The USS Constitution – Old Ironsides (Boston, Massachusetts, USA)

The USS Constitution (Old Ironsides)

After our visit to USS Constitution Museum and  the World War II Fletcher-class destroyer USS Cassin Young, Jandy and I proceeded to the highlight of our tour of the Charlestown Navy Yard – our visit to the USS Constitution. There was already a long queue of visitors waiting for the gates to open when we arrived (it opened at 3:30 PM).  To get in, we had to show valid IDs (in this case our passports).

Check out “USS Constitution Museum” and “USS Cassin Young

The ship at Dry Dock 1

The USS Constitution, a wooden-hulled, three-masted heavy frigate of the United States Navy launched in 1797, is usually berthed at Pier 1 of the former Charlestown Navy Yard, at one end of Boston’s Freedom Trail  but, during our visit, it was in Dry Dock 1 (here since May 18, 2015) for her scheduled 2-year restoration program to restore the copper sheets on the ship’s hull and replace additional deck boards.  The lower deck was stripped of her guns.

Check out “Freedom Trail

The ship’s prow

Constitution is most noted for her actions during the War of 1812 against the United Kingdom, when she captured numerous merchant ships and defeated the British warships HMS GuerriereJavaPictouCyane and Levant during four separate engagements. She earned the nickname “Old Ironsides” because the cannon fire during here encounter with the Guerriere  seemed as if they couldn’t penetrate her strong oak hull.

The author at the gangplank leading up to the ship

Constitution’s stated mission today is to promote understanding of the Navy’s role in war and peace through educational outreach, historical demonstration, and active participation in public events as part of the Naval History & Heritage Command.

A member of the ship’s crew narrating the history of the ship to visitors

As a fully commissioned U.S. Navy ship, her crew of 60 officers and sailors participate in ceremonies, educational programs, and special events while keeping her open to visitors year round and providing free tours.

Jandy beside the double steering wheel of the ship

The officers and crew are all active-duty U.S. Navy personnel, and the assignment is considered to be special duty in the U.S. Navy. Traditionally, command of the vessel is assigned to a Navy commander.

List of Commanding Officers of the USS Constitution

The Constitution, open to the public year-round, typically makes at least one “turnaround cruise” each year, during which she is towed into Boston Harbor to perform underway demonstrations, including a gun drill.  She then returns to her dock in the opposite direction to ensure that she weathers evenly. The “turnaround cruise” is open to the general public based on a “lottery draw” of interested persons. The privately run USS Constitution Museum is nearby, located in a restored shipyard building at the foot of Pier Two.

National Historic Landmark Plaque

Here are some interesting trivia regarding this historic ship:

  • It was named by Pres. George Washington after the Constitution of the United States of America.
  • The Constitution was one of six original frigates authorized for construction by the Naval Act of 1794and the third constructed.  Joshua Humphreys designed the frigates to be the young Navy’s capital ships, and so Constitution and her sisters were larger and more heavily armed and built than standard frigates of the period. She was built in the North End of Boston, Massachusetts at Edmund Hartt‘s shipyard.
  • Her first duties with the newly formed U.S. Navy were to provide protection for American merchant shipping during the Quasi-War with France and to defeat the Barbary pirates in the First Barbary War.
  • She is the world’s oldest commissioned naval vessel still afloat
  • The battle with Guerriere earned her the nickname of “Old Ironsides” and public adoration that has repeatedly saved her from scrapping.
  • Though the Constitution was rated as a 44-gun frigate, she often carried more than 50 guns at a time.
  • During the War of 1812, Constitution’s battery of guns typically consisted of thirty 24-pounder (11 kgs.) cannons, with 15 on each side of the gun deck. A total of 22 cannons were deployed on the spar deck, 11 per side, each a 32-pounder (15 kgs.) carronade. Four chase guns were also positioned, two each at the stern and bow.
  • Constitution’s hull was built 530 mm. (21 in.) thick and her length between perpendiculars was 53 m. (175 ft.), with a 62 m. (204 ft.) length overall and a width of 13.26 m. (43 ft. 6 in.).
  • Her six-sail battle configuration consisted of jibs, topsails and driver.
  • In total, 24 hectares (60 acres) of trees, primarily pine and oak (including southern live oak which was cut from Gascoigne Bluff and milled near  Simons, Georgia) were needed for her construction.
  • Many times, souvenirs were made from her old planking. Isaac Hull ordered walking canes, picture frames and even a phaeton that was presented to Pres. Andrew Jackson. Funds for her 1927-1931 restoration were also raised from memorabilia made of her discarded planking.
  • Busts, depicting Isaac Hull, William Bainbridge and Charles Stewart, were added to her stern, remaining in place for the next 40 years. A figurehead of President Andrew Jackson witht a top hat was also installed under the bowsprit, a subject of much controversy due to Jackson’s political unpopularity in Boston at the time. Another likeness of Jackson, this time with a more Napoleonic pose, was installed in 1847.
  • Most of the required funds for her 1927-1931 restoration were raised privately.  In 1924, the estimated cost of her repair was US$400,000 but it reached over US$745,000 after costs of materials were realized. The first effort, sponsored by the national Elks Lodge, raised US$148,000 from pennies donated by schoolchildren. In September 1926, Wilbur Secretary of the Navy Curtis D. Wilbur began to sell copies of a painting of Constitution at 50 cents per copy. The silent film Old Ironsides, portraying Constitution during the First Barbary War, premiered in December 1926, helped spur more contributions to her restoration fund. Memorabilia made of her discarded planking and metal also raised funds. More than US$600,000 was eventually raised after expenses, still short of the required amount. To complete the restoration, Congress approved up to US$300,000. The final cost of the restoration was US$946,000.
  • Materials for its restoration, especially the live oak needed, were difficult to find. Lt. John A. Lord, selected to oversee the 1927-1931 reconstruction project, uncovered a long-forgotten stash of some 1,500 short tons (1,400 t) of live oak (cut sometime in the 1850s for a ship building program that never began) at Naval Air Station Pensacola, Florida. During her 1973-1974 restoration, large quantities of red oak, added in the 1950s as an experiment to see if it would last better than the live oak, were removed and replaced (it had mostly rotted away by 1970). “Constitution Grove,” a 100 sq. km. (25,000-acre) tract of land located at the Naval Surface Warfare Center in Indiana dedicated by Cmdr. Tyrone G. Martin in May 1976, now supplies the majority of the white oak required for repair work. For the 1995 restoration, live oak trees felled by Hurricane Hugo in 1989 were also donated by the city of Charleston, South Carolina.  The International Paper Company also donated live oak from its own property.
  • For the 3-year tour of the country in the 1930s, many amenities were installed to prepare her including water piping throughout, modern toilet and shower facilities, electric lighting to make the interior visible for visitors, and several peloruses for ease of navigation. The tour began with much celebration and a 21-gun salute, at Portsmouth, New Hampshire.  Due to the schedule of visits on her itinerary (90 port cities along the Atlantic, Gulf, and Pacific coasts), she was towed by the minesweeper Grebe and she went as far north as Bar Harbor, Maine, south and into the Gulf of Mexico then through the Panama Canal Zone, and north again to Bellingham, Washington on the Pacific Coast.
  • Since her 1927–1931 restoration, all of the guns aboard Constitution are replicas. Most were cast in 1930, but two carronades on the spar deck were cast in 1983. In order to restore the capability of firing ceremonial salutes, a modern 40 mm. (1.6 in.) saluting gun was hidden inside the forward long gun on each side during her 1973–1976 restoration.
  • During the 1976 Bicentennial, over 900,000 visitors toured “Old Ironsides.”
  • The Naval History and Heritage Command Detachment Boston, responsible for planning and performing her maintenance, repair, and restoration, keeping her as close as possible to her 1812 configuration, estimates that approximately 10–15%of the timber in Constitution contains original material installed during her initial construction period in the years 1795–1797.
  • In 2003, the special effects crew from the production of Master and Commander: The Far Side of the World spent several days using Constitution as a computer model, using stem-to-stern digital image scans of “Old Ironsides,”for the fictional French frigate Acheron.

The lower deck of the ship

Here’s the historical timeline of the Constitution:

