 | Parson Capen house, Topsfield, MA, 1683 Karen Halttunen photo |
 | Jonathan Fiske house, Concord, MA, before 1724 Karen Halttunen photo |
 | Suit, England, 1750-70 Courtesy of The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. All rights reserved. Our thanks to The Foundation. |
 | Emerson House, Concord, MA Karen Halttunen photo |
 | John Wollaston, "Abraham Barnes," 1753/54, oil on canvas, 50-1/4 x 40-1/4". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 59.57. Museum Purchase, Gallery Fund and Gift of the Honorable Orme Wilson. All rights reserved. Our thanks to The Corcoran. |
 | John Singleton Copley, "The Copley Family," 1776-77, with Richard Clarke, third from left, oil on canvas, 184.1 x 229.2 cm (72 1/2 x 90 1/4 in.)
National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Andrew W. Mellon Fund. 1961.7.1. www.nga.gov |
 | John Singleton Copley, "Henry Pelham (Boy with a Squirrel,)" 1765, oil on canvas, 77.15 x 63.82 cm (30 3/8 x 25 1/8 in.)
Copyright Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. Gift of the artist's great granddaughter, 1978. Accession number: 1978.297. All rights reserved. |
 | "The Repeal, or The Funeral Procession of Miss Americ-Stamp," 1766; cartoon celebrating repeal of the Stamp Act, depicting its burial at water's edge; after Benjamin Willson, London, England Library of Congress Prints and Photographs Division, British Cartoon Prints Collection, Washington, DC 20540. LC-USZ62-1505 |
 | John Singleton Copley, "Mr. and Mrs. Thomas Mifflin, (Sarah Morris)," 1773; prominent philanthropists; she is spinning her own thread; oil on ticking, 61 x 48" (154.9 x 121.9 cm) The Philadelphia Museum of Art, PO Box 7646, Philadelphia, PA 19101-7646. Acquired through the generosity of Mr. and Mrs. Fitz Eugene Dixon, Jr. and significant contributions from Mrs. Myer Eglin, and other donors, as well as the George W. Elkins Fund and the W.P. Wilstach Fund, 1999. |
 | John Singleton Copley, "Mr. and Mrs. Thomas Mifflin of Philadelphia," 1773, oil on ticking, 61 x 48" (154.9 x 121.9 cm) The Historical Society of Pennsylvania, 1300 Locust St, Philadelphia, PA 19107. |
 | Female Liberty on American coin, 1803 Chicago Historical Society, Clark St at North Ave, Chicago, IL 60614-6071. |
 | Unidentified maker, Cake Print, John Quincy Adams pastry board, New York, NY, 1824-30, mahogany; overall: 5 x 10 1/8 x 3/4 in. Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1959.708. All rights reserved. Our thanks to the Museum. |
 | Salem Towne House, wall painting of cedars of Lebanon (?), 1796; Masonic Hall, 1806, Old Sturbridge Village, MA. Old Sturbridge Village, MA. Karen Halttunen photo |
 | Side door, Salem Towne House, 1796, Old Sturbridge Village, MA. Old Sturbridge Village, MA. Karen Halttunen photo |
 | Attorney's office, Woodstock, CT, 1796 Karen Halttunen photo. Old Sturbridge Village, MA |
 | Ammi Phillips (attributed), "Young Physician," probably Dutchess County, NY, c. 1830, oil on canvas; 31 x 25 in. unframed Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1958.100.42. All rights reserved. We are grateful for the generosity of the Museum. |
 | Folk Art Center, Williamsburg, VA Copyright holder unknown. (Museum of Fine Arts, Boston?) |
 | Jacob Maentel, "Mrs. Jonathan Jaquess (Rebeckah Fraser Rankin)," Posey County, IN, 1841, 17 3/4 x 11 3/8 in. unframed Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1959.300.7. All rights reserved. Our thanks to The Museum. |
 | Thomas Sully, "Queen Victoria," 1838, print based on painting: oil on canvas; 94 x 58 in. (238.8 x 147.3 cm)
Print based on Sully's portrait of the Queen, Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Lent by Mrs. Arthur A. Houghton Jr. (L.1993.45). http://metmus.org. |
 | Hiram Powers, "The Greek Slave," 1851, marble, 165.7 x 53.3 x 46.4 cm Karen Halttunen photo. Yale University Art Gallery, PO Box 208271, New Haven, CT 06520-8271. Olive Louise Dann Fund. |
