The History Project - University of California, Davis

Image Collection / 8.00 / 8.6 / 1.00

	Slave ship diagram showing ship captains how to pack human cargo most efficiently under law, 1831 Robert Walsh, "Notices of Brazil in 1828 and 1829" (Boston and New York, 1831), vol. 2, facing title page. The British Library, St Pancras, 96 Euston Rd, London NW1 2DB, England, UK
	Slave ship diagram, 18th century, with "cargo" stowed according to British regulations (1788), with representation of Africans' bodies, drawing; full title: "Stowage of the British slave ship Brookes under the regulated slave trade act of 1788," etching, broadside Library of Congress Rare Book and Special Collections Division, Washington, DC 20540. LC-USZ62-44000
	Enslaved Africans in the interior of a slave ship hull, 1827. "Negroes in the Bilge." Engraving by Deroi after Johann Moritz Rugendas, lithograph. Original in Johann Moritz Rugendas, "Picturesque Voyage to Brazil," trans. from German (Paris, 1835). The Houghton Library, Harvard University, Cambridge, MA 02138.
	English tobacco label showing black labor, white leisure, 18th c. New York Public Library, Fifth Ave and 42nd St, New York, NY 10018. In Barbara Clark Smith, "After the Revolution: The Smithsonian History of Everyday Life in the 18th Century," (New York: Pantheon Press, 1985), p. 93 top. Our thanks to the NYPL.
	Alexander Lawson, bird plates, Peale Museum, 1811, from museum drawings of specimens from Lewis and Clark expedition The Academy of Natural Sciences, 1900 Benjamin Franklin Parkway, Philadelphia, PA 19103
	Titian Ramsay Peale II, Butterfly mounts, Peale Museum Copyright Academy of Natural Sciences, 1900 Ben Franklin Pkwy, Philadelphia, PA 19103. All rights reserved.
	George Caleb Bingham, "The Squatters," 1850, oil on canvas, 58.74 x 71.75 cm (23 1/8 x 28 1/4 in.) American Art Union. Copyright Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. Bequest of Henry Lee Shattuck in memory of the late Ralph W. Gray, 1971. Accession number: 1971.154. All rights reserved.
	"The Household as Factory," family making textiles, woodcut The New York Public Library, 188 Madison Ave, New York, NY 10016
	Carding mill, 1840, inside and below, Old Sturbridge Village, MA Karen Halttunen photo. Old Sturbridge Village, MA.
	Carding machine, Old Sturbridge Village, MA Karen Halttunen photo. Old Sturbridge Village, MA.
	Oliver Evans, Mechanized grain elevator, 1795 Library Company of Philadelphia, 318 Locust St, Philadelphia, PA 19102
	Carding machine, Old Sturbridge Village, MA Karen Halttunen photo. Old Sturbridge Village, MA.
	Batting machine, Old Sturbridge Village, MA Karen Halttunen photo. Old Sturbridge Village, MA.
	Jacquard loom, 1804, introduced to U.S. c. 1820 National Museum of American History, Kenneth E. Behring Center, Smithsonian Institution, P.O. Box 37012, MRC 603, Washington, DC 20013-7012. www.si.edu
	McCormick reaper, 1847 Ohio Cultivator, 3, 1847. In Sarah Burns, "Pastoral Inventions: Rural Life in 19th Century American Art and Culture," (Philadelphia: Temple University Press, 1989), p. 66
	George Innes, "The Lackawanna Valley," c. 1856, oil on canvas, 86 x 127.5 cm (33 7/8 x 50 3/16 in.) Copyright National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. Gift of Mrs. Huttleston Rogers. 1945.4.1. All rights reserved.
	Shoe factory, interior of stitching room, 1860 Frank Leslie's Illustrated Weekly, 1860. The Chicago Historical Society, 1601 N Clark St, Chicago, IL 60614
	Young woman, an early textile worker Copyright holder unknown. Corbis Corp., 710 2nd Ave., Ste. 200, Seattle, WA 98104
	Boarding-houses built in Lowell, MA, early 1830s by Lawrence Mfg. Co. Courtesy of Columbia University Press, 61 W 62nd St, New York, NY 10023. In John Coolidge, "Mill and Mansion: A Study of Architecture and Society in Lowell, Massachusetts 1820-1865," 1942, fig. 19. Margaret Noyes photo. Our thanks to Columbia University Press.
	Pendleton, "Lowell as Seen from across the Merrimack," c. 1833. Courtesy of The Worcester Art Museum, 55 Salisbury St, Worcester, MA 01609. All rights reserved. The Charles E. Goodspeed Collection, Museum purchase. (1910.48.3567). Our thanks to The Worcester Art Museum.
	"Merrimack Mill No. 6," Lowell, MA, 1868, drawing Charles Cowley, "History of Lowell," 1868, facing p. 49
	Great Falls Mfg. Co., Lowell, MA, c. 1840. Courtesy of New Hampshire Historical Society, Tuck Library, 30 Park St, Concord, NH 03301-6384. Our thanks to the Society.
	View of Lowell, MA, 1834 People's Magazine, 1834. Lowell Historical Society, 115 John St, Fourth Fl., Lowell MA 01852
	Woman at Singer sewing machine, c. 1875. Courtesy of Singer, 1224 Heil Quaker, La Vergne, TN 37086. All rights reserved. Our thanks to Singer.
	Ad, Remington Armory sewing machines Location unknown
	Croquet game, suburb north of Chicago, n.d. (1870s?) Everett Chamberlin, "Chicago and Its Suburbs," 1874. In John R. Stilgoe, "Borderland: Origins of The American Suburb, 1820-1939," 1988, p. 147
	Joshua H. Bussell, "The Shaker Village at Alfred, Maine," 1845 Copyright holder unknown. Library of Congress, Washington, DC
	"The Bowery Theater, New York City," 1830s, drawing Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138.