  • On November 1, 1794, the Constitution’s keel is laid down at Edmund Hartt‘s shipyard in Boston, Massachusetts under the supervision of Capt. Samuel Nicholson and master shipwright George Claghorn
  • On September 20, 1797, the Constitution is launched in a ceremony attended by Pres. John Adams and Massachusetts Gov. Increase Sumner.
  • On October 21, 1797, after a month of rebuilding the ways, the Constitution finally slips into Boston Harbor, with Capt. James Sever breaking a bottle of Madeira wine on her bowsprit.
  • On the evening of July 22, 1798, she puts to sea, with orders to patrol the Eastern seaboard between New Hampshire and New York.
  • On September 8, 1798, off the coast of Charleston, South Carolina, the Constitution intercepts the Niger, a 24-gun ship sailing with a French crew, en route from Jamaica to Philadelphia, claiming to have been under the orders of Great Britain. Nicholson has the crewmen imprisoned, placing a prize crew aboard Niger and bringing her into Norfolk, Virginia. The ship and her crew are released to continue their voyage and the American government pays a restitution of $11,000 to Great Britain.
  • On December 29, 1798, after repairs to her bowsprit which was severely damaged in a gale, the Constitution departs Boston.
  • On January 15, 1799, the Constitution intercepts the Spencer, an English merchantman which had been taken prize by the French frigate L’Insurgente a few days prior. Though technically a French ship operated by a French prize crew, Nicholson releases the Spencer and her crew the next morning.
  • On March 1, 1799, the Constitution encounters HMS Santa Margarita whose captain was an acquaintance of Nicholson. The two agree to a sailing duel and, after 11 hours of sailing, Santa Margarita lowers her sails and admits defeat, paying off the bet with a cask of wine to Nicholson.
  • On March 27, 1799, the Constitution manages to recapture the American sloop Neutrality and, a few days later, the French ship Carteret.
  • On May 14, 1799, she returns to Boston and Nicholson was relieved of command.
  • On July 23, 1799, after repairs and resupply are completed, the Constitution departs Boston, now under the command of Capt. Silas Talbot, for Saint-Domingue in the West Indies, via Norfolk, on a mission to interrupt French shipping.
  • On September 15, 1799, she takes the Amelia from a French prize crew and Talbot sends the ship back to New York City with an American prize crew.
  • On October 15, 1799, the Constitution arrives at Saint-Domingue and rendezvous with BostonGeneral Greene and Norfolk.
  • On July 13, 1800, she puts into Cap Français for repairs of her mainmast.
  • On July 23, 1800, the Constitution is relieved of duty by the Constellation.
  • On August 24, 1800, after the Constitution escorts 12 merchantmen to Philadelphia, she puts in at Boston where she receives new masts, sails and rigging.
  • On December 17, 1800, the Constitution again sails for the West Indies as squadron flagship, rendezvousing with CongressAdamsAugustaRichmond and Trumbull.
  • On July 2, 1802, she is placed in ordinary.
  • On May 13, 1803, during the Quasi-War with the Barbary States, Capt. Edward Preble recommissions Constitution as his flagship and makes preparations to command a new squadron for a blockade attempt.
  • On August 14, 1803, the Constitution departs Boston.
  • On September 6, 1803, she almost has a near encounter with the HMS Maidstone, a 32-gun frigate, near the Rock of Gibraltar.
  • On September 12, 1803, the Constitution arrives at Gibraltar where Preble waits for the other ships of the squadron.
  • On October 3, 1803, the Constitution and Nautilus departs Gibraltar
  • On October 4, 1803, they arrive at TangiersAdams and New York arrives the next day. With four American warships in his harbor, the Sultan was glad to arrange the transfer of ships between the two nations
  • On October 14, 1803, Preble departs with his squadron, heading back to Gibraltar.
  • On the morning of August 3, 1804, the ConstitutionArgusEnterpriseScourgeSyren, six gunboats, and two bomb ketches arrive and immediately begin operations for the attack on Tripoli. In the harbor, Constitution and her squadron severely damage or destroy, in a series of attacks over the coming month, the 22 Tripoline gunboats that meet them, taking their crews prisoner. Constitution primarily provided gunfire support, bombarding the shore batteries of Tripoli.
  • On August 11, 1804, the Constitution is ordered to Malta for repairs and, while en route, captures two Greek vessels attempting to deliver wheat into Tripoli.
  • On August 12, 1804, a collision with the President, attributed to a sudden change in wind direction, severely damages the ship’s bow, stern and the figurehead of Hercules.
  • On November 9, 1804, while she underwent repairs and resupply in Malta, Capt. John Rodgers assumes command of Constitution.
  • On April 5, 1805, she resumes the blockade of Tripoli, capturing a Tripoline xebec, along with two prizes that the xebec had captured.
  • On June 3, 1805, a peace treaty with Tripoli was signed  on board the Constitution
  • On July 30, 1805, she arrives in Tunis.
  • On August 14, 1805, after a a short-term blockade of the harbor by the Constitution, CongressConstellationEnterpriseEssexFranklinHornetJohn AdamsNautilusSyren and eight gunboats, a peace treaty was signed.
  • On May 29, 1806, after performing routine patrols and observing the French and Royal Navy operations of the Napoleonic Wars, Rodgers turns over the command of the squadron and Constitution to Capt. Hugh G. Campbell.
  • On May 15, 1807, James Barron sails the Chesapeake out of Norfolk to replace Constitution as the flagship of the Mediterranean squadron. However, he encounters HMS Leopard, resulting in the Chesapeake–Leopard Affair and delaying the relief of Constitution.
  • On September 8, 1807, Campbell and the squadron are ordered home and set sail for Boston
  • On October 14, 1807, the squadron arrives in Boston.
  • On December 1807, the Constitution is recommissioned, with Capt. John Rodgers again taking command to oversee a major refitting and overhaul at a cost just under $100,000.
  • On June 1810, Isaac Hull takes command.
  • On August 5, 1811, Hull departs for France, transporting the new Ambassador Joel Barlow and his family, arriving on September 1.
  • On February 18, 1812, they arrive back to the United States.
  • On July 12, 1812, after war is declared with Britain on June 18, Hull put to sea attempting to join the five ships of a squadron under the command of Rodgers in the President.
  • On July 17, 1812, off Egg Harbor, New Jersey, Hull sights 5 ships (HMS AeolusAfricaBelvideraGuerriere and Shannon) of a British squadron out of Halifax. They sight the Constitution and give chase.
  • On July 19, 1812, after a 57-hour chase, the Constitution finally outruns the squadron, pumping overboard 2,300 US gal (8.7 kl) of drinking water and pulled far enough ahead of the British that they abandoned the pursuit.
  • On July 27, 1812, Constitution arrives in Boston and remains there just long enough to replenish her supplies.
  • On August 2, 1812, to avoid being blockaded in port, Hull sails without orders, heading on a northeast route towards the British shipping lanes near Halifax and the Gulf of Saint LawrenceConstitution captures 3 British merchantmen, which Hull burns rather than risk taking them back to an American port.
  • On August 16, 1812, he sails in pursuit of a British frigate 190 kms. (120 mi.) to the south.
  • On August 19, 1812, he sights the frigate HMS Guerriere and, after a furious battle, the Constitution’s sailing ability and heavier broadsides turned the British frigate into an unmanageable hulk, with close to a third of her crew wounded or killed, while Constitution remained largely intact as many of the British shots had rebounded harmlessly off its hull. The British surrendered. The Guerriere was so badly damaged that she was not worth towing to port and, the next morning, Hull ordered her to be burned after transferring the British prisoners onto Constitution.
  • On August 30, 1812, the Constitution arrives back in Boston where Hull and his crew find that news of their victory has spread fast, and they are hailed as heroes.
  • On September 8, 1812, William Bainbridge takes command of the Constitution and prepares her for another mission in British shipping lanes near Brazil
  • On October 27, 1812, she sets sail with the Hornet
  • On December 13, 1812, they arrive near São Salvador, sighting HMS Bonne Citoyenne in the harbor. The captain of Bonne Citoyenne, reportedly carrying $1,600,000 in specie to England, refuses to leave the neutral harbor lest he lose his cargo. Constitution sails offshore in search of prizes, leaving Hornet to await the departure of Bonne Citoyenne.
  • On December 29, 1812, she meets with HMS Java, under Capt. Henry Lambert and, after continuously raking her with broadsides, Java lays in shambles, an unmanageable wreck with a badly wounded crew, and she surrenders. Java is far too damaged to retain as a prize and Bainbridge orders her burned. Bainbridge is wounded twice during the battle.
  • On January 1, 1813, Constitution returns to São Salvador to disembark the prisoners of Java, where she meets with Hornet and her two British prizes.
  • On January 5, 1813, Bainbridge orders Constitution to sail for Boston for extensive repairs.
  • On February 15, 1813, the Constitution arrives in Boston to even greater celebrations than Hull had received a few months earlier.
  • On July 18, 1813, Charles Stewart takes command of the ship, struggling to complete the construction and recruitment of a new crew.
  • On December 31, 1813, she finally makes sail, setting course for the West Indies to harass British shipping.
  • By late March 1814, she captures 5 merchant ships and the 14-gun HMS Pictou. She also pursues HMS Columbine and HMS Pique but, after realizing that she is an American frigate, both ships escape.
  • On March 27, 1814, her mainmast splits off the coast of Bermuda requiring immediate repair.
  • On April 3, 1814, while enroute to Boston, British ships HMS Junon and Tenedos  pursue her but, after drinking water, food and spirits were cast overboard to lighten her load and gain speed, she makes her way into Marblehead, Massachusetts where the British call off the pursuit. Two weeks later, Constitution makes her way into Boston harbor where she remains blockaded in port until mid-December.
  • On the afternoon of December 18, 1814, the Constitution escapes from Boston Harbor and again sets course for Bermuda. Capt. George Collier gathers a squadron consisting of the 50-gun HMS Leander, Newcastle and Acasta and sets off in pursuit, but he was unable to overtake her.
  • On December 24, 1814, the Constitution intercepts the merchantman Lord Nelson and places a prize crew on board.
  • On February 8, 1815, Constitution is cruising off Cape Finisterre when Stewart learns that the Treaty of Ghent has been signed.
  • On February 16, 1815, realizing that a state of war still exists until the treaty is ratified, the Constitution captures the British merchantman Susanna (her cargo of animal hides were valued at $75,000).
  • On February 20, 1815, the Constitution sights the small British ships Cyane and Levant sailing in company and gives chase, capturing both of them.
  • On March 10, 1815, the trio arrives at Porto Praya at the Cape Verde Islands.
  • On the morning of March 11, 1815, Collier’s squadron was spotted on a course for the harbor, and Stewart orders all ships to sail immediately. Cyane is able to elude the squadron and make sail for America, where she arrives on April 10, but Levant is overtaken and recaptured. While Collier’s squadron was distracted with Levant, the Constitution makes its escape.
  • On April 2, 1815, Constitution puts into Maranhão to offload her British prisoners and replenish her drinking water.
  • On April 28, 1815, after receiving verification of Treaty of Ghent at San Juan, Puerto Rico, the Constitution sets course for New York
  • On May 15, 1815, the Constitution arrives in New York to large celebrations.
  • In January 1816, Constitution is moved to Boston and placed in ordinary, sitting out the Second Barbary War.
  • In April 1820, Isaac Hull, now Charlestown Navy Yard’s commandant, directs a refitting of Constitution to prepare her for duty with the Mediterranean Squadron.
  • On May 13, 1821, the Constitution, now under Jacob Jones, departs on a three-year uneventful tour of duty in the Mediterranean, sailing in company with Ontario and Nonsuch.
  • On May 31, 1824, Constitution arrives in Boston and Jones is relieved of command, replaced by Thomas Macdonough.
  • On October 29, 1824, the Constitution sails for the Mediterranean under the direction of John Rodgers in North Carolina.
  • During December and into January 1826, Constitution puts in for repairs.
  • On February 21, 1826, Daniel Todd Patterson assumes command after Macdonough resigns his command for health reasons on October 9, 1825.
  • By August 1826, she puts into Port Mahon, suffering decay of her spar deck, and she remains there until temporary repairs are completed in March 1827.
  • On July 4, 1828 Constitution returned to Boston and was placed in reserve.
  • On September 14, 1830, an article appeared in the Boston Advertiser which erroneously claims that the Navy intended to scrap Constitution.
  • On September 16, 1830, Oliver Wendell Holmes‘ poem “Old Ironsides” is published in the same paper and later all over the country, igniting public indignation and inciting efforts to save “Old Ironsides” from the scrap yard.
  • After Secretary Branch approves the repair cost of over $157,000, and Constitution begins a leisurely repair period while awaiting completion of the dry dock, then under construction at the yard.
  • On June 24, 1833, Constitution enters dry dock and Capt. Jesse Elliott, the new commander of the Navy yard, oversees her reconstruction. Constitution had 760 mm. (30 in.) of hogin her keel and she remains in dry dock until June 21, 1834.
  • In March 1835, the Constitution, with Elliot in command, gets underway to New York
  • On March 16, 1835, Constitution sets a course for France to deliver Edward Livingston to his post as Minister.
  • On April 10, 1835, she arrives in France
  • On May 16, 1835, Constitution begins the return voyage back to Boston
  • On June 23, 1835, she arrives back in Boston
  • On August 19, 1835, Constitution sails again to take her station as flagship in the Mediterranean
  • On September 19, 1835, she arrives at Port Mahon to begin her uneventful duty over the next two years as she and United States make routine patrols and diplomatic visits.
  • From April 1837 into February 1838, Elliot collects various ancient artifacts to carry back to America.
  • On July 31, 1835, Constitution arrives in Norfolk.
  • On March 1, 1839, as flagship of the Pacific Squadron under the command of Capt. Daniel Turner, she begins her next voyage with the duty of patrolling the western coast of South America, visiting Valparaíso, Callao, Paita and Puna.
  • On August 29, 1841, on her return voyage, Emperor Pedro II of Brazil visits her at Rio de Janeiro.
  • On October 31, 1841, she returns to Norfolk.
  • On June 22, 1842 she is recommissioned, under the command of Foxhall Alexander Parker, for duty with the Home Squadron. After spending months in port she puts to sea for 3 weeks during December, then is again put in ordinary.
  • In late 1843, she is moored at Norfolk, serving as a receiving ship.
  • On November 6, 1843, Capt. John Percival makes necessary repairs and upgrades on the ship at a cost of $10,000 and after several months of labor.
  • On May 29, 1844, Constitution gets underway carrying Ambassador to Brazil Henry A. Wise and his family
  • On August 2, 1844, after making two port visits along the way, she arrives at Rio de Janeiro.
  • On September 8, 1844, Constitution sails again, making port calls at Madagascar, Mozambique, and Zanzibar
  • On January 1, 1845, she arrives in Sumatra where many of her crew begin to suffer from dysentery and fevers, causing several deaths, which leads Percival to set course for Singapore
  • On February 8, 1845, Constitution arrives in Singapore where Commodore Henry Ducie Chads (a lieutenant in the Java when she surrendered to William Bainbridge 33 years earlier) of the HMS Cambrian pays a visit to Constitution, offering what medical assistance his squadron could provide.
  • On May 10, 1845, after leaving Singapore, Constitution arrives in Turon, Cochinchina (present day Da Nang, Vietnam).
  • On May 26, 1845, after failing to obtain the release of French missionary Dominique Lefèbvre who was being held captive under sentence of death, the Constitution departs.
  • On June 20, 1845, she arrives in Canton, China and spends the next six weeks there, with Percival making shore and diplomatic visits.
  • On September 18, 1845, she reaches Manila, spending a week there preparing to enter the Pacific Ocean.
  • On September 28, 1845, she sails for the Hawaiian Islands
  • On November 16, 1845, the Constitution arrives in Honolulu where she finds Commodore John D. Sloat and his flagship Savannah there
  • On January 13, 1846, after provisioning for six months, the Constitution arrives in Mazatlán, Mexico as the United States was preparing for war after the Texas annexation.
  • On April 22, 1846, after sitting at anchor for more than 3 months, she sails for home.
  • On July 4, 1846, she rounds Cape Horn. Upon arrival at Rio de Janeiro, the ship’s party learns that the Mexican War had begun on May13, soon after their departure from Mazatlán.
  • On September 27, 1846, she arrives in Boston
  • On October 5, 1846, the Constitution is mothballed.
  • In 1847, the Constitution begins refitting for duty with the Mediterranean Squadron.
  • On December 9, 1848, under Capt. John Gwinn, the Constitution departs.
  • On January 19, 1849, she arrives in Tripoli.
  • On August 1, 1849, at Gaeta,  she receives King Ferdinand II and Pope Pius IX on board, giving them a 21-gun salute, the first time that a Pope set foot on American territory or its equivalent.
  • On September 1, 1849, Capt. Gwinn dies of chronic gastritis at Palermo and, on September 9, is buried near Lazaretto.
  • On September 18, 1849, Capt. Thomas Conover assumes command  and resumes routine patrolling for the rest of the tour,
  • On December 1, 1850, she heads home and is involved in a severe collision with the English brig Confidence, cutting her in half and sinking her with the loss of her captain. The surviving crew members are carried back to America
  • On January 1851, the Constitution is again put back in ordinary, this time at the Brooklyn Navy Yard.
  • On December 22, 1852, the Constitution is recommissioned under the command of John Rudd.
  • On March 2, 1853, she departs the yard on a leisurely sail towards Africa, carrying Commodore Isaac Mayo for duty with the African Squadron
  • On June 18, 1853, she arrives in Africa with Mayo making a diplomatic visit in Liberia to arrange a treaty between the Gbarbo and the Grebo tribes, resorting to firing cannons into the village of the Gbarbo in order to get them to agree to the treaty.
  • On November 3, 1853, near Angola, the Constitution takes the American ship H. N. Gambrill (the Constitution’s final capture), which was involved in the slave trade, as a prize.
  • On March 31, 1855, she sails for home but is diverted to Havana, Cuba
  • On March 16, 1855, she arrives in Havana
  • On March 24, 1855, she departs Havana for Portsmouth Navy Yard
  • On June 14, 1855, she is decommissioned, ending her last duty on the front lines.
  • In 1857, Constitution is moved to dry dock at the Portsmouth Navy Yard for conversion into a training ship. Classrooms are added on her spar and gun decks and her armament is reduced to only 16 guns. Her rating was changed to a “2nd rate ship.”
  • On August 1, 1860, she is recommissioned and moves from Portsmouth to the US Naval Academy.
  • In April 1861, at the outbreak of the Civil War, Constitution is ordered to relocate farther north after threats are made against her by Confederate sympathizers. Several companies of Massachusetts volunteer soldiers are stationed aboard for her protection.
  • On April 29, 1861, she arrives in New York City after being towed there by R. R. Cuyler. She was subsequently relocated, along with the Naval Academy, to Fort Adams in Newport, Rhode Island for the duration of the war.
  • On August 1865, Constitution, along with the rest of the Naval Academy, moves back to Annapolis. Once settled in at the Academy, a series of upgrades are installed that includes steam pipes and radiators to supply heat from shore, along with gas lighting.
  • From June to August each year, she would depart with midshipmen for their summer training cruise and then return to operate for the rest of the year as a classroom.
  • In June 1867, her last known plank owner William Bryant dies in Maine.
  • On November 1867, George Dewey assumes command and serves as her commanding officer until 1870.
  • In 1871, her condition had deteriorated to the point where she is retired as a training ship
  • On September 26, 1871, after being towed to the Philadelphia Navy Yard, she is again placed in ordinary.
  • Beginning in 1873, Constitution is overhauled in order to participate in the centennial celebrations of the United States. Work begins slowly and is intermittently delayed by the transition of the Philadelphia Navy Yard to League Island.
  • By late 1875, the Navy opens bids for an outside contractor to complete the work
  • In May 1876, Constitution is moved to Wood, Dialogue, and Company  where a coal bin and a small boiler for heat were installed. At this time The Andrew Jackson figurehead is removed and given to the Naval Academy Museum where it remains today.
  • During the rest of 1876, her construction drags on until the centennial celebrations had long passed, and the Navy decided that she would be used as a training and school ship for apprentices.
  • On January 9, 1878, Oscar C. Badger takes command to prepare her for a voyage to the Paris Exposition of 1878, transporting artwork and industrial displays to France. Three railroad cars are lashed to her spar deck and all but two cannons are removed.
  • On March 4, 1878, she departs for France. While docking at Le Havre, she collides with Ville de Paris, resulting in her entering dry dock for repairs and remaining in France for the rest of 1878.
  • On January 16, 1878, she gets underway for the United States
  • On January 17, 1878, poor navigation runs her aground near Bollard Head. She is towed into the Portsmouth Naval Dockyard, Hampshire, England, where only minor damage is found and repaired.
  • On February 13, 1878, during heavy storms, her rudder is damaged, resulting in a total loss of steering control with the rudder smashing into the hull at random. To secure it, 3 crewmen go over the stern on ropes and boatswain’s chairs.
  • The morning of February 14, 1878, they rig a temporary steering system and Badger sets a course for the nearest port
  • On February 18, 1878, she arrived in Lisbon where slow dock services delay her departure.
  • On April 11, 1878, she departs Lisbon
  • On May 24, 1878, she arrives in the United State where Constitution returns to her previous duties of training apprentice boys. Over the next two years, she continues her training cruises.
  • In 1881, after it soon became apparent that her overhaul in 1876 had been of poor quality, Constitution was determined to be unfit for service and, as funds were lacking for another overhaul, she was decommissioned, ending her days as an active-duty naval ship. She is moved to the Portsmouth Navy Yard and used as a receiving ship. There, she had a housing structure built over her spar deck, and her condition continued to deteriorate, with only a minimal amount of maintenance performed to keep her afloat.
  • In 1896, aware of her condition, Massachusetts Congressman John F. Fitzgerald proposes to Congress that funds be appropriated to restore her enough to return to Boston.
  • On September 21, 1897, she arrives, under tow, at the Charlestown Navy Yard and, after her centennial celebrations in October, she lays there with an uncertain future.
  • In 1900, Congress authorizes restoration of Constitution but does not appropriate any funds for the project.
  • In 1903, the Massachusetts Historical Society‘s president Charles Francis Adams requests Congress that Constitution be rehabilitated and placed back into active service.
  • In 1905, after Secretary of the Navy Charles Joseph Bonaparte suggests that Constitution be towed out to sea and used as target practice, after which she would be allowed to sink, Moses H. Gulesian, a businessman from Worcester, Massachusetts, reads about this in a Boston newspaper and offers to purchase her for US$10,000. The State Department refuses, but Gulesian initiates a public campaign which begins from Boston and ultimately “spilled all over the country.”
  • In 1906, a storm of protest from the public prompts Congress to authorize US$100,000 for the ship’s restoration. First to be removed was the barracks structure on her spar deck, but the limited amount of funds allowed just a partial restoration.
  • By 1907, Constitution begins to serve as a museum ship, with tours offered to the public.
  • On December 1, 1917, she is renamed Old Constitution to free her name for a planned, new Lexington-class battle cruiser.
  • On July 24, 1925, Old Constitution was granted the return of her name after construction of the lead ship of the class the name Constitution was originally destined for got canceled in 1923 due to the Washington Naval Treaty and the incomplete hull was sold for scrap.
  • On February 19, 1924, inspection of her condition by the Board of Inspection and Survey, ordered by Adm. Edward Walter Eberle, Chief of Naval Operations, found her in grave condition.
  • On June 16, 1927, Constitution enters dry dock with a crowd of 10,000 observers.
  • On March 15, 1930, she emerges from dry dock with approximately 85% of the ship “renewed” (i.e. replaced) to make her seaworthy.
  • On July 1, 1931, Constitution is recommissioned under the command of Louis J. Gulliver with a crew of 60 officers and sailors, 15 Marines, and a pet monkey named Rosie that was their mascot.
  • On May 1934, after more than 4.6 million people visited her during the 3-year tour, Constitution returns to her home port of Boston, serving as a museum ship and receiving 100,000 visitors per year.
  • On September 21, 1938, during the New England Hurricane, Constitution breaks loose from her dock and is blown into Boston Harbor where she collides with the destroyer Ralph Talbot. She only suffers minor damage.
  • In 1940, at the request of Pres. Franklin Roosevelt, USS Constellation  and  Constitution  were recommissioned.
  • In early 1941, Constitution is assigned the hull classification symbol IX-21 and begins to serve as a brig for officers awaiting court-martial.
  • In 1947, The United States Postal Service issues a stamp commemorating Constitution
  • In the 1950s, reliable heating for the small maintenance crew who were berthed on the ship was upgraded to a forced-air system and a sprinkler system was added to protect her from fire.
  • In 1954, an Act of Congress makes the Secretary of the Navy responsible for her upkeep.
  • In 1960, Constitution is designated as a U.S. National Historic Landmark.
  • On October 15, 1966, the Constitution is included in the U.S. National Register of Historic Places (NRHP)
  • In 1972, funds were approved for her restoration
  • In April 1973, she enters dry dock remaining until April 1974.
  • In August 1974, as preparations begin for the upcoming United States Bicentennial celebrations. Cmdr. Tyrone G. Martin, who sets the precedent that all construction work on Constitution was to be aimed towards maintaining her to the 1812 configuration for which she is most noted, becomes her captain.
  • In September 1975, her hull classification of IX-21 was officially canceled.
  • On April 8, 1976, the privately run USS Constitution Museum is opened
  • On July 10, 1976, Constitution leads the parade of tall ships up Boston Harbor for Operation Sail, firing her guns at one-minute intervals for the first time in approximately 100 years.
  • On July 11, 1976, she renders a 21-gun salute to Her Majesty’s Yacht Britannia, as Queen Elizabeth II and Prince Philip arrived for a state visit. The royal couple, with Cmdr. Martin and J. William Middendorf (Secretary of the Navy), were piped aboard, privately touring the ship for approximately 30 minutes. Upon their departure, the crew of Constitution rendered three cheers for the Queen.
  • In 1992, Constitution enters dry dock for an inspection and minor repair period, her most comprehensive structural restoration and repair since she was launched in 1797.
  • In 1995, after a US$12 million restoration, she emerges from dry dock.
  • On July 20, 1995, Constitutionwas towed from her usual berth in Boston to an overnight mooring in Marblehead, Massachusetts. En route, she made her first sail in 116 years at a recorded 6 knots (11 kms./hr.; 6.9 mph).
  • On July 21, 1995, she is towed 5 nautical miles (9.3 kms.; 5.8 mi) offshore, where the tow line is dropped and Cmdr. Beck orders 6 sails set (jibs, topsails, and spanker). She then sails for 40 minutes on a south-south-east course with true wind speeds of about 12 knots (22 kms./hr.; 14 mph), attaining a top recorded speed of 4 knots (7.4 kms./hrs.; 4.6 mph). While she is under sail, the guided missile destroyer Ramage and frigate Halyburton, her modern US naval combatant escorts, render passing honors to “Old Ironsides” and she is overflown by the Blue Angels, the US Navy Flight Demonstration Squadron. Inbound to her permanent berth at Charlestown, off Fort Independence in Boston Harbor, she is rendered a 21-gun salute to the nation.
  • In November 2007, Lt.-Cmdr. John Scivier of the Royal Navy, commanding officer of HMS Victory, paid a visit to Constitution, touring the local facilities with Cmdr. William A. Bullard III. They discussed arranging an exchange program between the two ships.
  • In November 2010, Constitution emerges from a three-year repair period.
  • On August 19, 2012, the anniversary of her victory over Guerriere, the crew of Constitution, under Cmdr. Matt Bonner (Constitution’s 72nd commanding officer), sails Constitution under her own power.
  • On May 18, 2015, the ship enters Dry Dock 1 in Charlestown Navy Yard  to begin a scheduled 2-year restoration program restore the copper sheets on the ship’s hull and replace additional deck boards.  The Department of the Navy provided the US$12–15 million expected cost.
  • In August 2015, Cmdr. Robert S. Gerosa Jr. (her 74th and current commanding officer) assumes command of Constitution.
  • On July 23, 2017, after the restoration was complete, she was returned to the water.

