[Green Line "C" Branch|"C"]], and [[Green Line "D" Branch|"D"]] Branches all diverge west of Kenmore. From south to north, the "D" Branch surfaces onto the grade-separated [[Highland Branch]], a branch of the [[Boston and Albany Railroad]] until 1958, running to [[Riverside (MBTA station)|Riverside]]. The "C" Branch surfaces onto [[Beacon Street (Boston)|Beacon Street]], running to [[Cleveland Circle (MBTA station)|Cleveland Circle]], and the "B" Branch runs along [[Commonwealth Avenue (Boston)|Commonwealth Avenue]] to [[Boston College (MBTA station)|Boston College]].

The [[Green Line "A" Branch|"A" Branch]] ran to [[Watertown (MBTA station)|Watertown]] until 1969. Although the route-letter scheme had been introduced two years prior to its closure, the "A" designation was never signed on streetcars operating to Watertown. It was, however, included in the [[destination sign]]s on the [[US Standard Light Rail Vehicle|Boeing-Vertol LRV]]s ordered in the mid-1970s, when reopening the Watertown service was still under consideration. The A line tracks remained in non-revenue service to access maintenance facilities at Watertown until 1994.

The elevated tracks north of the Central Subway near [[North Station]] were closed from June, 2004 until November 12, 2005 for replacement of the [[Causeway Street Elevated]] with a new tunnel under Causeway Street, connecting to the [[Lechmere Viaduct]].<ref>{{cite news| url=http://www.boston.com/news/local/massachusetts/articles/2005/11/11/lechmere_science_park_stations_reopen/ | work=The Boston Globe | title=Lechmere, Science Park stations reopen | first=Mac | last=Daniel | date=November 11, 2005}}</ref> The historic [[concrete]] Viaduct across the [[Charles River]] remains in service, although it has been closed for a number of months in 2011 to allow a complete rebuilding of [[Science Park (MBTA station)|Science Park]] station.

The original Tremont Street Subway south of [[Boylston (MBTA station)|Boylston]] has been closed since 1962, and the streetcar lines feeding into it were replaced by bus service. The [[Pleasant Street Portal]] at its southern end has been covered over, but there were plans to build a new portal and reuse part of the tunnel for Phase III of the [[Silver Line (MBTA)|Silver Line]] [[bus rapid transit]] project. As of 2011, all Phase III tunnel construction plans are on indefinite hold, due to lack of funding, and heavy community opposition.

==Rolling stock ==
[[Image:MBTA Green Line Type 7 LRV at Park Street station.jpg|thumb|Front view of a "Type 7" [[Kinki Sharyo]] streetcar at Park Street station.]]
[[Image:GreenEnterNorthStation.jpg|thumb|right|A two car Type 7 ([[Kinki Sharyo]]) train enters North Station bound for Lechmere.]]
[[Image:BoeingUSSRLV.jpg|thumb|Front view of a Boeing Vertol, most of which were scrapped in 2007.]]

===Active fleet===
The Green Line's rolling stock as of the end of 2007 includes:{{Update after|2011|7|29}}
{| class="wikitable" border="1"
|-
!Year Built
!Make
!Model
!Length ft ( mm)
!Width in ( mm)
!Gauge
!Road Numbers
|-
| 1986–1988
| [[Kinki-Sharyo]]
| Type 7 LRV
| {{convert|72|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (36xx): 3600–3699, 1986–88 (98 active)
|-
| 1997
| [[Kinki-Sharyo]]
| Type 7 LRV
| {{convert|72|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (37xx): 3700–3719
|-
| 1999-2008
| [[AnsaldoBreda]]
| Type 8 LRV
| {{convert|74|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| (38xx): 3800–3894
|}

===Retired fleet===
(Does not include even older cars from the Boston Elevated era)
{| class="wikitable" border="1"
|-
!Years in Service
!Make
!Model
!Length ft ( mm)
!Width in ( mm)

!Gauge
!Total Number of Cars
|-
| 1976–2007
| [[US Standard Light Rail Vehicle]] [[Boeing Vertol]]
| LRV
| {{convert|71|ft|mm|sigfig=5|abbr=on}}
| {{convert|104|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 150
|-
| 1937–1985 (10 still in revenue service on [[Ashmont-Mattapan High Speed Line|Ashmont-Mattapan line]])
| [[PCC streetcar|Presidents' Conference Committee streetcar]]
| PCC
| {{convert|48|ft|mm|sigfig=5|abbr=on}}
| {{convert|100|in|mm|sigfig=4|abbr=on}}
| {{RailGauge|ussg}}
| 10
|}

Unlike the [[Red Line (MBTA)|Red Line]], [[Blue Line (MBTA)|Blue Line]], and [[Orange Line (MBTA)|Orange Line]], all of which run [[rapid transit]] cars and use stations with [[railway platform height|elevated platforms]] (so that the car floor is level with the platform and thus the cars are easily handicap-accessible), the Green Line is a [[tram|trolley]]/[[streetcar line]] and has used a variety of trolley cars and [[light rail]] vehicles throughout its history. Like the other subway lines, it uses [[standard gauge]] tracks.

For many years, the Green Line used the [[PCC streetcar]]s developed during the [[Great Depression|Depression]]. These were finally phased out in favor of the [[US Standard Light Rail Vehicle]] supplied by the new US venture [[Boeing Helicopters|Boeing-Vertol]] in the mid-1970s. The introduction of the LRV cars was initially heralded as part of an effort to rejuvenate mass transit in medium-sized metropolises.<ref>U.S. DOT / Boeing brochure</ref> This first series of LRVs were subject to chronic breakdowns, and Boeing soon abandoned its venture into ground transit vehicles.<ref>[http://members.aol.com/netransit/private/LRV.html Boston's Green Line Crisis]</ref> Desperate for reliable rolling stock, the MBTA launched a PCC overhaul program, and the classic cars were still used into the 1980s in the Central Subway.

In 1987, 100 second generation LRVs were ordered from the Japanese firm [[Kinki Sharyo]], with an additional set of 20 cars ordered and delivered in 1997. The last of the Boeing-Vertol cars were retired in March, 2007,<ref>{{cite news| url=http://www.boston.com/news/local/articles/2007/03/16/end_of_the_line_for_t_pioneers/ | work=The Boston Globe | title=End of the line for T pioneers | date=March 16, 2007}}</ref> and the Kinki Sharyo cars now make up the bulk of the Green Line's rolling stock.

One of the earliest surviving pre-PCC cars, Type 5 5734, can still be seen parked on a sidetrack at the Boylston station, along with PCC 3295. These two cars used to be in working condition and were frequently used for [[fantrip]]s.{{Citation needed|date=November 2007}} The most recent fantrip was in 1997, and now the railcars sit at Boylston collecting dust. It is highly doubtful that these cars are still in working condition, and Type 5 5734 reportedly has structural problems with the roof. Several of the surviving PCC cars are now run on the [[Ashmont-Mattapan High Speed Line|Ashmont-Mattapan]] portion of the [[Red Line (MBTA)|Red Line]]. The [[San Francisco, California|San Francisco]] [[San Francisco Municipal Railway|Muni]] [[F Market]] line historic street railway runs a PCC car in Boston colors, but that specific car never actually ran in Boston.

==Accessibiity==
{{See also|MBTA accessibility}}

Originally, none of the Green Line stations included elevated or raised platforms, and the passengers had to step up into the vehicles, limiting accessibility for persons with disabilities. To address this, two changes have been made:<ref>[http://www.mbta.com/about_the_mbta/t_projects/projects_accessibility/ MBTA > About the MBTA > Transit Projects > Transit Projects and Accessibility]</ref>
* Elevated platforms and "wheelchair lifts" at some stops
* An attempt to phase-in [[low-floor tram|low-floor streetcars]] and slightly raised platforms to allow direct boarding of these vehicles

[[Image:MBTA Green Line Type 8 LRV at Park Street station.jpg|thumb|right|Front of a Type 8 ([[AnsaldoBreda]]) Light Rail Vehicle.]]
[[Image:BredaRearTruck.jpg|thumb|right|Rear Wheel Truck of a Type 8 ([[AnsaldoBreda]]) Light Rail Vehicle.]]

One hundred low-floor cars were purchased from the [[Italy|Italian]] vendor [[AnsaldoBreda]] (Breda), with styling by [[Pininfarina]]. These have proven to be problematic and difficult to maintain. The first cars delivered failed every 400 miles (640 km), far less than the 9,000 miles (14,500 km) specified by the MBTA, and were prone to derailments. The MBTA has been forced to spend an additional [[United States dollar|US$]]9.5 million to modify tracks to prevent the derailment problems, echoing early problems with the Boeing stock. The MBTA has been criticized for their failure to assess Breda's reliability before entering into the deal, and during the delivery of the vehicles.

In December 2004, the MBTA canceled orders for the remaining cars still to be delivered as part of the authority's nine-year, US$225 million-dollar deal with Breda.<ref>Flint, Anthony. "[http://www.boston.com/news/local/massachusetts/articles/2004/12/12/mbta_halts_purchase_of_green_line_lemons?mode=PF MBTA Halts Purchase of Green Line 'Lemons']" ([http://64.233.161.104/search?q=cache:iwJ7LI9Q88AJ:www.urbanplanet.org/forums/index.php%3Fshowtopic%3D7451+%22Mulhern+said+last+week+he+will+take+Breda+to+court+to+recoup+the+millions+of+dollars%22&hl=en&hs=W1V&lr=&client=firefox-a&strip=1 mirrored copy]). ''[[The Boston Globe]]''. December 12, 2004.</ref> One year later, in December 2005 the MBTA announced that it had entered into a restructuring of the deal with the Italian vendor, reducing the order to 85 cars (with spare parts to be provided in lieu of the 15 remaining cars), and providing for the remaining payment under the original 1995 deal only if the cars meet performance requirements.<ref>{{cite news| url=http://www.boston.com/news/local/massachusetts/articles/2005/12/17/green_line_seeks_zippier_service_with_upgrade_plan/ | work=The Boston Globe | title=Green Line seeks zippier service with upgrade plan | first=Mac | last=Daniel | date=December 17, 2005}}</ref> Construction of the last car under the order was completed on December 14, 2006;<ref>{{cite news| url=http://www.boston.com/news/local/startsandstops/blog/2006/12/bredas.html | work=The Boston Globe | title=Bredas | date=December 14, 2006}}</ref> though in late 2007 the MBTA announced it had contracted with Breda to deliver another 10 cars, bringing the total order to 95 production cars and 5 car shells for parts.<ref>{{cite news| url=http://www.boston.com/news/local/articles/2007/11/12/t_will_take_10_new_cars_for_its_busy_green_line/ | work=The Boston Globe | title=T will take 10 new cars for its busy Green Line | first=Noah | last=Bierman | date=November 12, 2007}}</ref> As of June 2008, 90 of the Type 8 cars were in service; one was damaged in a derailment/fire incident, and four are still in testing.

After several years of modifications to the [[Green Line "D" Branch]] tracks, the Breda cars finally returned to service on that line and now provide service to every branch of the Green Line.

The T runs one-, two-, and, rarely, three-car trains on the Green Line, depending on travel demand and vehicle availability. As of January 14, 2009, two-car trains now run from the start to end of service Monday through Friday with the promise that three-car trains will be in service in conclusion of the station construction on the Central Subway to make it ADA compliant. The MBTA has promised that each two-car train on the system will contain at least one Type 8 car to facilitate access for disabled persons.



==History==
{{see also|History of the MBTA}}
[[Image:West End Street Railway 1885.png|thumb|Map of the planned West End Street Railway network from 1885. These existing routes were officially merged in 1887.]]

{{Split section|Green Line (MBTA History)|date=August 2011}}
{{Merge from|Tremont Street Subway|date=January 2009}}
The name "Green Line" was assigned in the 1960s as part of a major reorganization of the MBTA system's branding.

The predecessor of today's Green Line was created by the Massachusetts legislature, but under private ownership, as the [[West End Street Railway]] in 1887. This system of horse-drawn streetcars was the merger of numerous independently operated railways built from the 1850s onward. At the time of the merger, West End operated 1,480 cars with a team of 7,816 horses.<ref>[http://www.ieeeboston.org/mbta_milestone.htm Boston IEEE Section Techsite-MBTA Milestone]</ref> The Allston - Park Square line (which served the general area of the [[Green Line "A" Branch|"A" Branch]], and is covered in that article) was the first section to be converted to electric traction in 1889, using modified existing horsecars outfitted with [[Frank J. Sprague]]'s equipment first demonstrated in [[Richmond, Virginia]]. This initial line used overhead [[trolley wire]]s for most of its length, but also [[third rail]] equipment supplied by the [[Bentley-Knight Electric Railway Company]] in sections where residents initially objected to overhead lines. The Bentley-Knight approach was abandoned soon after several horses were electrocuted due to inadequate insulation.<ref>[http://www.ieee.org/organizations/history_center/mbta.html IEEE - IEEE History Center]</ref> By 1889, the Sprague equipment was dropped in favor of [[Thomson-Houston]] (now [[General Electric]]) [[electric motor|motors]] and [[electrical generator|generators]], to which the rest of the system was converted.

In 1897, the West End Street Railway property was handed over to the [[Boston Elevated Railway]] (BERy) in the form of a 24 year lease, and the companies were ultimately combined. BERy, now under state ownership, is today's MBTA, with the [[Metropolitan Transit Authority (Boston)|Metropolitan Transit Authority]] (MTA) in the interim from 1947 to 1964.

As a tunnel built to get [[streetcar line]]s off the streets, rather than a [[rapid transit]] line, the Tremont Street Subway has had many connecting surface branches, with many services operating in many patterns. Additionally, many services from other companies, notably the [[Eastern Massachusetts Street Railway]] and its predecessors, have run into the subway from outer [[suburb]]an points via BERy trackage. A partial list of these services is in the green rows on [[Boston-area streetcar lines]].

In the 1970s the Green Line and all other MBTA lines were re-evaluated by the [[BTPR|Boston Transportation Planning Review]] for region-wide efficacy and future modernization alternatives initiated as far as physical plant and operating measures.{{Clarify|2011|07|date=July 2011}}

===Portals===
Cars entered the subway from the surface at a number of portals or inclines, listed here from north to south/east to west.

