Media for the Arts
• Richardson was born at Priestly Plantation in St. James Parish,
Louisiana and spent part of his childhood in New Orleans.
• Richardson went on to study at Harvard College. Initially he was interested in civil engineering, but eventually shifted to architecture which led him to go to Paris in 1860 to attend the famed Ecole des
Beaux Arts. He didn't finish his training there as family backing failed during the U.S. Civil War. Nonetheless, he was only the second US citizen to attend the Ecole.
• Richardson returned to New York in 1865. The style that Richardson favored, however, was not the more classical style of the Ecole, but a more medieval-inspired style, influenced by William Morris, John
Ruskin and others.
• He was looking for an independent U.S. style and did much work related to the Romanesque of southern France and a leading factor in
Queen Anne or Shingle style.
Media for the Arts http://en.wikipedia.org/wiki/Henry_Hobson_Richardson
Grace Church
Medford, MA 1867-1869
• The church is Richardson's earliest remaining church. Its cornerstone was laid in 1867 but by August 1868 it was evident that construction costs would exceed the budget. One of the families covered the remaining construction costs and it became a private chapel until 1873-
1877.
• The church is designed in a picturesque Gothic style with 90-foot high steeple (square base, octagonal spire), asymmetrical massing, and rough-cut walls of glacial boulder with granite trim. A massive slate roof, in gray with bands of red slate, dominates the nave's low walls and the five-sided apse attached to its east wall.
• The church has undergone extensive modifications from its original design. In 1962 the chancel was reworked and Richardson's original altar given to the Brooklyn Museum. In the early 1970's Richardson's darkstained interior was replaced by a brighter woodwork. As of 2007 only the pulpit remains of his original interior.
http://en.wikipedia.org/wiki/Grace_Episcopal_Church_%28Medford%2C_Massachusetts%29
Grace Church
Medford, MA 1867-1869 http://en.wikipedia.org/wiki/Grace_Episcopal_Church_%28Medford%2C_Massachusetts%29
Grace Church
Medford, MA 1867-1869
Media for the Arts http://en.wikipedia.org/wiki/Grace_Episcopal_Church_%28Medford%2C_Massachusetts%29
First Baptist Church
Boston, MA 1869-1873
• The church fuses Romanesque design and primitive sculpture with an Italian style campanile. The body of the church is of a conglomerate rock, Roxbury puddingstone, and is highlighted with alternating colors of sandstone, and architectural carving by John Evans.
• Its prominent 176 foot tower, is adorned with a frieze by Fredrick Auguste Bartholdi, who would later sculpt the Statue of
Liberty.
• While this is a Norman-styled church,
Richardson's French taught uses of ratios is evident. Consider the smallest part of the church on the right, add one half of its visual height, and that is the height of the next element. Add one half again, and its the height of the campanile.
Media for the Arts http://www.iboston.org/mcp.php?pid=brattleSquareCongreg
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Trinity Church
Boston, MA 1873-1877
• The Great Boston Fire of 1872 destroyed much of the downtown area.
The fire burned for three days. Fire brigades from as far away as Maine were called in to help out since the local horse population (used to draw the fire apparatus) had recently been decimated by disease.
• The original Gothic-style Trinity Church was one of the many destroyed buildings. The congregation bought a parcel of land in the then still developing Back Bay. Richardson won the competition to design and build the new church.
• Richardson brought in John LaFarge to do the interior decoration.
• In only 5 months, John La Farge and his team executed more than
20,000 square feet of murals and decorative design. Trinity's mural decoration is significant in that the art was not an afterthought, but was designed - with input from the artist, architect, and client - to seamlessly integrate with the architecture.
http://hereibe.homestead.com/hhr.html
http://www.trinitychurchboston.org/art/slideshows/architecture/e.html
Trinity Church
Boston, MA 1873-1877
The tower would have been taller and more inventive, but structural problems due to the spongy soil
(it was a landfill) of Boston's Back
Bay necessitated a shorter tower which grieved Richardson. 4500 piles were driven into the ground to support the weight.