The Captain’s Cabin

Here are the general characteristics of the Constitution:

  • Tonnage: 1,576
  • Displacement: 2,200 tons
  • Length: 93 m. (304 ft.), bowsprit to spanker; 63 m. (207 ft.), billet head to taffrail; 53 m. (175 ft.) at waterline
  • Beam: 26 m. (43 ft. 6 in.)
  • Height: 60 m. (198 ft.), foremast; 67 m. (220 ft.), mainmast; 52.6 m. (172.5 ft.), mizzenmast.
  • Draft: 6.4 m. (21 ft.), forward; 7.0 m. (23 ft.), aft
  • Depth of Hold: 4.34 m. (14 ft. 3 in.)
  • Decks: OrlopBerthGunSpar
  • Propulsion: Sail (three masts, ship rig)
  • Sail plan: 3,968 m2 (42,710 sq. ft.) on three masts
  • Speed: 24 kms./hr. (13 knots, 15 mph)
  • Boats and landing: 1 × 11 m. (36 ft.) longboat, 2 × 9.1 m. (30 ft.) cutters
  • Craft carried: 2 × 8.5 m. (28 ft.) whaleboats, 1 × 8.5 m. (28 ft.) gig, 1 × 6.7 m. (22 ft.) jolly boat, 1 × 4.3 m. (14 ft.) punt
  • Complement: 450 including 55 Marines and 30 boys (1797)
  • Armament: 30 × 24-pounder(11 kgs.) long gun, 20 × 32-pounder (15 kgs.) carronade, 2 × 24-pounder (11 kgs.) bow chasers[2]

The author emerging from the lower deck

USS Constitution: Building 5, Charlestown Navy Yard,BostonMassachusetts 02129, USA.  Tel: +1 617-799-8198. Open Wednesdays to Sundays, 10AM – 4PM. The ship is closed on Thanksgiving Day, Christmas Day and New Year’s Day.  Admission: free. Website:  www.navy.mil/local/constitution. Note that all guests aged 18 and older must show a state-issued photo ID (like a driver’s license or passport) at security to board the ship. Guests under age 18 do not require an ID.

How to Get There: The GPS address is 1 Constitution Road, Charlestown. You can drive and park in the Nautica Parking Garage across from the Naval Yard Visitor Center or take the Green Line (to North Station) or Orange Line (to Bunker Hill Community College). MBTA Water Shuttle Route F4 (Long Wharf, Boston to Charlestown Navy Yard, Charlestown)

USS Cassin Young (Boston, Massachusetts, USA)

The author in front of the USS Cassin Young

The USS Cassin Young (DD-793), a Fletcher-class destroyer of the U.S. Navy, is preserved today as a memorial ship, berthed at Boston Navy Yard in Massachusetts, across from the old warship USS Constitution. Visiting this ship seemed like an afterthought before or after seeing the USS Constitution and this ship doesn’t have the historical weight “Old Ironsides.” Still, it had a storied World War II history and it was fun to walk around the well-maintained US Navy destroyer as they have lots of rooms open on the main deck to look in or walk around in. Cassin Young served in World War II (participating in the Battle of Leyte Gulf and the Battle of Okinawa), was decommissioned, but was reactivated during the Korean War and continued in active service until 1960.

Check out “USS Constitution – Old Ironsides

Gangplank leading to the ship’s top deck

Here are some interesting trivia regarding the ship:

National Historic Landmark Plaque

Here’s the historical timeline of the ship:

  • On March 18 1943, the keel of the Cassin Young was laid down byBethlehem SteelSan Pedro, California.
  • On September 12, 1943, the Cassin Young was launched.
  • Sponsored by Mrs. Eleanor Young (widow of her namesake); she was commissioned on December 31, 1943 with Commander T. Schrieber in command.
  • On March 19, 1944, Cassin Young arrived at Pearl Harbor to complete her training before sailing on to Manus, where she joined the massive Fast Carrier Task Force (then called TF 58, at other times called TF 38, depending on whether the overall organization was called 5th Fleet or 3rd Fleet).
  • On April, 28, 1944, TF 58 sortied for air attacks on Japanese strongholds at TrukWoleaiSatawan and Ponape in the Caroline Islands, during which Cassin Young operated as a picket ship, assigned to warn her group of possible enemy counterattack. She returned to Majuro, and then Pearl Harbor for further training.
  • On June 11, 1944, Cassin Young reported to Eniwetok to join the screen of escort carriers assigned to covering duty in the invasion of Saipan four days later. In addition to radar picket and screening duty, she was also called upon for inshore fire support. As the battle for Saipan raged ashore, escort carriers of Cassin Young‘s group launched attacks on the island, as well as sorties to neutralize enemy air fields on TinianRota, and Guam. Similar operations supporting the subsequent assaults on Tinian and Guam claimed the services of Cassin Young.
  • On August, 13, 1944, she returned to Eniwetok to replenish.
  • On August 29, 1944, Cassin Young guards the carriers of Task Group 38.3, which included several aircraft carriers, as strikes were flown from their decks to hit targets on PalauMindanao, and Luzon in support of the assault on the Palaus, stepping-stone to the Philippines.
  • On October 2, 1944, she returns to Ulithi, Caroline Islands
  • On October 6, 1944, Cassin Young sails with the same force on duty in the accelerated schedule for the Philippines assault. First on the schedule were air strikes on Okinawa, Luzon, and Formosa.
  • From October 10 to 13, 1944, during the furious Formosa Air Battle, the Japanese tried to destroy the carrier strength of the imposing TF 38.
  • On October, 14, 1944, the cruiser Reno was struck by a Kamikaze, wounding five of Cassin Young‘s men with machine gun fire. During this attack, Cassin Young aided in shooting down several aircraft.
  • On October 18, 1944, TF 38 took position east of Luzon to launch strikes immobilizing enemy air fields there in preparation for the assault on Leyte two days later.
  • On October 23, 1944, after standing by to render support if called upon during the initial landings, Cassin Young‘s group began to search for the enemy forces known to be moving toward Leyte Gulf
  • On October, 24, 1944,during the most vigorous and successful air attack mounted by the Japanese during the Leyte operation, Cassin Young moved in toward San Bernardino Strait, ready to launch strikes. At 09:38, an enemy bomb struck the aircraft carrier Princeton, and Cassin Young rescued over 120 men from the carrier before that ship sank, then rejoined TG 38.3 for the dash northward to attack the Japanese Northern Force.
  • On October 25, 1944, a series of air strikes during the Battle off Cape Engaño resulted in the sinking of four Japanese carriers and a destroyer. As her carriers continued to range widely, striking at enemy bases on Okinawa, Formosa, and Luzon, Cassin Young continued operations in support of the Leyte conquest.
  • On October 31, 1944, Cmdr. John Ailes III takes over command of the Cassin Young.
  • Through January 1945, with Ulithi as her base, the destroyer screened carriers as their aircraft pounded away at Formosa, Luzon, Cam Ranh Bay (Vietnam), Hong KongCanton and the Nansei Shoto in their support for the assault on Luzon.
  • After a brief overhaul at Ulithi, Cassin Young joined operations supporting the invasion of Iwo Jima with air strikes on Honshū and Okinawa, the bombardment of Parece Vela, and screening off Iwo Jima itself in support of Marine operations during the initial assault on February 19, 1945.
  • On March 22, 1945, after another brief respite at Ulithi, she sailed for her deployment for the Okinawa operation. After screening heavy ships in the massive pre-invasion bombardment, Cassin Young helped “soften up” Okinawa for the upcoming assault on that island, and moving inshore to support the activities of underwater demolition teams preparing the beaches.
  • On April 1, 1945, the destroyer escorted assault craft to the beaches, providing shore bombardment in the assault areas, then took up radar picket duty, providing early warning of impending air attacks to the main fleet, possibly the most hazardous duty performed by any warship during World War II. In the weeks and months ahead, the ships assigned to the 15 picket stations bore the brunt of over 1,500 Kamikaze attacks which the Japanese gambled on in defeating the Okinawa operation. Radar Picket (RP) Stations 1,2 and 3 faced the worst of these attacks.
  • On April, 6, 1945, Cassin Young, on duty at RP Station 3, endured her first Kamikaze attacks as the Japanese launched the first of 10 massed attacks, sending 355 Kamikazes and 341 bombers towards Okinawa.  The ship downed three “bogeys” (enemy planes) and picked up survivors from the nearby destroyers assigned to RP Stations 1 and 2 (both were hit and sunk by Kamikazes).
  • On April, 12, 1945, a massive wave of Kamikazes came in at midday. Cassin Young was then assigned to RP Station 1. Her accurate gunfire had aided in shooting down 5 aircraft, but a sixth crashed high-up into her foremast, exploding in midair only 15 m. (50 ft.) from the ship. Surprisingly only one man was killed but 58 were wounded, many of them seriously. Cassin Young, although damaged, made Kerama Retto under her own power.
  • On May, 31, 1945, after repairs at Kerama Retto and at Ulithi, she returned to Okinawa and resumed radar picket duty.
  • As the Kamikaze attacks continued, Cassin Young had respite only during two brief convoy escort voyages to the Marianas.
  • On July, 28, 1945, her group was again a prime target for the Japanese, with one destroyer sunk and another badly damaged by Kamikazes. During the engagement, Cassin Young assisted in shooting down two enemy aircraft, then rescued 125 survivors from the sunken USS Callaghan.
  • At 3:26 AM on July 29, 1945, just 16 days before Japan surrendered, Cassin Young was struck for the second time, when a low-flying aircraft hit her starboard side of the main deck, near the forward smoke stack, striking her fire control room. A tremendous explosion amidships was followed by fire and the ship lay dead in the water. However, the crew managed contained the damage, restore power to one engine, get the flames under control, and had the ship underway for the safety of Kerama Retto within 20 minutes. Casualties were 22 men dead and 45 wounded.  For her determined service and gallantry in the Okinawa radar picket line she was awarded the Navy Unit Commendation.
  • On August 8, 1945, Cassin Young cleared Okinawa  and headed home for repairs. Arriving home in San Pedro, California, she was fully repaired.
  • On August 29, 1945, Lt.-Cmdr. Carl Pfeifer takes over command of the ship.
  • On May 28, 1946, she was decommissioned and placed the reserve or “mothball” fleet in San Diego.
  • On September 8, 1951, with the outbreak of the Korean Conflict, many destroyers were recalled to service and Cassin Young was recommissioned at Long Beach Naval Shipyard.
  • On January 4, 1952, she cleared San Diego for her new home port, Newport, Rhode Island.
  • In September 1952 she entered Dry Dock #1 in the Charlestown Facility, Boston Navy Yard (beginning her association with this navy yard) for the first of four major overhauls she would undergo in this shipyard. At this time the ship was updated to its current configuration. Two Hedgehog anti-submarine warfare (ASW) launchers and two torpedo carriages for the Mark 32 torpedo were added, with one 21 inch (533 mm.) quintuple torpedo tube mount removed. Also, four 40 mm. Bofors twin mounts were replaced by two quadruple mounts. The forward pole mast was replaced by a tripod mast to accommodate improved radar and electronics systems.
  • On November 21, 1952, Cmdr. Thomas Rudden, Jr. takes over command of the Cassin Young.
  • From May 7 to June 12, 1953, local operations and refresher training in the Caribbean preceded a period of antisubmarine exercises off Florida.
  • From September 16 to November 30, 1953, she had her first tour of duty with the 6th Fleet, initially serving in Atlantic and Mediterranean waters.
  • On May 3, 1954, after another period of local operations and exercises in the Caribbean Sea early in 1954, she cleared Newport for a round-the-world cruise, which included exercises with the 7th Fleet in the western Pacific, patrols off Korea, and good-will visits to Far Eastern and Mediterranean ports.
  • On November 28, 1954, she returned to Newport.
  • On August 17, 1956, Cmdr. Clifton Cates, Jr. takes over command of the Cassin Young.
  • On September 14, 1958, Cmdr. John Hooper takes over as commanding officer of the ship.
  • In 1959, Cassin Young was awarded the Battle Efficiency “E” for overall excellent performances in all exercises that year.
  • From 1954 until 1960, her operations included training exercises in the Caribbean and off the eastern Atlantic seaboard as well as four tours of duty in the Mediterranean in 1956, winter 1956-57, and 1959, and a round of visits to ports of northern Europe in 1958. During those years, the ship returned to the Boston Naval Shipyard five more times for overhauls to keep ahead of the unavoidable problem of old age.
  • On February 6, 1960, she arrived at Norfolk Naval Shipyard to be decommissioned because, during that last overseas deployment, an issue was discovered with her rudder that put her into dry dock in France. At that point the repair costs outweighed retaining the aging ship.
  • On April 29, 1960, Cassin Young was put into long-term storage at the PhiladelphiaNaval Inactive Ship Maintenance Facility.
  • On December 1, 1974, she was struck from the Naval Vessel Register. The US Navy has permanently loaned Cassin Young to the National Park Service, to be preserved as a floating memorial ship berthed at the Boston Navy Yard, part of the Boston National Historical Park (BNHP) in Boston, Massachusetts.
  • On June 15, 1978, Cassin Young arrived at Boston Navy Yard
  • In 1981, Cassin Young was opened to the public.
  • In 1986, she was designated as a National Historic Landmark
  • In late July 2010, Cassin Young closed to the public in preparation for dry-docking.
  • On August 9, 2010, she was moved into Historic Dry Dock #1 in BNHP for the first time in 30 years for some much needed repairs to her hull.
  • On September 4, 2012, the ship was closed to the public to allow contractors to make final repairs to the hull.
  • On May 14, 2013, she returned to her position at Pier 1.
  • On June 4, 2013, she was moved to the Boston Harbor Shipyard and Marina in East Boston while repairs were made to her berth in Charlestown.
  • By September 2013, she had returned to her museum berth.

Jandy in front of a Mark 12 5-inch, 38 caliber gun

Quad-mount 40-mm Bofors anti-aircraft guns

Twin-mount 40-mm. Bofors anti-aircraft guns

Depth charge track

Hedgehog ASW Mortar

Mark 32 torpedo

Here are some specifications of this ship:

  • Displacement :2,050 tons (2,924 full)
  • Length: 114.7 m. (376.4 ft.)
  • Beam: 12.1 m. (39.6 ft.)
  • Draft: 4.2 m. (13.8 ft.)
  • Propulsion: 4 oil-fired boilers, 2 General Electric gearedsteam turbines, 2 shafts, 45,000 kW (60,000 shp)
  • Speed: 67.6 kms./hr. (36.5 knots, 42.0 mph)
  • Range: 12,000 kms. (6,500 nautical miles); 7,500 mile at 15 knots (28 kms/hr.; 17 mph)
  • Complement: 325
  • Armament (as built): 5 x 5 in (127 mm)/38 caliber guns, 5 x twin 40 mm AA guns, 7 x 20 mm AA guns, 2 x quintuple 21 inch (533 mm) torpedo tubes, 6 x K-gun depth charge throwers, 2 x depth charge tracks
  • Armanent (as preserved): 5 x 5 in (127 mm)/38 caliber guns, 2 x quad 40 mm AA guns, 1 x twin 40 mm AA guns, 1 x quintuple 21 in (533 mm) torpedo tubes, 2 x torpedo carriages for the Mark 32 torpedo, 2 x Hedgehog ASW mortar, 1 x depth charge track

Captain’s In Port Cabin

Combat Information Center (CIC)

Officers Wardroom

Radio Room

Sick Bay

USS Cassin Young: 198 3rd St., Pier 1, Charlestown Navy Yard, Boston, Massachusetts 02129.  Tel: (617) 242-5601.  Admission is free. Free 45-min. guided tours, by a Park Ranger, takes you to the galleys, mess, officers’ quarters, engine room, gun/battery, captain’s cabin, the bridge and the crew quarters, all parts of the ship not accessible without a guide.