====Lechmere====
[[Lechmere (MBTA station)|Lechmere]] is the north end of the Green Line. From the opening of the [[Lechmere Viaduct]] leading to it in 1912 until 1922, streetcar lines simply fed onto the viaduct from [[Cambridge Street (Cambridge)|Cambridge Street]] and [[Bridge Street (Cambridge)|Bridge Street]] (now [[Monsignor O'Brien Highway (Cambridge)|Monsignor O'Brien Highway]]). In 1922 a [[prepayment station]] was opened, with a new loop for subway trains to turn around and a separate loop for surface cars, and no intermingling between the two. The surface lines have since been replaced with [[bus]]es, but the Green Line still turns around at Lechmere.

====Canal Street====
The [[Canal Street Portal]] (also Haymarket Portal, North Station Portal or Causeway Street Portal, often referred to in revenue service as the Canal Street Loop) was part of the transition between subway and [[elevated railway]] on the Green Line, as it transitioned from the [[Tremont Street Subway]] to the [[Causeway Street Elevated]] towards the [[Lechmere Viaduct]] until 2004, when the Green Line north of [[North Station]] was closed for building of a new tunnel and portal. Certain trains turned at Canal Street, while others emerged from the subway to a viaduct to Lechmere. It was, however, possible for a passenger to alight from a train at Canal Street and proceed up a series of stairways to the Lechmere Viaduct. However most passengers desiring to continue to Science Park or Lechmere would have changed to a Lechmere signed car from a North Station signed car prior to the emergence from the central subway.

The original four-track portal opened in 1898 at the north end of the first subway; cars could turn east or west on [[Causeway Street (Boston)|Causeway Street]]. In 1901 the [[Charlestown Elevated]] was connected to the outer tracks, and streetcars only operated via the inner tracks. The [[Washington Street Tunnel (Boston)|Washington Street Tunnel]] opened in 1908, connecting to the Elevated via a new portal just east of the streetcar one, and all four tracks were once again open for streetcar use until 1975. In 1912 the Lechmere Viaduct opened, again using the two outer tracks for an elevated line. The inner tracks continued to serve the surface, including a surface station at [[North Station]], until 1997, when they were closed for construction of the new tunnel and the Green Line was shifted to the old Orange Line (Charlestown Elevated) portal along the way. The {{MBTABus|93}} was the last service to continue onto surface streets from the portal, last running in 1949.

====Pleasant Street====
[[Image:Pleasant Street Incline junction.jpg|thumb|[[Flying junction]] on the [[Tremont Street Subway]] approaching the [[Pleasant Street Incline]].]]

The [[Pleasant Street Portal]] was the south end of the [[Tremont Street Subway]], opened one month after the original subway in 1897. It split from the [[Boylston Street Subway]] at a [[flying junction]] at [[Boylston (MBTA station)|Boylston]], and another flying junction split the tunnel into two side-by-side tunnels to the four-track portal. The two west tracks rose onto [[Tremont Street (Boston)|Tremont Street]] and the two east ones onto [[Pleasant Street (Boston)|Pleasant Street]], later part of [[Broadway (Boston)|Broadway]]. From 1901 to 1908 the portal was only used by [[Washington Street Elevated]] trains, after which streetcar service was restored—though much of it had been cut back to [[Dudley Square (MBTA station)|Dudley]] for transfer to the Elevated. The last cars ran through the portal in 1961 as part of the {{MBTABus|43}}, and in 1962 a shuttle service from Boylston to the portal was ended. The portal has since been covered.

====Boylston Street====
The first portal to open, on September 1, 1897, was the [[Boylston Street Portal]] or Public Garden Portal, providing an outlet for the subway on the north side of [[Boylston Street (Boston)|Boylston Street]] in the [[Public Garden (Boston, Massachusetts)|Public Garden]]. When the [[Boylston Street Subway]] opened in 1914, extending the subway west, the incline and portal were relocated to the center of Boylston Street. The last cars to use the portal ran in 1941 from [[Huntington Avenue (Boston)|Huntington Avenue]], when the [[Huntington Avenue Subway]] opened as a branch off the main subway and the portal was closed.

====Northeastern====
The [[Northeastern Portal]] lies in the [[median (highway)|median]] of [[Huntington Avenue (Boston)|Huntington Avenue]] at the end of the [[Huntington Avenue Subway]], just east of [[Northeastern University (MBTA station)|Northeastern University]]. It opened in 1941 and carries [[Green Line "E" Branch|"E" Branch]] trains.

The incline was built as a wooden trestle to the street atop a level grade, as the original plans called for eventual extension of the subway; in the mid 1980s the trestle was replaced with fill (which greatly quieted the sound).

====Kenmore====
The [[Kenmore Portal]] or Kenmore Square Portal opened in 1914 with the building of the [[Boylston Street Subway]] west to the east side of [[Kenmore Square (Boston)|Kenmore Square]], in the [[median (highway)|median]] of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]]. It closed in 1932 when the subway station at [[Kenmore (MBTA station)|Kenmore]] was built and two new portals opened to the west.

====Blandford Street, St. Marys Street, and Fenway====
The [[Blandford Street Portal]] and [[St. Marys Street Portal]], in the [[median (highway)|median]]s of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]] and [[Beacon Street (Boston)|Beacon Street]] respectively, opened in 1932 as part of the extension of the [[Boylston Street Subway]] under [[Kenmore Square (Boston)|Kenmore Square]] and the opening of the new [[Kenmore (MBTA station)|Kenmore]] station. They are currently used by the [[Green Line "B" Branch|"B"]] and [[Green Line "C" Branch|"C"]] Branches respectively. The [[Fenway Portal]] opened in 1959 along with the opening of the [[Highland Branch]], and provides a third exit from Kenmore, south of the St. Marys Street Portal. It carries trains of the [[Green Line "D" Branch|"D" Branch]].

===Turnarounds===

Cars can reverse direction at a number of stations

[[Lechmere (MBTA station)|Lechmere]] is currently the north end of the Green Line, and consists of a balloon-shaped turnaround.

At [[North Station]], trains heading eastbound/outbound toward [[Lechmere (MBTA station)|Lechmere]] can turn around. No turnaround is available in the westbound/inbound direction.

At [[Government Center (MBTA station)|Government Center]], trains entering from either the east or west can turn around.

At [[Park Street (MBTA station)|Park Street]] trains can turn around in one direction only. Trains headed toward [[Lechmere (MBTA station)|Lechmere]] upon entering [[Park Street (MBTA station)|Park Street]] on the inside track can turn around on a tight turn and end up on the so called fence track. This is the track that takes trains out to [[Boston College (MBTA station)|Boston College]] and [[Heath Street (MBTA station)|Heath Street]].

[[Kenmore (MBTA station)|Kenmore]] is where trains coming from Cleveland Circle or the Riverside Branch can turn around to the outbound track that takes trains to Cleveland Circle or Riverside. No turnaround is available for the "Boston College" or "Commonwealth Avenue" Branch.

===Branches===
The branches were given letters in 1967, two years after the green color was assigned to the line on August 26, 1965. The letters were assigned increasing from north to south, to the five remaining branches. No branches had used the [[Canal Street Portal]] except as a terminal since 1949 with the {{MBTABus|93}} or the [[Pleasant Street Portal]] since 1961 with the {{MBTABus|43}}, and a shuttle until 1962. All trains stop at Government Center, Park Street, Boylston, Arlington, and Copley. All trains except "E" also stop at Hynes Convention Center and Kenmore. Only "E" trains stop at Prudential and Symphony. On the eastern end, only "C" and "E" trains go past Government Center to Haymarket and North Station; the only train that services Science Park and Lechmere is the "E" train. A red line through the letter on a sign means that the train goes only part way on that branch (for example, a D-line car only going as far as Reservoir).

{{main|Green Line "B" Branch}}
The "B", "Boston College" or "Commonwealth Avenue" Branch is the northernmost of the three lines that split west of Kenmore. It travels west down the middle of [[Commonwealth Avenue (Boston)|Commonwealth Avenue]], ending at [[Boston College (MBTA station)|Boston College]]. {{As of|2009|alt=As of February 2009}}, regular B service turns around at [[Government Center (MBTA station)|Government Center]]. It is the most criticized line in the Green Line, primarily due to its high frequency of densely located stops. This causes the branch to bear the highest average per-mile operations cost, the slowest passenger riding time, and the greatest number of complaints.{{Citation needed|date=February 2009}}

{{main|Green Line "C" Branch}}
The "C", "Cleveland Circle" or "Beacon Street" Branch is the middle one of the three branches heading west from Kenmore, and the straightest, running down the middle of [[Beacon Street (Boston)|Beacon Street]] through [[Brookline (MA)|Brookline]] to [[Cleveland Circle (MBTA station)|Cleveland Circle]]. {{As of|2009|alt=As of February 2009}}, regular "C" service turns around at [[North Station]].

{{main|Green Line "D" Branch}}
The "D" or "Highland" Branch is the southernmost of the three lines that separate west of Kenmore. It is the longest branch, ending in [[Newton, MA|Newton]] at [[Riverside (MBTA station)|Riverside]]. It is the most recent branch, opening in 1959 along the former right-of-way of the Highland Branch of the [[Boston and Albany Railroad]], and has full grade separation, entering the subway at the [[Fenway Portal]]. {{As of|2009|alt=As of February 2009}}, regular "D" service turns around at [[Government Center (MBTA station)|Government Center]].

{{main|Green Line "E" Branch}}
The "E" or "Arborway" Branch diverges from the other three lines just west of Copley. It travels mainly on the surface of [[Huntington Avenue (Boston)|Huntington Avenue]], emerging from the [[Huntington Avenue Subway]] at the [[Northeastern Portal]]. Since 1985, service has been truncated to [[Heath Street (MBTA station)|Heath Street]], with continuing service to [[Arborway (MBTA station)|Arborway]] provided by the {{MBTABus|39}} bus. In 2008, the tracks from Heath Street to Arborway were paved over. The "E" is the only branch to have a regularly used street-running section. {{As of|2009|alt=As of February 2009}}, regular "E" service turns around at [[Lechmere (MBTA station)|Lechmere]]. Passengers must board "E" Branch trains to get to station stops between [[Lechmere (MBTA station)|Lechmere]] and [[North Station]].<ref>[http://mbta.com/schedules_and_maps/subway/lines/?route=GREEN mbta.com/schedules and maps/subway/lines]
</ref>

===Former branches===
{{mainlist|Boston-area streetcar lines}}

The [[Green Line "A" Branch]] was the northernmost of the branches, running from the [[Blandford Street Portal]], which is still used by the "B" Branch, west to [[Watertown Square (MBTA station)|Watertown]], mostly street-running. The {{MBTABus|57}} bus replaced the streetcar line in 1969.

The [[Pleasant Street Portal]] hosted two services in its final days. The {{MBTABus|9}} to [[City Point (MBTA station)|City Point]] ended in 1953, and the {{MBTABus|43}} to [[Egleston (MBTA station)|Egleston]] was cut back to [[Lenox Street (MBTA station)|Lenox Street]] in 1956, cut back to the portal in 1961, and ended operation in 1962. Prior to that, the {{MBTABus|48}} ran out [[Tremont Street (Boston)|Tremont Street]] to [[Dover Street (Boston)|Dover Street]] and [[Washington Street (Boston)|Washington Street]], ending at [[Dudley Square (MBTA station)|Dudley]], and last running in 1938.

The last two routes to continue beyond the [[Canal Street Portal]] both ran to [[Sullivan Square (MBTA station)|Sullivan]]. The {{MBTABus|92}} ran via [[Main Street (Charlestown)|Main Street]], last running in 1948, and the {{MBTABus|93}} via [[Bunker Hill Street (Boston)|Bunker Hill Street]] last ran in 1949. Until 1997 trains continued to use the portal and its [[North Station]] surface station as a terminal.

In addition to the lines that later became the "E" Branch, the predecessors to the {{MBTABus|58}} and {{MBTABus|60}} split in [[Brookline, Massachusetts|Brookline]], one branch running into the current "E" tracks and into the [[Boylston Street Portal]], and the other running up [[Brookline Street (Boston)|Brookline Street]] to end at [[Hynes Convention Center (MBTA station)|Massachusetts Avenue]] station. These were truncated in 1932 into a shorter route from [[Brookline Village (MBTA station)|Brookline Village]] to the subway via the Boylston Street Portal, which itself stopped running in 1938 (being cut back to [[Brigham Circle (MBTA station)|Brigham Circle]] short-turn trips), three years before the closure of that portal.

The last "foreign" cars to operate in the subway were those of the [[Eastern Massachusetts Street Railway]], running from the [[Canal Street Portal]] to the [[Brattle Loop]] at [[Government Center (MBTA station)|Scollay Square]] until 1935. It was then that the old [[Mystic River Bridge]] to [[Chelsea, Massachusetts|Chelsea]] was closed to streetcars and the lines were replaced by bus service; the next year the BERy bought the Eastern Mass Chelsea Division and through-routed it with its lines connecting to the [[East Boston Tunnel]] at [[Maverick (MBTA station)|Maverick]].

From the [[Lechmere (MBTA station)|Lechmere]] terminal opening on July 10, 1922 to February 6, 1931, special service ran from Lechmere to various points on the subway. These trips were replaced on February 7, 1931 by extensions of the various branches from the west, which had terminated at [[Park Street (MBTA station)|Park Street]], through to Lechmere.

==Operations and signalling==
The Green Line is signalled with advisory wayside signals except on surface portions in street medians or in-street running. Wayside signal territory stretches from Lechmere to the surface portals at Kenmore, and along the D-Riverside branch. There are no automatic protection devices, as the vehicles are equipped with track brakes—giving the operator the ability to stop quickly. Interlockings are controlled through a wayside Automatic Vehicle Identification (AVI) system that relies on the operator properly entering the destination manually on a roto-wheel in the train cab.

The Green Line is monitored from the 45 High Street rapid transit control room. Responsibility for controlling service is shared by the control room and field personnel located along the right of way. Track circuit and signal indications are not transmitted to the operational personnel sites. In lieu of track circuit indications, the AVI system is displayed in the control room to provide a periodic update to train position wherever AVI detectors exist. The AVI system user interface was solely text based until the current control room was opened, in which a new schematic display based on AVI data was instituted. Track circuit indications are available digitally in three signal houses but not transmitted to central control—at Park Street interlocking, at the new North Station interlocking, and at the new Kenmore interlocking.

Plans to reinstitute a crossover for through movements from the terminating (inner) northbound platform at Park Street towards Government Center are expected to increase capacity on the Green Line.