p. 258-259, G. E. Kidder Smith
2005, Jorge López
Trinity Church
Boston, MA 1873-1877
Trinity Church
Boston, MA 1873-1877
Media for the Arts
Trinity Church
Boston, MA 1873-1877
Media for the Arts
2005, Jorge López http://www.greatbuildings.com/buildings/Trinity_Church.html
Trinity Church
Boston, MA 1873-1877
The interior spaces sweeps upward due to the prominence of the inner void of the tower p. 258-259, G. E. Kidder Smith
Media for the Arts
2005, Jorge Lopez http://www.trinitychurchboston.org/art/slideshows/architecture/c.html
http://www.trinitychurchboston.org/art/slideshows/architecture/e.html
2

Trinity Church
Boston, MA 1873-1877
In 1885, American architects were polled to determine the top 10 buildings in the U.S. Trinity Church in
Boston rated #1. 100 years later, the American
Institute of Architects conducted the same poll. Again,
Trinity made the list - the only building that remained from the original list, as well as the only church and only Boston building to make the top 10.
http://www.trinitychurchboston.org/art/slideshows/architecture/c.html
Sherman House
Newport, RI 1874-1875
Sherman House
Newport, RI 1874-1875
• The original house was 2.5 stories in height and basically rectangular, about 53 by 81 feet in dimensions, with porte-cochere on the east facade, and two principal entrances on the west. Its interior organizes clusters of rooms about a spacious central stair hall.
• Its frame was constructed in New Jersey and shipped to Newport for assembly.
• The house combines elements from medieval European, Renaissance
English and Colonial American styles, and appears to have been inspired by British architect Norman Shaw's houses in Surrey, known as Queen
Anne Style. It became the prototype for what later became known as the
Shingle Style in American architecture.
• What could have become cacophonous was held superbly in check by grouping windows in horizontal bands so that although this is a tall house, it is the horizontal line which predominates. http://en.wikipedia.org/wiki/William_Watts_Sherman_House
Sherman House
Newport, RI 1874-1875
Usually American homes connected their main reception rooms through doors to a central entry and stair hall. Richardson opened up the wall between the traditional stair hall and parlor, keeping them distinct but fusing them together. This idea will culminate with
Wright.
Media for the Arts p.178-179, Mark Gelenter
Bullfinch, First Harrison Grey Otis House http://www.greatbuildings.com/buildings/W_Watts_Sherman_House.html
http://en.wikipedia.org/wiki/William_Watts_Sherman_House
New York State Capitol
Albany, NY 1875-1883
• Three teams of architects worked on the design of the Capitol during the 32 years of its construction. They were led by:
• 1867-75: Thomas Fuller
• 1875-83: Leopold Eidlitz and Henry Hobson Richardson
• 1883-99: Isaac G. Perry
• The Capitol was inspired by the Hôtel de Ville (City Hall) in Paris, France. The building is constructed in both Romanesque and Renaissance styles. This has led some historians to dub it "The Battle of the Styles."
• Lieutenant Governor William Dorsheimer dismissed Fuller in favor of Eidlitz and Richardson. Richardson dominated the final outcome of the grand building, which evolved into his distinguished Romanesque style.
• Eidlitz and Richardson were dismissed by Grover Cleveland upon his election to governorship and his review of the mounting costs of construction. He hired
Perry to complete the project.
• The building cost twice the cost to construct the United States Capitol http://en.wikipedia.org/wiki/New_York_State_Capitol
New York State Capitol
Albany, NY 1875-1883
Media for the Arts http://hereibe.homestead.com/HHR2.html
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New York State Capitol
Albany, NY 1875-1883
• The Great Western Staircase, also known as the
Million Dollar Staircase, took an unheard of 14 years to construct, from 1883-1897 and cost, more than one million dollars. Over 500 stone cutters and carvers were employed at various times.
• 77 faces of prominent people were carved into the
Great Western staircase from existing stone walls using only ladders and scaffolding at a salary of five dollars a day.
• Among the 77 famous faces beautifully carved into the sandstone staircases are such famous Americans as
Washington, Lincoln, Grant, and Susan B. Anthony each etched with astonishingly fine detail. With the stone gallery of prominent Americans out of the way,
Perry decided to allow his elite group of carvers to sculpt the faces of friends, relatives, and people seen on the streets.
Media for the Arts http://assembly.state.ny.us/Tour/?sec=stairs
Winn Memorial Library
Woburn, MA 1876-1879
• The Winn Memorial Library is a public library designed by noted American architect H. H. Richardson. It is located at 45 Pleasant Street, Woburn,
Massachusetts, and is now a National Historic Landmark.