USS Constitution Museum (Boston, Massachusetts, USA)

USS Constitution Museum

The USS Constitution Museum serves as the memory and educational voice of the still floating and docked frigate USS Constitution (“Old Ironsides”) and provides engaging and hands-on experiences for all visitors. An interpretive complement to this still active duty naval vessel (first launched in 1797) but managed separately, it tells the story of the ship and the people who designed, built and sailed her through its collection of artifacts related to the ship’s history and interactive exhibits.

Check out “USS Constitution – Old Ironsides

Fully rigged model of USS Constitution

Part of the Boston National Historical Park, it is housed in a restored shipyard building at the foot of Pier 2, just across the pier from the Constitution, at the end of Boston’s Freedom Trail. Highly recommended for naval history fans, both ship and museum are a “must see” for anyone visiting Boston.

Check out “Freedom Trail

 

Painting of the launching of the USS Constitution

The museum, a Smithsonian Institution Affiliate, was honored to be rated a prestigious 4 stars on Charity Navigator.  It has won many awards including the 2003 National Award for Museum and Library Service, the 2010 Excellence in Exhibition Label Writing Award, the 2011 Leadership in History Award of Merit, the 2011 Muse Award for Online Presence and the Parent’s Choice Award.

A Hero’s Welcome

A private, award-winning non-profit organization incorporated in 1972, the museum opened its doors at its present facility in 1976. Its founding enabled the Constitution to clear its decks of display cases so that visitors who tour aboard would see a frigate ready to sail, rather than a floating museum. It is also home to the Samuel Eliot Morison Memorial Library and includes a comprehensive archival repository of records related to the ship’s history.

All Hands on Deck – A Sailor’s Life in 1812

The fantastic All Hands on Deck: A Sailor’s Life in 1812, a permanent all-ages interactive  exhibit (combined with images, sound, theater, artifacts and physical and mental tests) located at the second floor geared specifically toward children, was opened on n July 3, 2009. 

A scaled model of a yard and work ropes

Based on the museum’s ongoing historical research into lives of 1243 sailors’ and officers’ that served aboard the USS Constitution during the War of 1812, it explores the harsh realities of life at sea, through a combination of authentic storytelling and hands-on activities, just as the War of 1812 is declared.

The author tries out a hammock

Here, you can discover the unique world afloat as you swing in a authentic canvas hammock that sailors used to bed down, climb onto a scaled model of a yard and work ropes to try to shorten and furl a sail; get on your hands and knees and grab a holy stone to scrub a deck; experience battle and learn how they survived for months, sometimes years at sea.

Ship’s Store

Along the walls are life-sized cutouts of notable crew members, each with a plaque telling their own unique story aboard the ship.  You can also find out the dramatic twists in the life story of 8 year old David Debias, an African-American boy that joined Constitution’s crew in 1812. There are also actual artifacts from the ship including an actual biscuit that a sailor saved as a souvenir.

There’s also a station where you can test your knot-tying abilities and, at the end of the exhibition, spin a wheel to determine your ultimate fate at sea.

Forest to Frigate – a cross section of the Constitution

Forest to Frigate, the museum’s newest hands-on exhibit, chronicles the ship’s first 200 years, how and why she was built, how she earned her fame in the War of 1812, and why the US Navy still preserves the the over two century old wooden frigate as a commissioned warship. 

Enter the 1790’s to follow the story from the forest in which “Old Ironsides’” timbers grew to her launch as a fully formed frigate.  Decide for yourself what kind of ship to build, meet men like Paul Revere who labored to bring her to life, and test your shipyard skills.

Old Ironsides in War and Peace

Old Ironsides in War and Peace” provides an in-depth look at the ship’s storied history, including how and why she was built, how she earned her fame during the War of 1812, and why she is preserved at the United States Navy‘s oldest commissioned warship. The exhibits on the War of 1812 and the Barbary War are especially interesting. Here you can trace the birth of the US Navy during these relatively unknown conflicts.

Weapons Chest with a musket, rifle, 2 pistols and 2 cutlasses

On display are  scores of artifacts, documents, and photographs illustrating Constitution‘s decisive and symbolic role in US history.  They include a spike made by Paul Revere’s shop and phenomenal period paintings of USS Constitution and her captains

Old Ironsides – War of 1812 Discovery Center

“Old Ironsides” War of 1812 Discovery Center, an interactive exhibit designed for families in mind, explains the causes and consequences of the War of 1812 through games, multi-media, books, and other hands-on activities.

Old Ironsides – War of 1812 Discovery Center

Constitution vs HMS Java” tells the story of the battle between Constitution and HMS Java, through artwork, archival records, and artifacts associated with the battle.

Model Shipwright Guild

The Model Shipwright Guild, at the ground floor of the museum, operates a workshop, where visitors can see volunteer modelers working on fantastically detailed miniatures of the USS Constitution and other ships.

Museum Store

USS Constitution Museum : Building 22, Charlestown Navy Yard88 Constitution Rd., 
BostonMassachusetts 02129, USA.  Tel: +1 617-996-1954 and +1 617-426-1812.Open daily, 10AM – 5PM. The museum is closed on Thanksgiving Day, Christmas Day and New Year’s Day. ​ Admission: free (a suggested donation of US$5 for adults and US $3 for children is welcome). Website: www.ussconstitutionmuseum.org.

How to Get There: The GPS address is 1 Constitution Road, Charlestown. For thos with cars, you can park in the Nautica Parking Garage across from the Naval Yard Visitor Center.  For those taking public transporation, take the MBTA Green Line (to North Station) or Orange Line (to Bunker Hill Community College). Walk east on Causeway Street towards the Zakim Bridge/North End. At the first light (North Washington Street), turn left and cross the Charlestown Bridge. Follow the Freedom Trail red line to the Charlestown Navy Yard and enter through Gate 1.

Paul Revere House (Boston, Massachusetts, USA)

Paul Revere House

The Paul Revere House, the colonial home (for about 20 years) of famous legendary American patriot, famous “Midnight Rider,” silversmith, businessman and entrepreneur Paul Revere during the time of the American Revolution, is the oldest remaining structure in downtown Boston and also the only official Freedom Trail historic site that is a home.

Check out “Freedom Trail

It occupies the former site of the Second Church of Boston’s parsonage, home to Increase Mather and Cotton Mather, which was destroyed in the Great Fire of 1676. The original three-story house, built about 1680, was first owned by Robert Howard, a wealthy a wealthy Boston slave merchant. Howard’s L-shaped townhouse contained spacious rooms and its exterior would have been enhanced by features such as a second-floor overhang and casement windows.

From 1770 to 1800, Paul Revere owned this house.  Although he and his family may have lived elsewhere for periods in the 1780s and 1790s, they lived there during the American Revolution – the most transformative and uncertain era of their generation. The rear chimney (c. 1790) including the kitchen (that visitors see in the first room they enter) were believed to have been added during the Revere occupancy.

After Revere sold the house in 1800, the home became a sailor’s boarding house for many years in the nineteenth century and, by the turn of the twentieth century, the old house had become a tenement with the ground floor remodeled for use as shops. At various times, it became a candy store, cigar factory, bank and vegetable and fruit business. In 1902, to prevent demolition, John P. Reynolds Jr. (Revere’s great-grandson) purchased the building and its restoration took place under the guidance of Joseph Everett Chandler, an architect and historic preservationist. In April 1908, the Paul Revere House opened its doors to the public as one of the earliest historic house museums in the United States.

Around the middle of the eighteenth century, the Paul Revere House went through two major and substantial renovation processes.  First, to bring the house in line with the Georgian architectural style  becoming prevalent at that time, the roofline facing the street was raised substantially.   Second, a two-story lean-to was added in the ell between the two 17th-century portions of the house. In 1907–1908, restorers returned the roofline to its original pitch, albeit without a gable (giving rise to a commonly held misconception that the attic had been removed), and the lean-to was removed.

On January 20, 1961, it was designated as a National Historic Landmark and, on October 15, 1966, added to the National Register of Historic Places. It is now operated as a nonprofit museum by the Paul Revere Memorial Association.

The main block of the three-storey house consists of four structural bays demarcated by heavy framing posts and overhead beams, all typical of early Massachusetts Bay timber construction. Within this main block, the larger ground floor room is dominated by its chimney bay and adjoining lobby entrance. As the Revere House was set quite close to neighbors, its double casement windows were installed in the rear elevation rather than the more common placement in a gable.  The two-storey extension, behind the Revere House, was unlike some contemporary Boston houses which had separate kitchen buildings. Its heavy beams, large fireplaces, and absence of interior hallways are typical of colonial living arrangements. Several pieces of furniture, believed to have belonged to the Revere family, are found at the two upstairs chambers.

Despite the renovation (which returned the house to its conjectured appearance around 1700), 90% of the structure (including two doors, three window frames, and portions of the flooring, foundation, inner wall material and raftering) is original to 1680.  However, none of the window glass is original.

In December 2016, the Paul Revere Memorial Association opened, after a purchase in 2007 and US$4 million in renovations, the new, 3,500 sq. ft. Visitor and Education Center, connected to the house by an elevated walkway.  For the first time, the renovations permitted wheelchair access to the second floor of the house. The education center provided additional exhibit space on Revere’s Midnight Ride, his work as a silversmith and his industrial work after the American Revolution.  Classrooms and a library also allowed for expanded research and educational outreach.

Immediately adjacent and across the entry courtyard (the original site of the John Barnard House) is the brick Pierce–Hichborn House.  Built about 1711 as an early Georgian house, it is also operated as a nonprofit museum by the Paul Revere Memorial Association.

Paul Revere House: 19 North Square, Boston, Massachusetts 0213.  Tel: 617-523-2338. Fax: 617-523-1775. E-mail: staff@paulreverehouse.org. Website: www.paulreverehouse.org. Admission: Adults (US$5.00), Seniors and College Students (US$4.50) and Children – ages 5-17 (US$1.00). Open Daily – Summer: April 15 – October 31 (9:30 AM to 5:15 PM), Winter: November 1 – April 14 (9:30 AM to 4:15 PM). It is closed on Mondays during January, February and March as well as Thanksgiving, Christmas and New Year’s Day. The first floor of house is accessible via the courtyard ramps while the second floor is accessed by taking the elevator in the visitor center and then connecting to the house via the walkway.

Donald W. Reynolds Center for American Art and Portraiture – National Portrait Gallery (Washington D.C., U.S.A.)

National Portrait Gallery

The National Portrait Gallery, a historic art museum housed in the historic Old Patent Office Building (as is the Smithsonian American Art Museum), now the Donald W. Reynolds Center for American Art and Portraiture, is part of the Smithsonian Institution.

Today, the National Portrait Gallery continues to narrate the multi-faceted and ever-changing story of America through the individuals who have shaped its culture and, through the visual arts, performing arts and new media, it presents poets and presidents, visionaries and villains, actors and activists whose lives form our national identity.

Check out “Donald W. Reynolds Center for American Art and Portraiture” and  “Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum”

Abraham Lincoln (Charles Wesley Jarvis, 1861)

Initially restricted to paintings, prints, drawings, and engravings, the collections, over the years, have grown from more than 2,000 items  1981 and, in 1990, the number of images in the museum’s photography collection reached 8,500 objects. As of 2011, the National Portrait Gallery was the only museum in the United States dedicated solely to portraiture.

In 2013, the museum had 65 employees and an annual budget of $9 million.  February 2013, it housed 21,200 works of art, which had been seen 1,069,932 visitors in 2012.  Today, the NPG collection of over 23,000 items, in all media, from daguerreotypes to digital, had grown so large that the exhibit drew its images almost entirely from the museum’s own collection.

Douglas MacArthur (Howard Chandler Christy, c. 1952)

The Hall of Presidents, a hallmark of the NPG’s permanent collection, is the largest and most complete collection in the world, except for the White House collection itself. Containing portraits of nearly all American presidents, the centerpiece of the Hall of Presidents is the famous Lansdowne portrait of George Washington. How the museum obtains presidential images has changed over the years.

From 1962 to 1987, presidential portraits were usually obtained through purchase or donation but, beginning in 1998, NPG began commissioning portraits of presidents, starting with George H. W. Bush, for its “America’s Presidents” exhibition (Gilbert Stuart’s Lansdowne portrait of George Washington is the grand introductory image to this exhibition). In 2000, NPG began commissioning portraits of First Ladies as well, beginning with Hillary Clinton.

Dwight D. Eisenhower (Thomas Edgar Stephens)

Funds for these commissions are privately raised, and each portrait costs about $150,000 to $200,000. It still continues to acquire portraits (including paintings, sculpture, photographs, caricatures, video, and time-based media) of each succeeding president.

The NPG hosts the prestigious Outwin Boochever Portrait Competition, a triennial, juried contemporary portrait exhibition widely regarded as the most prestigious portrait competition in the United States.  It also brings commissioned works into the collection. Artists working in the fields of paintingdrawingsculpturephotography, and other media are allowed to enter.

William T. Sherman (George Peter Alexander Healy, 1866)

Works must be created through a face-to-face encounter with the subject. The winner of this inaugural competition was David Lenz of Milwaukee, Wisconsin.  He was commissioned to paint a portrait of Eunice Kennedy Shriver (the founder of the Special Olympics), the first portrait commissioned of an individual who has not served as a President or First Lady.

On the left is a portrait of Stephen Van Rensselaer III (John Wesley Jarvis, 1825-35) while on the right is a portrait of Antonia Pantoja (Manny Vega, marble, glass and stone, 2014)

Dave Woody of Fort Collins, Colorado, the 2009 winner, was commissioned to photograph food pioneer Alice Waters, founder of the Chez Panisse Restaurant and Cafe, the Edible Schoolyard and champion of the Slow Food movement.

Samuel Francis Du Pont (Daniel Huntington, 1867-68)

During the 2013 competition, the total prize money of $42,000 was awarded to the top eight commended artists, and the winner received $25,000 and a commission to make a portrait for the museum’s permanent collection. The artist and the NPG curators jointly decided the subject of the commission. The 2013 winner was Bo Gehring of Beacon, New York, who was commissioned to direct a close-up video and sound portrait of jazz musician Esperanza Spalding which drew delight and praise from visitors.