==Future plans==

===Somerville/Medford extension (Green Line Extension Project)===

To settle a lawsuit with the [[Conservation Law Foundation]] to mitigate increased automobile emissions from the [[Big Dig (Boston, Massachusetts)|Big Dig]], the Commonwealth of Massachusetts agreed to extend the Green Line from its present northern terminus at [[Lechmere (MBTA station)|Lechmere]] to Medford Hillside. The extension would pass through [[Somerville, Massachusetts|Somerville]] and [[Medford, Massachusetts|Medford]], two suburbs currently underserved by the MBTA relative to their population densities, commercial importance, and proximity to Boston. The line would use two railroad [[Right-of-way (transportation)|rights-of-way]] that currently serve the [[Lowell Line]] (which also carries [[Amtrak]]'s ''[[Downeaster]]'') and the [[Fitchburg Line]] MBTA Commuter Rail. The extension is projected to have a total weekday ridership of about 52,000.<ref name="collegeaveterminus">{{cite|url=https://www.commentmgr.com/Projects/1228/docs/13886feir.pdf|title=Final Environmental Impact Report|last=Bowles|first=Ian|date=July 30, 2010|page=5|accessdate=October 16, 2010}}</ref> The Green Line would see an increase in boardings of 30,700, and the MBTA system would see between 7,000 and 8,000 new transit users.<ref name="collegeaveterminus"/>

As of February 2, 2009, the stops planned for the Green Line Extension would be a relocated [[Lechmere (MBTA station)|Lechmere Station]], [[Brickbottom]] at Washington Street, Gilman Square at Medford Street, Lowell Street, [[Ball Square]], Hillside (at College Avenue in Medford, on the edge of [[Tufts University]] campus), and a terminus at Route 16 and Mystic Valley Parkway in Somerville (on the [[Mystic River]]). A potential stop at Winthrop Street and Boston Ave was dropped due to the proximity of other stations and neighborhood opposition. A branch line would split off after Lechmere station, ending at [[Union Square, Somerville|Union Square]] in Somerville (or slightly south thereof, on the [[Fitchburg Line]]). The plan was designed to extend the Green Line to Mystic Valley Parkway by the settlement-imposed deadline of December 31, 2014.<ref>[http://www.boston.com/news/local/breaking_news/2008/05/potential_green.html Boston Globe article - Potential Green Line stops announced]. May 7, 2008</ref>

Stops are designed to be accessible by pedestrians and bikes or drop-off, but with no new parking. The 2003 PMT{{expand acronym|date=August 2011}} estimated a cost of $375,000,000 for the Green Line Extension, a figure that presumed the Extension would reach West Medford (about {{convert|1500|ft|m}} further than the current plan) with a daily ridership of 8,420 and 3,540 of those diverted from non-transit modes.<ref>Appendix, tables C-10 and C-11. http://www.bostonmpo.org/bostonmpo/pmt-old/pmt.htm</ref> At 10% design, the Final Environmental Impact Report estimated a cost of $953.7 million (in "year of expenditure" dollars) for seven new stations and 24 new light rail vehicles.

The MBTA plans to extend the E branch from Lechmere to Union Square, and extend the D branch from Government Center to College Avenue. The contract for construction would be a Design/Build construction contract. The contract was expected to be advertised for Design/Build Ventures to bid on in Fall 2011. Construction would begin in Spring 2012 with an expected cost of $953.7 Million. The project would be partially funded by the Commonwealth and the Federal Government under the New Starts Program.

In 2010, the [[Massachusetts Department of Transportation]] (MDOT) announced that the new service was expected to be operational in October 2015; interim air quality offset measures would need to be taken if the project misses its December 2014 deadline as expected. The Department of Transportation had previously announced that due to budget limitations, the portion from College Avenue to Route 16 would be a future second phase of the extension, not included in the current proposed project.<ref name="collegeaveterminus">{{cite news|url=http://www.boston.com/yourtown/news/medford/2010/06/final_impact_report_filed_for.html|title=Latest plan has Green Line ending at College Avenue|last=Alix|first=Roy|date=June 21, 2010|publisher=''[[The Boston Globe]]''|accessdate=July 10, 2010}}</ref>

As of August 2011, MDOT has announced that opening of the Extension has been postponed to Fall 2018 at the earliest. Completion of the Extension to College Avenue near Tufts University could be delayed to 2020, while the terminus at Mystic Valley Parkway remains deferred indefinitely. The stated reason for the delays is difficulties in land acquisition, plus implied concerns about cost controls and financing.<ref name=Green2018>{{cite news|last=Byrne|first=Matt|title=State: Green Line extension will be delayed til 2018|url=http://www.boston.com/yourtown/news/medford/2011/08/state_greenline_extension_will.html|accessdate=2011-08-01|newspaper=boston.com (The Boston Globe)|date=August 1, 2011}}</ref>

===Arborway restoration cancelled===
Another mitigation project in the initial lawsuit settlement was restoration of service on the [[Green Line "E" Branch|"E" Branch]] between [[Heath Street (MBTA station)|Heath Street]] and [[Forest Hills (MBTA station)|Arborway/Forest Hills]]. After some internal and community opposition, a revised settlement agreement resulted in the substitution of other projects with similar air quality benefits. In lieu of the rail project, the state undertook a project to speed the Route 39 bus by making improvements such as consolidating bus stops, lengthening stops, and re-timing traffic lights. Improvements were funded by the federal [[American Recovery and Reinvestment Act of 2009]] and were expected to be completed in 2010.<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=19047#rt39</ref>

===Light Rail Accessibility Project===
{{see also|MBTA accessibility}}
As of 2011, the [[Kenmore (MBTA station)|Kenmore Square]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=992</ref> and [[Copley (MBTA station)|Copley Square]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=5160</ref> stations are currently being rebuilt for reasons of [[Accessibility#Disabilities|accessibility]]. [[Arlington (MBTA station)|Arlington]]<ref>http://mbta.com/about_the_mbta/t_projects/default.asp?id=978</ref><ref>http://mbta.com/schedules_and_maps/subway/lines/stations/?stopId=15595&lat=42.351847&lng=-71.070817</ref> station was recently rebuilt and is now wheelchair accessible, equipped with elevators, mobile lifts and elevated platforms. As of 2011, the MBTA was planning a $72 million project to rebuild [[Government Center (MBTA station)|Government Center]] station in Boston for [[ADA compliance]].

==Fare prepaid station listing==
The following table lists Green Line stations which have [[paid area|prepaid fare areas]] (also called [[fare control]]), which allow quick boarding through front and rear doors at a train stop. At all other stations, passengers must line up at the front entrance to the railcar to pay fares, slowing travel times especially during peak periods.
{| border="1" class="wikitable"
|-
!Station
!Location
!Time to [[Park Street (MBTA station)|Park Street]]<ref>[[Association for Public Transportation]], ''Car-Free in Boston, A Guide for Locals and Visitors'', 10th ed. (2003), p. 117.</ref>
!Opened
!Transfers and notes
|-
|{{Access icon}} [[Lechmere (MBTA station)|Lechmere]]
|Cambridge Street, [[Cambridge (MA)|(Cambridge)]] [[Lechmere Square]]
|13 minutes (sign said 12)
|July 10, 1922
|[[Green Line "E" Branch|"E"]] Branch terminus Viaduct to Lechmere opened June 1, 1912, with tracks running directly onto streets through July 9, 1922
|-
|[[Science Park (MBTA station)|Science Park]]
|[[Charles River Dam Bridge]] (Boston) [[Museum of Science, Boston|Museum of Science]]
|8 minutes
|August 20, 1955
|Located on [[Lechmere Viaduct]] Only surviving elevated station on the Green Line
|-
|{{Access icon}} [[North Station]]
|Canal Street (Boston) [[TD Garden]] sports arena
|
|June 28, 2004
|[[Green Line "C" Branch|"C"]] Branch terminates here [[Orange Line (MBTA)|Orange Line]] and [[MBTA Commuter Rail|Commuter Rail]] north side lines Surface station opened September 3, 1898 and closed March 27, 1997 Elevated station opened June 1, 1912 and closed June 24, 2004
|-
|{{Access icon}} [[Haymarket (MBTA station)|Haymarket]]
|Congress and New Sudbury Streets (Boston)
|
|May 10, 1971
|[[Orange Line (MBTA)|Orange Line]] Original station opened September 3, 1898
|-
|[[Government Center (MBTA station)|Government Center]]
|Tremont, Court, and Cambridge Streets (Boston) [[Boston City Hall]], [[Faneuil Hall]]/Quincy Market area
|2 minutes
|September 3, 1898
|[[Green Line "B" Branch|"B"]] and [[Green Line "D" Branch|"D"]] Branches terminate here [[Blue Line (MBTA)|Blue Line]] Formerly "Scollay Square" until October 27, 1963
|-
|{{Access icon}} [[Park Street (MBTA station)|Park Street]]
|Tremont, Park, and Winter Streets (Boston) [[Boston Common (park)|Boston Common]]
|0 minutes
|September 1, 1897
|[[Red Line (MBTA)|Red Line]], [[Orange Line (MBTA)|Orange Line]], and [[Silver Line (MBTA)|Silver Line]] (must exit [[fare control]] area for Silver Line)
|-
|[[Boylston (MBTA station)|Boylston]]
|Tremont and Boylston Streets (Boston) Boston Common
|1 minute
|September 1, 1897
|[[Silver Line (MBTA)|Silver Line]] (must exit [[fare control]] area) Abandoned tracks split off at Boylston to the [[Pleasant Street Incline]]
|-
||{{Access icon}} [[Arlington (MBTA station)|Arlington]]
|Boylston and Arlington Streets (Boston) [[Public Garden (Boston, Massachusetts)|Boston Public Garden]]
|3 minutes
|November 13, 1921
|Free crossover allowed at mezzanine level, to reverse direction of travel
|-
||{{Access icon}}[[Copley (MBTA station)|Copley]]
|[[Boylston Street]] (Boston) [[Copley Square]]
|4 minutes
|October 3, 1914
|[[Green Line "E" Branch|"E"]] Branch splits after Copley No crossover between directions at Copley; use Arlington to reverse direction
|-
|[[Hynes Convention Center (MBTA station)|Hynes Convention Center]]
|[[Massachusetts Avenue (Boston)|Massachusetts Avenue]] and [[Newbury Street (Boston)|Newbury Street]] (Boston) [[Hynes Convention Center]]
|
|October 3, 1914
|Formerly "Massachusetts" until February 17, 1965, then "Auditorium" until March 27, 1990, then "Hynes Convention Center/ICA" until November 2006.
|-
|{{Access icon}}[[Kenmore (MBTA station)|Kenmore]]
|[[Kenmore Square]] (Boston) [[Fenway Park]]
|12 minutes
|October 23, 1932
|[[Green Line "B" Branch|"B"]], [[Green Line "C" Branch|"C"]], and [[Green Line "D" Branch|"D"]] Branches split here
|-
|{{Access icon}}[[Prudential (MBTA station)|Prudential]]
|[[Huntington Avenue (Boston)|Huntington Avenue]] (Boston) [[Prudential Center]]
|
|February 16, 1941
|[[Green Line "E" Branch|"E"]] Branch Formerly "Mechanics" until TBD
|-
|[[Symphony (MBTA station)|Symphony]]
|[[Massachusetts Avenue (Boston)|Massachusetts Avenue]] and [[Huntington Avenue (Boston)|Huntington Avenue]] (Boston) [[Boston Symphony Hall]]
|
|February 16, 1941
|[[Green Line "E" Branch|"E"]] Branch
|-
|{{Access icon}}[[Riverside (MBTA station)|Riverside]]
|[[Auburndale]] in [[Newton, Massachusetts]]
|
|July 4, 1949
|[[Green Line "D" Branch|"D"]] Branch terminus
|}

==Incidents and accidents==
On May 28, 2008, two 'D-line' trains collided in [[Newton, Massachusetts|Newton]]. The operator of one of the trains was killed and numerous riders were taken to the hospital with injuries of varying degrees of seriousness. While it was originally thought that cell phone use was responsible for the accident, it was determined that the actual cause of the crash was an episode of micro-sleep caused by the driver's [[sleep apnea]].<ref>http://www.ntsb.gov/publictn/2009/RAR0902.pdf</ref>

On May 8, 2009, two Green Line trolleys rear-end collided underground between the [[Park Street (MBTA station)|Park Street Station]] and [[Government Center (MBTA station)|Government Center Station]] when the driver of one of the trolleys, 24-year-old Aiden Quinn, was [[Texting while driving|text messaging his girlfriend while driving]] the train.<ref>[http://www.thebostonchannel.com/news/19411812/detail.html "Trolley Driver Was Texting Girlfriend At Time Of Crash: 46 Injured In Green Line Crash"], WCVB, Boston, May 8, 2009.</ref> A tougher policy on cell phones by the MBTA was put in place.<ref>[http://www.thebostonchannel.com/news/19417457/detail.html "Trolley Crash Inspires Tougher Cell Phone Policy: NTSB Still Investigating Crash"], WCVB, May 9, 2009</ref> Quinn had run through a red light before the trolley crash. The crash injured 46 people. MBTA officials estimated that the cost of damages from the crash was $9.6 million. <ref>[http://abcnews.go.com/US/story?id=7561561&page=1 Texting Trolley Driver Is Transgendered Male], ABC News, May 11, 2009</ref>

A pilot test of collision-avoidance technology on the [[Ashmont–Mattapan High Speed Line]] is expected planned in 2009, which will inform the adoption of similar technology on the Green Line.