	"The Astor House," the John Jacob Astor Hotel on Broadway, in fashionable district of New York City, 1834 Library of Congress Prints and Photographs Division, Washington, DC 20540.
	"The Wonderful Leaps of Sam Patch," 1870; a factory worker who was the first person to survive a jump of Niagara Falls "The Wonderful Leaps of Sam Patch," (New York: McLoughlin Bros., c. 1870), front cover
	"Sam Patch jumping off falls," c. 1829 "The Wonderful Leaps of Sam Patch," (New York: McLoughlin Bros., c. 1870)
	"Improving Old Houses," 1856; how to turn an old box-like house into a stylish cottage Register of Rural Affairs I, 1856, pp. 29-31. In John R. Stilgoe, "Borderland: Origins of the American Suburb 1820-1939," 1988, p. 106
	Photographic studio, c. 1860 National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu.
	Whale Fishery "Laying On," Currier and Ives, 1852, lithograph with hand coloring, 21.5 x 32.3 cm (image); 32.8 x 40.8 cm (sheet) Fine Arts Museums of San Francisco, de Young Museum, Golden Gate Park, 50 Hagiwara Tea Garden Dr, San Francisco, CA 94118. Gift of Joseph Martin Jr. 1994.120.16. In Roy King and Burke Davis, "The World of Currier and Ives," 1968
	Printing presses and compositors' benches, late 18th century National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	Printing presses and compositors' benches, late 18th century National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	Printing presses and compositors' benches, late 18th century National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	Goldsmith shop, engraving Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. http://metmus.org.
	Loom National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	Flax wheel National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	Spinning wheel National Museum of American History, PO Box 37012, Smithsonian Institution Bldg, Rm 153, MRC 010, Washington, DC 20013-7012. www.si.edu
	"Prostitutes Hooking a Victim," New York City, 1851 Courtesy of The Museum of the City of New York, 1220 Fifth Ave, New York, NY 10029. Our thanks to the Museum.
	"Henry Miller's Tobacco," New York, c. 1855, ad poster; tobacco cart opposite elegant St. Nicholas Hotel Location unknown
	Unidentified artist, Josiah Turner Boot Sign, c. 1810, probably MA Abby Aldrich Rockefeller Folk Art Museum. Courtesy of The Colonial Williamsburg Foundation, PO Box 1776, Williamsburg, VA 23187-1776. Our thanks to the Museum. All rights reserved.
	Pears Soap, c. 1900, ad; medieval theme Strong National Museum of Play�, One Manhattan Square, Rochester, NY 14607
	"Universal" bathtub, cheap and portable, c. 1870, ad The Warshaw Collection of Business Americana, Smithsonian Institution, National Museum of American History, Archives Center, PO Box 37012, Suite 1100, MRC 601, Constitution Ave, between 12th and 14th Sts, NW, Washington, D.C. 20013-7012. www.si.edu
	Edward Hicks, "The Cornell Farm," 1848, oil on canvas, 93.3 x 124.4 cm (36 3/4 x 49 in.) Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Gift of Edgar William and Bernice Chrysler Garbisch. 1964.23.4. All rights reserved. www.nga.gov
	Playbill for "model artiste" show at the Franklin Museum, New York, NY, c. 1847 Harvard Theatre Collection, Houghton Library, Harvard College, Cambridge, MA 02138
	"The Manufacture of Edison's Talking Doll," phonographic dolls manufactured at Edison plant, NY, 1890 National Museum of American History, Smithsonian Institution, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu
	"Talking Doll" manufactured at Edison plant, NY, 1890; men made body, women dressed it National Museum of American History, Smithsonian Institution, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu. SI negative #87-1607
	"Boston, Plymouth and Sandwich Mail Stage," 1810, ad circular The Sturgis Library, 3090 Main St, Barnstable, MA 02630. In Ellis Brewster, "Plymouth In My Father's Time," 1968
	Old Colony Railroad notice of service for 225th Anniversary of Pilgrims' Landing, 1845 Plimoth Plantation, Inc., 137 Warren Avenue, Plymouth, MA 02360
	"Building on the Site of Bradford's Mansion," 1875, drawing Samuel A. Drake, "Nooks and Corners of the New England Coast," 1875
	"America's Stonehenge," North Salem, NH, recent brochure. Courtesy of America's Stonehenge, PO Box 84, N. Salem, NH 03073. All rights reserved. Our thanks to America's Stonehenge.
	"Old Tower, Newcastle," 1875 Samuel A. Drake, "Nooks and Corners of the New England Coast," 1875
	"The Drive," Newport, Rhode Island, 1875 Samuel A. Drake, "Nooks and Corners of the New England Coast," 1875
	Cemetery with stone wall, New England, 1883, sketch Ellen H. Rollins Arr, "New England Bygones," Philadelphia, PA, 1883
	Cemetery, New England, 1883, sketch Ellen H. Rollins Arr, "New England Bygones," Philadelphia, PA, 1883
	Smith Place, with rock wall, West Newbury, MA, 1879, lithograph Sarah Anna Emery, "Reminiscences of a Nonagenarian" (Newburyport, MA: Huse & Co., 1879)
	Working at the heading in the Hoosac Tunnel, 1870 The New York Graphic Society, 129 Glover Ave, Norwalk, CT 06850. In William F. Robinson, "Abandoned New England" (Boston: New York Graphic Society, 1976)
	Henry R. Schoolcraft, "Drawing of Alleged Roman Letters (Fig. E), 1847," and combined "drawings of 1789 and 1837," 1851 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	Harris's copy, c. 1807, of alphabetic characters in Winthrop's drawing of Dighton Rock, 1788 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	Plaster cast of Dighton Rock, in Gilbert Museum, Amherst College, Amherst, MA, 1876 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	"Best-known drawings of Dighton Rock" before photography: 1.) Danforth 2.) Cotton Mather 3.) Greenwood 4.) Sewell 5.) Winthrop 6.) Kendall 7.) Gardner 8.) Baylies and Goodwin 9.) Rhode Island Historical Society, 1893 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	Dighton Rock, 1839 John Warner Barber, "Historical Collections" (Worcester, MA: Dorr, Howland, 1839)
	Rafn's version of "Rhode Island Historical Society's 1830" drawing, 1837, Dighton Rock "Antiquitates Americanae," 1837, Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	"Copeza punctata," fossil Location unknown. Karen Halttunen photo
	Cover, Dighton Bi-Centennial Celebration, July 17, 1912, showing Dighton Rock, The Council Oak and town seal, Berkley, MA Karen Halttunen photo
	"Davis Photograph" of Dighton Rock, Berkley, MA, 1893 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	Dighton Rock being moved by crane, 1963. Copyright Manuel da Silva, MD, 16 Brooks Farm Dr, Bristol, R1 02809. All rights reserved. In "Portuguese Pilgrims and Dighton Rock," 1971. With the kind permission of Dr. da Silva.