 | John Singleton Copley, "Mr. and Mrs. Thomas Mifflin (Sarah Morris)," 1773, oil on ticking. Copyright The Historical Society of Pennsylvania, 1300 Locust St., Philadelphia, PA 19107. All rights reserved. 8.1.4 |
 | Bloomingdale Asylum, engraving by James Smillie from a painting by Robert Weir, in Mirror, 1834. The asylum was built in 1818-1820, a branch of the New York Hospital for care of the insane, near Bloomingdale Village, along the Hudson about 100-110 Sts., now Columbia University. In the 1830s the area was still a rural community. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, Columbia Historical Portrait of New York, 1953, p. 141. 8.1.4 |
 | Walnut Street jail, Philadelphia, 1770. The colonial jail, like the other institutions, followed the household model. Its design fit well with its limited function; clearly this structure was not intended for the long-term detention of criminals. Pennsylvania Prison Society, 245 North Broad St., Ste. 300, Philadelphia, PA 19107-1518. In David J. Rothman, Discovery of the Asylum, 1971, p. 54. 8.1.4 |
 | The New York Almshouse, 1735. Built in the style of an ordinary residence, the almshouse followed, internally and externally, the organization of the family. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In David J. Rothman, Discovery of the Asylum, 1971, p. 37. 8.1.4 |
 | Public charitable institutions, Philadelphia, colonial period. As Philadelphia grew, each of the buildings added wings to the original house-like frame structure. The Phelps Stokes Collection. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In David J. Rothman, Discovery of the Asylum, 1971, p. 47. 8.1.4 |
 | Massachusetts state prison at Charlestown, 1806. Designed by Charles Bulfinch, this structure hints at the monotony and fixity that would characterize later penitentiaries. The Boston Public Library, 700 Boylston St, Boston, 02116. In David J. Rothman, Discovery of the Asylum, 1971, p. 91. 8.1.4 |
 | Eastern State Penitentiary, Philadelphia. The monumentality of the design by John Haviland points to the importance of these structures in Jacksonian America. The pastoral quality of the scene, with the prison as castle, suggests how unbounded was the optimism with which citizens greeted this innovation. The Pennsylvania Prison Society, 245 North Broad St., Ste. 300, Philadelphia, PA 19107-1518. In David J. Rothman, Discovery of the Asylum, 1971, p. 98. 8.1.4 |
 | Design of Eastern State Penitentiary, Philadelphia, 1855. The commitment to isolation was so great that few costs were spared to attain it. Note, for example, the exercise yards and the honeycombed compartments along each radial arm of the structure. The Pennsylvania Prison Society, 245 North Broad St., Ste. 300, Philadelphia, PA 19107-1518. In David. J. Rothman, Discovery of the Asylum, 1971, p. 98. 8.1.4 |
 | Worcester (Mass.) State Hospital for the Insane, c. 1835. Although the structures and the scene seem orderly and placid, the Worcester asylum was beginning to suffer overcrowding and haphazard expansion, the result of the swelling number of chronic and immigrant patients. The Library Company of Philadelphia, 1314 Locust St, Philadelphia, PA 19107. In David J. Rothman, Discovery of the Asylum, 1971, p. 139. 8.1.4 |
 | The Pennsylvania Hospital for the Insane, picture and diagram. Revealed in its design is the importance of uniformity and regularity in the treatment of the insane. Trustees of the University of Pennsylvania, 3451 Walnut St., Philadelphia, PA 19104. In David J. Rothman, Discovery of the Asylum, 1971, p. 140. 8.1.4, 8.6.1 |
 | Boston House of Industry, 1821. The architecture of this institution exemplified the ideals of order and regularity. These virtues would bring a new discipline to the poor, transforming them into diligent, hardworking citizens. The Boston Public Library, 700 Boylston St, Boston, 02116. In David J. Rothman, Discovery of the Asylum, 1971, p. 181. 8.1.4, 8.6.1 |
