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Built in 1742, Faneuil Hall stands as a center for celebration and commemoration, debate and discussion, and protest and advocacy. Millions of people – Bostonians and individuals from around the world – have walked through its doors to experience and activate this historic space. Peter Faneuil, the benefactor of the building that bears his name, funded the construction of the early market and meeting hall with the profits of his Transatlantic financial empire. While initially completed in 1742, Faneuil Hall later experienced numerous restorations and renovations. Some of these key moments include: a rebuilding led by Thomas Dawes following a 1761 fire, significant expansion by Charles Bulfinch at the turn of the century (1805-1806), renovations by Alexander Parris in 1827, and a complete restoration and fireproofing in 1898-1899 by chief architect Frank W. Howard and consulting architect MIT professor Francis W. Chandler. In each moment of transformation, the craftspeople and architects honored the main goal of preserving the "Cradle of Liberty" for generations to come. Faneuil Hall is not only a historic building, but it also serves as the home for numerous art pieces highlighting leading figures from Boston or Massachusetts history, as well as national leaders. Many of those featured on its walls and stage spoke in the Great Hall. Explore Faneuil Hall through the immersive virtual tour below. Navigate the building on your own and click on points that provide information behind paintings and architectural elements of the building. Or, watch an audio-described walk-through video of the space. Full descriptions and sources are at the bottom of the page.
General SourcesThis virtual tour relied on a variety of primary sources, including newspaper records, personal accounts, and city government records (Selectmen’s, Board of Aldermen, City Council Committee). These sources are listed with the corresponding artwork/architectural element. See below for a list of general secondary sources reviewed and referenced for this project. Abram English Brown. Faneuil Hall and Faneuil Hall Market, or Peter Faneuil and His Gift. Boston: Lee and Shepard, 1900. Boston Landmarks Commission, Faneuil Hall Boston Landmarks Commission Study Report. Boston: City of Boston. 1994. Brian Pfeiffer, “1741-42 – Boston, MA – Dock Square – Faneuil Hall,” Archipedia New England, accessed February 2025. Carolyn Brackett, Robbie D. Jones, Teresa D. Bulger, Faneuil Hall Voices: Discourse, Dissent, and Protest in the Cradle of Liberty, 1742-2023. Historic Resource Study for Faneuil Hall, Boston, Massachusetts. Prepared for National Parks of Boston, National Park Service, U.S. Department of the Interior. 2024. Christopher Harris, “A Mirror of Boston: Faneuil Hall at the Turn of the Century,” Historical Journal of Massachusetts Volume 33, No. 1 (Winter 2005). Frederic C. Detwiller, Historic Structure Report: Faneuil Hall. Prepared for Boston National Historical Park, National Park Service, U.S. Department of the Interior. Boston, Massachusetts, 1977. Goody, Clancy & Associates, Inc. Faneuil Hall Supplementary Historic Structure Report. Prepared for Boston National Historical Park, National Park Service, U.S. Department of the Interior. Boston, Massachusetts, 1989. Norma Fryatt, Faneuil Hall: Cradle of Liberty. New York: World Publishing Company, 1970. Polly M. Rettig and Charles W. Snell, “National Register of Historic Places Inventory – Nomination Form: Faneuil Hall,” National Register of Historic Places, US Department of the Interior, 1975. ArtRead the dropdowns below for accessible information and sources about each work of art. Great Hall: Stage Level (left to right)Henry Sargent, ca. 1807 A colonial Boston merchant, Peter Faneuil built his wealth from the Transatlantic trade empire, which included the trafficking of enslaved people and transporting goods produced by enslaved labor. In 1740, Faneuil offered the town a donation to fund the construction of a permanent central marketplace and meeting hall in the heart of Boston. Finished in 1742, the building became known as Faneuil Hall, after its benefactor. Learn more about Peter Faneuil and his empire. About the PaintingIn the first town meetings held at the hall in September 1742, the town voted to name the building Faneuil Hall. Town members also pledged to hang two portraits in the Great Hall, one of King George II and the other of Peter Faneuil. The town installed the original painting by John Smibert in 1743. However, this painting was badly damaged in a 1761 fire of the building. In February 1807, Boston’s Selectmen voted to acquire a new painting by Henry Sargent, who would “paint the same in the best manner & complete it as soon as possible.” The Sargent painting continues to hang in Faneuil Hall today. Image DescriptionA full-length oil painting of Peter Faneuil. He stands next to a golden-patterned wing-backed chair, his left arm resting on its back. He holds the plans for Faneuil Hall in his hands. Faneuil wears a curly gray wig and a red suit. The suit is composed of a red coat with gold buttons and embroidery, a red undercoat and pants, a white lacy undershirt, a white lacy cravat, white tights, and black shoes with gold buckles. Sources"A Volume of Records relating to the Early History of Boston containing Minutes of the Selectmen’s Meetings, 1799 to, and including, 1810," (Boston: Municipal Printing Office, 1904), 325. Boston Record Commissioners, "A report of the record commissioners of the city of Boston containing the Boston records from 1729 to 1742," (Boston: Rockwell and Churchill, City Printers, 1885), 306-311. Boston Record Commissioners, "A report of the record commissioners of the city of Boston : containing the selectmen's minutes from 1742-1753," (Boston: Rockwell and Churchill, City Printers, 1887), 41-42. Henry Foote, John Smibert, Painter (Cambridge, MA: Harvard University Press, 1950), 82. John Crookshanks King, 1845 John Quincy Adams served as the sixth president of the United States (1825-1829). Throughout his career, Adams held numerous diplomatic positions and represented Massachusetts as a Senator (1803-1808) and, for the final years of his life, as a member of the House of Representatives (1831-1848). About the SculptureScottish-born sculptor John Crookshanks King captured the likenesses of many prominent men of the Boston area. John Quincy Adams sat for this bust from July – October 1845 at King’s Boston studio in Armory Hall on Washington Street. In his diaries, Adams tracked the progress of King’s work. Several months into sittings, Adams wrote, “I gave a sitting of two hours to Mr King the Sculptor whose progress in taking my bust is inconceivably slow and who to my judgement has not yet reached one feature of likeness to my face.” Adams did not appear to give his final impression of the work, only writing on October 21, “[I] saw Mr King the Sculptor and the cast of my bust...he had received four orders for copies of the bust. And that every person who had seen it pronounced it an excellent likeness.” While the provenance of this piece is unclear, it is more likely that this is a copy rather than the original King bust. Newspapers in 1860 mention an effort to install a bust of John Quincy Adams, possibly this one, at Faneuil Hall. Image DescriptionWhite marble bust of an elder John Quincy Adams. He is balding, with some hair as sideburns and on the back of his head. He wears a determined looks on his face, with his brows furrowed. SourcesJohn Quincy Adams, "Quincy. Tuesday 15 July 1845 – Boston. Quincy." Volume 45, John Quincy Adams Digital Diary. Accessed May 2024. John Quincy Adams, "Quincy. Wednesday 3. September 1845." Volume 45, John Quincy Adams Digital Diary. Accessed May 2024. John Quincy Adams, "Tuesday, Boston 21st October 1845." Volume 45, John Quincy Adams Digital Diary. Accessed May 2024. Lloyd Lillie, 1993 After liberating himself from bondage, Frederick Douglass dedicated his life to advocating for the rights and liberties of others. He