• The library was built between 1876-1879 as the first of Richardson's series of library designs and in it he established his characteristic, asymmetrical plan for such buildings: an entrance and reception, usually with staircase tower; the reading room(s) with stacks; and an optional art gallery.
• The library's front facade presents a long, single-story stack area (at left), with high, column-separated windows forming a strip below the peaked roof; a projecting, three-story set of reading rooms with entryway and High Victorian tower at center right; and picture gallery and octagonal museum at the right side. The facade is formed of brownstone with lighter stone trim, arranged in polychrome over the main arches, accented with a red tile roof.
• A statue of native son and notable scientist Sir Benjamin Thompson, Count
Rumford, rises from the main lawn before the library.
http://en.wikipedia.org/wiki/Winn_Memorial_Library
Winn Memorial Library
Woburn, MA 1876-1879 http://www.panoramio.com/photo/2645974 http://en.wikipedia.org/wiki/Winn_Memorial_Library
Ames Free Library
North Easton, MA 1877-1879
• The Ames Family provided several projects for Richardson. Five buildings were built in
North Easton, the largest concentration of Richardson buildings in such a small area.
• Richardson is famous for his libraries, but not with librarians!
• The gable's front facade contains a heavily arched entry on the first floor; the only break in the granite base which monumentalizes penetration. The arched entry will be a typical motif in Richardson's buildings. The tower is purely decorative.
• The facade is light-brown Milford granite laid in random ashlar with reddish-brown
Longmeadow brownstone trim. Its roof is red-orange tile. A children's wing (red brick) was added in 1931.
• Basically rectangular in plan, the library's major rooms, stack wing, hall, and reading room are laid out longitudinally. The reading room's fireplace is primarily by Stanford
White, a principal assistant under Richardson. The stone and bronze medallions of
Oliver Ames were designed by Augustus Saint-Gaudens.
p.263, G. E. Kidder Smith
Media for the Arts http://en.wikipedia.org/wiki/Ames_Free_Library
Ames Free Library
North Easton, MA 1877-1879
Ames Free Library
North Easton, MA 1877-1879
Media for the Arts http://en.wikipedia.org/wiki/Ames_Free_Library http://en.wikipedia.org/wiki/Ames_Free_Library
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Sever Hall, Harvard University
Cambridge, MA 1878-1880
• Sever Hall was built with a gift from Anne Sever in honor of her deceased husband, James Warren Sever. It was designed as an academic building with classrooms, lecture halls, rooms for professors, etc. He used a restrained style to fit in with surrounding buildings
• It is three stories tall, with a fourth story set within the roof. The fourth floor of
Sever, unnoticed by many of its students as the central stairwell does not lead to it, contains offices for Harvard's Visual and Environmental Studies department.
• About 1.3 million bricks were used in its construction. Of these, some 100,000 form the exterior facades, which feature 60 different varieties of red molded brick, as well as elaborate brick carvings. Blood mortar was used as a joiner originally, though polybond compounds have been used in restoration efforts since 1967.
• The archway admitting entrance into the west facade possesses an acoustical oddity. Whispering directly into the bricks of the archway, while standing very close to one side of the arch, can be heard clearly on the other side of the arch
(approximately twelve feet away).
Media for the Arts http://en.wikipedia.org/wiki/Sever_Hall
Sever Hall, Harvard University
Cambridge, MA 1878-1880 http://en.wikipedia.org/wiki/Sever_Hall
Sever Hall, Harvard University
Cambridge, MA 1878-1880 http://www.greatbuildings.com/buildings/Sever_Hall.html
Ames Gate Lodge
North Easton, MA 1880-1881
• The lodge was designed and constructed in for the son of railway magnate
Oliver Ames, Jr., as the northern entrance to his Langwater estate.
• The massive walls appear to be crude heaps of rounded boulders from the estate soil trimmed in Longmeadow brownstone. The blocky, two-story lodge proper stands west of the arch, and originally housed the estate gardener on the lower floor with rooms for bachelor guests above. Across the arch is a long, low wing ending in a circular bay, once used for storing plants through the winter.