==Gallery==
<gallery>
Image:Mbta-prudential.jpg‎|MBTA Prudential station
Image:MBTA Breda3824.JPG|Front of a Type 8 car
</gallery>

==See also==
*[[Boston-area streetcar lines]]
*[[History of the MBTA]]
*[[MBTA accessibility]]
*[[US Standard Light Rail Vehicle]]

==Notes==
{{reflist|2}}

==External links==
*[http://www.mbta.com/schedules_and_maps/subway/lines/?route=GREEN MBTA - Green Line]
*[http://www.wizeguides.com/wizeguides/ Interactive Map (Unofficial)]
*[http://www.somervillestep.org STEP (Somerville Transportation Equity Partnership)]
*[http://www.medfordgreenline.org/ Medford Green Line Neighborhood Alliance (MGNA)]
*[http://www.eot.state.ma.us/default.asp?pgid=content/grLineExt&sid=about Mass.gov Executive Office of Transportation Plans for Green Line Extension]
*[http://www.jphs.org/transportation/streetcars-in-jamaica-plain-a-history.html Jamaica Plain Historical Society - Streetcars in Jamaica Plain: A History]
*[http://cdl.library.cornell.edu/cgi-bin/moa/pageviewer?frames=1&cite=http%3A%2F%2Fcdl.library.cornell.edu%2Fcgi-bin%2Fmoa%2Fmoa-cgi%3Fnotisid%3DABS1821-0021-9&coll=moa&view=50&root=%2Fmoa%2Fmanu%2Fmanu0021%2F&tif=00011.TIF&pagenum=6 The Bentley-Knight Electric Railway System] from ''The Manufacturer and Builder'', January, 1889

*[http://www.youtube.com/watch?v=n64duG73Sak Video of LRV Boeing 3461 being scrapped at Riverside yard]

===Extension project===
*[http://www.greenlineextension.org Green Line Extension Project Website] (MassDOT)
*[http://www.eot.state.ma.us/glx/ Green Line Extension Interactive Map]
* {{cite web|url=http://www.somervillestep.org/map/|title=Map of the Green Line Extension|publisher=Somerville Transportation Equity Partnership (STEP)|accessdate=2009-06-03}}
* {{cite news|url=http://www.wickedlocal.com/somerville/news/x845560555/Green-Line-extension-plans-excite-neighbors-worried-about-change|title=Green Line extension plans excite neighbors worried about change|last=Guha|first=Auditi|date=May 6, 2009|publisher=Somerville Journal|accessdate=2009-05-14}}
* [http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=117372349771811545494.0004620a8086643090b39&t=h&z=13 Route Map on Google Maps]

{{MBTA}}
{{USLightRail}}

[[Category:Green Line (MBTA)| ]]
[[Category:Light rail in Massachusetts]]
[[Category:Massachusetts Bay Transportation Authority]]
[[Category:Standard gauge railways in the United States]]

[[pt:Linha Verde (Metro de Boston)]]

Back Bay (Boston)

2011-08-03T01:46:31Z

Reify-tech: /* References */ Tag ISBNs needed

{{redirect6|Back Bay|the railroad/subway station therein|Back Bay (MBTA station)|other uses}}
{{Infobox NRHP
|name =Back Bay Historic District
|nrhp_type =hd
|image=Back_Bay1.jpg
|caption=Skyline of the Back Bay, from across the [[Charles River]]
|location=[[Boston]], [[Massachusetts]]
|locmapin = Massachusetts
|area=
|architect=Multiple
|architecture=Mid 19th Century Revival, Late 19th And 20th Century Revivals, Late Victorian
|added=August 14, 1973
|governing_body=Local
|settlement_type=[[Neighborhoods in Boston|Neighborhood of Boston]]
|refnum=73001948 <ref name="nris">{{NRISref|2007a}}</ref>
}}
'''Back Bay''' is an [[Neighborhoods in Boston|officially recognized neighborhood]] of [[Boston]], [[Massachusetts]] famous for its rows of [[Victorian architecture|Victorian]] [[brownstone]] homes, which are considered one of the best-preserved examples of 19th-century urban design in the United States, as well as numerous architecturally significant individual buildings and important cultural institutions such as the [[Boston Public Library]].
It is also a fashionable shopping destination, and home to some of Boston's tallest office buildings, the [[Hynes Convention Center]], and numerous major hotels.

Prior to a monumental 19th-century filling project, the Back Bay was an actual bay. Today, along with neighboring [[Beacon Hill, Boston|Beacon Hill]], it is one of Boston's two most expensive residential neighborhoods.<ref>[http://www.bostonbackbay.com/ Welcome to the Back Bay!]</ref><ref>[http://www.moving.com/real-estate/boston-massachusetts/boston-neighborhoods.asp Great Neighborhoods: Boston]</ref><ref>[http://www.luxist.com/2008/10/16/bostons-most-expensive-penthouse-listed-at-17-million/ Boston's Most Expensive Penthouse Listed at $17 Million]</ref>




The Neighborhood Association of the Back Bay considers the neighborhood's bounds to be "[[Charles River]] on the North; Arlington Street to Park Square on the East; Columbus Avenue to the New York New Haven and Hartford right-of-way (South of Stuart Street and Copley Place), [[Huntington Avenue (Boston)|Huntington Avenue]], Dalton Street, and the [[Massachusetts Turnpike]] on the South; Charlesgate East on the West."<ref>{{cite web|url=http://www.nabbonline.com/about_us/about_nabb|title=About NABB|publisher=Neighborhood Association of the Back Bay|accessdate=2009-02-25}} While the city of Boston does officially recognize various neighborhoods within its confines, it does not assign precise boundaries.{{citation needed|date=January 2011}}</ref><ref name="BBADbounds"/>

== History ==
[[Image:Oldandnewboston.jpg|200px|thumb|The effect of landfill on size of Boston.]]
[[Image:Middlesex_Canal_(Massachusetts)_map,_1852.jpg|thumb|right|200px|Map from 1852 depicting Back Bay as a part of the Charles River (see lower panel of map)]]

Before its transformation into buildable land by a 19th-century filling project, the Back Bay was literally a bay, located west of the [[Shawmut Peninsula]] (on the far side from [[Boston Harbor]]) between Boston and [[Cambridge, Massachusetts|Cambridge]], with the [[Charles River]] entering from the west. This bay was tidal: the water rose and fell several feet over the course of each day, and at low tide much of the bay's bed was exposed as a marshy flat.
As early as 5,200 years before present, Native Americans built fishweirs here, evidence of which was discovered during subway construction in 1913 (''see'' [[Ancient Fishweir Project]] and [[Boylston Street Fishweir]]).

In 1814, the Boston and Roxbury Mill Corporation was chartered to construct a [[milldam]], which would also serve as a toll road connecting Boston to [[Watertown, Massachusetts|Watertown]], bypassing [[Boston Neck]]. However, the project was an economic failure,{{Citation needed|date=January 2011}} and in 1857 a massive project was begun to "make land" by filling the area enclosed by the dam.

The firm of Goss and Munson built {{convert|6|mi|km}} of railroad from quarries in [[Needham, Massachusetts]]; 35-car trains arrived in the Back Bay 16 times each day, carrying gravel and other fill. ([[William Dean Howells]] recalled "the beginnings of Commonwealth Avenue, and the other streets of the Back Bay, laid out with their basements left hollowed in the made land, which the gravel trains were yet making out of the westward hills.") <ref>{{cite book|title=Boston: The Place and the People|last=Antony|first=Mark|authorlink=|coauthors=Howe, DeWolfe|year=1903|publisher=MacMillan|location=New York|isbn=|page=359|pages=|url=http://books.google.com/books?id=YToOAAAAYAAJ&printsec=toc#PPA360,M1}}</ref> Present-day Back Bay itself was filled by 1882; the project reached existing land at what is now [[Kenmore Square]] in 1890, and finished in the [[Back Bay Fens|Fens]]{{Vague|date=January 2011}} in 1900.<ref>However, the Kenmore and Fenway land was not all built up immediately, as explained by Bainbridge Bunting in 1967: ''By 1900 the Back Bay residential area had almost ceased to grow. After 1910 only thirty new houses were constructed, after 1917 none at all. Instead of paying high prices for filled land on which to erect a home within walking distance of his office, the potential home builder escaped to the suburbs on the electric trolley or in his automobile. This flight from the city left empty much of the area west of [[Kenmore Square]] and adjacent to [[Fenway Park]], and only later was it occupied by non-descript and closely-built apartments.''</ref> Much of the old mill dam remains buried under present-day Beacon Street.<ref>[http://www.nabbonline.com/about_us/back_bay_history Back Bay History] Accessed 2009-02-25</ref>
The project was the largest of a number of [[land reclamation]] projects which, beginning in 1820, more than doubled the size of the original Shawmut Peninsula. (It is frequently observed that this would have been impossible under modern environmental laws.){{Citation needed|date=January 2011}}

Completion, in 1910, of the [[Charles River Dam]] converted the former Charles estuary into a freshwater basin; the [[Charles River Esplanade]] was constructed to capitalize on the river's newly-enhanced recreational value.{{Vague|date=January 2011}}<ref name="100years">{{cite news|url=http://www.boston.com/yourtown/cambridge/articles/2010/07/04/100_years_of_celebrating_the_fourth_of_july_at_esplanade/|title=100 years of celebrating the Fourth of July at Esplanade|accessdate=2010-08-11|date=2010-07-04|work=The Boston Globe}}</ref> The Esplanade has since undergone several changes, including the construction of [[Storrow Drive]].

== Architecture ==
[[File:Boston backbay brownstones.jpg|thumb|left|The Back Bay's defining brownstones]]

The plan of Back Bay, by [[Arthur Gilman]] of the firm [[Gridley James Fox Bryant]], was greatly influenced by [[Haussmann's renovation of Paris]], with wide, parallel, tree-lined avenues unlike anything seen in other Boston neighborhoods.{{Citation needed|date=January 2011}} Five east-west corridors -- [[Beacon Street]] (closest to the Charles), Marlborough Street, [[Commonwealth Avenue, Boston|Commonwealth Avenue]], [[Newbury Street (Boston)|Newbury Street]] and [[Boylston Street]] -- are intersected at regular intervals by north-south cross streets: Arlington (running along the west boundary of the [[Public Garden (Boston)|Public Garden]]), Berkeley, Clarendon, Dartmouth, Exeter, Fairfield, Gloucester, and Hereford.<ref>A 1903 guidebook{{Citation needed|date=January 2011}} noted the trisyllabic-disyllabic alternation attending aforesaid alphabetic appellations, and the series continues in the adjacent Fenway neighborhood with Ipswich, Jersey, and Kilmarnock Streets.</ref>
Almost all of Back Bay's major streets are one-way with the exception of Commonwealth Avenue, which is actually two one-way thoroughfares flanking the tree-lined pedestrian Commonwealth Avenue Mall. 

[[Setback (land use)|Setback]] requirements and other restrictions, written into the lot deeds of the newly-filled Back Bay, produced harmonious rows of dignified three- and four-story residential [[brownstone]]s (though most along Newbury Street are now in commercial use). The Back Bay is listed on the [[National Register of Historic Places]], and is considered{{Citation needed|date=January 2011}} one of the best-preserved examples of 19th-century urban architecture in the United States. In 1966, the Massachusetts Legislature, "to safeguard the heritage of the city of Boston by preventing the despoliation" of the Back Bay, created the [[Back Bay Architectural Commission]] to regulate exterior changes to Back Bay buildings.<ref name="BBADbounds">The Back Bay Architectural District, somewhat smaller than "Back Bay" as defined by the Neighborhood Association of the Back Bay, is bounded by "the centerlines of Back Street on the north, Embankment Road and Arlington Street on the east, Boylston Street on the south, and Charlesgate East on the west."</ref><ref>[http://archives.lib.state.ma.us/bitstream/handle/2452/15993/1966acts0625.txt?sequence=1], [http://archives.lib.state.ma.us/bitstream/handle/2452/29930/1981acts0624.txt?sequence=1]</ref>

Since the 1960s, the concept of a [[High Spine]] has influenced large-project development in Boston, reinforced by [[zoning]] rules permitting high-rise construction along the axis of the [[Massachusetts Turnpike]], including [[air rights]] siting of buildings.{{citation needed|date=August 2011}}

===Copley Square===
[[Image:Trinitychurchboston.jpg|261px|right|thumb|Trinity Church c. 1903]]
[[Copley Square]] contains [[Trinity Church, Boston|Trinity Church]], the [[Boston Public Library]], the [[John Hancock Tower]], and other notable buildings.

* The first monumental structure in Copley Square was the original [[Museum of Fine Arts, Boston|Museum of Fine Arts]] building. Begun in 1870, it opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Its red [[Gothic Revival architecture|Gothic Revival]] style building was torn down and rebuilt as [[the Fairmont Copley Plaza Hotel]] (1912) which still exists today.
* The [[Boston Public Library]] (1888–92), designed by [[McKim, Mead, and White]], is a leading example of [[Beaux-Arts architecture]] in the US. Sited across Copley Square from Trinity Church, it was intended to be "a palace for the people." [[Baedeker]]'s 1893 guide terms it "dignified and imposing, simple and scholarly," and "a worthy mate... to Trinity Church." At that time, its 600,000 volumes made it the largest free public library in the world.
* The [[Old South Church]], also called the New Old South Church (645 Boylston Street on Copley Square), 1872–75, is located across the street from the Boston Public Library. It was designed by the Boston architectural firm of [[Cummings and Sears]] in the [[Venetian Gothic architecture|Venetian Gothic]] style. The style follows the precepts of the British cultural theorist and architectural critic [[John Ruskin]] (1819–1900) as outlined in his treatise ''The Stones of Venice''. Old South Church remains a significant example of Ruskin's influence on architecture in the US. [[Charles Amos Cummings]] and Willard T. Sears also designed the [[Isabella Stewart Gardner Museum]].
* [[Trinity Church, Boston|Trinity Church]] (1872–77), designed by [[Henry Hobson Richardson]], called "deservedly regarded as one of the finest buildings in America" by ''Baedeker's United States'' in 1893.

* There were at various time three different "Hancock buildings" in the Back Bay, culminating in a [[skyscraper]] flanking Trinity Church:
** The '''Stephen L. Brown Building''' ([[Parker, Thomas & Rice]], 1922) was the first of the three Hancock buildings:
** '''The Old John Hancock Building''' ([[HDB/Cram and Ferguson|Cram and Ferguson]], 1947) was the tallest building in Back Bay until construction of the Prudential Tower. (Sometimes called the [[Berkeley Building]], though not to be confused with the actual Berkeley Building, ''above''.)
** [[John Hancock Tower]] ([[I. M. Pei]] , 1972), New England's tallest building at 60 stories, is a dark-blue reflective glass tower with a footprint in the form of a narrow parallelogram. Admirers assert that it does not diminish the impact of Trinity Church, although its construction did damage the church's foundations.{{citation needed|date=January 2011}} The architect Donlyn Lyndon, who served as head the Department of Architecture at the Massachusetts Institute of Technology during the late 1960s and early 1970s, noted that an early Hancock press release had "the gall to pronounce that 'the building will reflect the architectural character of the neighborhood.'" Lyndon opines that it "may be nihilistic, overbearing, even elegantly rude, but it's not dull."<ref name="lyndon"/>

=== Other prominent Back Bay buildings ===
* The 52-story [[Prudential Tower]], thought to be a marvel in 1964, is now considered ugly by some critics.<ref name=lyndon>{{cite book|first=Donlyn|last=Lyndon|title=The City Observed: Boston|isbn=0-394-74894-8|publisher=Vintage|year=1982}}: the Hancock "may be nihilistic, overbearing, even elegantly rude, but it's not dull;" the Prudential is "an energetically ugly, square shaft that offends the Boston skyline more than any other structure."</ref> Although the [[Prudential Tower]] has garnered scant architectural acclaim, the Prudential Center overall was awarded the Urban Land Institute's "Award for Best Mixed Use Property" in 2006.<ref>[http://casestudies.uli.org "Case Studies"] -- Urban Land Institute</ref>
* '''[[111 Huntington Avenue]]''' (2002), a 36-story tower south of the Prudential Center, is Boston's eighth-tallest building. Crowned by a glass "Wintergarden",{{clarify|date=January 2011}} and featuring a {{convert|1.2|acre|m2|sing=on}} fully-landscaped South Garden, it was nominated for, but did not win, the 2002 Emporis Skyscraper Award.<ref>[http://awards.emporis.com/?nav=award2002nominees&lng=3]</ref>{{clarify|date=January 2011}}
* '''The Colonnade Hotel''' (1971) with its row of columns, delineates the "back side" of the Prudential Center complex. 