	"Dighton Rock Park," Dighton, MA, tinted postcard Collection of Prof. Karen Halttunen
	"Old Colony Historical Society Photograph," Dighton Rock, 1902 Publications of The Colonial Society of Massachusetts, Volume XX, The Colonial Society of Massachusetts, 87 Mount Vernon St, Boston, MA 02108.
	"Antiquarians of Forty Years Ago," on Dighton Rock, including town officials, editor, author, librarian, tax-collector, teacher; 1885 photo Copyright holder unknown. In New Bedford, MA, Sunday Standard, Aug. 29, 1926
	Dighton Rock with five men, 1883, photo Samuel Adams Drake, "A Book of New England Legends and Folklore," 1883
	Edmund Delabarre's Cortereal inscription on Dighton Rock, both nightime flash photo and same with chalk, 1932 Copyright Organization of American Historians, 1215 E. Atwater, Bloomington, IN 47401. All rights reserved. In Journal of American History, 26 (1932): 102. Karen Halttunen photo
	Dighton Rock as "America's Stonehenge." Courtesy of America's Stonehenge, PO Box 84, N. Salem, NH 03073. All rights reserved. Our thanks to America's Stonehenge.
	Map showing location of inscribed rocks and stones and related objects in Narragansett area, Rhode Island, from Edmund Delabarre, 1932 Copyright Organization of American Historians, 1215 E. Atwater, Bloomington, IN 47401. All rights reserved. In Journal of American History, 26 (1932): 102. Karen Halttunen photo
	Frederic Church, "Cayambe," 1858, oil on canvas, 30 x 48 in (76.2 x 121.9 cm) The New-York Historical Society, 170 Central Park West, New York, NY 10024; on permanent loan from The New York Public Library
	"Section at Bashapish Upper Falls," 19th century Karen Halttunen photo. Edward Hitchcock, Final Report on the Geology of Massachusetts, 1841, p. 292
	H.J. Van Lennep, "Sketch on Cape Ann"; "the planet in its nakedness"; a carriage travels barren earth Karen Halttunen photo. Edward Hitchcock, Final Report on the Geology of Massachusetts, 1841, p. 270
	Cows wading in pond near Mystic, CT, c. 1900. Copyright holder unknown. George Tingley photo. In Susan Mahnke, ed., "Looking Back: Images of New England 1860-1930," Yankee Publishing Inc., PO Box 520, Dublin, NH 03444, 1982, p. 87.
	The Shield family in front of their homestead, Windham, NH, probably 1890s. Copyright holder unknown. Baldwin Coolidge photo. In Susan Mahnke, ed., "Looking Back: Images of New England 1860-1930," Yankee Publishing Inc., PO Box 520, Dublin, NH 03444, 1982, p. 49
	Poster, Harrison's Handkerchief Extracts, c. 1854. This elaborate floral ad was printed in colors. Note the class appeal and sentimentality. In Norman A. Graebner, A History of the American People, 1975, p. 434. 8.6.1
	A Yankee peddler seen with an affluent farm family, c. 1830. Color. IBM Corp.,1133 Westchester Ave., White Plains, NY 10604. 8.6.1
	A peddler spreading gentility into the countryside, 1868. Copyright holder unknown. Harper's Weekly, 1868. 8.6.1, 11.1.4, 11.2.6
	A romanticized advertisement for McCormick reapers, showing pioneers coming upon grain fields being harvested. Chicago Historical Society, Clark Street at North Ave., Chicago, IL 60614-6071. In Eds. of American Heritage, The American Heritage History of the Making of the Nation, 1783-1860, 1968, pp. 212-3. 8.6.1
	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
	The Philadelphia Jail, 1723. A house-like colonial jail. Compare with a penitentiary of the 1850s, which shows an increased investment in institutions. The Old Stone Prison. The Pennsylvania Prison Society, 245 North Broad St., Ste. 300, Philadelphia, PA 19107-1518. In David J. Rothman, Discovery of the Asylum, 1971, p. 241. 8.1.1, 8.6.1
	The penitentiary at Blackwell's Island, New York, 1849. This mammoth institution, extending monotonously window after window, corridor after corridor, points unmistakably to the increasingly custodial quality of correctional institutions. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-63351. In David J. Rothman, Discovery of the Asylum, 1971, p. 240. 8.6.1
	The Boston Hospital for the Insane, 1860, the Civil War era. There can be no doubt of the irrelevance of moral treatment of the insane in the conduct of such an institution as this. The American Antiquarian Society, 185 Salisbury St., Worcester, MA 01609-1634. In David J. Rothman, Discovery of the Asylum, 1971, p. 267. 8.6.1
	Phrenology. Phrenology's foremost practitioner and enthusiast, Orson Fowler, lectured through America. In his topographical chart, some forty "organs" corresponding to mental faculties were located. Of course, the baser animal drives were relegated to the bottom of the head, while moral traits were suitably situated in the large frontal lobes. Samuel R. Wells, How to Read Character, 1870. In Mary Cable and the Eds. of American Heritage, American Manners and Morals, 1969, p. 192. 8.6.1
	The pillory at Charlestown. Public participation in the punishment of criminals was enthusiastic. The Historical Society of Pennsylvania, 1300 Locust St., Philadelphia, PA 19107. In Mary Cable and the Eds. of American Heritage, American Manners and Morals, 1969, p. 61. 8.6.1
	Charles C. Hoffman, "Montgomery County Almshouse," Montgomery County, PA, 1878, oil on canvas. Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. All rights reserved. Our thanks to the Museum. 8.6.1
	"The Convicts' Lock-Step." Auburn Prison, NY, late 19th c. Source and location unknown. 8.6.1
	A prison of 1776, from an old print. Charles R. Henderson, ed., Penal and Reformatory Institutions, 1910, p. 28. 8.6.1
	State prison and railroad buildings, Auburn, N.Y., in 1849; from an old woodcut. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In Charles R. Henderson, ed., Penal and Reformatory Institutions, 1910, p. 31. 8.6.1
	Front elevation and ground plan of Newgate prison (New York, NY), 1797, from an engraving. In W. David Lewis, From Newgate to Dannemora: The Rise of the Penitentiary in New York, 1796-1848, 1965. 8.6.1
	The north wing of Auburn Prison (N.Y.), showing exterior elevation, floor plan and breastwork of the solitary cells. 1828. Report of Gershom Powers, Agent and Keeper of the State Prison at Auburn, Made to the Legislature Jan. 7, 1828. In W. David Lewis, From Newgate to Dannemora: The Rise of the Penitentiary in New York, 1796-1848, 1965, p. 17. 8.6.1