Here is the historical timeline of the gallery:

  • In 1962, the National Portrait Gallery was authorized and founded Congress with the mission to acquire and display portraits of individuals who have made significant contributions to the history, development, and culture of the people of the United States.
  • In 1965 (the bicentennial of James Smithson‘s birth), “Nucleus for a National Collection,” the first NPG exhibit, went on display in the Arts and Industries Building.
  • In 1966, the NPG completed the Catalog of American Portraits, the first inventory of portraiture held the Smithsonian. The catalog also documented the physical characteristics of each artwork, and its provenance (author, date, ownership, etc.). That same year, the museum moved into the Old Patent Office Building with the National Fine Arts Collection.
  • In 1968, Gilbert Stuart’s 2.4 5 m. (8  5 ft.) Lansdowne portrait (commissioned in April 1796  Senator William Bingham of Pennsylvania—one of the wealthiest men in America at the time) of George Washington was exhibited  the National Portrait Gallery, and it remained there on indefinite loan.
  • In 1969, the Old Patent Office Building was renovated the architectural firm of Faulkner, Fryer and Vanderpool.
  • In 1971, the NPG began the National Portrait Survey, an attempt to catalog and photograph all portraits in all formats held every public and private collection and museum in the country.
  • On July 4, 1973, “The Black Presence in the Era of the American Revolution, 1770–1800,” the first exhibit at the museum dedicated solely to African Americans, was opened the NPG.
  • In 1974, Philanthropist Paul Mellon donated 761 portraits  French-American engraver B.J.F. de Saint-Mémin to the museum.
  • In January 1976, Congress passed legislation allowing the NPG to collect portraits in media other than graphic arts, permitting the NPG to begin collecting photographs.
  • In October 1976, the NPG established a Department of Photographs.
  • 1977, the NPG had three curatorial divisions (Painting and sculpture, prints and drawings, and photography).
  • In September 1978, Facing the Light: Historic American Portrait Daguerreotypes,” the gallery’s first photography exhibit, was opened.
  • In February 1977, the museum acquired an 1880 self-portrait  Mary Cassatt, one of only two painted
  • In December 1977, the museum acquired a self-portrait  celebrated early American artist John Singleton Copley. The roundel (a circular canvas), one of only four self-portraits, was donated to the NPG the Cafritz Foundation.
  • In May 1978, Time magazine donated 850 original portraits which had graced its cover between 1928 and 1978.
  • In May 1979, a major exhibit of these Time magazine pieces debuted.
  • In April 1979, the Coolidge family of Boston donated five portraits of presidents George WashingtonThomas JeffersonJames MonroeJohn Adams, and James Madison Gilbert Stuart, known as the Gibbs-Coolidge set, to the NPG.
  • In December 1979, the Henry Cabot Lodge family in Massachusetts donated a bust of Alexander Hamilton  John Trumbull (which may have been sculpted from the portrait which was later used for the $10 bill) and a Gilbert Stuart portrait of Representative Fisher Ames to the museum.
  • In April 1980, Varina Webb Stewart and Joel A.H. Webb, Jefferson Davis‘ great-grandchildren, presented important portraits of Jefferson Davis and his wife, Varina Howell Davis, to the NPG.
  • In 1980, the museum obtained, through purchase and loan, a number of works of graphic artist Howard Chandler Christy for exhibit. Works displayed ranged from his “Christy girl” recruiting posters to history-based works such as Scene at the Signing of the Constitution of the United States.
  • On February 7, 1980, the Museum of Fine Arts and NPG agreed to jointly purchase the two famous, unfinished Gilbert Stuart portraits of George and Martha Washington  owned  the Boston Athenaeum, which loaned them to the Museum of Fine Arts, Boston in 1876. Under the agreement, the paintings would spend three years at the National Portrait Gallery (beginning in July 1980), and then three years in Boston at the Museum of Fine Arts.
  • In 1981, two major 19th-century photography collections were added the museum. They acquired the Frederick Hill Meserve Collection of 5,419 glass negatives produced  the studio of famed Civil War photograph Mathew Brady and his assistants and, using historically accurate chemicals, paper, and techniques, prints were made of the negatives and the prints placed on rotating display.  Later, they purchased, from the Meserve family, 5,400 Civil War-era glass negatives produced  photographer Alexander Gardner including the famous “cracked-plate” portrait of Abraham Lincoln (taken in February 1865), the last photographic portrait of Lincoln taken before his death in April 1865.
  • In 1982, the museum purchased, for $1 million, a Gilbert Stuart portrait of Thomas Jefferson, to a private collector. A portion of the purchase price came from the Thomas Jefferson Foundation, which owns and operates Jefferson’s historic plantation home of Monticello. The two parties agreed have the portrait spend time at both locations.
  • In 1984, museum purchased an Edgar Degas portrait of his friend, Mary Cassatt, for $1.3 million.
  • On December 31, 1984, a thief pried open a display case and stole four handwritten documents accompanying several portraits of Civil War generals. One of the documents was written and signed President Abraham Lincoln. The remaining three were written and signed  Civil War generals Ulysses S. GrantGeorge Meade, and George Armstrong Custer.
  • On February 8, 1985, all four documents were recovered when police arrested Norman James Chandler, a part-time mechanic’s assistant from Maryland, for the theft. Chandler quickly pleaded guilty. He was sentenced in April 1985 to two years in jail (with all but six months suspended) and two years of probation, and required to pay a $2,000 fine.
  • In 1985, the the NPG acquired their first nude work – a self-portrait painting Alice Neel painted when was 80 years old.
  • In 1987, noted photographer Irving Penn donated 120 platinum prints of fashion and celebrity portraits he produced over the past 50 years.
  • In 1990, the first daguerreotype (an early photographic process) of African American abolitionist and former slave Frederick Douglass (one of only four daguerreotypes of Douglass known to exist) was acquired.
  • In 1996, the NPG obtained, for $115,000, the earliest known daguerreotype portrait of abolitionist John Brown (created  African-American photographer Augustus Washington), whose 1859 raid on Harpers Ferry helped to spark the Civil War.
  • In January 2000, the NPG closed for a renovation of the Old Patent Office Building. Intended to take two years and cost $42 million, the renovation took seven years and cost $283 million.
  • In the fall of 2000, Neil Primrose, 7th Earl of Rosebery, offered to sell The Lansdowne portrait given as a gift to British Prime Minister William Petty FitzMaurice (the 2nd Earl of Shelburne, and later became the first Marquess of Lansdowne, hence the name of the portrait). Lansdowne died in 1805, and in 1890 the painting was purchased  the 5th Earl of Rosebery.
  • On March 13, 2001, the Donald W. Reynolds Foundation donated $30 million to buy the Lansdowne portrait. The $30 million donation included $6 million to put the portrait on a national tour for three years (the NPG was closed for renovations until 2006), and $4 million to construct a new display area (named for media baron Donald W. Reynolds, who created the foundation) in the Old Patent Office Building to display it.
  • In 2006, the NPG hosted the first Outwin Boochever Portrait Competition (named after long time docent and volunteer Virginia Outwin Boochever),. It drew more than 4000 entries, from which 51 finalists were chosen.
  • After the 2008 presidential election, Obama supporter Tony Podesta and his wife, Heather, donated graphic artist Shepard Fairey‘s ubiquitous “Hope” poster of Barack Obama to the National Portrait Gallery.
  • In November 2010, the NPG hosted “Hide/Seek: Difference and Desire in American Portraiture,” a major new exhibit, from October 30, 2010, to February 13, 2011, of 105 pieces curated  David C. Ward and Jonathan Katz. The exhibit focused on depictions of homosexual love through history, and was the first exhibit hosted a museum of national stature to address the topic and was also the largest and most expensive exhibit in the NPG’s history. Included in the in the exhibit was a four-minute, edited version of “A Fire in My Belly,” a short silent film  artist David Wojnarowicz. Eleven seconds of the video depicted a crucifix covered in ants.
  • In 2012, the NPG sponsored “Poetic Likeness: Modern American Poets,” a new temporary exhibit which focused on images of great American poets.

The museum’s more notable art pieces include:

Among the museum’s more prominent collections are:

  • Alexander Gardner (photography)
  • Howard Chandler Christy (graphic arts)
  • Irving Penn (photography)
  • Mathew Brady (photography)
  • Time magazine covers (graphic arts)

The Great Hall

Although most of the interior has been altered for use as a museum, parts of the Old Patent Office interior are still visible.   From Robert Mills’ graceful double curved cantilevered stone staircases, one then enters the Model Hall on the building’s third floor and, turning right, leads one down the Great Hall and into more of the Patent Office’s galleries.

The painting Grant and His Generals” (Ole Peter Hansen Balling) above the graceful double curved cantilevered stone staircases

After a fire in 1877 destroyed the third floor of the building, the Great Hall, the reception area where President Lincoln and Mrs. Lincoln greeted guests attending the second inaugural ball, was remodeled by Adolf Cluss and his partner, architect Paul Schulze. The resulting interior space, a dramatic riot of color, was originally called the Model Hall. It is accentuated with late-nineteenth-century architectural highlights and has a hand-laid encaustice tille floor, curving double staircase, soaring vaulted ceilings and lit by stained glass windows.

The hall celebrates great American scientists and four of them (Benjamin FranklinRobert FultonThomas Jefferson, and Eli Whitney) are represented on large medallions in the corners of the Hall.   It seats 300 (seated dinner) and  366 (Reception) people, respectively.

The enclosed, 28,000-sq. ft. Robert and Arlene Kogod Courtyard, one of the largest and most magnificent event spaces in Washington, DC., was opened to the public on November 18, 2007 and was named after Washington philanthropists and art collectors Robert and Arlene Kogod.  With an elegant glass canopy, the courtyard, designed  world-renowned architects at Foster + Partners in London, provides a distinctive, contemporary accent to the museums’ Greek Revival building.

Robert and Arlene Kogod Courtyard

The wavy glass-and-steel roof, appearing to float over the courtyard, lets in natural light but protects visitors from the elements. So that the weight of the roof does not affect the historic building, the double-glazed glass panels, set in a grid, are completely supported  eight anodized aluminum-clad columns located around the perimeter of the courtyard.

Michael Jackson (Andy Warhol, 1984)

The courtyard’s interior design, created  internationally acclaimed landscape designer Kathryn Gustafson of Seattle-based Gustafson Guthrie Nichol Ltd., features four water scrims (each one-quarter inch deep and allowed to traverse the entire length of the courtyard); ficus and black olive trees; a variety of shrubs and ferns as well as plantings in white marble containers on a black granite floor.

Today, the Kogod Courtyard is a popular meeting place in DC. There is plenty of seating, free wifi, and a cafe with snacks for museum visitors open from 11:30 AM until 6:30 PM. It was named one of the “new seven wonders of the architecture world”  Condé Nast Traveler magazine.

National Portrait Gallery: Victor Bldg., 750 Ninth Street NW Suite 41, Washington, D.C. 20001.  Tel: (202) 633-8300. Open Wednesday–Sunday, 11:30 AM – 7 PM.

Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum (Washington D.C., U.S.A.)

Smithsonian American Art Museum

The Smithsonian American Art Museum (commonly known as SAAM), formerly called the Smithsonian Art Collection, National Gallery of Art (not to be confused with the current National Gallery of Art), National Collection of Fine Arts, and National Museum of American Art, is a part of the Smithsonian Institution.

The museum adopted its current name in October 2000.  Together with the Renwick Gallery, its branch museum, SAAM holds one of the world’s largest and most inclusive collections of art (from the Colonial period to the present) made in the United States.

Most exhibitions in the museum take place in the old Patent Office Building (shared with the National Portrait Gallery), the museum’s main building which contains expanded permanent-collection galleries and public spaces.  The craft-focused exhibitions are shown in the Renwick Gallery.

SAAM, describing itself as being “dedicated to collecting, understanding, and enjoying American art,” celebrates the extraordinary creativity of artists whose works reflect the American experience and global connections.

Through its national education program, the museum provides electronic resources to schools and the public, maintaining seven online research databases with more than 500,000 records, including the Inventories of American Painting and Sculpture that document more than 400,000 artworks in public and private collections worldwide.

Since 1951, the museum has maintained a traveling exhibition program and, as of 2013, more than 2.5 million visitors have seen the exhibitions.

Adoration of St. Joan of Arc – a fire-etched wood relief by J. William Fosdick in 1910 to appeal to wealthy industrialists who favored richly designed interiors and uplifting art. Fosdick tapped into the fantasy of a more spiritual past and, when it was exhibited, it was praised for craftsmanship that rivaled a Medieval masterwork.

The collection, first on display in the original Smithsonian Building (now nicknamed the “Castle”), was begun in 1829 and grew as the Smithsonian buildings grew, with the collection housed in one or more Smithsonian buildings on the National Mall.

“America Receiving the Nine Muses,” by Thomas Wilmer Dewing, was painted on an imposing, gilded Steinway piano and presented to Pres. Theodore Roosevelt in 1903. Painted on the piano’s lid, it merged the Classical theme of the Muses, with America as the new standard bearer of Western culture, and is decked out in symbols of Americana, from eagles to garlands to the coats-of-arms of the first thirteen states.

By the 1920s, space had become critical and, in order to display its collection of fine art, The Smithsonian renovated the Old Patent Office Building in Washington, D.C.’s downtown cultural district.  In 1968, in its current location, the Smithsonian American Art Museum was opened to the public.

Check out “Smithsonian Castle

“Preamble,” a show of American ingenuity by Mike Wilkins created in 1959 to mark the Constitution’s bicentennial, is a 1,000-piece puzzle using a collection of vanity license plates, from all 50 states and the District of Columbia, to phonetically spell out the preamble to the US Constitution in abbreviated script.

Now the Smithsonian American Art Museum’s main building, it is now a National Historic Landmark. An example of Greek Revival architecture, it was designed by architects Robert Mills and Thomas U. Walter.

Yielding to the Ancestors while holding the Hands of (Lonnie Holly, 1992)

The building was restored during the 1990s and, during the 2000-2006 renovation, many of the building’s exceptional architectural features were restored including  the porticos modeled after the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows and skylights as long as a city block.

The Libyan Sibyl, by William Wetmore Story, (1861-68, marble), was inspired by events leading up to the Civil War. Described by Story as “my anti-slavery sermon in stone,” it depicts the Libyan Sibyl, the eldest of the legendary prophetesses of antiquity, as she foresees the terrible fate of the African people.

During the renovation, the Lunder Conservation Center, the Luce Foundation Center for American Art, the Nan Tucker McEvoy Auditorium and the Robert and Arlene Kogod Courtyard were also added to the building.

The Throne of the Third Heaven of the Nations’ Millennium General Assembly, a complex work of art created by James Hampton over a period of 14 years (1950-64), is an array based on several religious visions that prompted him to prepare for Christ’s return to earth. The ​“third heaven” is based on scriptures citing it as the ​“heaven of heavens” — God’s realm.

The renovation of the building was completed on July 1, 2006 and, in 2008, the American Alliance of Museums awarded reaccreditation to the Smithsonian American Art Museum.

The Falling Gladiator, by William Rimmer, was based on a sculpture, from ancient Greece and Rome, of a mortally wounded man. This subject echoed the suffering of the United States on the eve of the Civil War. When the artist began work in January of 1861, six states had seceded from the Union, and the attack on Fort Sumter was just three months away.

The museum has a broad variety of American art, with more than 7,000 artists represented, and covers all regions and art movements found in the United States.

Washinton Resigning his Commission (Ferdinand Pettricj, c. 1841)

SAAM contains the world’s largest collection of New Deal art; a collection of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age; photography, modern folk art, works by African American and Latino artists, images of western expansion, and realist art from the first half of the twentieth century.

Among the Sierra Nevada, California (Albert Bierstadt, 1868, oil on canvas)

Among the significant artists represented in its collection are Nam June PaikJenny HolzerDavid HockneyGeorgia O’KeeffeJohn Singer SargentAlbert Pinkham RyderAlbert BierstadtFrances Farrand DodgeEdmonia LewisThomas MoranJames GillEdward HopperJohn William “Uncle Jack” DeyKaren LaMonte and Winslow Homer.

An Eclogue (Kenyon Cox, 1890, oil on canvas)

The museum has two innovative public spaces, both opened in July 2000. The 20,400 sq. ft. Luce Foundation Center, on the third and fourth floors of American Art Museum, is the fourth center to bear the Luce Family name and the first visible art storage  study center Washington, D.C..

Luce Foundation Center

It allows visitors and patrons to browse more than 3,300 works of various niche art, usually not part of a main exhibition or gala special, in 64 secure glass cases which quadruples the number of artworks from the permanent collection on public view.

 

It features paintings densely hung on screens; sculptures; crafts and objects by folk and self-taught artists arranged on shelves. Large-scale sculptures are installed on the first floor. The center has John Gellatly’s European collection of decorative arts.

The Lunder Conservation Center is the first art conservation facility to allow the public permanent behind-the-scenes views of the preservation work of museums. Through floor-to-ceiling glass walls, conservation staff is visible to the public, allowing visitors to see, firsthand, all the techniques which conservators use to examine, treat, and preserve artworks.

The center has five conservation laboratories and studios equipped to treat paintings, prints, drawings, photographs, sculptures, folk art objects, contemporary crafts, decorative arts, and frames, using various specialized and esoteric tools, such as hygrothermographs, to maintain optimal temperature and humidity to preserve works of art.

The Center Staff from both the Smithsonian American Art Museum and the National Portrait Gallery work in the Lunder Center.

The Vine (Harriett Whitney Frishmuth, 1921-23)

Smithsonian American Art Museum: 8th & F Streets NW, Washington, D.C.. Coordinates: 38°53′52″N 77°01′24″W.

Donald W. Reynolds Center for American Art and Portraiture (Washington D.C., U.S.A.)

The Donald W. Reynolds Center for American Art and Portraiture, actually a collection of institutions housed in the historic, gloriously renovated Old Patent Office Building, served as one of the earliest United States Patent Office buildings.  Here, Neo-Classicism meets 21st-century exuberance.

The Donald W. Reynolds Center for American Art and Portraiture

Covering an entire city block defined by F and G Streets and 7th and 9th Streets NW, just south of  Chinatown in downtown Washington, it now houses two Smithsonian Institution museums – the National Portrait Gallery and the Smithsonian American Art Museum.

The building’s Greek Rival-stye facade

It also houses the Lawrence A. Fleischman Gallery of the Archives of American Art; an art conservation facility (Lunder Conservation Center); an enclosed, 28,000-sq. ft. courtyard (Robert and Arlene Kogod Courtyard); a 20,400 sq. ft. open storage facility (Luce Foundation Center); a new 356-seat underground auditorium (Nan Tucker McEvoy Auditorium) and other operations within the Old Patent Office complex. By the end of 2007, more than 786,000 people had visited the two museums and, 10 years later, during the time of my visit, 1.3 million people have visited the place.

Check out “Donald W. Reynolds Center for American Art – National Portrait Gallery” and Portraiture and “Donald W. Reynolds Center for American Art and Portraiture – Smithsonian American Art Museum”

Before it became what it is today, through the Civil War and into the post-war period, the building was once home to many early government departments. It was used as a hospital, and The Bureau of Indian Affairs, the General Land Office, and the Bureau of Pensions jointly occupied the building with the Patent Office.