became a monumental figure in both the abolitionist and women’s rights movements. Douglass often traveled to Boston, speaking on numerous occasions at Faneuil Hall. Learn about the life of Frederick Douglass. About the SculptureNewton, Massachusetts-based artist Lloyd Lillie’s bust of Frederick Douglass came to Faneuil Hall in 1995. With his work, Lillie hoped to “capture [Douglass’s] energy, spirit, and dedication.” Former Boston Art Commission director Mary O’Donnell Shannon saw Lillie’s piece at a Boston exhibit and worked towards securing its place in the Great Hall, believing the Hall needed more representation in its art. She unfortunately passed away before the City acquired the piece. Her family raised funds for the work and secured its placement in Faneuil Hall in 1995. Image DescriptionA bronze bust of Frederick Douglass. Douglass is younger, with parted hair and wearing a suit. He has a calm expression on his face. Plaque below the bust reads, “Frederick Douglass 1818 – 1895 Commissioned by family and friends to honor Mary O’Donnell Shannon 1936 – 1994." SourcesSusan Bickelhaupt and Maureen Dezell, "Names & Faces: A color barrier falls at Faneuil Hall," Boston Globe, September 23, 1995. Thomas Grillo, "Douglass to join gallery of honor: Bronze sculpture to be installed in Faneuil Hall," Boston Globe, August 13, 1995. Thomas Grillo, "Molding an icon of the freedom fight: Newton sculptor will install bust of Frederick Douglass in Faneuil Hall," Boston Globe, August 20, 1995. Jean-Baptiste Binon, 1818 A renowned statesman, John Adams dedicated his life to the burgeoning United States. Adams took part in the First and Second Continental Congresses as a Massachusetts delegate. He held several diplomatic roles during the Revolutionary War, returning to Massachusetts to pen the Commonwealth’s Constitution in 1779. In 1789, Adams became the nation’s first Vice President and succeeded Washington as the second President. About the SculptureBostonian William Tudor Jr. led the effort to commission a marble bust of John Adams. After failing to garner support from the state legislature, Tudor turned to Bostonians to help fundraise for the bust. Obtaining 215 subscribers, a committee led by Tudor formally asked Adams for his support: "In behalf of a numerous body of Citizens of Boston, we request your consent, to set for a Bust, in Marble, to be executed by an eminent Artist...to be placed in Faneuil-Hall." John Adams accepted the honor, saying, "As I owe to the town of Boston all the opportunities I ever had of performing any public service, this mark of the benevolence of her Citizens, excites all my sensibility." The committee hired French sculptor Jean-Baptiste Binon to capture the likeness of the aging statesman. Adams described him as "a French Artist from Lyons...He appears to be an Artist and a Man of Letters. I let them do what they please with my old head." The bust first appeared in a central alcove on the western end of the Hall between the paintings of George Washington and Peter Faneuil (covered by the Healy painting today) and was later moved to its current location on the stage. Image DescriptionA white marble bust of an elder John Adams. He is balding, with hair along the sides and back of his head. He wears a high-collared suit with buttons. SourcesAndrew Oliver, Portraits of John and Abigail Adams (Cambridge, MA: Belknap Press of Harvard University, 1967). John Adams, "From John Adams to Thomas Jefferson, 29 May 1818," Founders Online, National Archives. Accessed May 2024. Lloyd Lillie, 2000 Lucy Stone stood as a pillar in the abolitionist and women’s rights movements. Her activism began as a lecturer for the Massachusetts Anti-Slavery Society as a young college graduate, and she eventually went on to lead numerous women’s suffrage organizations. Stone spent the majority of her life advocating for the rights of African Americans and women, often speaking here in Faneuil Hall. Learn more about the life of Lucy Stone. About the SculptureThis bust by Newton, Massachusetts-based artist Lloyd Lillie arrived in Faneuil Hall in 2000. The plaque incorrectly identifies Lucy Stone as a “suffragette,” a term used for radical English women supporters of the right to vote. Stone should have been identified as a “suffragist,” a term used by American activists. Image DescriptionBronze bust of Lucy Stone. Her hair is parted, covering her ears into a bun at the back. Her expression is calm with a soft smile. She wears a simple collared top and sweater. Plaque underneath the bust reads “Lucy Stone Suffragette 1818 – 1893 Commissioned by Faneuil Hall Preservation & Restoration Trust.” John Crookshanks King, 1850 With over fifty years in public service, Daniel Webster held a prominent position in pre-Civil War US politics. He started his political career as a representative for New Hampshire. Webster then went on to represent Massachusetts for many years, first as a member in the US House of Representatives and later as a US Senator. However, Webster’s stance of preserving the country at the expense of maintaining the institution of slavery damaged his reputation among abolitionists in the state. Learn more about the life of Daniel Webster. About the SculptureScottish-born sculptor John Crookshanks King captured the likenesses of many prominent men of the Boston area. By portraying Webster with short, cropped hair and a draped, toga-like cloth, King applied classical imagery to Webster’s bust. In doing so, King drew connections between Webster, an American statesman, and Ancient Roman senators. Image DescriptionWhite marble bust of an elder Daniel Webster. Webster had short, cropped hair and a draped toga. He wears a straight-faced expression. Jane Stuart, c. 1877 Commander of the Continental Army and later First President of the United States, George Washington played an essential role in the founding of the United States. Learn more about the life of George Washington. About the PaintingBoston businessman Samuel Parkman commissioned Gilbert Stuart to paint George Washington, and Parkman presented the final piece to the Town of Boston on July 4, 1806. Stuart depicted Washington at Dorchester Heights during the Siege of Boston in 1776. In the portrait, Washington prepares to mount his horse as British ships evacuate from Boston Harbor in the background. After its hanging in the Hall, the Boston Gazette said of the piece, “[the painting] exhibits, in the combination of its numerous beauties, one of the most interesting and splendid scenes, of which the art is capable.” Painter Jane Stuart produced a copy of the original 1806 painting by her father, Gilbert Stuart. A successful artist in her own right, Jane Stuart produced copies of many of her father’s works to help preserve his artistic legacy. The City of Boston removed the original painting in 1876 and commissioned Jane Stuart to paint this copy, placing the original painting on deposit at the Museum of Fine Arts. Image DescriptionA full-length oil painting of George Washington. He stands on a hill overlooking Boston Harbor, which is filled with sailboats and ships. A white horse, with its rear towards the foreground, stands to the left of Washington. Washington rests his left hand on the horse, his right hand clutching his hat. Washington has white hair and wears his military uniform of a double-breasted dark blue jacket and tan pants. Sources"Faneuil Hall," Boston Gazette, July 07, 1806. "Personal Items," New England Farmer, March 31, 1877. "The Faneuil Hall Pictures," Boston Evening Transcript, May 24, 1877. Great Hall: Back Wall (left to right)Dennis Malone Carter, 1857 Known as "The Battle of Bunker Hill," British soldiers and colonial militia clashed on the hilly landscape and fenced pastures of Charlestown during the first major battle of the American Revolution. The battle, won by the British, lasted around two hours, resulting in 1,054 British casualties but only an estimated 450 colonial causalities. Learn more about the Battle of Bunker Hill. About the PaintingIn 1940, the City of Boston purchased the