• The lodge's public (northern) facade is relatively flat and austere; its southern facade, by contrast, is highly shaped with protrusions and a large porch featuring carvings by Augustus Saint-Gaudens. Capping all is the lodge's prominent, hipped, reddish-tiled roof with its eyebrow dormers. http://en.wikipedia.org/wiki/Ames_Gate_Lodge
Ames Gate Lodge
North Easton, MA 1880-1881
Ames Gate Lodge
North Easton, MA 1880-1881
Media for the Arts Media for the Arts
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Ames Gate Lodge
North Easton, MA 1880-1881
Crane Public Library
Quincy, MA 1880-1882
Media for the Arts
Crane Public Library
Quincy, MA 1880-1882
• It was funded by the Crane family as a memorial to Thomas Crane, a wealthy stone contractor who got his start in the Quincy quarries. The library has the second largest municipal collection in Massachusetts and housies Quincy's local cable access channel, QATV.
• H. H. Richardson considered this library among his most successful civic buildings, and Harper's Weekly called it "the best village library in the United
States".
• The few articulations on the box clearly express internal functions. To help convey the primitive simplicity, he uses the rough hewn granite tied together visually with brownstone bands. The entrance has one of his favorite most copy elements: the huge Syrian arch that springs from a lower base rather than from a line above the door . We notice the simplified historical ornament less than the powerful forms in the play of the voids against the solids.
• It has been remodeled 4 times since it was built to get more space.
• The library's grounds were designed by leading landscaper Frederick Law
Olmsted.
p.184, Mark Gelenter http://en.wikipedia.org/wiki/Thomas_Crane_Public_Library_%28Quincy%2C_Massachusetts%29
Crane Public Library
Quincy, MA 1880-1882
Crane Public Library
Quincy, MA 1880-1882
Media for the Arts
Media for the Arts http://www.greatbuildings.com/buildings/Crane_Library.html
Oakes Ames Memorial Hall
North Easton, MA 1881
• It is located immediately adjacent to another Richardson building, Ames Free
Library.
• The hall was built 1879-1881 as a gift to the town from children of disgraced
Congressman Oakes Ames. It was originally intended for use as a Town Hall but in practice has mainly served as a meeting space for private groups.
• Its first floor is constructed of native, pinkish-gray North Easton granite, quarried nearby, with brownstone trim. The second floor is brick, with a northfacing dormer half finished in timber and stucco. The steeply peaked roof above is finished in red tile.
• The front's third-floor, dormer window is wreathed with sculpted foliage, and displays the initials O. A. and twelve signs of the zodiac.
• On the first floor of the building are two small halls and service rooms. On the second floor is the main hall with a large stage. This arrangement proved impractical due to inadequate stairway access to the hall. The attic is beautifully finished as a Masonic Hall. http://www.eastonmass.net/historic/ameshall.htm
http://en.wikipedia.org/wiki/Oakes_Ames_Memorial_Hall
6

Oakes Ames Memorial Hall
North Easton, MA 1881
Oakes Ames Memorial Hall
North Easton, MA 1881
Media for the Arts
North Easton Railroad Station
North Easton, MA 1881 http://en.wikipedia.org/wiki/Oakes_Ames_Memorial_Hall http://en.wikipedia.org/wiki/Oakes_Ames_Memorial_Hall
North Easton Railroad Station
North Easton, MA 1881
• Also known as the Old Colony Railroad Station. It currently houses the Easton
Historical Society.
• The station was commissioned in 1881 by Frederick Lothrop Ames, director of the Old Colony Railroad, during the same year that Richardson designed the
Ames Gate Lodge for his nearby estate. Frederick Law Olmsted landscaped its grounds. In 1969, the Ames family purchased the property from the New York
Central Railroad and gave it to the historical society.
• The building is laid out symmetrically within, with a large passenger room at each end (one for women, the other for men).
• The station's facade is constructed of rough-faced, random ashlar of gray granite with a red granite belt course and trim. Two large, semicircular arches punctuate each of the long facades, inset with windows and doorways, and ornamented with carvings of a beast's snarling head; a further semicircular arch projects to form the east facade's porte-cochere. Eaves project deeply over all sides, supported by plain wooden brackets.
http://en.wikipedia.org/wiki/Old_Colony_Railroad_Station
North Easton Railroad Station
North Easton, MA 1881
Media for the Arts
Oakes Ames Memorial Hall
North Easton, MA 1881
Media for the Arts
7

Ames Monument
Wyoming 1882
• The Ames Monument is a large pyramid dedicated to the Ames brothers. It was built for a cost of $65,000, employing some 85 skilled and semi-skilled workers. It was designed with plaques by sculptor
Augustus Saint-Gaudens, and built by the
Union Pacific Railroad Company.