* '''[[Arlington Street Church]]''' ([[Arthur Gilman]], 1861), inspired by London's [[St Martin-in-the-Fields]], was the first church built in the newly-filled Back Bay. (Architect Gilman also designed Back Bay's grid-style street plan.)
* '''Berkeley Building''' ([[Codman and Despradelle|Constant-Désiré Despradelle]], 1905) features a white [[terra cotta]] [[Beaux-Arts architecture]] facade on a steel frame. 
* The '''[[Gibson House Museum|Gibson House]]''' (1860), preserved very much as it was in the 19th century, is now a museum.
* '''[[The First Church of Christ, Scientist]]''' (1894; extended 1904), the centerpiece of the Christian Science Plaza, which also features a reflecting pool and the [[Maparium]]. 
* The '''[[Saint Clement Eucharistic Shrine]]''' (Arthur F. Gray, 1922) is a Roman Catholic church built for the Second Universalist Society.{{clarify|date=January 2011}}
* '''[[Church of the Covenant (Boston)|Church of the Covenant]]''' ( [[Richard M. Upjohn]], 1865–1867) is a Presbyterian church of [[Roxbury conglomerate|Roxbury puddingstone]] in [[Gothic Revival architecture|Gothic Revival style]], which its designer intended as "a high gothic edifice ... which no ordinary dwelling house would overtop."<ref>[http://cotcbos.org/pmwiki.php?n=Main.TiffanyWindows "Church of the Covenant:Tiffany Windows"]</ref>

==Cultural and educational institutions==
[[Image:Boston Back Bay.jpg|thumb|300px|right|Aerial view of the "[[High Spine]]" of skyscrapers in the Back Bay, including the Prudential Center and [[John Hancock Tower]].]]


In the past, Back Bay has been home to some of Boston's leading institutions, which have eventually moved elsewhere when they needed more room for expansion. Other smaller cultural and educational organizations continue to enrich the neighborhood.

The art collection of the [[Museum of Fine Arts, Boston]], was located in Copley Square from 1876 until 1909, when it moved to its current much-larger quarters in the [[Fenway-Kenmore, Boston|Fenway]] neighborhood of Boston.

The current site of the Newbry Building (formerly the New England Life Building) was once occupied by one of Back Bay's first monumental structures, [[Massachusetts Institute of Technology|MIT's]] [[Rogers Building (MIT)|Rogers Building]] (1866-1939), designed by [[William G. Preston]]. It shared the same architect and city block with a smaller building for the [[Boston Society of Natural History]].<ref>[[Mark Jarzombek]], ''Designing MIT: Bosworth's New Tech'' (Northeastern University Press, 2004)</ref> The natural history society eventually became the [[Museum of Science, Boston]], and relocated to its current building on the [[Charles River Dam]] around 1950. The original Natural History building was the only structure on the block (bounded by Boylston, Newbury, Berkeley, and Clarendon Streets) to escape demolition, most recently housing the clothier Louis of Boston before its move to the [[South Boston]] waterfront. As of 2011, the building is vacant and available for lease, and it is under historical landmark protection.{{citation needed|date=August 2011}}

[[Emerson College]], a four-year [[liberal arts college]] specializing in communications and the [[theater arts]], once occupied a number of scattered buildings in Back Bay. Starting in the 1990s, the entire college gradually moved its facilities to the vicinity of the [[Washington Street Theatre District]] in downtown Boston, where it now has restored and refurbished several classic grand theater buildings.

The [[Berklee College of Music]] and the [[Boston Architectural College]] remain firmly esconced in the Back Bay area.

The Back Bay is the home of the [[New England Historic Genealogical Society]] (NEHGS), the oldest (1845) and largest genealogical society in the United States. A charitable, nonprofit educational institution, NEHGS is located at 99-101 Newbury Street, in an eight-story archive and research center.


== Commercial institutions==
[[Image:Backbay from south.jpg|thumb|300px|right|Back Bay in Boston at night as it is seen from the South End.]]

Back Bay is home to many boutiques and stores, primarily on [[Newbury Street (Boston)|Newbury]] and [[Boylston Street]]s and in the [[Prudential Tower|Prudential Center]] and [[Copley Place]] malls.
The [[Hynes Convention Center]] is complemented by numerous hotels, including the [[The Lenox Hotel|Lenox]], [[Colonnade Hotel (Boston)|Colonnade]], [[Westin Copley Place|Westin]], [[Fairmont Copley Plaza Hotel|Fairmont]], [[Marriott Hotels & Resorts|Marriott]], Four Seasons, [[Boston Park Plaza Hotel & Towers|Park Plaza]], and [[Mandarin Oriental Hotel Group#Mandarin Oriental, Boston|Mandarin Oriental]].

== The Saint Botolph neighborhood ==
The St. Botolph neighborhood, stretching from Huntington Ave. to the north, the Southwest Corridor to the south, Harcourt Ave. to the east, and Massachusetts Ave. to the west, is a lesser known part of the Back Bay. Residential parking is available to those with a Back Bay parking sticker. Consisting almost entirely of brownstones (row houses), with many dead-end streets abutting the Southwest Corridor, the neighborhood also borders the South End.

Cross streets in the St. Botolph neighborhood, like those that cross Newbury Street, are alphabetical with the exception of West Newton (Albermarle, Blackwood, Cumberland, Durham, West Newton, Follen, Garrison, Harcourt). Unlike the alphabetical streets in northern Back Bay, where Arlington is to the east and Hereford to the west, Albermarle is located to the west and Harcourt to the east.

==Transportation==
A number of local and express buses converge on Copley Square and Back Bay station, as listed in the Wikipedia article on [[Back Bay (MBTA station)|Back Bay station]].

The Back Bay neighborhood is served by several stations on the Boylston Street Subway section of the [[MBTA]] [[Green Line (MBTA)|Green Line]] [[light rail]] line. From east to west, the stations are [[Arlington (MBTA station)|Arlington]], [[Copley (MBTA station)|Copley]], and [[Hynes Convention Center (MBTA station)|Hynes Convention Center]]. The MBTA [[Orange Line (MBTA)|Orange Line]] stops at Back Bay station.

For regional travel, Back Bay station is served by [[MBTA Commuter Rail]] and [[Amtrak]] service to the south and west of Boston.

[[Image:Backbay.jpg|300px|thumb|left|Main streets of Back Bay.]]

==Seismic risk==
Because of extensive use of [[landfill]], the Back Bay neighborhood is extremely vulnerable to [[soil liquefaction]] in a severe [[earthquake]]. This could cause disastrous soil movements and building damage, as was seen in the similarly landfilled [[Marina District]] of [[San Francisco]] after the [[Loma Prieta Earthquake]] of 1989. Note that the very names of these two popular neighborhoods refer to their watery origins.

Many people are not aware that New England is considered by insurance companies to be a high earthquake risk area.{{cn|date=May 2011}} In 1755, a severe earthquake estimated above 6 on the [[Richter Scale]] and centered near [[1755 Cape Ann Earthquake|Cape Ann]] caused extensive building damage in Boston. Severe seismic events are rare in New England, but they are historical fact, and can be expected to recur with an unknown frequency.

The [[building code]] in Boston has been modified to require better seismic resistance, but many older buildings do not conform, and are at risk for major damage.{{cn|date=May 2011}}

== See also ==
* [[Boston By Foot]]
* [[Copley Square]]
* [[High Spine]]

== Notes ==
{{Reflist}}

== References ==
{{isbn|date=August 2011}}
* Bacon, Edwin M. (1903) ''Boston: A Guide Book.'' Ginn and Company, Boston, 1903.
* Bunting, Bainbridge (1967) "Houses of Boston's Back Bay", Harvard University Press, ISBN 0-674-40901-9
* Fields, W.C.: "My Little Chickadee" (1940), in which the Fields character calls himself "one of the Back Bay Twillies."
* [[Mark Jarzombek|Jarzombek, Mark]], ''Designing MIT: Bosworth's New Tech''. (Northeastern University Press, 2004)
* Museum of Fine Arts, Boston. Back Bay Boston: The City as a Work of Art. With Essays by Lewis Mumford & Walter Muir Whitehill (Boston, 1969).
* Shand-Tucci, Douglass, ''Built in Boston: City and Suburb, 1800-2000.''(Amherst: University of Massachusetts Press, 1999).
* Train, Arthur (1921), "The Kid and the Camel," from ''By Advice of Counsel.'' ("William Montague Pepperill was a very intense young person...")
* Howells, William Dean, ''Literary Friends and Acquaintance: My First Visit to New England''

== External links ==
{{Commons category|Back Bay, Boston}}
* [http://www.nabbonline.com/ Neighborhood Association of Back Bay]; [http://www.nabbonline.com/history.htm Back Bay timeline]
* [http://www.bc.edu/bc_org/avp/cas/fnart/fa267/bos_fill.html History of the Boston landfill projects] Course notes with illustrations by Professor Jeffrey Howe, Boston College
* [http://ocw.mit.edu/OcwWeb/Civil-and-Environmental-Engineering/1-012Spring2002/Readings/detail/build_back_bay_the_old_colony_trust_comp.htm MIT OpenCourseWare: "Building the Back Bay" (1926 account)] Accessed 2009-10-08
* [http://www.djtrealestate.com/back-bay-condos.htm Back Bay History]
* [http://www.visitbostonbackbay.com/site/about/history/ Concise Back Bay History] by [http://www.bostonbackbay.com/ Back Bay Association] business member group

{{Boston neighborhoods}}
{{Registered Historic Places}}

{{coord|42|21|4.66|N|71|4|49.28|W|name=Back Bay, Boston|display=title|type:landmark}}

[[Category:Neighborhoods in Boston, Massachusetts]]
[[Category:Historic districts in Massachusetts]]
[[Category:Back Bay, Boston| ]]

[[fr:Back Bay (Boston)]]

Back Bay (Boston)

2011-08-03T01:45:20Z

Reify-tech: Continuing re-organization of architectural descriptions

{{redirect6|Back Bay|the railroad/subway station therein|Back Bay (MBTA station)|other uses}}
{{Infobox NRHP
|name =Back Bay Historic District
|nrhp_type =hd
|image=Back_Bay1.jpg
|caption=Skyline of the Back Bay, from across the [[Charles River]]
|location=[[Boston]], [[Massachusetts]]
|locmapin = Massachusetts
|area=
|architect=Multiple
|architecture=Mid 19th Century Revival, Late 19th And 20th Century Revivals, Late Victorian
|added=August 14, 1973
|governing_body=Local
|settlement_type=[[Neighborhoods in Boston|Neighborhood of Boston]]
|refnum=73001948 <ref name="nris">{{NRISref|2007a}}</ref>
}}
'''Back Bay''' is an [[Neighborhoods in Boston|officially recognized neighborhood]] of [[Boston]], [[Massachusetts]] famous for its rows of [[Victorian architecture|Victorian]] [[brownstone]] homes, which are considered one of the best-preserved examples of 19th-century urban design in the United States, as well as numerous architecturally significant individual buildings and important cultural institutions such as the [[Boston Public Library]].
It is also a fashionable shopping destination, and home to some of Boston's tallest office buildings, the [[Hynes Convention Center]], and numerous major hotels.

Prior to a monumental 19th-century filling project, the Back Bay was an actual bay. Today, along with neighboring [[Beacon Hill, Boston|Beacon Hill]], it is one of Boston's two most expensive residential neighborhoods.<ref>[http://www.bostonbackbay.com/ Welcome to the Back Bay!]</ref><ref>[http://www.moving.com/real-estate/boston-massachusetts/boston-neighborhoods.asp Great Neighborhoods: Boston]</ref><ref>[http://www.luxist.com/2008/10/16/bostons-most-expensive-penthouse-listed-at-17-million/ Boston's Most Expensive Penthouse Listed at $17 Million]</ref>




The Neighborhood Association of the Back Bay considers the neighborhood's bounds to be "[[Charles River]] on the North; Arlington Street to Park Square on the East; Columbus Avenue to the New York New Haven and Hartford right-of-way (South of Stuart Street and Copley Place), [[Huntington Avenue (Boston)|Huntington Avenue]], Dalton Street, and the [[Massachusetts Turnpike]] on the South; Charlesgate East on the West."<ref>{{cite web|url=http://www.nabbonline.com/about_us/about_nabb|title=About NABB|publisher=Neighborhood Association of the Back Bay|accessdate=2009-02-25}} While the city of Boston does officially recognize various neighborhoods within its confines, it does not assign precise boundaries.{{citation needed|date=January 2011}}</ref><ref name="BBADbounds"/>

== History ==
[[Image:Oldandnewboston.jpg|200px|thumb|The effect of landfill on size of Boston.]]
[[Image:Middlesex_Canal_(Massachusetts)_map,_1852.jpg|thumb|right|200px|Map from 1852 depicting Back Bay as a part of the Charles River (see lower panel of map)]]

Before its transformation into buildable land by a 19th-century filling project, the Back Bay was literally a bay, located west of the [[Shawmut Peninsula]] (on the far side from [[Boston Harbor]]) between Boston and [[Cambridge, Massachusetts|Cambridge]], with the [[Charles River]] entering from the west. This bay was tidal: the water rose and fell several feet over the course of each day, and at low tide much of the bay's bed was exposed as a marshy flat.
As early as 5,200 years before present, Native Americans built fishweirs here, evidence of which was discovered during subway construction in 1913 (''see'' [[Ancient Fishweir Project]] and [[Boylston Street Fishweir]]).