National Portrait Gallery

Both Clara Barton and American poet Walt Whitman worked as nurses there during the American Civil War. From 1854 to 1857, Barton worked in the building as a clerk to the Patent Commissioner, the first woman federal employee to receive equal pay. From January 24 to June 30, 1865, Waltman, who frequented “that noblest of Washington buildings” and read to wounded men, worked in Bureau of Indian Affairs before being fired for having a copy of Leaves of Grass in his desk.

Smithsonian American Art Museum

Here is the historical timeline of the building:

  • In 1836, construction of the building was started.
  • In 1851, architect Robert Mills was summarily dismissed as Congressional committees questioned his competence and his insistence on design changes that inserted unnecessary supporting columns and tie-rods. Construction continued under the direction of Thomas U. Walter, one of Mills’ harshest critics
  • During the Civil War, the building was turned into military barracks, hospital, and morgue. Wounded soldiers lay on cots in second-floor galleries, among glass cases holding models of inventions that had been submitted with patent applications.
  • In 1865, the building was completed
  • In March 1965, it was chosen as the venue for Lincoln’s Second Inaugural Ball.
  • In 1877, the building’s west wing suffered a fire, destroying some 87,000 patent models
  • From 1877–1885, it was restored by Adolf Cluss in the style he termed “modern Renaissance.”
  • In 1887, the Bureau of Pension moved to the new  Pension Bureau Building.
  • In 1898, the General Land Office and the Bureau of Indian Affairs vacated the building.
  • In 1932 the United States Civil Service Commission and the Government Accounting Office occupied the building after the Patent Office vacated it.
  • In 1942, the Government Accounting Office vacated the structure after its new headquarters nearby was complete.
  • In 1952, legislation to tear down the building and sell the land so a private parking garage could be built on the centrally located site was introduced in Congress in the waning days of the 82nd United States Congress but did not pass.
  • On March 21, 1958, Congress unanimously passed legislation authorizing the transfer of the building to the Smithsonian for a national art museum. President Dwight Eisenhower signed the legislation a few days later. Congress appropriated $33.5 million for the renovation.
  • In 1962, Congress passed legislation establishing the National Portrait Gallery
  • In November 1963, the Civil Service Commission moved out of the structure.
  • Starting in 1964, the Faulkner, Kingsbury & Stenhouse firm of architects supervised the renovation of the interior as museum space.
  • In November 1964, preparations for the buildings renovation began
  • On January 12, 1965, the building was designated as a S. National Historic Landmark.
  • By May 1965, the Grunley, Walsh Construction Co. began demolition of non-historic interior structures.
  • On October 15, 1966, it was added to S. National Register of Historic Places (NRHP reference No. 66000902).
  • By April 1968, the $6 million renovation was complete
  • In January 1968, the National Museum of American Art (now the Smithsonian American Art Museum) and the National Portrait Gallery opened. The north wing housed the art museum and the south wing housed the portrait gallery. Office space and a cafe occupied the east wing. The center courtyard had outdoor eating space for the cafe and several large trees.
  • In 1970, the renovation won the American Institute of Architects National Honor Award.
  • In 1995, the Smithsonian revealed that the building was in serious disrepair. The roof leaked, netting had to be placed in some galleries to catch falling ceiling plaster, window frames were rotting, the floor tiles in the Great Hall were crumbling, and the exterior facade was so degraded it was shedding fist-sized pieces of rock.
  • In January 1997, the Smithsonian announced that the building would close in January 2000 for a two-year, $42 million renovation (the estimated cost of the renovation then grew, initially in 2000 to $110-120 million). Hartman-Cox Architects was hired to oversee the conservation and repair. To be restored were the porticos modeled after the Parthenon in Athens, a curving double staircase, colonnades, vaulted galleries, large windows, and skylights as long as a city block.
  • Just three years later, as the renovation was about to begin, the cost of repairs had risen to $110 million to $120 million.
  • Prior to the building’s closure in January 2000, a decision was reached to allot about one-third of the building’s total space to the National Portrait Gallery while simultaneously eliminating the informal north–south division between the National Portrait Gallery and Smithsonian American Art Museum. The Smithsonian resolved the dispute practically – Art that best fit an exhibition space got it. Modern art, which often tends toward large canvases, was installed on the high-ceilinged third floor.
  • By March 2001, as the cost of the renovation rose to $180 million, Nan Tucker McEvoy (a California newspaper heiress and arts patron) donated $10 million for the renovation.
  • Later in 2001, the Henry Luce Foundation gave another $10 million.
  • In June 2001, reconstruction costs were estimated at $214 million.
  • In July 2001, the reopening was pushed back even further to July 2006.
  • In 2003, the government increased its contribution to $166 million and more than $40 million in private funds had been raised.
  • In August 2003, Congress approved a major change to the renovation design – adding a glass roof to the open courtyard in the center of the Old Patent Office Building.
  • In March 2004, the Smithsonian announced that architect Norman Foster of Foster and Partners would design the glass canopy.
  • In early November 2004, the National Capital Planning Commission(NCPC), which has statutory authority to approve all buildings and renovations in the D.C. metropolitan area, approved the preliminary design for the glass canopy.  That same month, real estate development executive Robert Kogod and his wife, Arlene (heiress to Charles E. Smith Construction fortune) donated $25 million to complete the canopy. By then, costs had risen to $298 million. $60 million in private funds still needed to be raised.
  • In January 2005, the United States Commission of Fine Arts, an advisory commission on design, approved the canopy.
  • In April 2005, the Smithsonian said that the canopy would not be ready by the time the museum reopened in July 2006, and would be installed in 2007.
  • On June 2, 2005, the the National Capital Planning Commission (NCPC) reversed its preliminary approval of the canopy
  • On August 4, 2005, the Smithsonian brought five alternatives to the NCPC.
  • On September 8, 2005, the NCPC reversed itself yet again, and approved one of the revised designs. The delay cost the Smithsonian $10 million.
  • In October 2005, the Donald W. Reynolds Foundation made a $45 million donation to the NPG to finish both the building renovation and the canopy. The Smithsonian agreed to call the two museums, the conservation center, courtyard, storage facility, and other operations within the Old Patent Office complex the “Donald W. Reynolds Center for American Art and Portraiture” in appreciation for the gift.
  • On July 1, 2006, after undergoing extensive renovations, the building and the Smithsonian American Art Museum was reopened. The total cost of the building’s renovation was $283 million.
  • In just two months, attendance at the renovated building rose significantly to 214,495.
  • On October 7, 1968, the National Portrait Gallery opened to the public.
  • In September 2007, video security cameras were hastily installed to stop vandalism as some patrons spit on art they did not like, while others kissed or touched some paintings.

Luce Foundation Center

The massive building, designed in the Greek Revival style by architect Robert Mills and Thomas U. Walter, took 31 years to complete. Mills spanned the interior spaces with masonry vaulting without the use of wooden beams. Skylights and interior light courts filled the spaces with daylight. It has a sandstone and marble façade, and a central portico modeled after the the Parthenon of Athens, a departure in Washington where previously ambitious public buildings had been based on Roman and Renaissance precedents.

The Donald W. Reynolds Center for American Art and Portraiture: 8th and F St. NW, Washington, D.C. 20001.  Tel: 202.633.1000 (recorded information/live voice).  E-mail:  info@si.edu.  Website:   www.si.edu/visit.  Coordinates: 38.89778°N 77.022936°W

National Museum of American History: Kenneth E. Behring Center (Washington D.C., USA)

National Museum of American History: Kenneth E. Behring Center

The National Museum of American History (NMAH): Kenneth E. Behring Center, a museum that is part of the Smithsonian Institution, collects, preserves, and displays the heritage of the United States in the areas of social, political, cultural, scientific and military history. The first of the National Mall’s post-war Brutalist behemoths. It consists of three H-shaped floors with a central axis leading to exhibition space on either side.

The south facade of the museum

Opened in 1964 as the Museum of History and Technology, it was one of the last structures designed by the renowned architectural firm McKim Mead & White, the firm that initiated the Classical Revival on the Mall with its 1910 Beaux Arts National Museum of Natural History. In 1980, the museum was renamed the National Museum of American History to represent its mission of the collection, care, study, and interpretation of objects that reflect the experience of the American people.

1 West

From September 5, 2006 to November 21, 2008, the museum was closed when it underwent an US$85 million renovation.   Skidmore, Owings and Merrill, led by Gary Haney, provided the architecture and interior design services for the renovation.

Dibner Library of the History of Science and Technology

Major changes made include a new, five-storey, skylit atriums surrounded by displays of artifacts that showcase the breadth of the museum’s collection; a new, grand staircase that links the museum’s first and second floors; a new welcome center; the addition of six landmark objects to orient visitors; new galleries such as the Jerome and Dorothy Lemelson Hall of Invention; and an environmentally controlled chamber to protect the original Star-Spangled Banner.

Archive Center

In 2012, the museum began a US$37 million renovation of the west wing; adding new exhibition spaces, public plazas, an education center, panoramic windows overlooking the National Mall on all three floors and new interactive features to the exhibits. On July 1, 2015, the first floor of the west wing reopened and, in 2016 and 2017 respectively,  the second and third floors of the west wing were reopened.

Linda and Pete Clausen Hall of Democracy

Visitors can enter the vast NMAH building either from the on-grade National Mall entrance or from the below-grade Constitution Avenue entrance (a walled terrace bridges the differing heights), both minuscule apertures that are not fitting entrances that furnish a sense of grandeur or importance to a museum built to tell America’s story.  At its National Mall entrance is Infinity, a 7.3 m. (24-ft.) tall abstract sculpture (one of the first abstract sculptures displayed at a major public building in Washington D.C.) dedicated in 1967. Designed by José de Rivera and created by Roy Gussow, the sculpture is a 4.9 m. (16-ft.) long, polished stainless steel ribbon on top of a granite tower.

Alexander Calder’s steel sculpture Gwenfritz.  In the background is the National Museum of African American History and Culture

We entered the museum via the latter. Here, on the west side, is Alexander Calder‘s sculpture, Gwenfritz, a 35-ton steel abstract stabile (named after its socialite patron Gwendolyn Cafritz) installed in a fountain and dedicated to the museum on June 2, 1969. The long entrance hall, like many other areas of the building, is poorly illuminated and dispiriting. During our visit, the west side of the second floor was undergoing refurbishment through the end of 2017, and the west side of third floor until 2018.

Artifact walls line the first and second floor center core, with dimly lit 84 m. (275 ft.) of glass-fronted cases, each crammed with hundreds of random objects, big and small, are organized around themes that include arts; popular culture; business, work and economy; home and family; community; land and natural resources; peopling America; politics and reform; science; medicine; technology; and the United States’ role in the world.

A landmark object highlights the theme of each wing of the museum’s three exhibition floors. These include the John Bull locomotivethe Greensboro, Woolworth’s North Carolina lunch counter (where four legends from North Carolina A&T State University staged a sit-in in 1961 to protest segregation), a one of a kind draft wheel and, from pre-existing exhibits, the 1865 Vassar Telescope, a Red Cross ambulance and a car from Disneyland‘s Dumbo Flying Elephant ride.

John Bull Locomotive of 1831

The first floor contains a café, the main museum store, the Constitution Avenue lobby (1 Center) as well as a space for temporary exhibits. 1 East, the first floor’s East Wing, houses the General Motors Hall of Transportation which has series of two transportation-related exhibits that are roughly related – “America on the Move” (opened November 22, 2003) and its companion exhibition, “On the Water: Stories from Maritime America” (opened on May 20, 2009).  One of the best parts of the museum, the John Bull locomotive is the signature artifact.

America on the Move: On the Interstate – 1967 Pontiac Grand Prix convertible and 1986 Dodge Caravan

America on the Move,” designed by the Museum Design Associates of Cambridge, Mass.; AMAZE Design of Boston; and the Smith Group, of Washington, D.C., encompasses nearly 26,000 sq. ft. on the first floor of the museum, and includes 340 objects and 19 historic settings in chronological order.

Roadside Communities: Tourist cabin at Ring’s Rest (Muirkirk, Maryland).  On the left is a 1934 Ford Deluxe Roadster

City and Suburb: Fageol Twin Coach “Old Look” Liquefied-Propane Gas-Powered Bus, 1950 (2)

It takes visitors on a fascinating journey, from the coming of the railroad to a California town in 1876 to the role of the streetcar and the automobile in creating suburbs to the global economy of Los Angeles in 1999, as they travel back in time and experience transportation, through multimedia technology and environment, as it changed America, seeing historic artifacts as they once were, a vital part of the nation’s transportation system and of the business, social, and cultural history of the country.

1926 Ford Model T Roadster on its side on a Turn Auto

A Streetcar City: Electric streetcar, 1898

The Smithsonian’s popular and voluminous collection of the many and varied forms of rare, fascinating, and important transportation is showcased in historic settings brought to life by large mural backdrops, 73 cast figures and soundscapes.

On the School Bus: 36-passenger Dodge school bus, 1936

The People’s Highway: Route 66

It  includes the horse-drawn cart, early automobiles, the electric car, buses, a Chicago Transit Authority “L” car,  a massive 199-ton, 92-foot-long “1401” Southern Railway locomotive and a gigantic 1930’s steam engine plus a 40-foot stretch of the famed Route 66.

On the Water:  Stories from Maritime America

The brilliantly conceived and beautifully executed “On the Water: Stories from Maritime America,” a pleasing and instructive museum experience on the left side of the entrance of General Motors Hall of Transportation, leads the visitor through 7 topical/chronological sections that span American maritime history from 1450 to the present.

Ocean Crossings

It explores the many ways in which Americans, from Colonial times to the present, have pursued commerce at sea and on America’s extensive coastal and inland waterways through impressive artifacts, flawless audiovisual aids, instructive texts, and a powerful aesthetic.

Web of Connections

The 8,500 sq. ft. exhibit seamlessly carries the visitor through topics as diverse as commercial fishing, passenger liners, the slave trade, container ships, and the contributions of the merchant marine to victory in World War II.

Tobacco ship Brilliant

On display are rigged ship models (including a large model of the tobacco ship Brilliant) representing the web of vessels that transported sugar, tobacco and slaves; a wooden snuff box carved into the shape of a potbellied man (with one eye bulging, the other missing) that connects vast trade systems to everyday consumer habits; a real-life steam engine room; a Fresnel lighthouse lens that lit waters 17 miles afar; a tucked-away safety vest invention that appears to be a twin mattress folded, diaper-like, under the wearer’s torso; and the first sliver of gold found at Sutter’s Mill that precipitated the California Gold Rush.

Lighting a Revolution

The “Lighting a Revolution” exhibition, opened at 1 East to commemorate the centennial of Thomas Edison’s light bulb, considers experiments with electricity before Edison’s, the “Invention Factory” at Menlo Park, how Edison created a market for his product, and the impact of electricity in factories, on city streets, and in the home.

The exhibition features a bulb from a public demonstration of Edison’s light in Menlo Park during Christmas week, 1879; and early electrical appliances for the home, some of which caught on, such as electric fans, and some which did not, namely the electric marshmallow toaster.

Lemelson Hall of Invention and Innovation

The large but sparsely furnished “Lemelson Hall of Invention and Innovation,” opened July 1, 2015, features “Places of Invention,” Draper Spark!Lab and “Inventive Minds.”  “Places of Invention” is centered on the theme of innovation, where the museum is transforming how its audiences will experience history.

Inventive Minds

“Inventive Minds,” a small gallery, introduces visitors to the work of the Lemelson Center, particularly its efforts to document diverse American inventors.  Draper Spark!Lab, a hands-on exhibit, has the Vassar Telescope as its signature artifact.

Places of Invention

The exhibition features 37 objects illustrating the inventions at the heart of each case study. Highlighted objects include a Technicolor camera used to film The Wizard of Oz; a turntable used by Grandmaster Flash; the prototype of the first computer mouse invented by Douglas Engelbart at the Stanford Research Institute (on loan from SRI International); 1886 Columbia Light Roadster men’s high-wheel bicycle; an example of the Medtronic 5800 Model External Pacemaker invented by Earl Bakken; and several prototypes representing cutting-edge clean energy inventions coming out of Fort Collins.

In addition, there are five interactive stations set up on tables where visitors can participate in fun, hands-on learning experiences such as designing their own eight-bit icon (Silicon Valley section) or learning and practicing their DJ “scratching” skills (The Bronx section). However, objects such as a jukebox, a Howdy Doody puppet and a pink Patsy Cline costume do not necessarily bring the word “invention” to mind.

Vault door marking the entrance to the Gallery of Numismatics

The Gallery of Numismatics, opened July 1, 2015 at 1 West, delves into the world-class National Numismatic Collection (NNC), one of the Smithsonian’s oldest and most treasured collections (with more than 1.6 million objects), to uncover stories related to the origins, innovations, messages, artistry and allure of money.