 | Boston almshouse, 1849. Built on Deer Island, this almshouse has a fortress-like quality that points both back to the importance in the Jacksonian period of a uniformity of design and ahead to the post-1850 period, when institutions would become more and more massive and unwieldy. The Boston Public Library, 700 Boylston St, Boston, 02116. In David J. Rothman, Discovery of the Asylum, 1971, p. 203. 8.1.4, 8.6.1 |
 | Emblem of the Philadelphia House of Refuge. Used on membership certificates and public broadsides, this image captures the faith that Americans in the Jacksonian period held in the ability of institutions to transform deviants into respectable citizens. The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In David J. Rothman, Discovery of the Asylum, 1971, p. 211. 8.1.4, 8.8.1 |
 | Plan of Greenfield, Massachusetts, 1774. This illustration depicts a village plan used in colonial New England: the linear village plan. In this plan a single street formed the spine of the settlement. Most of the houses were located on this street, giving the settlement an "elongated" appearance. Copyright holder unknown. John Gibson redrawing, 1962, of 1774 manuscript. Dept. of City and Regional Planning, Cornell University, Ithaca, NY 14853. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 139. 8.1.4 |
 | Plan of Savannah, Georgia, 1856. This town, laid out by James Oglethorpe in the 1730s, was a real innovation in urban planning. The town was composed of little neighborhood units (wards) of houses and local streets centered around open squares. Urban expansion saw the addition of further wards and squares until the 1850s. Library of Congress, Manuscripts Division, Washington, DC 20540. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 200. 8.1.4 |
 | View of Savannah, Georgia, 1855, showing the ward and square type of urban development. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 203. 8.1.4 |
 | The Ellicott Plan for Washington, D.C., 1792, a modified version of the unique plan developed by Major Pierre Charles L'Enfant. The city was laid out on a grid street pattern, broken up by broad diagonal avenues connecting the public buildings and squares of the city. The building in the open space in the right center is the Capitol; the building in the large open space in the left center is the White House. Author's collection. John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 255. 8.1.4 |
 | Towards_Revolution37
Philadelphia: Second Street north from Market, showing old City Hall in left foreground, one of the meeting places of the Pennsylvania Assembly until the completion of the State House. Christ Church is in the background. William Birch engraving, 1799. The Historical Society of Pennsylvania, 1300 Locust St, Philadelphia, PA 19107. |
 | Rev-p02-d01
"View of Faneuil-Hall, in Boston, Mass.," 1789. S. Hill engraving after W. Pierpont. Massachusetts Magazine, March 1789, vol. I, no. 3. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-2178. |
 | Rev-p04-a01
"The Death of General Warren at the Battle of Bunker's Hill, 17 June, 1775." Dr. Joseph Warren was "an author of persuasive anti-crown literature, an orator of eloquent speeches, and an underground leader of the growing revolutionary movement. He accepted a commission as a major general on June 14, 1775, but it was as a volunteer that he was killed three days later at the Battle of Bunker Hill. Warren's heroism immediately captured the imagination of the American public. He was so idolized that in the decade following his death there were more towns and streets named after him than after George Washington.... Actual participants, both American and British, in the surrounding fray are recognizable as portraits, including William Howe, Henry Clinton, and William Prescott (who allegedly gave the order to his American soldiers not to fire until 'you see the whites of their eyes'). When Abigail Adams viewed the original sketch for this composition she claimed her blood shivered at the sight, so vivid was Trumbull's depiction of the tragedy." - Museum of Fine Arts. John Trumbull, oil on canvas, 1815-31. Copyright © Museum of Fine Arts, Avenue of the Arts, 465 Huntington Ave, Boston, MA 02115-5597. Gift of Howland S. Warren, 1977. Acc. No: 1977.853. All rights reserved. |