painting "Covering the Retreat from Breed’s Hill" for $2,500 from the Vose Galleries in Copley Square. Completed in 1857 by Irish-American artist Dennis Malone Carter, the soldiers on both sides of the battle all have the same face. While the face’s identity remains unknown, the artist’s choice perhaps comments on the intimate nature of the early battles of the Revolution, which felt more akin to a civil war between fellow neighbors, family, and citizens, rather than a war between distinguished nations and armies. Image DescriptionPainting of a battle scene. Soldiers on one side are wearing red and white uniforms. Across from them soldiers primarily wear navy and white clothes. Someone in the middle holds a flag with a pine tree on it. Other soldiers hold muskets and bayonets. SourcesBoston Board of Art Commissioners, Annual Report of the Art Department, 1940. "Faces of the Nation," Boston Globe, March 31, 1988, 94. "Faneuil Hall Gets New Painting," Boston Globe, December 30, 1948, 13. "The Sherlock Holmes of the rangers," Boston Globe, July 6, 2000, 95. James Brown Marston, 1808 A career naval officer, Commodore Edward Preble assumed command of the frigate Constitution in 1803. He commanded the ship as part of a squadron during the war with Tripoli in the Mediterranean. In 1806, Congress awarded Commodore Preble a gold medal for his gallant efforts at Tripoli. About the PaintingJames Brown Marston painted the posthumous portrait of Commodore Preble in 1808. This portrait depicts Preble wearing his navy and gold embellished Navy uniform. Preble issued the "Internal Rules and Regulations for US Frigate Constitution" for 1803-1804, in which he directed officers to wear uniforms of similar blue jackets and white neckerchiefs, among other clothing, as is shown in this painting. Image DescriptionPortrait of Edward Preble. He wears a navy uniform embellished with gold stitching, buttons, and shoulder caps. He holds a scroll in one hand. SourcesBoston Art Commission, "Commodore Edward Preble," 2018, Archive.org. Genealogical Sketch of the First Three Generations of Prebles in America, (Boston: David Clapp & Son, 1868), 168. "Uniforms of the U.S. Navy 1802," Naval History and Heritage Command, last updated July 20, 2017, accessed February 2025. Edgar Parker, 1874 Rear Admiral John A. Winslow joined the United States Navy in 1827. Winslow commanded the Navy’s gunboat, USS Kearsarge, off the coast of France during the US Civil War in 1864, successfully defeating the Confederate vessel, CSS Alabama. About the PaintingEdgar Parker completed this posthumous portrait of Admiral Winslow in 1874. In 1880, Mrs. M. C. B. Corderio petitioned for the City of Boston to purchase the painting for the purpose of hanging it in Faneuil Hall. Patriotic citizens of Boston supported purchasing this painting of their "Boston boy" Winslow, even paying half of the $300 price. Faneuil Hall displays other portraits by Parker, including those of Senator Charles Sumner and General Henry Knox. Image DescriptionPainting of John A. Winslow. He stands with one arm resting on a short column. His other hand rests inside his uniform jacket. His uniform is navy, with gold buttons and embellishments on the wrists of his coat. Sources"Honoring a Naval Hero," Boston Globe, March 16, 1880, 2-4. "Orders Passed," Boston Evening Transcript, March 16, 1880, 3. "Rear Admiral John A. Winslow," Boston Evening Transcript, September 30, 1873, 1. Chester Harding, 1835 Lawyer Robert Treat Paine became involved in the fight for American Independence, first as one of the prosecuting attorneys in the Boston Massacre Trial in 1770. Paine served in Massachusetts General Court from 1773 to 1778, during which he became one of Massachusetts’ first five delegates in the Continental Congress, eventually signing the Declaration of Independence. After, he played a prominent role in drafting and ratifying the Massachusetts Constitution. About the PaintingAttributed to artist Chester Harding, the painting is a copy of Edward Savage’s portrait, which is believed to be the only known portrait of Paine taken during his life. In 1842, Paine’s sons—Robert, Charles, and James—donated Harding’s 1835 painting to be hung in Faneuil Hall. Image DescriptionPainting of an elder Robert Treat Paine. He is seated, facing slightly away. One hand is partly rested in his suit jacket. He wears a black suit jacket with a white collar. Sources"Municipal," Boston Post, June 15, 1842, 2. National Park Service, "Biographical Sketches: Robert Treat Paine," Signers of the Declaration, last updated July 4, 2004, accessed February 2025. Sarah Cushing Paine, Paine Ancestry: The Family of Robert Treat Paine, Signer of the Declaration of Independence, (Boston, 1912), 29. Unknown, 1773. Copy of John Singleton Copley, 1765. Joseph Warren, prominent physician in Boston, played a significant role as a Revolutionary leader and military officer in the early days of the American Revolution. General Warren heroically fought in the Battle of Bunker Hill on June 17, 1775, where British forces ultimately shot and killed him. Learn more about the life of Dr. Joseph Warren. About the PaintingJohn Welles donated the portrait of General Warren to the City of Boston in 1827 after acquiring it following the death of his brother, Arnold Welles. Arnold Welles married Joseph Warren’s eldest child, Elizabeth, in 1785. While the artist of the portrait remains unknown, it is a cropped version of John Singleton Copley’s original portrait of Warren from 1765. Warren wears citizen’s dress- a waistcoat- but in the color black, common for professionals such as physicians at the time. Photo provided is the original Copley painting on display at the Museum of Fine Arts, Boston. Credit: NPS Photo. Image DescriptionsOn display at Faneuil Hall: Portrait of John Warren. He is seated in a pink armchair. He wears a black waistcoat with a white shirt underneath. On display at the Museum of Fine Arts, Boston: Portrait of John Warren. He is seated in a pink armchair next to a table with a pink tablecloth. His left arm rests on a stack of papers on the table while his right hand rests on his knee. He wears a black waistcoat with a white shirt underneath. The background is plain except for a pink curtain to the right and a small opening to an exterior view on the left. Sources"Arts and Letters," Springfield Daily Republican, March 26, 1875, 3. Boston Board of Aldermen, Boston City Council Proceedings, Summar Minutes from the Board of Aldermen, City of Boston Archives, 1827. "Brief Jottings," Boston Evening Transcript, October 13, 1873, 4. Ancestry.com. Massachusetts, U.S., Town and Vital Records, 1620-1988 [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2011. Joseph Ames, ca. 1840s Rufus Choate, a prominent lawyer, became famous for his orations in and outside of the courthouse. Between 1825 and 1854, Choate held multiple offices in the Massachusetts Legislature, served as both a Representative and Senator for the Whig Party in the US Congress, and later as Massachusetts Attorney General. About the PaintingJoseph Ames painted the portrait of Rufus Choate in the 1840s. During funeral services for Choate held at Faneuil Hall in 1859, a portrait by Ames decorated the Hall’s rostrum. Peter Harvey and 22 other citizens from Boston presented the portrait of Rufus Choate to the City of Boston in 1861, two years after Choate’s death. Image DescriptionOil painting of Rufus Choate. He stands with one arm stretched out behind him. The other hand holds a white cloth. He wears a long black suit jacket, with a white shirt and black bowtie. SourcesBoston Board of Aldermen, Boston City Council Proceedings, Summary Minutes of the Board of Aldermen, City of Boston Archives, 1861. Eclectic Magazine of Foreign Literature, Science and Art, November 1859, Volume 48, Issue 3. "Editorial Points," Boston Globe, February 3, 1911, 10. "Portrait of Rufus Choate," Boston Evening Transcript, January 29, 1861, 4. William Winstanley, date unknown Caleb Strong served in the Massachusetts House of Representatives, State Senate, and