	Ground plan of Auburn prison, adapted from the Powers report, 1828. Report of Gershom Powers, Agent and Keeper of the State Prison at Auburn, Made to the Legislature Jan. 7, 1828. In W. David Lewis, From Newgate to Dannemora: The Rise of the Penitentiary in New York, 1796-1848, 1965, p. 49. 8.6.1
	Elam Lynds, 1784-1855. The authoritarian warden of Auburn, and later Sing Sing. Ossining Historical Society, 196 Croton Ave, Ossining, NY 10562. In W. David Lewis, From Newgate to Dannemora: The Rise of the Penitentiary in New York, 1796-1848, 1965, p. 48. 8.6.1
	Religious services at a penitentiary, probably in England. A model for students in a classroom at lecture. Location unknown. 8.6.1
	Newgate, the first state prison in New York, from an old woodcut. "South East View, New-York State Prison," 1814. Begun in 1796, Newgate was modeled after the Walnut Street jail in Philadelphia. Given the few architectural departures from the colonial design, it is not surprising that the prison suffered internal disorganization and frequent convict escapes. The New-York Historical Society, 170 Central Park West, New York, NY 10024. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-57841. In Charles R. Henderson, ed., Penal and Reformatory Institutions, 1910, p. 28. 8.1.1, 8.6.1
	"Patent-Office Department," engraving, showing the magazine's Patent Office Dept. at their offices at 128 Fulton St., New York. Scientific American, Sept. 20, 1851. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 268. 8.6.1, 8.12.7
	John Baker, Marble Yard trade card, c. 1837. Arnold Collection, The Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. 8.6.1
	City Hall of New York, surrounded by vignettes of New York street criers. A printed scarf or handkerchief, made probably about 1814. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 109. 8.6.1
	City Hall of New York, surrounded by vignettes of New York street criers. A printed scarf or handkerchief, made probably about 1814. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 109. 8.6.1
	The Pearl Street House & Ohio Hotel, New York City, 1831-4. It was extensively known as the resort of merchants from every part of the union, especially from Ohio. Few women appear in view; women seldom went into such crowded business districts as Pearl Street, Wall Street or South Street. The Phelps Stokes Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. 8.6.1
	Wall Street, New York City, 1832. This view shows the cupola on the Merchants Exchange. Banks and insurance companies line the streets on both sides. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 141. 8.6.1
	"Intersection of Bowery, Dover, Chatham & Catherine Sts.," New York City. An old watch house, with a woman on the corner selling hot corn. Painting by William P. Chappel, who loved to record everyday happenings. c. 1810. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 114. 8.6.1
	Hugh Reinagle, Wall Street from Trinity Church, New York City, 1834. Signs are not visible in such traditional perspective views. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 148. 8.6.1
	Liberty Street between Broadway and Nassau Streets, New York City, by U. H. Bufford, 1836 or 1837. Published in one of the earliest pictorial directories. The artist adopted a blunt, head-on perspective. The commercial signs are easier to read than those of the earlier 1830s. Note the new street panoramas. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 149. 8.6.1
	A bird's-eye view of New York, south from above Union Square, 1849. A writer in Putnam's Magazine, Feb. 1853, objected to a copy of the print because it gave no idea of the city's size. In it, he said, the city "has the appearance of some large trading town, like Poughkeepsie, or Troy, on the Hudson, rather than of such a great metropolis as it really is." Out-of-town readers were reminded that Broadway and the Bowery were not, in reality, "so thinly populated that one can distinguish the gentlemen who, in the print, perambulate at leisure through the middle of the street." Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953. 8.6.1
	London Terrace, West 23rd St., New York, 1854. The building gives an imposing effect. Putnam's Magazine, 1854. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 247. 8.6.1
	New York Post Office, interior view, 1845. The growing commercial power of the city depended on rapid transmission of intelligence. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 239. 8.6.1
	Trinity Church, New York. A bird's-eye view, 1847. It was only from a bird's-eye perspective that one could fully appreciate the fine buildings towering here and there above the crowded streets. Note the telegraph pole on the northeast corner of Broadway and Watt Street. (The telegraph from New York to Philadelphia was built in 1845-46.) Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 241. 8.6.1
	A row of Gothic houses in a block on 20th Street at the corner of Sixth Avenue, New York City, 1853. Putnam's Magazine, 1853. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 248. Author's collection. 8.6.1
	E. Purcell, "Wall Street," New York City, 1849. Stokes Collection, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. 8.6.1
	"View of Broadway and the City Hall," watercolor, 1818-19. Swedish baron Axel Leonhard Klinckowstrom. "The most animated scenes of city life were those which attracted New Yorkers and visitors alike to Broadway�Broadway was the city's most frequented promenade...where all new fashions can first be admired....the third house beyond St. Paul's at left is John Jacob Astor's..." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 119. 8.6.1
	The "Franklin House," one of the most popular hotels in New York City during the 1830s and '40s. Social life in New York was growing, and more people were living in hotels and boarding-houses. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 176. 8.6.1