• The monument was authorized by company stockholders. When completed in
1882, it stood 300 feet south of, and 32 feet above, the highest elevation of the Union
Pacific tracks at 8,247 feet. It was seen from the train until the tracks were relocated about three miles south in 1918.
• The monument is a four-sided, random ashlar pyramid, 60 feet square at the base and 60 feet high, constructed of lightcolored native granite. http://en.wikipedia.org/wiki/Ames_Monument
• Although the company believed they owned the land on which the monument was constructed, they were mistaken, and in 1885 the land was purchased for $9.75 by
William Murphy, who intended to cover the pyramid with advertising.
The company thwarted this scheme by obtaining a special deed in 1889.
Stoughton Residence
Cambridge, MA 1883
Media for the Arts
• New "country residence", free from historicism
• Shingle style, romantic massing
Allegheny Courthouse
Pittsburgh, PA 1883-1888
• Richardson was the winner of the competition to design a replacement for the destroyed original courthouse. The total cost of the project up to that time was over two and a quarter million dollars.
• The main building has an interior courtyard allowing natural light and fresh air to reach most of the building. The great tower that rises above the yard and building was designed for storage of legal documents and as fresh air intake for the whole building an advancement for the time as well as a reflection of the city's atmosphere
• The prison is connected to the main building by the "Bridge of Sighs." The entire complex being built of large rusticated blocks with the entrances and windows topped with wide arches, gives the building a heavy, stable and dignified appearance.
• In the 1900's the street level in front of the building was lowered as part of a general regrading of Pittsburgh. Richardson had anticipated this and courses of finished masonry had been buried underground. Unfortunately this left the ceremonial entrance a full story above the street. A grand stairway was built, but removed during street widening in the 1930's- the low arched doorways were extended downwards to street level, so today, the visitor is not greeted by the grand entrance hall Richardson planned, but by the low corridors which were once the basement. p.272, G. E. Kidder Smith http://en.wikipedia.org/wiki/Allegheny_County_Courthouse
Allegheny Courthouse
Pittsburgh, PA 1883-1888 http://en.wikipedia.org/wiki/Allegheny_County_Courthouse
Allegheny Courthouse
Pittsburgh, PA 1883-1888
Media for the Arts http://en.wikipedia.org/wiki/Allegheny_County_Courthouse
Converse Memorial Library
Malden, MA 1883-1885
• The building was a gift of Elisha D. and Mary D. Converse in memory of their murdered son, Frank Eugene Converse who was the victim of the first bank robbery/murder in North America.
• It has an overall L-shape, with a facade of brown Longmeadow sandstone, a tower rising from the L's inner corner, and a heavily arched entry porch set within the L's short arm.
• The main library room is 50 x 36 feet and finished in elaborately carved white oak with a high, vaulted ceiling. Its furniture was designed by Richardson and manufactured by the Boston firm of Albert H. Davenport Company.
• The Converse Memorial Building is the last of Richardson's library designs http://en.wikipedia.org/wiki/Converse_Memorial_Library
8

Converse Memorial Library
Malden, MA 1883-1885
These drawings were copyright 1885 by
James R. Osgood & Co., but copyright has since expired. Date on drawing: October 3, 1885.
Converse Memorial
Library
Malden, MA 1883-1885
Converse Memorial Library
Malden, MA 1883-1885 http://en.wikipedia.org/wiki/Converse_Memorial_Library
First Baptist Church
Newton, MA 1885 http://en.wikipedia.org/wiki/Converse_Memorial_Library
• Rich detailing
• Bold shapes http://en.wikipedia.org/wiki/Converse_Memorial_Library
Marshall Field Store
Chicago, IL 1885-1887
• A large commercial block could be expressed as a single integrated unit of great force and authority. Since the internal functions offered no obvious ideas for external massing
(the building consisted mainly of a number of open an undifferentiated loft spaces),
Richardson simply stacked up the floors within a rectangular box, relying entirely for architectural interest on proportion, material and patterns of solids and voids .