the United States Senate before becoming the Governor of Massachusetts in 1800. Strong crucially participated in the Massachusetts Constitutional Convention in 1779 and and the US Constitutional Convention in 1787, helping draft both the state and nation’s constitutions. About the PaintingCharles Blanchard acquired the portrait after an estate sale in Roxbury, Massachusetts, initially auctioned it for a low value of fifty cents. Blanchard, recognizing its value, later purchased the painting for fifty dollars, and ultimately donated it to the City of Boston on October 4, 1852. The City of Boston agreed to Blanchard’s request to hang the former Governor’s portrait in Faneuil Hall. The Boston Evening Transcript attributes the portrait to an artist named William Winstanley, who completed the painting for the late Mr. Hunnewell of Roxbury. Image DescriptionPortrait of an elder Caleb Strong. He wears a black suit with a white lacy collar piece. SourcesBoston Board of Aldermen, Boston City Council Proceedings, Summary Minutes of the Board of Aldermen, City of Boston Archives, 1852. "Governor Caleb Strong," Springfield Daily Republican, October 21, 1852, 2. "Portrait of Caleb Strong," Boston Evening Transcript, October 15, 1852. William Morris Hunt, 1865 The 16th President of the United States, Abraham Lincoln led the country during the US Civil War. In 1863, Lincoln issued the Emancipation Proclamation which freed enslaved people in the Confederate States of America. Learn more about the life of President Abraham Lincoln. About the SketchDuring a 1996 restoration of William Morris Hunt’s portrait of Governor John Andrew, conservator Peter Williams discovered a charcoal sketch of President Abraham Lincoln behind the painting. Conservators at the Northeast Document Conservation Center later discovered a second sketch of Lincoln behind the first after removing the first from its frame for treatment. The sketch is believed to be a preliminary study of an oil painting commissioned after Lincoln’s assassination in 1865. Mary Todd Lincoln sent White House doorkeeper Thomas Pendel to Boston with one of Lincoln’s suits, per Hunt’s request. Pendel, of similar stature to Lincoln, posed in the suit for Hunt. While the original portrait was destroyed in a fire in 1872, the sketch still remains today. Image DescriptionFull length sketch of Abraham Lincoln on browned paper. Lincoln is aging, with cropped hair and a short beard. He wears a suit with a long coat and a bowtie. Sources"Abraham Lincoln’s Office Suit," National Museum of American History Behring Center, Smithsonian, accessed February 2025. Boston Art Commission, "Faneuil Hall Project," April 24, 2018. Gallery: Above Stage (left to right)Horace Robbins Burdick, 1876 John Quincy Adams served as the sixth president of the United States (1825-1829). Throughout his career, Adams held numerous diplomatic positions and represented Massachusetts as a Senator (1803-1808) and, for the final years of his life, as a member of the House of Representatives (1831-1848). About the PaintingThis painting is a copy of the original 1838 painting by William Page. A 71-year-old Adams sat for the New York painter at the request of a group of influential Bostonian leaders. Adams observed of Page’s style, “[his] manner of painting is different from that of any other painter who has taken my Portrait – The first sitting, he took the outlines of the face in Charcoal; and this day he fitted up the space between the lines with a thick daubing of oil colours – It has no pleasant aspect, but his finished Portraits...give proof of no ordinary talent.” The painting’s patrons determined it should be presented to the City of Boston for display at Faneuil Hall. In May 1839, Adams went to Faneuil Hall after the painting’s installation: “[I] saw my Portrait painted by Page, which is placed in the centre of the East end of the Hall, immediately under the Bust of my father.” [Quincy Adams probably meant the west end of the hall.] It is likely the painting moved to its current location with the installation of George Healy’s “Webster Replying to Hayne” in 1852. The City of Boston removed the original Page painting in 1876, placing it on deposit at the Museum of Fine Arts. Image DescriptionOil painting of John Quincy Adams as an elder statesman. He sits in a chair with a wooden cane in his right hand and a piece of paper in his left. Adams is old and balding, and he wears a black suit with a white buttoned shirt with an up-turned collar and ascot. SourcesJohn Quincy Adams, “14 September 1838.” Volume 33, John Quincy Adams Digital Diary. Accessed May 2024. John Quincy Adams, “25 September 1838.” Volume 33, John Quincy Adams Digital Diary. Accessed May 2024. John Quincy Adams, “16 November 1838.” Volume 33, John Quincy Adams Digital Diary. Accessed May 2024. John Quincy Adams, “30 May 1839.” Volume 50, John Quincy Adams Digital Diary. Accessed May 2024. Edgar Parker, ca. 1876-1877 General Henry Knox served as the chief of artillery for the Continental Army during the American Revolution and later served as the first US Secretary of War. A Bostonian, Knox organized the daring transportation of artillery from Fort Ticonderoga, New York, to Dorchester Heights in South Boston during the winter of 1775-1776. The fortification of Dorchester Heights prompted the evacuation of the British Army from Boston in 1776. About the PaintingThis painting is a copy of the original ca. 1805 painting by Gilbert Stuart. Showing Knox with a canon likely references his involvement in Dorchester Heights or the American Revolution broadly. The City of Boston removed the original painting in 1876, placing it on deposit at the Museum of Fine Arts. Photo provided is the original Stuart painting on display at the Museum of Fine Arts, Boston. Credit: NPS Photo. Image DescriptionOil painting of an elder General Henry Knox in full military dress. He stands with his right hand on his waist and his left hand resting on a canon. Sources"The Faneuil Hall Pictures," Boston Evening Transcript, May 24, 1877. George P. A. Healy, 1851 On January 26, 1830, Massachusetts Senator Daniel Webster gave an impassioned rebuttal to Senator Robert Hayne of South Carolina in the Old Senate Chamber in Washington D.C. Known as his “Second Reply to Hayne,” Webster refuted the policy of nullification, which supported a state’s right to ignore federal law. While many Southern senators supported the policy, Webster and others believed it weakened the power of the federal government. Although Webster’s address had been deemed a success at the time, deeper social and economic issues only continued to intensify in the decades leading to the US Civil War. Learn more about Webster's speech and the famed painting in "Webster Replying to Hayne" About the PaintingGeorge Healy spent four years working on this painting, completing it in 1851. With the unveiling at the Boston Athenaeum, Healy intended to take the painting on a national tour. However, the painting’s massive size made it hard to transport and sell. In 1852, the Boston City Council voted to allow its display in Faneuil Hall, and as Webster’s health began to fail, the Council passed a resolution to purchase the painting in honor of the Massachusetts Senator. Since 1852, it has only been removed from the wall a handful of times for preservation purposes, most recently in 2024-2025. Image DescriptionOil painting of Daniel Webster giving his “Second Reply to Hayne” speech in the old US Senate Chamber in the Capitol Building in Washington D.C. Webster stands resolutely, with his left hand resting on a desk, as he delivers a speech to a crowded room. Some senators are in their seats while others are standing. The gallery is filled with men and women. The painting is in a golden frame, marked with the words “Liberty and Union Now and Forever” across the bottom. Francis Davis Millet, ca. 1876-1877 Bostonian Samuel Adams passionately supported revolutionary sentiment and patriot action in the 1760s and 1770s. During the Revolutionary War, Adams served as a delegate at the