	William J. Bennett, "New York from Brooklyn Heights," 1837. With the viewpoint from the roof of a house in Columbia Heights, Brooklyn, this work pictures the city from Wall Street to Canal Street. "In the typical views of the later thirties the rural images which had dominated the foreground of earlier pictures...were replaced by forms and symbols which, however romanticized they may have been, were those of the urban landscape itself." Eno Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 159. 8.6.1
	The residence of Philip Hone, Esq., and the American Hotel, Broadway. A scene from the first picture book about New York, 1831. 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. 137. 8.6.1
	Nicolino V. Calyo, "New York," from the East River shore, 1837. The city is shown from a rural foreground; the viewpoint is the near Navy Yard in Brooklyn. "But in the typical 'views' of the late thirties, the rural images which had dominated the foreground of earlier pictures were replaced by forms and symbols which, however romanticized they may have been, were those of the urban landscape itself." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 158. 8.6.1
	"A Fashionable Boarding House" in New York City. Living in hotels and boarding houses was one of the features of New York life from the 1830s on. Many observers decried boarding house life as a threat to the American home, but it grew. The difficulty of getting servants, high housing rents, and what one English traveler called "the indisposition of young ladies to undertake the responsibilities and troubles of attending to domestic arrangements" all conspired to increase the number of boarding houses. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 176. 8.6.1
	"Model of New York," a scale model, was built by E. Porter Belden in 1845-46 with the assistance of almost 150 artists, craftsmen, sculptors and mechanics. The completed model, 20 feet by 24 feet square, was surmounted by a Gothic canopy nearly 15 feet high, and ornamented with almost a hundred separate oil paintings of "the leading business establishments and places of note in the city." The model became one of the city's principal sights. Committees of clergymen and teachers endorsed it and the Common Council and the mayor granted it official sanction. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 194. Author's collection. 8.6.1
	"The Miniature City..." A broadside for "The Model of New York," a scale model of New York City, 1845-6. See also "Model of New York," UR-F-19. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 194. Author's collection. 8.6.1
	View of Lebanon, New Hampshire, an irregular compact village that developed into a city, 1884. While the village green is centrally located and rectangular in size, the city lacks geometric street patterns. The street pattern conforms more or less to the topography. Dartmouth College Library, Hanover, NH 03755. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 135. 8.6.1
	Plan of Boston, Massachusetts, 1800. It is clear in this plan that there was no regular, orderly street system in early Boston. The early street patterns were probably shaped by minor topographic variations, such as rocky banks, marshes and muddy sinks. However, the grid street pattern would be used in the outer areas by land developers, as seen in the area above the Boston Common. Stokes Collection, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 144. 8.6.1
	Plan of New Amsterdam (New York City), 1660. This village, founded by the Dutch in the 1620s, grew with no overall plan for its development. New streets were laid out from time to time as they were needed, usually following the lanes that had become established naturally as men and animals followed the most convenient paths between houses, farms, and the fort. This method of growth resulted in streets of irregular alignment and width. The side street running horizontally is Broadway; the vertically-running street on the extreme right is Wall Street. J.W. Adams and I.N. Phelps Stokes redrawing, 1916, of 1660 manuscript. Stokes Collection, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 151. 8.6.1
	William Penn's Plan for Philadelphia, Pennsylvania, 1682. Penn showed great ability in colonial urban planning when he laid out Philadelphia between the Delaware and Schuylkill Rivers. His grid pattern of streets was a good adaptation to the flat terrain and it gave the town uniformity. In setting aside land for public squares, Penn provided the open spaces that the city needed, especially later when urbanization increased. Olin Library, Cornell University, Ithaca, NY 14853. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 162. 8.6.1
	View of Philadelphia, Pennsylvania, c. 1855. This view shows the wisdom of William Penn in laying the grid street pattern and public squares (though it is apparent that not enough public squares continued to be laid out as the town grew). Philadelphia's grid pattern and public squares were copied by many later towns and cities as the U.S. expanded and urbanized. 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. 173. 8.6.1
	Plan of Detroit, Michigan, 1830. Woodward's plan, although partially implemented, was first modified and later abandoned in the haste for expansion and land sales in Detroit. His idea of triangular sections was, obviously, replaced by the grid pattern. Olin Library, Cornell University, Ithaca, NY 14853. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 273. 8.6.1
	William Burgis, "New Dutch Church," 1731. In 1762, 100 years after Stuyvesant�s surrender of New Amsterdam, English preaching was finally introduced in this and the other Dutch Reformed Churches in the city. New York was more than a century old; earlier pictures showed it as it might look to someone walking its streets. Significantly, the first of these proudly call attention to such symbols of urban prosperity as a new church, a coach, and a paved street. 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. 8.6.1
	"View of the North River looking toward Fort Washington," New York, October 16, 1781. A drawing by Capt. Archibald Robertson (a Scot serving with British headquarters troops in the American Revolutionary War), made from a point just north of where Grant�s tomb now stands. At the low point on the shoreline in the foreground, 125th Street now crosses under Riverside Drive. Spencer Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 76. 8.6.1