Collecting Money and the World’s Gold

Entered via a vault door, it showcases more than 400 objects from the NNC, some of which are among the rarest in the world. The exhibition, thematically organized into five sections, allows visitors to learn about the origins of money, new monetary technologies, the political and cultural messages money conveys, numismatic art and design, and the practice of collecting money.

Origins – 168 pound stone ring from Yap Island

Featured American objects includes a storied 1933 Double Eagle, a personal check signed by Pres. James Madison in 1813, a 1934 US$100,000 note and a Depression-era $1 clam shell. International artifacts include a 168-pound stone ring used to make payments on Island of Yap, a 465 B.C.; a decadrachma coin from Syracuse, Sicily; a 14th-century Ming Note from China and a 1762 8 Real Coin from Mexico (also known as a Spanish piece of eight).  The gallery will also showcase the famous Josiah K. Lilly Jr. collection of gold coins and the Grand Duke Georgii Mikhailovich collection of Russian coins (thought to be the finest outside of Russia).

Stories on Money

Stories on Money,” a numismatic exhibition housed in a small room, comprehensibly traces the historical and aesthetic evolution of US banknotes and coinage through a skillfully culled collection.

Female Figures on Money

Food: Transforming the American Table, 1950-2000,” a 3,800 sq. ft. exhibition opened last November 20, 2012 in 1 East, is a creative blend of objects, graphics, video and an interactive, communal table that highlights how American eating and shopping habits have changed during those five decades.

Julia Child’s Home Kitchen

Julia Child‘s Home Kitchen, the opening story of the museum’s first major exhibition on food history, contains the tools, appliances, equipment, and furnishings arranged exactly as they were when Julia donated it to the museum. New and Improved!” explores the innovations behind some of the major changes in food production, distribution, preparation, and consumption since the 1950s.

Wine at the Table: Innovations at the Vineyard and the Winery

At Wine for the Table, discover how new technologies, innovators, and changing attitudes led to the tremendous growth and expansion of wine and winemaking, an important story in postwar America, in all 50 states by 2000.

The large, communal table in the center of the exhibition

At Open Table, the public is invited take a seat at a large, communal table, in the center of the exhibition, and engage in conversation about a wide range of food-related issues and topics, sharing their own thoughts and experiences about food and change in America.

American Enterprise

The 8,000 sq. ft. American Enterprise, opened last July 1, 2015 at 1 West, focuses on the role of business and innovation from the mid-1700s to the present.  It chronicles the tumultuous interaction of capitalism and democracy that resulted in the continual remaking of American business—and American life.

Westinghouse Compound Engine

Visitors are immersed in the dramatic arc of labor, power, wealth, success, and failure in America. It traces the development of the United States from a small dependent agricultural nation to one of the world’s largest economies through the following 4 chronological eras: the Merchant Era (1770s – 1850s), the Corporate Era (1860s – 1930s), Consumer Era (1940s – 1970s), and the Global Era (1980s – 2010s). On display are John Deere’s plow, Eli Whitney’s cotton gin, Barbara McClintock’s microscope, Stanley Cohen’s recombinant DNA research notebook, Alexander Graham Bell’s first telephones, Alfred Bloomingdale’s personal credit cards, a New York Stock Exchange booth from 1929, an early Monopoly board game and one of Michael Dell’s early computers.

The second floor of the museum, whose lobby leads out to Madison Drive and the National Mall, houses the museum’s new welcome center and a store. 2 West, the west wing of the second floor, has the George Washington statue (created in 1840 for the centennial of Washington’s birthday) as its signature artifact. The Wallace H. Coulter Unity Square, at 2 West, is the floor’s new program space dedicated to immersive activities and performances that richly illustrate America’s participatory democracy. At the center of Unity Square, is the Greensboro lunch counter, a small section of the original F.W. Woolworth’s Lunch Counter from Greensboro, N.C. 2 East, at the east wing of the second floor, has exhibitions that consider American ideals.

The Star Spangled Banner Exhibit

The original, newly conserved Star Spangled Banner Flag, in 2 East, the center of the second floor, is displayed in a dimly lit room, at the heart of the museum, with a climate-controlled environment to help preserve its color and fabric..  During the War of 1812, it was the same flag seen by Francis Scott Key come morning, after a long nighttime battle, above Fort McHenry, outside Baltimore, Maryland, signifying that the U.S. defenses had held.

Check out “Fort McHenry National Monument and Historic Shrine – Birthplace of the Star-Spangled Banner

This marked the penultimate major battle in the war, which ended a few weeks later. It inspired him to write the poem which is now the U.S. national anthem. In the days and years after the battle, the flag was flown in all kinds of weather, and parts were snipped off as souvenirs. Just across the room from the flag is an interactive display by Potion Design featuring a full-size, digital reproduction of the flag that allows patrons to learn more about it by touching different areas on the flag.

LEGO Statue of Liberty

The 9 ft. tall Statue of Liberty, at 2 West, is made of sand green LEGO bricks and weighing 125 pounds without its steel support.

George Washington Statue (Horatio Greenough, 1841)

The 12-ton marble George Washington Statue, atop a granite pedestal and base, was created in 1841 (on the occasion of the centennial of the first president’s birthday) by Horatio Greenough.  Envisioned to be a symbolic representation of Washington as a great exemplar of liberty, it depicts Washington wearing a chest-baring toga.

Within These Walls Exhibit

The 4,200 sq. ft. Within These Walls Exhibit, opened last May 16 2017 in 2 West, tells the stories of five families who lived in Ipswich, Massachusetts, about 30 miles north of Boston, over the years and made history in their kitchens and parlors, through everyday choices and personal acts of courage and sacrifice. Through their lives, the exhibition explores some of the important ways ordinary people have been part of the great changes and events in American history.

The partially reconstructed Georgian-style, two-and-a-half-story timber-framed house, built around 1700

At the center of the gallery is the largest artifact in the museum, a partially reconstructed Georgian-style, two-and-a-half-story timber-framed house, built around 1700, that stood for 200 years at 16 Elm Street and was saved from demolition by an Ipswich citizen and then brought to the Smithsonian Institution.

The exhibition also features an 18th-century tea table; an anti-slavery almanac and the Wedgwood Anti-Slavery medallion; a Philco radio from the 1930s; and World War II-era cookbooks, posters, rationing coupons and a proximity fuse used to detonate bombs and artillery shells.

The American Presidency – A Glorious Burden

3 Center, the center of the third floor, presents The American Presidency: A Glorious Burden, which explores the personal and public lives, ceremonial and executive actions of the 43 men who have held that office and had a huge impact on the course of history in the past 200 years. Composed of 11 thematic sections, the exhibition addresses such topics as inaugural celebrations, presidential roles, life at the White House, limits of presidential power, assassinations and mourning, the influence of the media, and life after the presidency.

Hat worn by Lincoln to Ford’s Theater on the night of his assasination

The role of the presidency in American culture is brought to life by more than 900 objects, including national treasures from the Smithsonian’s vast presidential collections.

The horse-drawn carriage that carried Ulysses S. Grant in his second inaugural parade in 1873

They include Abraham Lincoln‘s life mask; a Lewis and Clark Expedition compass; the horse-drawn carriage that carried Ulysses S. Grant in his second inaugural parade in 1873; a radio microphone used by Franklin D. Roosevelt to give his fireside chats during World War II; an early teddy bear (named after Theodore Roosevelt) and Bill Clinton‘s saxophone.

The First Ladies of America

The First Ladies of America, a popular permanent exhibit also at 3 center, encourages visitors to consider the contributions and changing role played by the first lady and American women over the past 200 years by exploring the unofficial but important position of First Lady and the ways that different women have shaped the role to make their own contributions to the presidential administrations and the nation.

White House China Collection

The exhibition features, as a mark of changing times, more than two dozen gowns from the Smithsonian’s almost 100-year old First Ladies Collection.  It includes those worn by Frances Cleveland, Lou Hoover, Jacqueline Kennedy, Laura Bush and Michelle Obama.  A section, entitled “Changing Times, Changing First Ladies,” highlights the roles played by Dolly Madison, Mary Lincoln, Edith Roosevelt, and Lady Bird Johnson and their contributions to their husband’s administrations.

Martha Washington’s Silk Gown, 1780s

National Museum of American History: Kenneth E. Behring Center: 14th Street and Constitution Avenue NW,  National MallWashington, D.C. Admission is free. Open daily (except December 25), 10 AM – 5:30 PM.

National Museum of Natural History (Washington D.C., USA)

National Museum of Natural History

The Neo-Classical style  National Museum of Natural History, administered by the Smithsonian Institution, is a natural history museum dedicated to maintaining and preserving the world’s most extensive collection of natural history specimens and human artifacts.

It fosters significant scientific research and produces educational programs and exhibitions that present the work of its scientists to the public. Its facilities include the Museum Support Center (Suitland, Maryland), a marine science center in Fort Pierce (Florida) and field stations in Belize, Alaska and Kenya.

Petrified Wood

Pre-Cambrian Banded Iron Ore (Jasper Knob, Michigan)

Here are some interesting trivia regarding the museum:

  • It has the largest natural history collection in the world, with over 146 million specimens of human remains, human cultural artifacts, plantsanimalsfossilsmineralsrocks and meteorites. They include 30 million insects, 4.5 million plants preserved in the Museum’s herbarium, 7 million fish (stored in liquid-filled jars) and 2 million cultural artifacts (400,000 of which are are photographs housed in the National Anthropological Archives). Through an off-site active loan and exchange program, the museum’s collections can be accessed. Around 3.5 million specimens are out on loan every year and the rest of the collections not on display are stored in the non-public research areas of the museum and at the Museum Support Center.
  • It is the third most visited museum in the world
  • The museum on was one of the first Smithsonian buildings constructed exclusively to hold the national collections and research facilities.
  • It is the most visited natural history museum in the world
  • It is the most visited museum (of any type) in North America.
  • With 8 million visitors in 2013, it is the most visited of all of the Smithsonian museums
  • The main building has an overall area of 122,632 sq. m. (1,320,000 sq. ft.) with 30,200 sq. m. (325,000 sq. ft.) of exhibition and public space.
  • The  building, as part of the 1901 McMillan Commission plan, was the first structure constructed on the north side of the National Mall
  • The structure cost US$3.5 million (about US$85 million in inflation-adjusted 2012) dollars.
  • It houses 415 full time employees
  • It is also home to about 185 professional natural history scientists, the largest group of scientists dedicated to the study of natural and cultural history in the world.
  • It is only one of about six museums in the United States that has a T. rex skeleton.
  • Research in the museum is divided into seven departments: mineral sciences, anthropologybotanyentomologyinvertebrate zoologypaleobiology and vertebrate zoology.

Replica of Olmec Collosal Head (Tenochtitlan, Veracruz, Mexico, 1200-900 BCE)

Here’s the historical timeline of the museum:

  • In 1846, the United States National Museum, initially housed in the Smithsonian Institution Building (better known today as the Smithsonian Castle) was founded as part of the Smithsonian Institution.
  • In 1858, a formal exhibit hall opened.
  • On June 28, 1902, due to its growing collection, Congress authorized construction of the new National Museum Building (known today as the Arts and Industries Building), covering a then-enormous 9,100 sq. m. (2.25 acres) and built in just 15 months at a cost of US$310,000.
  • On March 1881, the National Museum Building was opened.
  • On January 29, 1903, in order to provide the Smithsonian Institution with more space for collections and research, a special committee (composed of members of Congress and representatives from the Smithsonian’s board of regents) published a report asking Congress to fund a much larger structure than originally planned.
  • On March 1903, the regents began considering sites for the new building
  • On April 12, 1903, they settled on a site on the north side of B Street NW between 9th and 12th Streets. The D.C. architectural firm of Hornblower & Marshall was chosen to design the structure.
  • On July 1903, testing of the soil for the foundations.
  • On March 17, 1910, the Natural History Building (as the National Museum of Natural History was originally known) opened its doors to the public.
  • On June 1911, the building was fully completed.
  • In 1997, Kenneth E. Behring donated US$20 million to modernize the museum.
  • On November 2003, the museum opened the US$100 million Behring Hall of Mammals
  • In 2004, the museum received US$60 million for the Sant Hall of Oceans and received a US$1 million gift from Tiffany & Co. for the purchase of precious gems for the National Gem Collection.
  • In June 2008, the Victoria and Roger Sant family donated US$15 million to endow the new Ocean Hall at the museum.
  • On August 2009, in celebration of the 50th anniversary of its acquisition of the Hope Diamond, the gemstone was given its own exhibit and a new setting
  • In March 2010, the museum opened its US$21 million human evolution hall.
  • On March 2012, the museum received a US$35 million gift to renovate its Dinosaur Hall.

The Rotunda with its centerpiece stuffed African bush elephant named Henry

We entered the museum from the National Mall side.  At the Rotunda, we were greeted by the 8 ton, 14 ft. tall male African bush elephant (Loxodonta africana) named Henry (at that time was the world’s largest land mammal on display in a museum), an iconic centerpiece installed here since 1959.  It was donated to the Smithsonian by  Josef J. Fénykövi. Fénykövi, a Hungarian big-game hunter who, in November 1955, tracked the elephant in the Cuando River region of southeastern Angola. 

Easter Island moai (stone figure)

This museum has 3 floors, but only 2 really have exhibits. At the north lobby entrance (Constitution Ave.), there is a Tyranosaurus rex skull, an intriguing Easter Island stone figures or moai (one of two acquired in 1888, one a complete statue, the other a head), probably one of the most photographed objects in the museum.

Skull of a Tyrannosaurus rex

Near a staircase is the 19th century Tsimshian Totem Pole from the  from Fort Simpson, British Columbia, at the American Northwest Coast, in 1876.

The Totem Post

The David H. Koch Hall of Human Origins, opened on March 17, 2010 (the museum’s 100th anniversary), is “dedicated to the discovery and understanding of human origins.”  Named for David H. Koch (who contributed US$15 million to the $20.7 million exhibit), it occupies 1,400 sq. m. (15,000 sq. ft.) of exhibit space at the first floor.

Walking Upright

This permanent exhibition focuses on the epic story of how the human species evolved over 6 million years, adapting and surviving during an era of dramatic climate change.

Creating a World of Symbols

It features more than 285 early-human fossils and artifacts, lifelike full-size reconstructions of several hominid species and 23 interactive experiences, including a morphing station where visitors can see what they would look like as early humans.

Specimens include 75 replica skulls and an interactive human family tree that follows six million years of evolution.  The Changing the World Gallery focuses on issues surrounding climate change and humans’ impact on the world.

The What Does It Mean To Be Human Exhibit, designed by Reich + Petch, is the Hall’s core concept idea.  It focuses on milestones of Human Evolution (Walking Upright, Bigger Brains, Creating a World of Symbols, etc.).  It also covers the Smithsonian’s significant research on the geological and climate changes which occurred in East Africa during significant periods of Human Evolution.

Meet Homo Floresiensis

The exhibit highlights an actual fossil Neanderthal and replicas created by John Gurche, a famed Paleo artist. The exhibit also provides a complementary web site (which provides diaries and podcasts directly from related fields of research) and a Companion Book, What Does It Mean To Be Human (written by curator Richard Potts and Christopher Sloan).

Kenneth E. Behring Family Hall of Mammals

The multi-award-winning   Kenneth E. Behring Family Hall of Mammals, a permanent first floor exhibition designed by Reich + Petch, represents the oldest exhibition in the National Museum of Natural History. It has the largest collection of vertebrate specimens in the world (nearly twice the size of the next largest mammal collections), including historically important collections from the 19th and early 20th centuries. Its collection, initiated by C. Hart Merriam, was expanded in the 1890s-1930s by the U.S. Department of Agriculture (later the Department of the Interior).

It tells the story of mammal evolution across 225 million years, with more than 274 meticulously preserved specimens on permanent display, classified by continent and habitat. They include a koala, hippopotamus, gorilla, the tiny Spix’s disk-winged bat, the massive walrus, the familiar Eastern gray squirrel, the rare okapi,  a white rhinoceros (collected by U.S. President Theodore Roosevelt in 1909) and  a short-beaked echidna (one of only five species of monotremes, or egg-laying mammals).  There’s also a bronze recreation of Morganucadon oehleri, the earliest-known mammal, which lived 210 million years ago.

Designed with families in mind, its mammal specimens are presented as works of modern art within strikingly minimal environmentals. Here, we discovered mammal’s evolutionary adaptions to hugely diverse contexts, and ultimately discovered that they too are mammals.

Wide Open Prairie

The hall includes four discovery zones with hands-on activities that help visitors explore an array of mammal adaptations and habitats around the world. An 8-minute film at the Evolution Theater  surveys the mammal family tree and the vast changes its members have been through in the past 225 million years.

Sant Ocean Hall

The 23,000 sq. ft. Sant Ocean Hall, the largest renovation of the museum since it opened in 1910, was named for the Roger Sant family, who donated US$15 million to endow the new hall and other related programs. Opened on September 27, 2008, this hall includes 674 marine specimens and models drawn from the over 80 million specimens in the museum’s total collection, the largest in the world.