First and Second Continental Congresses. Following US independence, he played a significant role in the early years of the Commonwealth, eventually serving as Governor of Massachusetts. Learn more about the life of Samuel Adams. About the PaintingThis Millet painting is a copy of the original ca. 1772 painting by John Singleton Copley. Copley depicted Adams on March 6, 1770, the day he confronted Royal Governor Thomas Hutchinson and argued for the removal of British troops from Boston following the Boston Massacre the day prior. John Hancock commissioned this piece as propaganda to garner support for the Revolutionary cause. The painting passed through private hands for decades before coming into possession of Adam W. Thaxter. In February 1841, Thaxter petitioned the Boston City Council to accept the painting as a donation, saying, "I hope it may suit your pleasure to give it a place in Faneuil Hall, in connection with his compatriot, John Hancock, that we, and our successors, may hold in grateful remembrance those men..." The City Council "gratefully accepted,” and the painting was displayed in Faneuil Hall until the City placed it on deposit at the Museum of Fine Arts in 1876. Photo provided is the original Copley painting on display at the Museum of Fine Arts, Boston. Credit: NPS Photo. Image DescriptionOil painting of Samuel Adams. Adams, with gray hair and in a dark maroon suit, stands in front of a table with open books and papers. He holds rolled up paper in his right hand and points down to a piece of paper with his left hand. SourcesBoston Board of Aldermen, "Boston City Council proceedings, summary minutes of the Board of Aldermen," 1841, pg. 30. "Municipal," Boston Post, February 25, 1841. "The Faneuil Hall Pictures," Boston Evening Transcript, May 24, 1877. Mr. Grant, ca. 1876-1877 One of the most popular and wealthiest members of Boston’s merchant class, John Hancock leveraged his inherited wealth to support the Revolutionary cause. During the Revolutionary War, Hancock became the president of the first Continental Congress in Philadelphia, and he is perhaps most known for his pronounced signature on the Declaration of Independence. Hancock later served as the first governor of the Commonwealth of Massachusetts in the newly established United States. Learn more about the life of John Hancock. About the PaintingThis painting is a copy of the original 1765 painting by John Singleton Copley. Hancock commissioned Copley to paint this portrait for his home on Beacon Hill. The artist depicted Hancock working on his business ledger in a relatively bare setting. The artistic choices were likely influenced by Hancock’s desire to separate himself from the elite ruling class and align himself with the popular masses during the early years of the Revolutionary era. Mayor Harrison Gray Otis likely purchased the painting from the Hancock estate. In 1830, Otis donated it to the City of Boston for placement in Faneuil Hall. The City Council approved this action in dedication to the "statesman and proscribed patriot, whose services in the cause of his Country will ever be gratefully remembered by Bostonians; and whose name is immortalized in American annals as being foremost among the Patriots who affixed their signatures to the declaration of American Independence." The City of Boston removed the original painting in 1876 and commissioned this painting by a Mr. Grant as a copy, placing the Copley painting on deposit at the Museum of Fine Arts. Photo provided is the original Copley painting on display at the Museum of Fine Arts, Boston. Credit: NPS Photo. Image DescriptionOil painting of John Hancock. Hancock sits at his desk working on his business ledger, which is open in front of him. He moves to turn the page with his left hand, while he holds a quill with his right hand. Hancock wears a gray wig and a dark-colored buttoned suit with gold embroidery. SourcesBoston Board of Aldermen, "Boston City Council proceedings, summary minutes of the Board of Aldermen," 1830, pg. 77-78. "The Faneuil Hall Pictures," Boston Evening Transcript, May 24, 1877. Gallery: Back Wall (left to right)Edgar Parker, 1873 Representing Massachusetts as one of its US senators, Charles Sumner stood as a fierce advocate for the abolitionist cause. His steadfast beliefs in civil rights garnered him great respect by citizens of the Commonwealth and beyond. Learn more about the life of Charles Sumner. About the PaintingBostonian art dealer, historian, and publisher Charles Henry Brainard convinced Senator Charles Sumner to sit for Lawrence, Massachusetts-based artist Edgar Parker in 1873. The Boston Globe said the portrait was "universally considered the most striking and characteristic likeness of our senior Senator ever painted." Brainard submitted a petition to the City of Boston in April 1874, offering the portrait for display in the "Old Cradle of Liberty." A few months later in June, the City Council resolved to place the portrait in Faneuil Hall. Image DescriptionOil painting of a full-length portrait of Charles Sumner. He holds some papers in his left hand and glasses in his right hand. He wears a long dark coat, a brown vest, white shirt, blue bow tie, and tan pants. The gold chain of a pocket watch crisscrosses across his vest. He has salt and pepper wavy hair and has a calm expression on his face. Sources"City Government: Common Council, Thursday, June 25, 1874," Boston Evening Transcript, June 26, 1874. "Petitions Referred," Boston Evening Transcript, April 14, 1874. "The Fine Arts: Notes," Boston Globe, December 23, 1873. James Heath, 1798 A British military commander and politician, Henry Seymour Conway served in the House of Commons in the years leading to the American Revolution. In his position, Conway urged restraint and reconciliation with the colonies, and he led the successful effort to repeal the Stamp Act in 1766. About the PrintIt remains unclear when this particular engraving of General Conway arrived for display at Faneuil Hall. According to a September 1765 Boston Evening Post article, the Town voted to accept two pictures – one of Right Hon. General Conway and another of Colonel Isaac Barre – for placement in Faneuil Hall. This gesture was made in gratitude "for their noble, generous, and truly patriotic Speeches, at the last Session of Parliament, in Favour of the Colonies, their Rights and Privileges." In January 1767, the Post reported that the Conway engraving was on course for arrival. However, this James Heath engraving of Conway dates to 1798, suggesting this may be a replacement of the original, or the 1767 print never arrived at Faneuil Hall. Image DescriptionEtching of a portrait of Field Marshal Conway, a man wearing a white wig and a military uniform. Sources"Boston, January 19," Boston Evening Post, January 19, 1767. "Legislative Acts/Legal Proceedings," Boston Evening Post, September 23, 1765. Moses Wight, 1857 During his political tenure, Edward Everett served as Massachusetts Governor, US Senator, Minister to Great Britain, and US Secretary of State. A compelling orator, Everett spoke at Faneuil Hall on many occasions. In the years leading up to his death, Everett addressed audiences in the Great Hall on government affairs and the Civil War. About the PaintingIn 1857, Moses Wight painted a portrait of Edward Everett depicting Everett giving his famous 1856 ‘Oration on the Character of George Washington.’ The Boston Evening Transcript applauded the work, saying, "you see him, as it were, in his very air, dignity, grace, and greatness as an orator." Before it arrived at Faneuil Hall following Everett’s death in 1865, the portrait was shown in Wight’s studio and on exhibition in Boston. Image DescriptionOil painting of an elder Edward Everett. He wears a black coat and white shirt with a black collar piece. He stands with one hand pointing downward and one hand resting on a table beside him. There are columns and drapes in the background behind him. Sources"A Memorial of Edward Everett, from the City of Boston," (Boston: Printed by order of the City, 1865). "Art Matters," Boston Evening Transcript, November 8, 1859. "New and Great Painting by Wight," Boston Evening Transcript, October 27, 1857. "New and Interesting Paintings," Boston Evening Transcript, October 10, 1867. Frederick Porter Vinton, 1884, copy of earlier work from 1881 Nicknamed the "Golden Trumpet" for his abolitionist speeches, Wendell Phillips often addressed audiences at Faneuil Hall. While best known as an influential abolitionist, Phillips also used the Great Hall to speak on other social issues, such as women’s suffrage and labor reform. Learn more about the life of Wendell Phillips. About the PaintingFollowing Wendell Phillips’ death in 1884, the City of Boston commissioned a portrait of the late orator for display at Faneuil Hall. The City Council paid $1,000 to American painter Frederick Porter Vinton, who had previously painted a portrait of Phillips in 1881. Vinton created a copy of his earlier portrait for the Hall. Image DescriptionAn oil painting of an elder Wendell Phillips. He wears a black suit jacket, white shirt, and black bowtie. He has one hand behind his back and the other resting on a small table beside him. SourcesBoston City Council, "Reports of Proceedings of the City Council of Boston for the Municipal Year 1884," (Boston: Rockwell and Churchill, 1885), 52. "General Notes," New York Times, May 30, 1884, 4. "Miscellany," The Christian Union, March 30, 1884, 280. "Of Wide Reputation. Frederick P. Vinton Dies After Brief Illness—Native of Maine Had Painted Many Celebrated Portraits," Boston Globe, May 21, 1911. "Table Gossip," Boston Globe, June 1, 1884. John Hall, 1787 A British military leader and politician, Isaac Barré forcefully opposed the restrictive measures and acts against the American colonies in the years leading to the American Revolutionary War. In a speech condemning the Stamp Act, Barré declared colonists the "Sons of Liberty," which quickly became adopted by those who supported the colonial cause. About the PrintJohn Hall published this engraving in 1787 based on a 1785 painting by Gilbert Stuart. According to a September 1765 Boston Evening Post article, the Town voted to accept two pictures – one of the Right Honorable Colonel Isaac Barré and another of Right Hon. General Conway – for placement in Faneuil Hall. The Town made this gesture in gratitude "for their noble, generous, and truly patriotic Speeches, at the last Session of Parliament, in Favour of the Colonies, their Rights and Privileges." In January 1767, the Post reported that a picture of Barré arrived from London. However, this John Hall engraving dates to 1787, suggesting this may be a replacement of the original. Photo provided is a version of the Barré print from the Pennsylvania Academy of the Fine Arts. Image DescriptionEngraving of Isaac Barré sitting at his desk. He holds some papers in his left hand. He wears a long, wavy gray wig and a dark colored suit. Sources"Boston, January 19," Boston Evening Post, January 19, 1767. "Legislative Acts/Legal Proceedings," Boston Evening Post, September 23, 1765. Joseph Ames, 1865 Abraham Lincoln served as the 16th President of the United States from 1861 until his assassination in 1865. Two artworks of Lincoln—this painting and a sketch—adorn the Great Hall. Learn more about the life of President Abraham Lincoln. About the PaintingThe Boston City Council purchased this portrait of Abraham Lincoln in 1865, a few months after his death. The City commissioned Joseph Ames to paint the portrait. Both Joseph and his wife Sarah worked closely with Lincoln; Joseph painted multiple portraits, and Sarah sculpted many busts of the president. Joseph Ames "had seen and loved the President, had talked with him and studied his features well." As a result, Massachusetts Senators Charles Sumner and Henry Wilson claimed Ames’ portrait to be "the best portrait extant of our late President." Image DescriptionPainting of middle-aged, bearded Abraham Lincoln. He wears a long black suit jacket, white shirt, and black bowtie. His left hand rests on a decorative wooden railing. Sources"Eastern Massachusetts," Springfield Daily Republican, July 18, 1865, 4. "Events and Comments," Berkshire County Eagle, July 20, 1865, 2. "Joseph Alexander Ames (1816-1872), 1864-1865, Portrait of Abraham Lincoln," Christie’s, last updated 2009, accessed February 2025. StairwellAlbion Harris Bicknell, 1870 Involved in anti-slavery activism as a counsellor (lawyer) in Boston, Anson Burlingame joined the Boston Vigilance Committee. A powerful orator, Burlingame served as a Massachusetts State Senator, a United States Representative in Congress, and as Minister to China during Lincoln’s presidency. After his death, Burlingame laid in state at Faneuil Hall. Learn more about the life of Anson Burlingame. About the PaintingFollowing the death of Anson Burlingame, city politicians commissioned a portrait of the late abolitionist from Albion Harris Bicknell. Boston Mayor Nathaniel B. Shurtleff, alongside his associates, donated the portrait to the City for placement in Faneuil Hall. Born in Maine but later settling in Boston, artist Albion Bicknell became a distinguished portraitist, like his friend and fellow artist, William Morris Hunt, whose work is also featured in Faneuil Hall. Other prominent works by Bicknell remain in the Boston area; his revered work of Lincoln giving the Gettysburg Address hangs in the Malden Public Library. Image DescriptionPortrait of Anson Burlingame. He stands with one hand resting on paper set on a table next to him. His other hand is partially inside his suit jacket. He wears a black suit jacket and coat, with a white shirt and black tie. He has a long beard and mustache. Sources"Death of Mr. Bicknell," Boston Evening Transcript, April 23, 1915, 9. "Eastern Massachusetts," Springfield Daily Republican, May 18, 1870, 8. "Portrait of Anson Burlingame," Boston Evening Transcript, April 25, 1871, 4. Nahum Ball Onthank, 1875 US Senator and abolitionist Henry Wilson spearheaded bills for the emancipation of enslaved persons in Washington, D.C., prior to the Civil War. After the war, Wilson influenced key civil rights constitutional amendments and legislation. In 1873, shortly before passing away due to illness, Wilson served as Vice President to President Ulysses S. Grant. About the PaintingNahum Ball Onthank painted the portrait of Vice President Henry Wilson for display in Faneuil Hall, following the request of a city committee chaired by William Claflin. The portrait cost approximately $1,000. The Committee allowed the public to help fund the full-length portrait, however, it limited contributions to five dollars per person so that more of his supporters could help share the cost. Image DescriptionPortrait of an elder Henry Wilson. He stands with one hand resting on a book set on a table. His other hand holds some white papers. He wears a black suit jacket, white shirt, and a black collar. Sources"Henry Wilson: A Featured Biography," United States Senate, accessed February 2025. "Local Summary," Boston Post, December 21, 1875, 3. William Morris Hunt, ca. 1866 John Albion Andrew committed himself to the anti-slavery movement, ultimately leading Massachusetts through the US Civil War as Governor. Andrew led the efforts to enlist African American men as soldiers and organized the famous 54th Massachusetts Volunteer Infantry Regiment. Learn more about the life of Governor John Albion Andrew. About the PaintingCommissioned for Governor Andrew’s retirement in 1866, 51 Bostonians, led by Thomas G. Appleton, decided to donate the painting to the City of Boston upon its completion. William Morris Hunt likely used sittings with the governor, as well as a photograph, to aid him in painting Andrew. Restoration work in 1996 revealed two sketches of Abraham Lincoln behind the portrait of Governor Andrew. Hunt likely completed these sketches as studies for his 1865 portrait of the late President. Coincidentally, Governor Andrew originally encouraged Mary Todd Lincoln to commission Hunt to paint Lincoln’s posthumous portrait. In a