	View north over Harlem Valley, c. 1781, a drawing by Scottish Capt. Archibald Robertson. The church at center right is the Dutch Reformed Church, built in 1686. Spencer Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 76. 8.6.1
	The "Collect or Fresh Water," watercolor drawing, 1798. A pond, with the spire at right of St. Paul�s between Fulton and Vesey Streets. Just left of St. Paul�s is Bridewell, or the city prison, west of the site where City Hall now stands. It was on the Collect that John Fitch carried out his experiments a year or two before this drawing was made. In 1803 the hills around it were leveled and no trace of it remained. A sewer now drains the still living springs that fed the pond. 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. 94. 8.6.1
	"New York from Brooklyn Heights," 1796, drawing probably by Capt. Archibald Robertson. The large house at right is the Cornell mansion, owned later by Hezekiah Pierrepont. During the Battle of Long Island it had served as Washington�s headquarters. Brooklyn was comprised of a small chain of hills, on which are shown the country houses of New Yorkers. Well-to-do families went there in the hot season; the men went to New York in the morning and returned to Brooklyn after the Stock Exchange closed. Copyright holder unknown. Columbia University, 2960 Broadway, New York, NY 10027-6902. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 99. 8.6.1
	Charles Doratt, "Brandegee�s Thread Mill," Berlin, CT, c. 1840. Small mills such as this, located between a waterfall and a new railroad line, processed raw cotton into thread. Note the romantic pastoral setting. Copyright holder unknown. In Antiques, Dec. 1970, p. 915. 8.6.1
	Harrisville, NH, c. 1850, artist unknown. The Harris Mill (lower right), built 1832-33, with a Federal doorway and a "trap-door" monitor roof. Homes of the Harrises occupy the upper center, flanked by storehouses, a church and a boardinghouse erected around the mill dam and stream. Copyright Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. All rights reserved. In Antiques, Dec. 1979, p. 912. 8.6.1
	A three-dollar bill, Bank of Kent, Coventry, RI, 1819. Engraving. This textile mill may have represented the Arkwright Manufacturing Co. of Coventry. Copyright Old Sturbridge Village, 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. All rights reserved. In Antiques, Dec. 1970, p. 911. 8.6.1
	Crown & Eagle Mills, Uxbridge, Mass., c. 1830, lithograph. As it appeared at the completion of the second mill. In Antiques, Dec. 1970, p. 912. 8.6.1
	Lowell, Mass., in 1833. An appearance of tidy prosperity on the banks of the Merrimack. Eleven years earlier, the town's land was only farm fields. Lowell's industrial expansion in the 1830s has been described as "the most remarkable decade of progress" for a one-industry town in American manufacturing history. See also UR-B-19. Copyright holder unknown. In "The Life History of the United States," Time-Life Books, Vol. 3, 1974, p. 51. 8.6.1
	An unidentified mill beside a wide river; viewed from across the river. Probably fairly late. Copyright holder unknown. Possibly Old Sturbridge Village, Inc., Sturbridge, MA. 8.6.1
	Crown & Eagle Mills, Uxbridge, Mass. Detail of UR-B-26. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Crown & Eagle Mills, Uxbridge, Mass. Detail of UR-B-26. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Crown & Eagle Mills, Uxbridge, Mass. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Lowell women at the loom. Prints Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In "The Life History of the United States," Time-Life Books, Vol. 3, 1974, p. 51. Our thanks to The NYPL. 8.6.1
	A New England mill, 1850. Courtesy of The George Eastman House International Museum of Photography, 900 East Ave., Rochester, NY 14607. All rights reserved. Our thanks to the Museum. In Beaumont Newhall, "Daguerreotype in America," 1961, Plate #25. 8.6.1
	Interior diagram, Bedford Mill, Warwickshire, England, 1790. Copyright holder unknown. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Interior diagram, Bedford Mill, Warwickshire, England, 1790. Copyright holder unknown. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Interior diagram and view of Bedford Mill, Warwickshire, England, 1790. Copyright holder unknown. Old Sturbridge Village, Inc., 1 Old Sturbridge Village Rd., Sturbridge, MA 01566. 8.6.1
	Lowell, Mass., as an emerging city, 1833. Lithograph. See also UR-B-7. Stokes Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. 8.6.1
	The land bought by Daniel Saunders on both sides of the Merrimac River just north of Lowell, Mass., 1840. Note the natural setting for the mill site. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 29. 8.6.1
	Daniel Saunders, who interested the Lawrence brothers in building his dream factories. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 31. 8.6.1
	Early Lawrence (Mass.), a few churches, pastoral setting, and productive smoke. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 33. 8.6.1
	The first Lawrence Mill, late 1840s. The Merrimac River was dammed for the use of its power, and canals were dug to bring the water power right to the mill gates. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 37. 8.6.1
	The machinery was brought to the mill by cart. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 37. 8.6.1
	Busy activity in an early factory. Copyright holder unknown. In Bill Cahn, "Mill Town," 1954, Cameron & Kahn, p. 61. 8.6.1
	Thomas B. Wilson, "Eagle Mills," Eagle Mills, New York, 1845, oil on canvas. Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. All rights reserved. Our thanks to the Museum. 8.6.1
	Singer Mfg. Co.�s Elizabethport Factory, 1880 (built in 1873). It was reported to be the largest factory in the US making a single product under one roof. The Singer Sewing Co., 1224 Heil Quaker Blvd., P.O. Box 7017, LaVergne, TN 37086. Our thanks to Singer. In David Hounshell, "From the American System to Mass Production," 1984, p. 95. 8.6.1