• The exterior is a seven story sandstone. The interior consisted of open loft spaces,
Richardson maintained an uninterrupted rhythm of arcades along each side. Simple though it appears, the Marshall Field Wholesale Store demonstrated clearly that no longer were meretricious historical ornament or a ponderous roof obligatory.
• The building influenced Sullivan and Wright
• Large-scale coherent forms, graced with plain walls, could be effective. Though structurally the Field building was conservative, with bearing walls and cast iron and wooden columns for internal supports, the visual expression was highly advanced and pointed in a new direction which many critics and architects, both in the United States and Europe, interpreted as being distinctly American.
p. 184, Mark Gelenter
Media for the Arts http://www.greatbuildings.com/buildings/Marshall_Field_Store.html
Marshall Field Store
Chicago, IL 1885-1887
In the tradition of the
Italian palazzo, he marched a series of identical bays down the sides of the building. But rather than monotonously a highly upper rows of identical arches,
Richardson grouped the windows of several floors together behind arches of varying widths. As they progress up the building, they increased the number while decreasing in width, finally culminating in regular punctuations just under the cornice.
p. 184, Mark Gelenter http://www.greatbuildings.com/buildings/Marshall_Field_Store.html
Media for the Arts
9

Glessner Residence
Chicago, IL 1885-1886
• John J. Glessner was a high-ranking executive with a leading U.S. manufacturer of farm machinery. Enjoying economic success, Glessner decided to build a home for his family on Prairie and 18th Streets.
• The heavy, rough-cut facing stones of Romanesque architecture created a new visual language of individual separation and privacy. Nestled inside the fortresslike, rusticated granite exterior is an oak-paneled English Arts and Crafts interior and a charming central courtyard. The stark exterior did not appeal to the neighbors. Sleeping-car CEO George Pullman, who lived across the street in a traditional French Renaissance-style chateau, said, "I do not know what I have ever done to have that thing staring me in the face every time I go out of my door."
• Many wealthier Prairie Avenue residents found that an even more efficient way of maximizing their status and privacy was to move away from the crowded South
Side altogether, thus presaging the decline of Prairie Avenue as a status address.
• After a long period of neglect caused by the overall deterioration of the surrounding neighborhood, the Glessner House was saved from demolition by popular outcry was acquired by a nonprofit foundation, which has operated the house for visitation ever since. An admission fee is charged.
http://www.glessnerhouse.org/house.html
http://en.wikipedia.org/wiki/John_J._Glessner_House
Glessner Residence
Chicago, IL 1885-1886 http://en.wikipedia.org/wiki/John_J._Glessner_House
http://www.greatbuildings.com/buildings/Glessner_House.html
Glessner Residence
Chicago, IL 1885-1886
The courtyard façades have more and larger openings, curving bays, which break up the rectangular massing, and are constructed more fancifully of brick with limestone lintels.
Media for the Arts http://www.greatbuildings.com/buildings/Glessner_House.html
Mark Gelenter
A HISTORY OF AMERICAN ARCHITECTURE, BUILDINGS IN THEIR CULTURAL & TECHNOLOGICAL CONTEXT
University Press of New England, copyright 1999
Jorge López, Architect
Professor
Kirkwood Community College
6301 Kirkwood Blvd
Cedar Rapids, IA 52406
Media for the Arts Slide Collection
P.O. Box 1011
Newport, RI 02840
G. E. Kidder Smith
SOURCE BOOK OF AMERICAN ARCHITECTURE
Princeton Architectural Press, copyright 1996
• Richardson died, weighing 343 lbs, in 1886 at age 48 of Bright's disease, a kidney disease that causes inflammation. In his bed, he had a pair of rings fastened to one wall to pull his great bulk upright when he got out of bed. Yet this sick man never flagged, working until the end with enormous energy.
• Following his death, the style that he had pioneered was picked up by a variety of other architects. He is one of the few to be immortalized by having the honor of having a style named after him: "Richardson
Romanesque"
• Richardson has been viewed as one of the most important architects in
American nineteenth century history because his work was well received and highly popular. Five of the ten best buildings in the1885
American architects list were his.
• He was the first architect to influence Europe.
Media for the Arts http://thomascranelibrary.org/aboutus/architecture/dedicationbooklet/dedicationframeset.html
http://en.wikipedia.org/wiki/Henry_Hobson_Richardson
Additional web resources are listed on each slide.
10