In 1814, the Boston and Roxbury Mill Corporation was chartered to construct a [[milldam]], which would also serve as a toll road connecting Boston to [[Watertown, Massachusetts|Watertown]], bypassing [[Boston Neck]]. However, the project was an economic failure,{{Citation needed|date=January 2011}} and in 1857 a massive project was begun to "make land" by filling the area enclosed by the dam.

The firm of Goss and Munson built {{convert|6|mi|km}} of railroad from quarries in [[Needham, Massachusetts]]; 35-car trains arrived in the Back Bay 16 times each day, carrying gravel and other fill. ([[William Dean Howells]] recalled "the beginnings of Commonwealth Avenue, and the other streets of the Back Bay, laid out with their basements left hollowed in the made land, which the gravel trains were yet making out of the westward hills.") <ref>{{cite book|title=Boston: The Place and the People|last=Antony|first=Mark|authorlink=|coauthors=Howe, DeWolfe|year=1903|publisher=MacMillan|location=New York|isbn=|page=359|pages=|url=http://books.google.com/books?id=YToOAAAAYAAJ&printsec=toc#PPA360,M1}}</ref> Present-day Back Bay itself was filled by 1882; the project reached existing land at what is now [[Kenmore Square]] in 1890, and finished in the [[Back Bay Fens|Fens]]{{Vague|date=January 2011}} in 1900.<ref>However, the Kenmore and Fenway land was not all built up immediately, as explained by Bainbridge Bunting in 1967: ''By 1900 the Back Bay residential area had almost ceased to grow. After 1910 only thirty new houses were constructed, after 1917 none at all. Instead of paying high prices for filled land on which to erect a home within walking distance of his office, the potential home builder escaped to the suburbs on the electric trolley or in his automobile. This flight from the city left empty much of the area west of [[Kenmore Square]] and adjacent to [[Fenway Park]], and only later was it occupied by non-descript and closely-built apartments.''</ref> Much of the old mill dam remains buried under present-day Beacon Street.<ref>[http://www.nabbonline.com/about_us/back_bay_history Back Bay History] Accessed 2009-02-25</ref>
The project was the largest of a number of [[land reclamation]] projects which, beginning in 1820, more than doubled the size of the original Shawmut Peninsula. (It is frequently observed that this would have been impossible under modern environmental laws.){{Citation needed|date=January 2011}}

Completion, in 1910, of the [[Charles River Dam]] converted the former Charles estuary into a freshwater basin; the [[Charles River Esplanade]] was constructed to capitalize on the river's newly-enhanced recreational value.{{Vague|date=January 2011}}<ref name="100years">{{cite news|url=http://www.boston.com/yourtown/cambridge/articles/2010/07/04/100_years_of_celebrating_the_fourth_of_july_at_esplanade/|title=100 years of celebrating the Fourth of July at Esplanade|accessdate=2010-08-11|date=2010-07-04|work=The Boston Globe}}</ref> The Esplanade has since undergone several changes, including the construction of [[Storrow Drive]].

== Architecture ==
[[File:Boston backbay brownstones.jpg|thumb|left|The Back Bay's defining brownstones]]

The plan of Back Bay, by [[Arthur Gilman]] of the firm [[Gridley James Fox Bryant]], was greatly influenced by [[Haussmann's renovation of Paris]], with wide, parallel, tree-lined avenues unlike anything seen in other Boston neighborhoods.{{Citation needed|date=January 2011}} Five east-west corridors -- [[Beacon Street]] (closest to the Charles), Marlborough Street, [[Commonwealth Avenue, Boston|Commonwealth Avenue]], [[Newbury Street (Boston)|Newbury Street]] and [[Boylston Street]] -- are intersected at regular intervals by north-south cross streets: Arlington (running along the west boundary of the [[Public Garden (Boston)|Public Garden]]), Berkeley, Clarendon, Dartmouth, Exeter, Fairfield, Gloucester, and Hereford.<ref>A 1903 guidebook{{Citation needed|date=January 2011}} noted the trisyllabic-disyllabic alternation attending aforesaid alphabetic appellations, and the series continues in the adjacent Fenway neighborhood with Ipswich, Jersey, and Kilmarnock Streets.</ref>
Almost all of Back Bay's major streets are one-way with the exception of Commonwealth Avenue, which is actually two one-way thoroughfares flanking the tree-lined pedestrian Commonwealth Avenue Mall. 

[[Setback (land use)|Setback]] requirements and other restrictions, written into the lot deeds of the newly-filled Back Bay, produced harmonious rows of dignified three- and four-story residential [[brownstone]]s (though most along Newbury Street are now in commercial use). The Back Bay is listed on the [[National Register of Historic Places]], and is considered{{Citation needed|date=January 2011}} one of the best-preserved examples of 19th-century urban architecture in the United States. In 1966, the Massachusetts Legislature, "to safeguard the heritage of the city of Boston by preventing the despoliation" of the Back Bay, created the [[Back Bay Architectural Commission]] to regulate exterior changes to Back Bay buildings.<ref name="BBADbounds">The Back Bay Architectural District, somewhat smaller than "Back Bay" as defined by the Neighborhood Association of the Back Bay, is bounded by "the centerlines of Back Street on the north, Embankment Road and Arlington Street on the east, Boylston Street on the south, and Charlesgate East on the west."</ref><ref>[http://archives.lib.state.ma.us/bitstream/handle/2452/15993/1966acts0625.txt?sequence=1], [http://archives.lib.state.ma.us/bitstream/handle/2452/29930/1981acts0624.txt?sequence=1]</ref>

Since the 1960s, the concept of a [[High Spine]] has influenced large-project development in Boston, reinforced by [[zoning]] rules permitting high-rise construction along the axis of the [[Massachusetts Turnpike]], including [[air rights]] siting of buildings.{{citation needed|date=August 2011}}

===Copley Square===
[[Image:Trinitychurchboston.jpg|261px|right|thumb|Trinity Church c. 1903]]
[[Copley Square]] contains [[Trinity Church, Boston|Trinity Church]], the [[Boston Public Library]], the [[John Hancock Tower]], and other notable buildings.

* The first monumental structure in Copley Square was the original [[Museum of Fine Arts, Boston|Museum of Fine Arts]] building. Begun in 1870, it opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Its red [[Gothic Revival architecture|Gothic Revival]] style building was torn down and rebuilt as [[the Fairmont Copley Plaza Hotel]] (1912) which still exists today.
* The [[Boston Public Library]] (1888–92), designed by [[McKim, Mead, and White]], is a leading example of [[Beaux-Arts architecture]] in the US. Sited across Copley Square from Trinity Church, it was intended to be "a palace for the people." [[Baedeker]]'s 1893 guide terms it "dignified and imposing, simple and scholarly," and "a worthy mate... to Trinity Church." At that time, its 600,000 volumes made it the largest free public library in the world.
* The [[Old South Church]], also called the New Old South Church (645 Boylston Street on Copley Square), 1872–75, is located across the street from the Boston Public Library. It was designed by the Boston architectural firm of [[Cummings and Sears]] in the [[Venetian Gothic architecture|Venetian Gothic]] style. The style follows the precepts of the British cultural theorist and architectural critic [[John Ruskin]] (1819–1900) as outlined in his treatise ''The Stones of Venice''. Old South Church remains a significant example of Ruskin's influence on architecture in the US. [[Charles Amos Cummings]] and Willard T. Sears also designed the [[Isabella Stewart Gardner Museum]].
* [[Trinity Church, Boston|Trinity Church]] (1872–77), designed by [[Henry Hobson Richardson]], called "deservedly regarded as one of the finest buildings in America" by ''Baedeker's United States'' in 1893.

* There were at various time three different "Hancock buildings" in the Back Bay, culminating in a [[skyscraper]] flanking Trinity Church:
** The '''Stephen L. Brown Building''' ([[Parker, Thomas & Rice]], 1922) was the first of the three Hancock buildings:
** '''The Old John Hancock Building''' ([[HDB/Cram and Ferguson|Cram and Ferguson]], 1947) was the tallest building in Back Bay until construction of the Prudential Tower. (Sometimes called the [[Berkeley Building]], though not to be confused with the actual Berkeley Building, ''above''.)
** [[John Hancock Tower]] ([[I. M. Pei]] , 1972), New England's tallest building at 60 stories, is a dark-blue reflective glass tower with a footprint in the form of a narrow parallelogram. Admirers assert that it does not diminish the impact of Trinity Church, although its construction did damage the church's foundations.{{citation needed|date=January 2011}} The architect Donlyn Lyndon, who served as head the Department of Architecture at the Massachusetts Institute of Technology during the late 1960s and early 1970s, noted that an early Hancock press release had "the gall to pronounce that 'the building will reflect the architectural character of the neighborhood.'" Lyndon opines that it "may be nihilistic, overbearing, even elegantly rude, but it's not dull."<ref name="lyndon"/>

=== Other prominent Back Bay buildings ===
* The 52-story [[Prudential Tower]], thought to be a marvel in 1964, is now considered ugly by some critics.<ref name=lyndon>{{cite book|first=Donlyn|last=Lyndon|title=The City Observed: Boston|isbn=0-394-74894-8|publisher=Vintage|year=1982}}: the Hancock "may be nihilistic, overbearing, even elegantly rude, but it's not dull;" the Prudential is "an energetically ugly, square shaft that offends the Boston skyline more than any other structure."</ref> Although the [[Prudential Tower]] has garnered scant architectural acclaim, the Prudential Center overall was awarded the Urban Land Institute's "Award for Best Mixed Use Property" in 2006.<ref>[http://casestudies.uli.org "Case Studies"] -- Urban Land Institute</ref>
* '''[[111 Huntington Avenue]]''' (2002), a 36-story tower south of the Prudential Center, is Boston's eighth-tallest building. Crowned by a glass "Wintergarden",{{clarify|date=January 2011}} and featuring a {{convert|1.2|acre|m2|sing=on}} fully-landscaped South Garden, it was nominated for, but did not win, the 2002 Emporis Skyscraper Award.<ref>[http://awards.emporis.com/?nav=award2002nominees&lng=3]</ref>{{clarify|date=January 2011}}
* '''The Colonnade Hotel''' (1971) with its row of columns, delineates the "back side" of the Prudential Center complex. 

* '''[[Arlington Street Church]]''' ([[Arthur Gilman]], 1861), inspired by London's [[St Martin-in-the-Fields]], was the first church built in the newly-filled Back Bay. (Architect Gilman also designed Back Bay's grid-style street plan.)
* '''Berkeley Building''' ([[Codman and Despradelle|Constant-Désiré Despradelle]], 1905) features a white [[terra cotta]] [[Beaux-Arts architecture]] facade on a steel frame. 
* The '''[[Gibson House Museum|Gibson House]]''' (1860), preserved very much as it was in the 19th century, is now a museum.
* '''[[The First Church of Christ, Scientist]]''' (1894; extended 1904), the centerpiece of the Christian Science Plaza, which also features a reflecting pool and the [[Maparium]]. 
* The '''[[Saint Clement Eucharistic Shrine]]''' (Arthur F. Gray, 1922) is a Roman Catholic church built for the Second Universalist Society.{{clarify|date=January 2011}}
* '''[[Church of the Covenant (Boston)|Church of the Covenant]]''' ( [[Richard M. Upjohn]], 1865–1867) is a Presbyterian church of [[Roxbury conglomerate|Roxbury puddingstone]] in [[Gothic Revival architecture|Gothic Revival style]], which its designer intended as "a high gothic edifice ... which no ordinary dwelling house would overtop."<ref>[http://cotcbos.org/pmwiki.php?n=Main.TiffanyWindows "Church of the Covenant:Tiffany Windows"]</ref>

==Cultural and educational institutions==
[[Image:Boston Back Bay.jpg|thumb|300px|right|Aerial view of the "[[High Spine]]" of skyscrapers in the Back Bay, including the Prudential Center and [[John Hancock Tower]].]]


In the past, Back Bay has been home to some of Boston's leading institutions, which have eventually moved elsewhere when they needed more room for expansion. Other smaller cultural and educational organizations continue to enrich the neighborhood.

The art collection of the [[Museum of Fine Arts, Boston]], was located in Copley Square from 1876 until 1909, when it moved to its current much-larger quarters in the [[Fenway-Kenmore, Boston|Fenway]] neighborhood of Boston.

The current site of the Newbry Building (formerly the New England Life Building) was once occupied by one of Back Bay's first monumental structures, [[Massachusetts Institute of Technology|MIT's]] [[Rogers Building (MIT)|Rogers Building]] (1866-1939), designed by [[William G. Preston]]. It shared the same architect and city block with a smaller building for the [[Boston Society of Natural History]].<ref>[[Mark Jarzombek]], ''Designing MIT: Bosworth's New Tech'' (Northeastern University Press, 2004)</ref> The natural history society eventually became the [[Museum of Science, Boston]], and relocated to its current building on the [[Charles River Dam]] around 1950. The original Natural History building was the only structure on the block (bounded by Boylston, Newbury, Berkeley, and Clarendon Streets) to escape demolition, most recently housing the clothier Louis of Boston before its move to the [[South Boston]] waterfront. As of 2011, the building is vacant and available for lease, and it is under historical landmark protection.{{citation needed|date=August 2011}}

[[Emerson College]], a four-year [[liberal arts college]] specializing in communications and the [[theater arts]], once occupied a number of scattered buildings in Back Bay. Starting in the 1990s, the entire college gradually moved its facilities to the vicinity of the [[Washington Street Theatre District]] in downtown Boston, where it now has restored and refurbished several classic grand theater buildings.

The [[Berklee College of Music]] and the [[Boston Architectural College]] remain firmly esconced in the Back Bay area.

The Back Bay is the home of the [[New England Historic Genealogical Society]] (NEHGS), the oldest (1845) and largest genealogical society in the United States. A charitable, nonprofit educational institution, NEHGS is located at 99-101 Newbury Street, in an eight-story archive and research center.


== Commercial institutions==
[[Image:Backbay from south.jpg|thumb|300px|right|Back Bay in Boston at night as it is seen from the South End.]]