 | Col-P21-b2
Governor Robert Dinwiddie of VA, 1751-58. In 1754 he set aside 200,000 acres of Ohio Valley land to give to enlistees in the Virginia Regiment. A British expansionist and the "Grandfather of the United States," he promoted George Washington and sent him to fight the French. He also raised taxes on the Virginia colonists to re-pay Britain for protecting them against the Indians; this "unlawful tax" became one of the complaints causing the American Revolution. Location of original painting unknown. In Douglas Freeman, "George Washington," vol. I, (New York: Charles Scribner's Sons, 1948.) |
 | Jeffersons_Republic01
"Miss Liberty" holding the flag and feeding the American eagle, early national US, early 19th c. Unknown artist, oil on canvas.
Copyright © National Gallery of Art, 2000B S Club Dr, Landover, MD 20785. Gift of Edgar William and Bernice Chrysler Garbisch. 1955.11.13. All rights reserved. |
 | Federalists_and_Unity05
Liberty in the Form of the Goddess of Youth, Giving Support to the Bald Eagle. "American liberty or freedom was often presented as a beautiful young woman. In this popular 1796 allegory by Edward Savage (1761–1817), a maiden in the form of the Goddess of Youth (Hebe) offers food to an eagle, symbol of the United States, while she treads on chains, a scepter, key, and other implements of tyranny. A liberty cap, mounted on the pole of an American flag, floats in the sky behind her, visible through the clouds of war that spew lightning to drive the British fleet from Boston harbor." - LOC. "With her hair flowing behind her, carrying the liberty pole or draped in classical garb, Lady Liberty became the emblem of choice for the U.S. cent and half-cent coins.... A plaster statue of Liberty and the Eagle even stands above and behind the speaker's chair in the House of Representatives." - American Studies Dept, University of Virginia. Library of Congress Prints and Photographs Division, Washington, DC 20540. (131.00.00) Digital ID ppmsca-13641. Also, The Henry Ford Museum and Greenfield Village, 20900 Oakwood Blvd, Dearborn, MI 48124-5029. And Winterthur Museum & Country Estate, Route 52, Winterthur DE 19735. Quotation from American Studies Dept, University of Virginia, Charlottesville, VA 22904. http://xroads.virginia.edu/~CAP/LIBERTY. |
 | George Washington as the Roman god Jupiter, statue by Horatio Greenough, 1840, inspired by the colossal statue of Zeus in Olympia, Greece. He wears sandals and holds a Roman sword. "To commemorate the centennial of Washington's birth in 1832, Congress commissioned Greenough to create a statue to be displayed in the Capitol Rotunda. As soon as the marble statue arrived in the capital city in 1841, however, it attracted controversy and criticism. Greenough had modeled his figure of Washington on a classical Greek statue of Zeus, but many Americans found the sight of a half-naked Washington offensive, even comical. After the statue was relocated to the east lawn of the Capitol in 1843, some joked that Washington was desperately reaching for his clothes, on exhibit at the Patent Office several blocks to the north. It was housed in the Smithsonian 1908-64, when it was moved to the National Museum of American History. The marble Washington has held court on the second floor ever since." 5+ online. Copyright © Smithsonian American Art Museum, MRC 970 Box 37012, Washington, DC 20013-7012. Transfer from the US Capitol. 1910.10.3. All rights reserved. Text: Smithsonian Institution. |
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