	McCormick Harvesting Machinery Factory, Chicago, 1885. The State Historical Society of Wisconsin, 816 State St., Madison, WI 53706. In David Hounshell, "From the American System to Mass Production," 1984, p. 183. 8.6.1
	Harmony Mills, Cohoes, New York. The oldest standing mill building. The date on front: 1856. Roland Marchand photograph, 1993. 8.6.1
	Iron manufacture building, Troy, New York. One of the early factories. Check Troy literature and map for details. Roland Marchand photograph, 1993. 8.6.1
	Edward Hicks, "The Cornell Farm," 1848. National Gallery of Art, 2000B South Club Dr., Landover, MD 20785. In "101 Masterpieces of American Primitive Painting," Metropolitan Museum of Art, 1961, Plate 75. 8.6.1
	Unknown artist, "He That Tilleth His Land Shall Be Satisfied," c. 1850. Garbisch Collection. Copyright Philadelphia Museum of Art, Benjamin Franklin Pkwy and 26th St., Philadelphia, PA 19130. All rights reserved. In "101 Masterpieces of American Primitive Painting," Metropolitan Museum of Art, 1961, Plate 78. 8.6.1
	Gerhardt Liebmann, An allegory of "The Consummation of Empire," based on the paintings of Thomas Cole. Copyright holder and location unknown. In American Heritage, June 1966, pp. 46-7. 8.6.1, 11.8.8
	Gerhardt Liebmann, An allegory of "Destruction," based on the paintings of Thomas Cole. "If progress means more of everything, which most people in the republic always seem to think, then the capital is at the pinnacle. There are more buildings, more statues, more people, more demonstrations, more causes, more cars, more roads...and the city has come at last to the great ultimate moment when the cars all stop and the people have scarcely room to stand...our poor dreamer, the Frenchman (at lower center right), trudges away, dragging his dream behind him, to make, somewhere, a fresh start." Copyright holder and location unknown. In American Heritage, June 1966, pp. 48-9. 8.6.1, 11.8.8
	Henry Inman, "Picnic in the Catskills," c. 1840. Collection of The Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238-6052. All rights reserved. Our thanks to the Museum. 8.6.1
	Thomas Cole, "The Savage Stage, or the Course of Empire," 1835. "[The painting] must be a view of a wilderness, the sun rising from the sea, and the clouds of night retiring over the mountains. The figures must be savage, clothed in skins, and occupied in the chase. There must be a flashing chiaroscuro, and the spirit of motion pervading the scene, as though nature were just springing from chaos." - Cole. Series of six paintings, "The Course of Europe." New-York Historical Society, 170 Central Park West, New York, NY 10024. In American Heritage, Oct. 1957, p. 53. 8.6.1
	Thomas Cole, "The Arcadian or Pastoral State," 1834. Series of six paintings, "The Course of Europe." New-York Historical Society, 170 Central Park West, New York, NY 10024. In American Heritage, Oct. 1957, p. 64. 8.6.1
	Edward Hicks, "The Residence of David Twining," Bucks County, PA, 1845-7. Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. All rights reserved. Our thanks to the Museum. 8.6.1
	Charles Willson Peale, "Exhuming the First American Mastodon," painting, 1806-08. Peale, interested in natural history, conceived of stuffing animals for his museum and placing each one in a still-life setting, capturing its natural environment. He built up the museum over time. Benjamin Franklin sent the corpse of his Angora cat as a contribution. The other section of the museum, the art section, contained Peale's portraits. In 1801 Peale paid a New York State farmer $300, a rifle and a couple of dresses for an odd heap of bones and permission to dig for more. Forming the first scientific expedition in American history, he invaded the farm to search out and piece together the first mastodon skeleton ever assembled; he called it a "mammoth." It became the centerpiece of his museum. Peale stands at right, showing a diagram of mastodon bones. Copyright The Maryland Historical Society, 201 W. Monument St., Baltimore, MD 21201. All rights reserved. In Alexander Eliot, ed., "Three Hundred Years of American Painting," 1957, p. 26. 8.6.1
	Terrence J. Kennedy, political banner, c. 1840. The actual banner is about five feet in diameter, portraying the dominant elements of American life at mid-century. Industry, commerce, politics and agriculture appear symbolically as the eagle stands guard over the scene. The fat sheep, the schooner, side-wheeler, train, towpath, bridges and canal remind the viewer of trade and prosperity. Copyright The New York State Historical Association, PO Box 800, Cooperstown, NY 13326. All rights reserved. In Norman A. Graebner, "A History of the American People," 1970, p. 305. 8.6.1

	Transformations_and_Revolutions25 Early locomotive: The "Tom Thumb," the first steam locomotive in America, reconstruction, built by Peter Cooper. Its first successful trip was made in 1830, from Baltimore to Ellicott Mills, Maryland. Baltimore & Ohio Railroad. Maryland Historical Society, 201 W. Monument St, Baltimore, MD 21201-4674.
	Jacksons_America14 "Building the Erie Canal," 1825. "Excavation of the Lockport Lock. During construction of the Erie Canal, the most challenging lock-work occurred near the western end of the canal, where a double flight of five locks surmounted a forested 66-foot rock ridge at Lockport, New York." Laborers are operating manual pulley cranes during excavation. Drawing. Annual Report of the State Engineer and Surveyor of the State of New York, 1915 (Albany: J. B. Lyon Co, printers, 1916).
	Transformations_and_Revolutions06 Sailing-car, built by Evan Thomas around 1830. It ran when the wind blew in the desired direction. Baltimore & Ohio Railroad. In William H. Brown, "The History of the First Locomotives in America," Ch. XXIII, (New York: D. Appleton and Co.,1871).
	Jacksons_America09 Samuel Slater (1768-1835), "The Father of the American Industrial Revolution." Woodcut. Slater Mill Historic Site, 67 Roosevelt Ave, Pawtucket, RI 02860.
	Transformations_and_Revolutions23 "Steamboat 'Maid of Orleans' on The Mississippi River Going to St. Louis." It departed New Orleans Feb. 1 and arrived Aug. 4, 1820. Tulane University Art Collection, Tulane University Library, 7001 Freret St, New Orleans, LA 70118.