Back Bay is home to many boutiques and stores, primarily on [[Newbury Street (Boston)|Newbury]] and [[Boylston Street]]s and in the [[Prudential Tower|Prudential Center]] and [[Copley Place]] malls.
The [[Hynes Convention Center]] is complemented by numerous hotels, including the [[The Lenox Hotel|Lenox]], [[Colonnade Hotel (Boston)|Colonnade]], [[Westin Copley Place|Westin]], [[Fairmont Copley Plaza Hotel|Fairmont]], [[Marriott Hotels & Resorts|Marriott]], Four Seasons, [[Boston Park Plaza Hotel & Towers|Park Plaza]], and [[Mandarin Oriental Hotel Group#Mandarin Oriental, Boston|Mandarin Oriental]].

== The Saint Botolph neighborhood ==
The St. Botolph neighborhood, stretching from Huntington Ave. to the north, the Southwest Corridor to the south, Harcourt Ave. to the east, and Massachusetts Ave. to the west, is a lesser known part of the Back Bay. Residential parking is available to those with a Back Bay parking sticker. Consisting almost entirely of brownstones (row houses), with many dead-end streets abutting the Southwest Corridor, the neighborhood also borders the South End.

Cross streets in the St. Botolph neighborhood, like those that cross Newbury Street, are alphabetical with the exception of West Newton (Albermarle, Blackwood, Cumberland, Durham, West Newton, Follen, Garrison, Harcourt). Unlike the alphabetical streets in northern Back Bay, where Arlington is to the east and Hereford to the west, Albermarle is located to the west and Harcourt to the east.

==Transportation==
A number of local and express buses converge on Copley Square and Back Bay station, as listed in the Wikipedia article on [[Back Bay (MBTA station)|Back Bay station]].

The Back Bay neighborhood is served by several stations on the Boylston Street Subway section of the [[MBTA]] [[Green Line (MBTA)|Green Line]] [[light rail]] line. From east to west, the stations are [[Arlington (MBTA station)|Arlington]], [[Copley (MBTA station)|Copley]], and [[Hynes Convention Center (MBTA station)|Hynes Convention Center]]. The MBTA [[Orange Line (MBTA)|Orange Line]] stops at Back Bay station.

For regional travel, Back Bay station is served by [[MBTA Commuter Rail]] and [[Amtrak]] service to the south and west of Boston.

[[Image:Backbay.jpg|300px|thumb|left|Main streets of Back Bay.]]

==Seismic risk==
Because of extensive use of [[landfill]], the Back Bay neighborhood is extremely vulnerable to [[soil liquefaction]] in a severe [[earthquake]]. This could cause disastrous soil movements and building damage, as was seen in the similarly landfilled [[Marina District]] of [[San Francisco]] after the [[Loma Prieta Earthquake]] of 1989. Note that the very names of these two popular neighborhoods refer to their watery origins.

Many people are not aware that New England is considered by insurance companies to be a high earthquake risk area.{{cn|date=May 2011}} In 1755, a severe earthquake estimated above 6 on the [[Richter Scale]] and centered near [[1755 Cape Ann Earthquake|Cape Ann]] caused extensive building damage in Boston. Severe seismic events are rare in New England, but they are historical fact, and can be expected to recur with an unknown frequency.

The [[building code]] in Boston has been modified to require better seismic resistance, but many older buildings do not conform, and are at risk for major damage.{{cn|date=May 2011}}

== See also ==
* [[Boston By Foot]]
* [[Copley Square]]
* [[High Spine]]

== Notes ==
{{Reflist}}

== References ==
* Bacon, Edwin M. (1903) ''Boston: A Guide Book.'' Ginn and Company, Boston, 1903.
* Bunting, Bainbridge (1967) "Houses of Boston's Back Bay", Harvard University Press, ISBN 0-674-40901-9
* Fields, W.C.: "My Little Chickadee" (1940), in which the Fields character calls himself "one of the Back Bay Twillies."
* [[Mark Jarzombek|Jarzombek, Mark]], ''Designing MIT: Bosworth's New Tech''. (Northeastern University Press, 2004)
* Museum of Fine Arts, Boston. Back Bay Boston: The City as a Work of Art. With Essays by Lewis Mumford & Walter Muir Whitehill (Boston, 1969).
* Shand-Tucci, Douglass, ''Built in Boston: City and Suburb, 1800-2000.''(Amherst: University of Massachusetts Press, 1999).
* Train, Arthur (1921), "The Kid and the Camel," from ''By Advice of Counsel.'' ("William Montague Pepperill was a very intense young person...")
* Howells, William Dean, ''Literary Friends and Acquaintance: My First Visit to New England''

== External links ==
{{Commons category|Back Bay, Boston}}
* [http://www.nabbonline.com/ Neighborhood Association of Back Bay]; [http://www.nabbonline.com/history.htm Back Bay timeline]
* [http://www.bc.edu/bc_org/avp/cas/fnart/fa267/bos_fill.html History of the Boston landfill projects] Course notes with illustrations by Professor Jeffrey Howe, Boston College
* [http://ocw.mit.edu/OcwWeb/Civil-and-Environmental-Engineering/1-012Spring2002/Readings/detail/build_back_bay_the_old_colony_trust_comp.htm MIT OpenCourseWare: "Building the Back Bay" (1926 account)] Accessed 2009-10-08
* [http://www.djtrealestate.com/back-bay-condos.htm Back Bay History]
* [http://www.visitbostonbackbay.com/site/about/history/ Concise Back Bay History] by [http://www.bostonbackbay.com/ Back Bay Association] business member group

{{Boston neighborhoods}}
{{Registered Historic Places}}

{{coord|42|21|4.66|N|71|4|49.28|W|name=Back Bay, Boston|display=title|type:landmark}}

[[Category:Neighborhoods in Boston, Massachusetts]]
[[Category:Historic districts in Massachusetts]]
[[Category:Back Bay, Boston| ]]

[[fr:Back Bay (Boston)]]

Back Bay (Boston)

2011-08-02T23:42:19Z

Reify-tech: /* Architecture */ Mention High Spine development planning

{{redirect6|Back Bay|the railroad/subway station therein|Back Bay (MBTA station)|other uses}}
{{Infobox NRHP
|name =Back Bay Historic District
|nrhp_type =hd
|image=Back_Bay1.jpg
|caption=Skyline of the Back Bay, from across the [[Charles River]]
|location=[[Boston]], [[Massachusetts]]
|locmapin = Massachusetts
|area=
|architect=Multiple
|architecture=Mid 19th Century Revival, Late 19th And 20th Century Revivals, Late Victorian
|added=August 14, 1973
|governing_body=Local
|settlement_type=[[Neighborhoods in Boston|Neighborhood of Boston]]
|refnum=73001948 <ref name="nris">{{NRISref|2007a}}</ref>
}}
'''Back Bay''' is an [[Neighborhoods in Boston|officially recognized neighborhood]] of [[Boston]], [[Massachusetts]] famous for its rows of [[Victorian architecture|Victorian]] [[brownstone]] homes, which are considered one of the best-preserved examples of 19th-century urban design in the United States, as well as numerous architecturally significant individual buildings and important cultural institutions such as the [[Boston Public Library]].
It is also a fashionable shopping destination, and home to some of Boston's tallest office buildings, the [[Hynes Convention Center]], and numerous major hotels.

Prior to a monumental 19th-century filling project, the Back Bay was an actual bay. Today, along with neighboring [[Beacon Hill, Boston|Beacon Hill]], it is one of Boston's two most expensive residential neighborhoods.<ref>[http://www.bostonbackbay.com/ Welcome to the Back Bay!]</ref><ref>[http://www.moving.com/real-estate/boston-massachusetts/boston-neighborhoods.asp Great Neighborhoods: Boston]</ref><ref>[http://www.luxist.com/2008/10/16/bostons-most-expensive-penthouse-listed-at-17-million/ Boston's Most Expensive Penthouse Listed at $17 Million]</ref>




The Neighborhood Association of the Back Bay considers the neighborhood's bounds to be "[[Charles River]] on the North; Arlington Street to Park Square on the East; Columbus Avenue to the New York New Haven and Hartford right-of-way (South of Stuart Street and Copley Place), [[Huntington Avenue (Boston)|Huntington Avenue]], Dalton Street, and the [[Massachusetts Turnpike]] on the South; Charlesgate East on the West."<ref>{{cite web|url=http://www.nabbonline.com/about_us/about_nabb|title=About NABB|publisher=Neighborhood Association of the Back Bay|accessdate=2009-02-25}} While the city of Boston does officially recognize various neighborhoods within its confines, it does not assign precise boundaries.{{citation needed|date=January 2011}}</ref><ref name="BBADbounds"/>

== History ==
[[Image:Oldandnewboston.jpg|200px|thumb|The effect of landfill on size of Boston.]]
[[Image:Middlesex_Canal_(Massachusetts)_map,_1852.jpg|thumb|right|200px|Map from 1852 depicting Back Bay as a part of the Charles River (see lower panel of map)]]

Before its transformation into buildable land by a 19th-century filling project, the Back Bay was literally a bay, located west of the [[Shawmut Peninsula]] (on the far side from [[Boston Harbor]]) between Boston and [[Cambridge, Massachusetts|Cambridge]], with the [[Charles River]] entering from the west. This bay was tidal: the water rose and fell several feet over the course of each day, and at low tide much of the bay's bed was exposed as a marshy flat.
As early as 5,200 years before present, Native Americans built fishweirs here, evidence of which was discovered during subway construction in 1913 (''see'' [[Ancient Fishweir Project]] and [[Boylston Street Fishweir]]).

In 1814, the Boston and Roxbury Mill Corporation was chartered to construct a [[milldam]], which would also serve as a toll road connecting Boston to [[Watertown, Massachusetts|Watertown]], bypassing [[Boston Neck]]. However, the project was an economic failure,{{Citation needed|date=January 2011}} and in 1857 a massive project was begun to "make land" by filling the area enclosed by the dam.

The firm of Goss and Munson built {{convert|6|mi|km}} of railroad from quarries in [[Needham, Massachusetts]]; 35-car trains arrived in the Back Bay 16 times each day, carrying gravel and other fill. ([[William Dean Howells]] recalled "the beginnings of Commonwealth Avenue, and the other streets of the Back Bay, laid out with their basements left hollowed in the made land, which the gravel trains were yet making out of the westward hills.") <ref>{{cite book|title=Boston: The Place and the People|last=Antony|first=Mark|authorlink=|coauthors=Howe, DeWolfe|year=1903|publisher=MacMillan|location=New York|isbn=|page=359|pages=|url=http://books.google.com/books?id=YToOAAAAYAAJ&printsec=toc#PPA360,M1}}</ref> Present-day Back Bay itself was filled by 1882; the project reached existing land at what is now [[Kenmore Square]] in 1890, and finished in the [[Back Bay Fens|Fens]]{{Vague|date=January 2011}} in 1900.<ref>However, the Kenmore and Fenway land was not all built up immediately, as explained by Bainbridge Bunting in 1967: ''By 1900 the Back Bay residential area had almost ceased to grow. After 1910 only thirty new houses were constructed, after 1917 none at all. Instead of paying high prices for filled land on which to erect a home within walking distance of his office, the potential home builder escaped to the suburbs on the electric trolley or in his automobile. This flight from the city left empty much of the area west of [[Kenmore Square]] and adjacent to [[Fenway Park]], and only later was it occupied by non-descript and closely-built apartments.''</ref> Much of the old mill dam remains buried under present-day Beacon Street.<ref>[http://www.nabbonline.com/about_us/back_bay_history Back Bay History] Accessed 2009-02-25</ref>
The project was the largest of a number of [[land reclamation]] projects which, beginning in 1820, more than doubled the size of the original Shawmut Peninsula. (It is frequently observed that this would have been impossible under modern environmental laws.){{Citation needed|date=January 2011}}

Completion, in 1910, of the [[Charles River Dam]] converted the former Charles estuary into a freshwater basin; the [[Charles River Esplanade]] was constructed to capitalize on the river's newly-enhanced recreational value.{{Vague|date=January 2011}}<ref name="100years">{{cite news|url=http://www.boston.com/yourtown/cambridge/articles/2010/07/04/100_years_of_celebrating_the_fourth_of_july_at_esplanade/|title=100 years of celebrating the Fourth of July at Esplanade|accessdate=2010-08-11|date=2010-07-04|work=The Boston Globe}}</ref> The Esplanade has since undergone several changes, including the construction of [[Storrow Drive]].

== Architecture ==
[[File:Boston backbay brownstones.jpg|thumb|left|The Back Bay's defining brownstones]]

The plan of Back Bay, by [[Arthur Gilman]] of the firm [[Gridley James Fox Bryant]], was greatly influenced by [[Haussmann's renovation of Paris]], with wide, parallel, tree-lined avenues unlike anything seen in other Boston neighborhoods.{{Citation needed|date=January 2011}} Five east-west corridors -- [[Beacon Street]] (closest to the Charles), Marlborough Street, [[Commonwealth Avenue, Boston|Commonwealth Avenue]], [[Newbury Street (Boston)|Newbury Street]] and [[Boylston Street]] -- are intersected at regular intervals by north-south cross streets: Arlington (running along the west boundary of the [[Public Garden (Boston)|Public Garden]]), Berkeley, Clarendon, Dartmouth, Exeter, Fairfield, Gloucester, and Hereford.<ref>A 1903 guidebook{{Citation needed|date=January 2011}} noted the trisyllabic-disyllabic alternation attending aforesaid alphabetic appellations, and the series continues in the adjacent Fenway neighborhood with Ipswich, Jersey, and Kilmarnock Streets.</ref>
Almost all of Back Bay's major streets are one-way with the exception of Commonwealth Avenue, which is actually two one-way thoroughfares flanking the tree-lined pedestrian Commonwealth Avenue Mall. 