letter to Lincoln, he believed Hunt to be "confessedly the first artist in the country in figure-painting," and claimed, "I am sure that any portrait of President Lincoln from his hand would rank among the best works of art." Image DescriptionFull length portrait of John Andrew. He stands wearing a black suit jacket, white shirt. He has gray pants on. He stands in front of a red armchair. A white column is behind him. SourcesBoston Board of Aldermen, Boston City Council Proceedings, Summary Minutes of the Board of Aldermen, City of Boston Archives, 1866. Martha J. Hoppin, "William Morris Hunt: Portraits from Photographs," American Art Journal 11, no. 2 (1979): 44–57. https://doi.org/10.2307/1594147. Notman Photographic Company, Boston, 1896 The Ancient and Honorable Artillery Company of Massachusetts is “a patriotic service organization for preserving historic and patriotic traditions of Boston, Massachusetts, and the United States.” Granted a charter in 1638 by Governor John Winthrop of the Massachusetts Bay Colony, the Company stands as the oldest chartered military organization in North America. The Company has used the third floor of Faneuil Hall as its headquarters since 1746. About the PrintHarper’s Weekly published this photographic collage in July 1896. A corresponding article reported that the Company gathered in Faneuil Hall on June 29, 1896, before marching in a farewell parade ahead of a departure to London, having accepted an invitation from the Honorable Artillery Company of London. Notman Photographic Company likely took individual portraits of the Company members and created this collage on an etching of the Great Hall to mark the occasion. Image DescriptionA photographic collage in frame with a gold mat. On the gold mat along the bottom reads "Presented by the Notman Photographic Co. Boston. Ancient and Honorable Artillery Company of Massachusetts. 1896." Individual photographs of company members have been cut out and arranged within a print of Faneuil Hall. Hundreds of members in full uniform occupy both the main floor and gallery of Faneuil Hall. Sources"The Ancients in England," Harper’s Weekly, July 25, 1896. "Ancients Say Good-By," Boston Post, June 30, 1896. "Home," Ancient and Honorable Artillery Company, accessed January 2025. Architectural Elements and Building FeaturesRead the dropdowns below for accessible information and sources about each feature. ExteriorFaneuil Hall stands as one of the earliest Palladian-influenced buildings in New England. Attributed to Venetian architect Andrea Palladio (1508-1580), the Palladian style is marked by symmetry, proportion, and classical influences. Peter Faneuil, the building’s benefactor, commissioned painter John Smibert to create the original design for the building in 1740. This design resembled the two-story English town market, which had an open arcaded market on the ground floor and public meeting spaces above. Carpenter Samuel Ruggles and master mason Joshua Blanchard oversaw the construction of the building, which opened in 1742 as Faneuil Hall. In 1761, a fire destroyed all but the brick shell of the building. The town approved to rebuild the Hall a few months later, and the public meeting space reopened in 1764. Faneuil Hall faced a massive expansion in 1805-1806. Architect Charles Bulfinch, known for designing the Massachusetts State House, led the effort to enlarge Faneuil Hall. Bulfinch’s Georgian-style renovation nearly quadrupled the size of the building. Records note he expanded to the north side and doubled the width of the building, added one-and-a-half stories, dug out a cellar space, enclosed the arcaded ground floor, and moved the cupola from the center to the eastern section to orient the building to the water. Other than a few subsequent alterations and restorations that occurred over the following 200 years, the exterior appearance remains largely that of the Bulfinch era. Each level of the building is marked by a series of arched openings with columns. The ground floor is in the Tuscan style, slightly damaged due to a steel and concrete awning that once protruded from this level. The second floor is in the Doric style, with the third floor in the Ionic style. 1742 Most brick on the first two stories of the southern half of Faneuil Hall date to the original 1742 building. They survived the 1761 fire and the 1806 expansion of the building led by architect Charles Bulfinch (which expanded from the northern side of the building). The 1742 brick is less orange and not as uniform as the brick used in the Bulfinch and later eras. This plaque was likely installed on the occasion of the tercentenary anniversary of the founding of Boston (1630-1930). However, research has not yet uncovered more information about this commemorative marker. Transcription:This is Faneuil Hall Shem Drowne, 1742 A gilded grasshopper weathervane sits atop Faneuil Hall’s cupola. Measuring 4 feet and 1 inch long, Shem Drowne made the grasshopper out of sheet copper in 1742. Drowne modeled the grasshopper after the weathervane on the top of London’s Royal Exchange, further showing Faneuil Hall’s aspirations of becoming a commercial and economic hub. Despite being one of the few remaining original structures from the 1742 Faneuil Hall construction, the grasshopper has not consistently perched atop the Hall. On November 13, 1753, an earthquake knocked the weathervane from the Cupola. Repaired by Drowne, the grasshopper returned quickly to the top. Following a fire in 1761, Drowne’s son Thomas repaired it, leaving a note inside recounting both events. In 1889 and 1899, E.B. Badger and Sons Company restored the weathervane after another fall and later while working on the cupola. Because of this, multiple time capsules can be found inside its body. Legend even says that during the War of 1812, guards attempted to detect British spies by asking individuals about the identity of the weathervane, something only Bostonians would know. In 1974, the grasshopper mysteriously disappeared. After a week of searching the city, a district attorney led police in recovering the stolen weathervane. They discovered the grasshopper hidden in Faneuil Hall’s cupola. A steeplejack stole it. He confessed to the district attorney with the hope of using it as a plea bargain for another case. Today, the grasshopper is secured to prevent any further theft. Sources"An Epic Fight of Old Boston," The Bostonian, August 1895, Volume 2, Issue 5. Boston Art Commission, "Passport to Public Art," 1982. Clif Garboden, "The Grasshopper," Boston Globe, September 16, 1990, 1. "Fun Facts to Know and Tell," Boston Globe, March 31, 1988, 94. H.B.W. "The Faneuil Hall Grasshopper and Shem Drowne," Journal of the New York Entomological Society, 1954, Archive.org. Faneuil Hall’s original bell rang in the cupola to signify the opening and closing of the market. The one seen today is made of steel and weighs 5,816 pounds. As early as 1768, City Selectmen proposed the purchase of a new, "suitable" bell to adorn the Hall. Finally, in 1867, an 1806 steel bell cast in Philadelphia replaced the original in the cupola. Connected to the city fire alarms, the steel bell rang for all fires in the city north of Boylston Street prior to repairs in the 1890s. With the striker rusted since likely the 1940s, City officials used a mallet to ring the bell a few times in the early 2000s. The bell rung in honor the 55 Massachusetts residents who died in the September 11, 2001, terrorist attacks and in celebration of Boston’s 375th anniversary in 2005. In 2007, City officials treated the rusted striker so the bell could ring again. Now, the City can ring the bell for special events and anniversaries such as the Fourth of July, New Year’s Eve, and the National Day of Healing. SourcesA Volume of Records Relating to the Early History of Boston Containing Boston Town Records, 1796 to 1813, (Boston: Municipal Printing Office, 1905), 48. City of Boston, Auditor of Accounts’ Annual Report, (Boston: Alfred Mudge & Son, 1871), 332. Harold Kirker, The Architecture of Charles