Basilosaurus cetoides

This one-of-a-kind interpretive, permanent exhibition, at the first floor,  demonstrates how the ocean is intrinsically connected to other global systems and the daily lives of people around the world.

North Atlantic Right Whale

The collection includes: a real, life-size, coelenterate-long North Atlantic Right Whale named Phoenix (who scientists have been tracking since her birth in 1987), a 1,500-gallon aquarium, one female giant squid displayed in the center of the hall and a male displayed off to the side, an adult coelenterate, a Basilosaurus cetoides and 3 skeletons of ancient whale relatives (one of which had legs).


At the Ocean Explorer Theater, we watched a short film inviting visitors to explore the multitude of life that thrives two miles below the surface on board Alvin, a deep-ocean submersible. We also watched an innovative video presentation of global ocean data projected on a 6-ft. diameter sphere.

Global ocean data projected on a 6-ft. diameter sphere.

Other exhibits include bubblegum coral  (the largest-known deep sea coral, named for its bright pink color and gumball-like branch tips), a massive fossilized jaw of C. megalodon (a gigantic shark that prowled the ocean between 2.6 and 23 million years ago), carpet anemone, a snapping shrimp, a long-spined sea urchin plus 21 other species in the living Indo-Pacific coral reef.

African Voices

The African Voices  exhibit and associated website “examines the diversity, dynamism, and global influence of Africa‘s peoples and cultures over time in the realms of family, work, community, and the natural environment.”

Mud Masons of Mali

This permanent first floor exhibit includes historical and contemporary objects from the museum’s collection and commissioned sculptures, textiles, and pottery. Video interactives and sound stations provide selections from contemporary interviews, literature, proverbs, prayers, folk tales, songs and oral epics.

Janet Annenberg Hooker Hall of Geology, Gems and Materials

The 20,000 sq. ft.  Janet Annenberg Hooker Hall of Geology, Gems and Minerals, at the second floor, is one of the most significant collections of its kind in the world.

Rubies and Sapphires

This permanent exhibition currently houses over 15,000 individual gems in the collection, as well as 350,000 minerals, 300,000 samples of rock and ore specimens and approximately 35,000 meteorites (which is considered to be one of the most comprehensive collections of its kind in the world).

Anthromorphic Stone

It showcases the most famous pieces of gems and minerals in the collection include the Hope Diamond (donated in 1958 by Harry Winston), the Star of Asia Sapphire (one of the largest sapphires in the world) and the Gachalá Emerald, one of the world’s largest, at 858 carats (172 g.)

Hope Diamond

It also encompasses re-created mines and galleries that present important research in mineral chemistry and physics; plate tectonics, seismology and the study of volcanoes; and planetary science.

Shattered Worlds

The specimens are augmented by two dozen interactive computer presentations and videos, large panels of stunning artwork, and a real-time display of global earthquake data.

Calcite (Elinwood Mine, Smith County, Tennessee)

Some its most important donors, besides Janet Annenberg Hooker, are Washington A. Roebling (the man who built the Brooklyn Bridge)  who gave 16,000 specimens to the collection; Frederick A. Canfield, who donated 9,000 specimens to the collection; and Dr. Isaac Lea, who donated the basis of the museum’s collection of 1312 gems and minerals.

Macleay’s Spectre (Extatosoma tiaratum, Australia)  at O. Orkin Insect Zoo

The O. Orkin Insect Zoo,  a permanent second floor exhibition sponsored by Orkin (a pest control company), offers visitors a variety of exhibits about insects, plenty of hands-on activities and entomologists and features live insects as well as daily tarantula feedings.

Brazilian red and white tarantula

Different habitats have been created to show the type of insects that live in different environments and how they have adapted to a freshwater pond, house, mangrove swampdesert and rain forest.

Osteology: Bone Hall – Man and the Manlike Apes

The Osteology: Bone Hall, the oldest exhibition in the National Museum of Natural History, displays almost 300 vertebrate skeletons grouped by their evolutionary relationships.

Perciform Fishes

This permanent second floor exhibition highlights the diversity and unity of every major group of vertebrates, supporting ideas of evolution and common ancestry.

The diversity and unity of every major group of vertebrates is highlighted, supporting ideas of evolution and common ancestry.

 

Eternal Life in Ancient Egypt

The Eternal Life in Ancient Egypt Exhibit, at the second floor, West Wing, showcases more mummies than have been on display at any time in the museum’s history. The exhibition combines rare artifacts and cutting-edge research tools to illuminate how Smithsonian scientists have pieced together the lives of ancient Egyptians through their burial practices and rituals in preparation for their eternal life.

The Butterflies + Plants: Partners in Evolution, an exhibit at the second floor (off the Rotunda, above the Mammals Hall) designed by Reich + Retch, innovatively combines a traditional exhibition with experiential learning provided by the live Butterfly Pavilion.  It allows “visitors a rare, up-close look at living butterfly and plant specimens, observing the many ways in which butterflies and other animals have evolved, adapted, and diversified together with their plant partners over tens of millions of years.”

Learning About Elephants, a learning station (added in the mid-2000s) on the second floor balcony, overlooking the “Fényköv Elephant” in the Rotunda, teaches the public about these endangered land mammals and their habitat, an important way to build support for their conservation. 

The 30-year-old, 2,300 sq. m. (25,000 sq. ft.) Dinosaur and Fossil Hall  was closed (since spring of 2014) during our visit as it was then undergoing a US$45 million (US$35 million of which was donated by billionaire David H. Koch on May 2012) upgrade (the largest, most extensive exhibition renovation in the museum’s history) and was anticipated to reopen in 2019. “The Last American Dinosaurs: Discovering a Lost World,” a temporary exhibit, was opened last November 25, 2014 and will end upon the completion of the museum’s newly renovated dinosaur and fossil hall.

Check out “The Last American Dinosaurs: Discovering a Lost World

It consists of 46 “complete and important specimens” of fossilized skeletons and cast models of dinosaurs, including casts of a Tyrannosaurus rex  facing a Triceratops. The Triceratops exhibit, showing the first accurate dinosaur skeleton in virtual motion, was achieved through the use of scanning and digital technology. Its centerpiece is the 11 m. (35-ft.) long, 85% complete skeleton of “Wankel” or “Devil” rex, the first T. rex fossil skeleton owned by the museum (which until now has only had the cast of a skull).  It was  found in 1988 on United States Army Corps of Engineers-owned land in the Charles M. Russell National Wildlife Refuge in Montana,  was obtained (via a 50-year lease) by the Smithsonian on June 2013 and arrived, packed up in 16 crates, at the National Museum of Natural History on April 15, 2014.

“The Last American Dinosaurs: Discovering a Lost Work” – a temporary exhibit

The museum also has an IMAX Theater for feature-length films, and the Discovery Room, a family- and student-friendly hands-on activity room on the first floor.  In the lower level, there is a bird exhibit, Urban Bird Habitat Garden, with all the migratory and native birds to Washington D.C.

Rai (status stone, Yap, quarried 1904 on Palau)

National Museum of Natural History: 10th St. & Constitution Ave. NW, National MallWashington, D.C. 20560, United States. Open daily (except December 25), 10 AM – 5:30 PM. Admission is free.

National Gallery of Art – West Building: American Art (Washington D.C., U.S.A.)

Gallery 60-B

A number of permanent collection galleries in the National Gallery of Art display an iconic collection of masterworks of American painters from the Corcoran Gallery of Art’s world-renowned 17,000-piece art collection (worth US$2 billion) of paintings, sculpture, decorative arts, prints, drawings and photographs.  Acquired in late 2014, it allows for an enriched and enhanced presentation of the history of American painting.

Watson and the Shark (John Singlton Copley)

Gallery 60-A displays the Portrait of Richard Mentor Johnson (1843, oil on canvas) of successful Philadelphia portrait painter John Neagle.  In Gallery 60-B is the 1778 version of Watson and the Shark, by John Singleton Copley, that depicts the 1749 rescue of the English cabin boy Brook Watson from a shark attack in HavanaCuba.

Epes Sargent (John Singleton Copley, c. 1760)

Eleazar Tyng (John Singleton Copley, 1772)

The second, full-size 1778 replica is now in the Museum of Fine Arts, Boston, and a third, smaller, 1782 version is in the Detroit Institute of Arts.  Flanking this painting are two other John Singleton Copley oil on canvas portrait paintings – Eleazar Tyng ( 1772) and Epes Sargent (c. 1760).

The Corinthian Maid (Joseph Wright, 1782-85)

Oedipus Cursing His Son Polynices (Henry Fuseli, 1786)

Gallery 61 houses the The Corinthian Maid (1782-85) and Italian Landscape (1790), both by Joseph Wright; John Johnstone, Betty Johnstone and Miss Wedderburn (1790-95) by Sir Henry Raeburn; The Lavie Children (c. 1770) by Johann Zoffany; and Oedipus Cursing His Son Polynices (1786) by Henry Fuseli; among others.

Thomas Amory II (John Singleton Copley, 1770-72)

The House of Representatives (Samuel Finley Breese Morse)

At Gallery 62 is the Portrait of a Gentleman (c. 1760, oil on canvas) by English-born Joseph Blackburn; the Portrait of Thomas Amory II (c. 1770–1772, oil on canvas) by John Singleton Copley; Benjamin and Eleanor Ridgely Laming (1788) by Charles Willson Peale; Lady With a Harp (1818) by Elizabeth Ridgely; and the monumental history painting The House of Representatives (1822, oil on canvas) by Samuel Finley Breese Morse (a portraitist of some renown and the inventor of the telegraph) among others.

The Departure (Thomas Cole, 1837)

Gallery 64 houses poet-painter Thomas Cole’s The Departure and The Return, oil on canvases commissioned, as a pair, by wealthy landowner William Peterson Rensselaer.  Both were painted in 1837.

Sunrise in the Catskills (Thomas Cole, 1826)

Other Thomas Cole paintings on display include Sunset in the Catskills (1826) and A View to the Mountain Pass Called Notch of the White Mountains (1839).

Lake Lucerne (Albert Bierstadt, 1858)

The Stranded Ship (Asher Brown Durand)

Also on display are Autumn – On the Hudson River (1860, oil on canvas) and The Spirit of War (1851, oil on canvas), both by Jasper Francis Cropsey; Lake Lucerne (1858, oil on canvas) by Albert Bierstadt and The Stranded Ship (1884, oil on canvas) by Asher Brown Durand.

A Pastoral Visit (Neil Norris Brooke, 1881)

At Gallery 65 is A Pastoral Visit (1881, oil on canvas), a genre scene, by Richard Norris Brooke, depicting African-American life in the 1870 s and 1880s; Waiting for the Stage (1851, oil on canvas) painted by Baltimore native Richard Caton Woodville in Paris; Leisure and Labor (1858, oil on canvas), commissioned by William T. Walters (founder of the Walters Art Museum in Baltimore) and painted by Maryland artist Frank Blackwell Mayer; The Tough Story – Scene in a Country Tavern (1837, oil on wood) by William Sidney Mount (America’s most celebrated painter of genre scenes); Cottage Scenery (1845), a work that blends genre and landscape by George Caleb Bingham; and the intriguing and unusual trompe-l’oeil still life Poor Artist’s Cupboard (c.1815, oil on wood) by Charles Bird King.

Check out “Walters Art Museum

The Return of Rip Van Winkle (John Quidor, 1849)

Take Your Choice (John Frederick Peto, 1885)

Also on display are The Return of Rip Van Winkle (1849) by John Quidor; Take Your Choice (1885, oil on canvas) by John Frederick Peto; The Old Violin (1886. oil on canvas) by William Michael Harnett; and The Jolly Flatboatmen (1846) and Cottage Scenery (1845), both by George Caleb Bingham.

Shaw 54th Regiment Memorial

Gallery 66 is home to Augustus Saint-Gauden‘s plaster version of the The Shaw 54th Regiment Memorial, a bas-relief sculpture group 15 ft. high, 18 ft. wide and 3 ft. deep which is a monument to the Union Army’s first African American regiment that fought in the Civil War.

Abraham Lincoln, (George Peter Alexander Healy, 1860)

The original 1897 memorial stands in bronze on the edge of Boston Common. The exhibit, opened last September 21, 1997, includes plaster sketches and related studies. 

Check out “Boston Commons 

Maryland Heights – Siege of Harpers Ferry (William Macleod)

Hanging nearby and sharing this connection to the Civil War are two Corcoran Collection paintings – George Peter Alexander Healy‘s portrait of Abraham Lincoln (1860), the first portrait for which the President posed following his election, and William MacLeod’s Maryland Heights: Siege of Harpers Ferry.

Niagara (Frederic Edwin Church, 1857)

Gallery 67 displays the magnificent Niagara (1857, oil on canvas) and the tropical view Tamaca Palms (1854, oil on canvas), both by Frederic Edwin Church; the idyllic Buffalo Trail: The Impending Storm (1869, oil on canvas) the final great Western landscape of Albert Bierstadt.

Ruins of the Parthenon (1880, oil on canvas, Sanford Robinson Gibbon)

Tamaca Palms (Frederic Edwin Church, 1854)

Also on display are Natural Arch at Capri (1871, oil on canvas) by William Stanley Haseltine; Second Beach, Newport (1878-80, oil on canvas) by Worthington Whittredge; Beach at Beverly (1869-72, oil on canvas) by John Frederick Kensett; and Ruins of the Parthenon (1880, oil on canvas) by Sanford Robinson Gifford.

Breezing Up – A Fair Wind (Winslow Homer, 1873-76)

Gallery 68 is devoted to the NGA’s significant Winslow Homer collection, a dozen important works by Homer spanning five decades of his prolific and varied career are on view – the late coastal scene A Light on the Sea (1897, oil on canvas), Sparrow Hall (1881-82, oil on canvas) and Breezing Up (A Fair Wind) (1873-76, oil on canvas).

A Light on the Sea (Winslow Homer, 1897)

The Brown Family (Eastman Johnson, 1869)

The atmospheric river scene Battersea Reach (c. 1863), of James McNeill Whistler, hangs nearby. Also on display is The Brown Family (1869, oil on paper on canvas) by Eastman Johnson and The Biglin Brothers Racing (1872, oil on canvas) by Thomas Eakins.

Symphony in White, No. 1 The White Girl’ (James Whistler)

Gallery 69 displays the evocative Singing a Pathetic Song (1881, oil on canvas), an evocative depiction of the home musicale, of Philadelphia native Thomas Eakins; and Symphony in White, No. 1 The White Girl’ (1861-62) by James Abbott McNeill Whistler.

Eleonora O’Donnell Iselin (John Singer Sargent, 1888)

Ellen Peabody Endicott (John Singer Sargent, 1901)

Also on display are the regal likeness of Margaret Stuyvesant Rutherfurd White (Mrs. Henry White) (1883, oil on canvas), Eleonora O’Donnell Iselin (Mrs. Adrian Iselin) (1888, oil on canvas); and Ellen Peabody Endicott (Mrs. Corninshield Endicott) (1901, oil on canvas), all by John Singer Sargent.

Valdemosa, Majorca – Thistles and Herbage on a Hillside (John Singer Sargent), 1908)

At Gallery 70 is the fishing village scene En route pour la pêche (Setting Out to Fish) (1878, oil on canvas), depicting a scene in the quiet fishing village of Cancale, and the vibrant mountain view Simplon Pass (1911), and Valdemosa, Majorca: Thistles and Herbage on a Hillside (1908), all by John Singer Sargent.

Simplon Pass (John Singer Sargent, 1911)

Poppies, Isles of Shoals (Childe Hassam, 1891)

Also on display are Poppies, Isles of Shoals (1891, oil on canvas) and Allies Day, May 1917 (1917, oil on canvas), both by Childe Hassam; the quiet and charming still life Flowers on a Window Ledge (c. 1861, oil on canvas) by John La Farge; and the luminous Mount Monadnock (1911/1914, oil on canvas) by Boston-born and New Hampshire-raised Abbott Handerson Thayer.

April Landscape (Daniel Garber, 1910)

Gallery 71 houses impressionist landscapes with American subjects – Flying Shadows (1883) by Kenyon Cox; The Mill in Winter (1921) by Edward Willis Redfield; May Night (1906) by Willard Leroy Metcalf. Josephine and Mercie (1908) by Edmund James Tarbell; Penelope (1905) by Gari Melcher; and April Landscape (1910) and South Room – Green Street (1920), both by Daniel Garber.

The House Maid (William McGregor Paxton, 1910)

All feature women subjects (often relatives of the artist) in domestic interiors engaged in activities including reading, sewing, writing, and embroidery. Intimate paintings such as The House Maid (1910) by William McGregor Paxton, and Young Woman in a Kimono (c.1901) by Alfred Henry Maurer; also contain elegant still lifes of personal and decorative objects. Two additional portraits – My Daughter (1912) by Frank Weston Benson, and Sita and Sarita (c. 1921), by Cecilia Beaux, complete the room.

Flying Shadows (Kenyon Cox, 1883)

National Gallery of Art – West Building: Constitution Ave. NW, Washington, D.C..  Tel: +1 202-842-6511.  Website: www.nga.gov. Admission is free.