[[Setback (land use)|Setback]] requirements and other restrictions, written into the lot deeds of the newly-filled Back Bay, produced harmonious rows of dignified three- and four-story residential [[brownstone]]s (though most along Newbury Street are now in commercial use). The Back Bay is listed on the [[National Register of Historic Places]], and is considered{{Citation needed|date=January 2011}} one of the best-preserved examples of 19th-century urban architecture in the United States. In 1966, the Massachusetts Legislature, "to safeguard the heritage of the city of Boston by preventing the despoliation" of the Back Bay, created the [[Back Bay Architectural Commission]] to regulate exterior changes to Back Bay buildings.<ref name="BBADbounds">The Back Bay Architectural District, somewhat smaller than "Back Bay" as defined by the Neighborhood Association of the Back Bay, is bounded by "the centerlines of Back Street on the north, Embankment Road and Arlington Street on the east, Boylston Street on the south, and Charlesgate East on the west."</ref><ref>[http://archives.lib.state.ma.us/bitstream/handle/2452/15993/1966acts0625.txt?sequence=1], [http://archives.lib.state.ma.us/bitstream/handle/2452/29930/1981acts0624.txt?sequence=1]</ref>

[[Copley Square]] contains [[Trinity Church, Boston|Trinity Church]], the [[Boston Public Library]], the [[John Hancock Tower]], and other notable buildings. Although the [[Prudential Tower]] has garnered scant architectural acclaim, the Prudential Center at its base was awarded the Urban Land Institute's "Award for Best Mixed Use Property" in 2006.<ref>[http://casestudies.uli.org "Case Studies"] -- Urban Land Institute</ref>

Since the 1960s, the concept of a [[High Spine]] has influenced large-project development in Boston, reinforced by [[zoning]] rules permitting high-rise construction along the axis of the [[Massachusetts Turnpike]], including [[air rights]] siting of buildings.{{citation needed|date=August 2011}}

=== Prominent Back Bay buildings ===
[[Image:Trinitychurchboston.jpg|261px|right|thumb|Trinity Church c. 1903]]

* The first monumental building on the square was the [[Museum of Fine Arts, Boston|Museum of Fine Arts]] building. Begun in 1870, it opened in 1876, with a large portion of its collection taken from the Boston Athenaeum Art Gallery. Its red [[Gothic Revival architecture|Gothic Revival]] style building was torn down and rebuilt as [[the Fairmont Copley Plaza Hotel]] (1912) which still exists today.
* [[Trinity Church, Boston|Trinity Church]] (1872–77), designed by [[Henry Hobson Richardson]], called "deservedly regarded as one of the finest buildings in America" by ''Baedeker's United States'' in 1893.
* The [[Boston Public Library]] (1888–92), designed by [[McKim, Mead, and White]], is a leading example of [[Beaux-Arts architecture]] in the US. Sited across Copley Square from Trinity Church, it was intended to be "a palace for the people." [[Baedeker]]'s 1893 guide terms it "dignified and imposing, simple and scholarly," and "a worthy mate... to Trinity Church." At that time, its 600,000 volumes made it the largest free public library in the world.
* The [[Old South Church]], also called the New Old South Church (645 Boylston Street on Copley Square), 1872–75, is located across the street from the Boston Public Library. It was designed by the Boston architectural firm of [[Cummings and Sears]] in the [[Venetian Gothic architecture|Venetian Gothic]] style. The style follows the precepts of the British cultural theorist and architectural critic [[John Ruskin]] (1819–1900) as outlined in his treatise ''The Stones of Venice''. Old South Church remains a significant example of Ruskin's influence on architecture in the US. [[Charles Amos Cummings]] and Willard T. Sears also designed the [[Isabella Stewart Gardner Museum]].
* The 52-story [[Prudential Tower]], thought a marvel in 1964, is now considered ugly by some.<ref name=lyndon>{{cite book|first=Donlyn|last=Lyndon|title=The City Observed: Boston|isbn=0-394-74894-8|publisher=Vintage|year=1982}}: the Hancock "may be nihilistic, overbearing, even elegantly rude, but it's not dull;" the Prudential is "an energetically ugly, square shaft that offends the Boston skyline more than any other structure."</ref>
* '''[[Arlington Street Church]]''' ([[Arthur Gilman]], 1861), inspired by London's [[St Martin-in-the-Fields]], was the first church built in the newly-filled Back Bay. (Architect Gilman also designed Back Bay's grid-style street plan.)
* '''Berkeley Building''' ([[Codman and Despradelle|Constant-Désiré Despradelle]], 1905) features a white [[terra cotta]] [[Beaux-Arts architecture]] facade on a steel frame. 
* There were at various time three "Hancock buildings":
** The '''Stephen L. Brown Building''' ([[Parker, Thomas & Rice]], 1922) was the first of the three Hancock buildings:
** '''The Old John Hancock Building''' ([[HDB/Cram and Ferguson|Cram and Ferguson]], 1947) was the tallest building in Back Bay until construction of the Prudential Tower. (Sometimes called the [[Berkeley Building]], though not to be confused with the actual Berkeley Building, ''above''.)
** [[John Hancock Tower]] ([[I. M. Pei]] , 1972), at sixty stories Boston's tallest building -- is a dark-blue glass tower with a plan in the form of a narrow parallelogram.  Admirers assert that it does not diminish the impact of Trinity Church, although its construction did damage the church's foundations.{{citation needed|date=January 2011}} The architect Donlyn Lyndon, who served as head the Department of Architecture at the Massachusetts Institute of Technology during the late 1960s and early 1970s, noted that an early Hancock press release had "the gall to pronounce that 'the building will reflect the architectural character of the neighborhood.'" Lyndon opines that it "may be nihilistic, overbearing, even elegantly rude, but it's not dull."<ref name="lyndon"/>
* The '''[[Gibson House Museum|Gibson House]]''' (1860), preserved very much as it was in the 19th century, is now a museum.
* '''[[The First Church of Christ, Scientist]]''' (1894; extended 1904), the centerpiece of the Christian Science Plaza, which also features a reflecting pool and the [[Maparium]]. 
* '''The Colonnade Hotel''' (1971) with its row of columns. 
* '''[[111 Huntington Avenue]]''' (2002), a 36-story tower south of the Prudential Center, is Boston's eighth-tallest building. Featuring a glass "Wintergarden"{{clarify|date=January 2011}} and a {{convert|1.2|acre|m2|sing=on}} fully-landscaped South Garden, it was nominated for, but did not win, the 2002 Emporis Skyscraper Award.<ref>[http://awards.emporis.com/?nav=award2002nominees&lng=3]</ref>{{clarify|date=January 2011}}
* The '''[[Saint Clement Eucharistic Shrine]]''' (Arthur F. Gray, 1922) is a Roman Catholic church built for the Second Universalist Society.{{clarify|date=January 2011}}
* '''[[Church of the Covenant (Boston)|Church of the Covenant]]''' ( [[Richard M. Upjohn]], 1865–1867) is a Presbyterian church of [[Roxbury conglomerate|Roxbury puddingstone]] in [[Gothic Revival architecture|Gothic Revival style]], which its designer intended as "a high gothic edifice ... which no ordinary dwelling house would overtop."<ref>[http://cotcbos.org/pmwiki.php?n=Main.TiffanyWindows "Church of the Covenant:Tiffany Windows"]</ref>

==Cultural and educational institutions==
[[Image:Boston Back Bay.jpg|thumb|300px|right|Aerial view of the "[[High Spine]]" of skyscrapers in the Back Bay, including the Prudential Center and [[John Hancock Tower]].]]


In the past, Back Bay has been home to some of Boston's leading institutions, which have eventually moved elsewhere when they needed more room for expansion. Other smaller cultural and educational organizations continue to enrich the neighborhood.

The art collection of the [[Museum of Fine Arts, Boston]], was located in Copley Square from 1876 until 1909, when it moved to its current much-larger quarters in the [[Fenway-Kenmore, Boston|Fenway]] neighborhood of Boston.

The current site of the Newbry Building (formerly the New England Life Building) was once occupied by one of Back Bay's first monumental structures, [[Massachusetts Institute of Technology|MIT's]] [[Rogers Building (MIT)|Rogers Building]] (1866-1939), designed by [[William G. Preston]]. It shared the same architect and city block with a smaller building for the [[Boston Society of Natural History]].<ref>[[Mark Jarzombek]], ''Designing MIT: Bosworth's New Tech'' (Northeastern University Press, 2004)</ref> The natural history society eventually became the [[Museum of Science, Boston]], and relocated to its current building on the [[Charles River Dam]] around 1950. The original Natural History building was the only structure on the block (bounded by Boylston, Newbury, Berkeley, and Clarendon Streets) to escape demolition, most recently housing the clothier Louis of Boston before its move to the [[South Boston]] waterfront. As of 2011, the building is vacant and available for lease, and it is under historical landmark protection.{{citation needed|date=August 2011}}

[[Emerson College]], a four-year [[liberal arts college]] specializing in communications and the [[theater arts]], once occupied a number of scattered buildings in Back Bay. Starting in the 1990s, the entire college gradually moved its facilities to the vicinity of the [[Washington Street Theatre District]] in downtown Boston, where it now has restored and refurbished several classic grand theater buildings.

The [[Berklee College of Music]] and the [[Boston Architectural College]] remain firmly esconced in the Back Bay area.

The Back Bay is the home of the [[New England Historic Genealogical Society]] (NEHGS), the oldest (1845) and largest genealogical society in the United States. A charitable, nonprofit educational institution, NEHGS is located at 99-101 Newbury Street, in an eight-story archive and research center.



== Commercial institutions==
[[Image:Backbay from south.jpg|thumb|300px|right|Back Bay in Boston at night as it is seen from the South End.]]

Back Bay is home to many boutiques and stores, primarily on [[Newbury Street (Boston)|Newbury]] and [[Boylston Street]]s and in the [[Prudential Tower|Prudential Center]] and [[Copley Place]] malls.
The [[Hynes Convention Center]] is complemented by numerous hotels, including the [[The Lenox Hotel|Lenox]], [[Colonnade Hotel (Boston)|Colonnade]], [[Westin Copley Place|Westin]], [[Fairmont Copley Plaza Hotel|Fairmont]], [[Marriott Hotels & Resorts|Marriott]], Four Seasons, [[Boston Park Plaza Hotel & Towers|Park Plaza]], and [[Mandarin Oriental Hotel Group#Mandarin Oriental, Boston|Mandarin Oriental]].

== The Saint Botolph neighborhood ==
The St. Botolph neighborhood, stretching from Huntington Ave. to the north, the Southwest Corridor to the south, Harcourt Ave. to the east, and Massachusetts Ave. to the west, is a lesser known part of the Back Bay. Residential parking is available to those with a Back Bay parking sticker. Consisting almost entirely of brownstones (row houses), with many dead-end streets abutting the Southwest Corridor, the neighborhood also borders the South End.

Cross streets in the St. Botolph neighborhood, like those that cross Newbury Street, are alphabetical with the exception of West Newton (Albermarle, Blackwood, Cumberland, Durham, West Newton, Follen, Garrison, Harcourt). Unlike the alphabetical streets in northern Back Bay, where Arlington is to the east and Hereford to the west, Albermarle is located to the west and Harcourt to the east.

==Transportation==
A number of local and express buses converge on Copley Square and Back Bay station, as listed in the Wikipedia article on [[Back Bay (MBTA station)|Back Bay station]].

The Back Bay neighborhood is served by several stations on the Boylston Street Subway section of the [[MBTA]] [[Green Line (MBTA)|Green Line]] [[light rail]] line. From east to west, the stations are [[Arlington (MBTA station)|Arlington]], [[Copley (MBTA station)|Copley]], and [[Hynes Convention Center (MBTA station)|Hynes Convention Center]]. The MBTA [[Orange Line (MBTA)|Orange Line]] stops at Back Bay station.

For regional travel, Back Bay station is served by [[MBTA Commuter Rail]] and [[Amtrak]] service to the south and west of Boston.

[[Image:Backbay.jpg|300px|thumb|left|Main streets of Back Bay.]]

==Seismic risk==
Because of extensive use of [[landfill]], the Back Bay neighborhood is extremely vulnerable to [[soil liquefaction]] in a severe [[earthquake]]. This could cause disastrous soil movements and building damage, as was seen in the similarly landfilled [[Marina District]] of [[San Francisco]] after the [[Loma Prieta Earthquake]] of 1989. Note that the very names of these two popular neighborhoods refer to their watery origins.

Many people are not aware that New England is considered by insurance companies to be a high earthquake risk area.{{cn|date=May 2011}} In 1755, a severe earthquake estimated above 6 on the [[Richter Scale]] and centered near [[1755 Cape Ann Earthquake|Cape Ann]] caused extensive building damage in Boston. Severe seismic events are rare in New England, but they are historical fact, and can be expected to recur with an unknown frequency.

The [[building code]] in Boston has been modified to require better seismic resistance, but many older buildings do not conform, and are at risk for major damage.{{cn|date=May 2011}}

== See also ==
* [[Boston By Foot]]
* [[Copley Square]]
* [[High Spine]]

== Notes ==
{{Reflist}}

== References ==
* Bacon, Edwin M. (1903) ''Boston: A Guide Book.'' Ginn and Company, Boston, 1903.
* Bunting, Bainbridge (1967) "Houses of Boston's Back Bay", Harvard University Press, ISBN 0-674-40901-9
* Fields, W.C.: "My Little Chickadee" (1940), in which the Fields character calls himself "one of the Back Bay Twillies."
* [[Mark Jarzombek|Jarzombek, Mark]], ''Designing MIT: Bosworth's New Tech''. (Northeastern University Press, 2004)
* Museum of Fine Arts, Boston. Back Bay Boston: The City as a Work of Art. With Essays by Lewis Mumford & Walter Muir Whitehill (Boston, 1969).
* Shand-Tucci, Douglass, ''Built in Boston: City and Suburb, 1800-2000.''(Amherst: University of Massachusetts Press, 1999).
* Train, Arthur (1921), "The Kid and the Camel," from ''By Advice of Counsel.'' ("William Montague Pepperill was a very intense young person...")
* Howells, William Dean, ''Literary Friends and Acquaintance: My First Visit to New England''

== External links ==
{{Commons category|Back Bay, Boston}}
* [http://www.nabbonline.com/ Neighborhood Association of Back Bay]; [http://www.nabbonline.com/history.htm Back Bay timeline]
* [http://www.bc.edu/bc_org/avp/cas/fnart/fa267/bos_fill.html History of the Boston landfill projects] Course notes with illustrations by Professor Jeffrey Howe, Boston College
* [http://ocw.mit.edu/OcwWeb/Civil-and-Environmental-Engineering/1-012Spring2002/Readings/detail/build_back_bay_the_old_colony_trust_comp.htm MIT OpenCourseWare: "Building the Back Bay" (1926 account)] Accessed 2009-10-08
* [http://www.djtrealestate.com/back-bay-condos.htm Back Bay History]
* [http://www.visitbostonbackbay.com/site/about/history/ Concise Back Bay History] by [http://www.bostonbackbay.com/ Back Bay Association] business member group

{{Boston neighborhoods}}
{{Registered Historic Places}}

{{coord|42|21|4.66|N|71|4|49.28|W|name=Back Bay, Boston|display=title|type:landmark}}

[[Category:Neighborhoods in Boston, Massachusetts]]
[[Category:Historic districts in Massachusetts]]
[[Category:Back Bay, Boston| ]]

[[fr:Back Bay (Boston)]]