	Jacksons_America15 Cartoon, �Wedding of the Waters.� DeWitt Clinton pours water from Lake Erie into New York Harbor, marrying the Great Lakes to the Atlantic Ocean and cementing economic unity between the North and Midwest. "The completion of the publicly financed Erie Canal, celebrated by Gov. DeWitt Clinton of New York in 1827, was just another example of business getting a helping hand from government." Culver Pictures. In Roger Butterfield, "The American Past: A History of the United States," (Simon and Schuster, Inc., 1230 Avenue of the Americas, New York, NY 10020) 1947, p. 76. Also in Jeff Madrick, "Less Government Better for Business? Not if History Provides a Guide," New York Times, Jan. 20, 2005. http://www.nytimes.com/2005/01/20/business/20scene. And The Granger Collection, 381 Park Ave South, New York, NY 10016.
	Transformations_and_Revolutions09 Amphibious steam-powered carriage and paddle-boat designed by Oliver Evans, 1805. Wood engraving. Oliver Evans, "Oruktor Amphibolis," 1804. The Mechanic, July 1834, p. 17. Library of Congress Rare Book and Special Collections Division, Washington, DC 20540. LC-USZ62-110378.
	Jacksons_America01 Mules near a lock on the Erie Canal, West Troy, New York, c. 1829. John William Hill watercolor. New-York Historical Society, 170 Central Park W, New York, NY 10024.
	Transformations_and_Revolutions01 Map: The National, or Cumberland, Road, from St. Louis to New York; began construction in 1811. Robert Bruce, "The National Road," (Washington, DC, 1916), p. 112.
	Transformations_and_Revolutions05 Horse-powered locomotive on the Baltimore & Ohio Railroad. William H. Brown, "The History of the First Locomotives in America," Ch. XXIV, (New York: D. Appleton And Co., 1871).
	Transformations_and_Revolutions02 Lockport, NY, on the Erie Canal: "View of the Upper Village of Lockport, Niagara Co., NY," showing the ten combined locks, 1836. John Bufford lithograph after W. H. Bartlett. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-7749.
	Transformations_and_Revolutions16 An early rail freight car, 1832, from a reconstruction. Baltimore & Ohio Railroad. In Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 134.
	Transformations_and_Revolutions08 Oliver Evans, American inventor of the high-pressure steam engine and automatic mill, helped to launch the industrial revolution in the United States. William G. Jackman engraving, c. 1800. Smithsonian Institution Libraries, PO Box 37012, MRC 154, Washington, DC 20013-7012. http://www.sil.si.edu/Galaxy.cfm?id=1.1.
	Transformations_and_Revolutions26 An early drill press, invented by Eli Whitney, c. 1810? Mitchell Wilson, "American Science and Invention: A Pictorial History," (New York: Simon and Schuster, 1954) pp. 78-83. American Antiquarian Society, 185 Salisbury St, Worcester, MA 01609-1634.
	Transformations_and_Revolutions21 Samuel Slater's spinning frame, with 48 spindles, the oldest piece of cotton machinery in America, Pawtucket, RI, 1790. National Museum of American History, Smithsonian Institution, Kenneth E. Behring Center, PO Box 37012, MRC 603, Washington, DC 20013-7012. Object ID: TET11197.000.*
	Transformations_and_Revolutions19 The locomotive "The Experiment." John Jervis designed the first locomotive to have a swiveling, 4-wheel lead truck. His successful "Brother Jonathan" of 1832 (originally called "the Experiment") set the pattern for such a truck. "Experiment" tracked well in sharp curves and when rails were uneven, although it was short on power. Baltimore & Ohio Railroad. In Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 112, fig. 270.
	Transformations_and_Revolutions17 The Providence, Norfolk and Baltimore Steamship Line buildings at the Providence (?) wharf, with little trains going to and fro on shore. After 1887. Location unknown. In Mary Beth Norton, et al., "A People and a Nation: A History of the United States) vol. 1, (Houghton Mifflin Co., 222 Berkeley St, Boston, MA 02116-3764).
	Transformations_and_Revolutions12 The locomotive "York" 1831, one of the first American steam locomotives; from a reconstruction. Baltimore & Ohio Railroad. In Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 107, fig. 256.
	Jacksons_America06 Eli Whitney (1765-1825), c. 1822; graduated from Yale, 1792. Samuel F.B. Morse, oil portrait. Copyright � Yale University Library, PO Box 208240, New Haven, CT 06520-8240. All rights reserved.
	Transformations_and_Revolutions07 Early steam locomotive: Road trial of Richard Trevithick's locomotive, 1801. Edith K. Harper, "A Cornish Giant," (London, 1913). In Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 104, fig. 247.
	Towards_Revolution40 "Benjamin Franklin Drawing Electricity from the Sky," c. 1816. Copy of Benjamin West, oil on slate; made in England. Original painting Copyright � Philadelphia Museum of Art, PO Box 7646, 2600 Benjamin Franklin Pkwy, Philadelphia, PA 19101-7646. www.philamuseum.org. 1958-132-1. Gift of Mr. and Mrs. Wharton Sinkler, 1958. All rights reserved.
	Transformations_and_Revolutions10 The "Daedalus" locomotive pulling a freight car, passenger carriage, and private carriage, 1832; engraving. Edwin Williams, "New York Annual Register," (New York: J. Seymour, 1832) p. 324. In Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 130, fig. 324.
	Transformations_and_Revolutions14 "The Dewitt Clinton," the early locomotive and coachesthat initiated the New York Central System. The first test of the "Dewitt Clinton" took place July 2, 1831 on the Mohawk & Hudson Railroad. Reproduction from a pageant. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-73422. Also, in Malcolm Kier, "The March of Commerce," in R.H. Gabriel, ed., "The Pageant of America: A Pictorial History of the United States," (New Haven: Yale University Press, 1927) vol. 4, p. 109, fig. 263.
	Ca-P08-b1 Paddlewheeler "Manitoba" at Sarnia, Ontario, 1876, taking on settlers and cargo. Steel engraving. Glenbow Museum, 130-9th Ave SE, Calgary, AB T2G 0P3 CANADA.

November 23, 2009

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