Bulfinch, (Cambridge: Harvard University Press, 1969), 233. Matt Viser, "It Tolls for the City; A Simple Fix Gives Boston Back its Bell," Boston Globe, May 4, 2007. "The Grasshopper," Boston Globe, September 16, 1990, 338. City of Boston, Selectman's Minutes 1786, (Boston: Rockwell & Churchill, 1894), 317. The cupola rose high in Boston’s skyline following Faneuil Hall’s original construction in 1742 by artist and architect John Smibert. When Charles Bulfinch updated the building in 1806, he moved the cupola to the eastern section, orienting the structure towards the harbor. The E. B. Badger and Sons Company reconstructed the cupola in 1899. They replaced the original wooden cupola with an exact replica made of copper and steel in order to further fireproof the building. SourcesA Volume of Records Relating to the Early History of Boston Containing Boston Town Records, 1796 to 1813, (Boston: Municipal Printing Office, 1905), 48. City of Boston, Auditor of Accounts’ Annual Report, (Boston: Alfred Mudge & Son, 1871), 332. Harold Kirker, The Architecture of Charles Bulfinch, (Cambridge: Harvard University Press, 1969), 233. Matt Viser, "It Tolls for the City; A Simple Fix Gives Boston Back its Bell," Boston Globe, May 4, 2007. "The Grasshopper," Boston Globe, September 16, 1990, 338. City of Boston, Selectman's Minutes 1786, (Boston: Rockwell & Churchill, 1894), 317. InteriorThis arched entryway dates to an 1827 renovation of the building by architect Alexander Parris. Parris reconfigured the original entry into a central, three-arched doorway leading to a single grand staircase. The staircases for the upper floors remain in the 1806 Bulfinch design of a stacked, double-flying staircase. During the 1898-1899 renovation and fireproofing, many elements of the entry were either replaced or restored. The light fixtures and iron brackets were reproduced and fitted with electricity, the stairs were replaced with Milford granite, and the wooden balustrades and columns were replicated in cast iron. The cherry handrails were restored and remain in place today. On February 10, 1908, the Boston City Council passed an order granting the petition of Walter Gilman Page of the Massachusetts Society of Sons of the Revolution, which asked "to place in Faneuil Hall...a bronze tablet with an inscription." A dedication ceremony took place on Patriots’ Day (April 19) that year, which featured speeches by local leaders as well as an orchestra and singing performances by Boston students. Historian and former Boston mayor Dr. Samuel A. Green wrote the inscription. Transcription:Faneuil Hall SourcesBoston City Council, "Reports of Proceedings of the City Council of Boston," (Boston: Municipal Printing Office, 1909), 37, 110. "Program of Patriotism. Faneuil Hall Table is Dedicated," Boston Globe, April 20, 1908. This tablet commemorates the centenary of Boston as an organized city. On May 1, 1922, Boston observed commemorative exercises to mark the occasion, including a public meeting at Faneuil Hall. The meeting began after the ringing of the cupola bell, and it included a speech by Mayor James Curley, readings of student essays, singing, and a ceremonial unveiling of this tablet by the mayor’s daughter, Mary Curley. Transcription:1822-1922 Sources"City of Boston 100 Tomorrow," Boston Globe, April 30, 1922. "Unveil Tablet in Faneuil Hall," Boston Globe, May 02, 1922. These two anterooms on either side of the staircase once held offices for such positions as the Selectmen (precursor to the city council), Board of Health, Assessors, and Town Treasurer. Today, the northern room, once known as the Custodian’s Room, now serves as the Superintendent’s Office for the building manager. The southern room holds the elevator and exhibits for public visitation. 1806 These wooden paneled doors leading to the Great Hall date to the Charles Bulfinch era of Faneuil Hall. During the 1898-1899 restoration, the doors were cleaned and preserved, as well as the strap hinges and glass doorknobs. Since the building’s construction, the Great Hall has served as a community space for all Bostonians. Learn more about the Great Hall as a historic space. Today’s layout of the Great Hall dates to Charles Bulfinch’s 1806 expansion of the building. It is a galleried auditorium, with tiered risers on the north and south walls. The first-floor columns supporting the gallery are in the Doric style, while the second-floor columns are in the Ionic style. Over the years, elements of the Great Hall have changed. Due to growing concerns of fire, in 1875 the City Council approved the replacement of some of the original paintings for copies. The 1898-1899 restoration and fireproofing of the building meant that most of the 1806 wooded treatments and structural features were replaced with iron, steel, or concrete versions. This includes the columns, gallery stairs, some of the railing, and balcony risers. The restoration also included the addition of a fire exit behind the stage, as well as the reduction of the stage itself, which had been extended to the side steps around 1840. Attributed to Daniel Raynerd, 1798 The Eagle originally perched atop the First United States Branch Bank of Boston, designed by architect Charles Bulfinch, until its demolition in 1824. Daniel Raynerd, the chief plasterer for the Bank building, likely created this Eagle made of artificial stone. In 1824, the eagle moved to the Great Hall of Faneuil Hall. The Eagle crouches over the shield of the Republic. The banner across the Eagle reads the first motto of the United States, “E Pluribus Unum,” meaning, “out of many, one.” It rests above the Children’s Clock installed in 1850. Visual DescriptionA brown eagle spreading its wings. It holds a shield with stars and stripes and a set of arrows. Across its chest is a blue banner with gold lettering that reads, “E Pluribus Unum.” SourcesBoston Art Commission, "Passport to Public Art," 1982. Charles A. Place, Charles Bulfinch, Architect and Citizen, (New York: Da Capo Press, 1968), 136-137. Harold Kirker, The Architecture of Charles Bulfinch, (Cambridge: Harvard University Press, 1969), 141. David P. Davis and Edward Howard, 1850 The clock, made in the Davis-Howard factory in Roxbury, Massachusetts, overlooks the Great Hall. On the sides, two emblems represent the State and the City. The Children of Boston paid for the clock with their savings. On January 14, 1850, a ceremony with “songs, speeches, fireworks, and dancing” took place at Faneuil Hall to celebrate the installation of the clock. Massachusetts Governor George Briggs and Boston Mayor John Bigelow made remarks, and around 500-600 children promenaded and danced to the Boston Brigade Band. A tin box placed inside the clock held a list of each of the children’s names that donated to the clock as a time capsule to be opened a century later. In 1949, Margaret MacDonough, an administrative assistant with the International Friendship League in Boston, learned of the time capsule. She began preparing for a formal opening of the time capsule. However, an investigation into the tin box proved it had disappeared. The list still remains missing today. Visual DescriptionA circular clock with roman numerals labelling the hours. The clock face has two hands and has the words "presented to the city by the children of Boston." The clock is framed in with gold wreaths. Two circular emblems are attached on either side. One has a carving of a pine tree, the other a depiction of Indigenous American holding a bow and arrow from the past Massachusetts seal. A gold arm with a blade protrudes from the top of the clock. Sources"Clock Presentation," Greenfield Democrat, January 21, 1850, 2. "Presentation of the Children’s Clock," Boston Evening Transcript, January 15, 1850, 2. "The Faneuil Hall Clock," Boston Evening Transcript, January 8, 1850, 3. "The Missing Box: Faneuil Hall Mystery," Christian Science Monitor, March 1, 1951, 4. ca. 1898 This ornamental plaster rosette is a replica of a version that dates to either the Charles Bulfinch expansion (1806) or later repairs made by Alexander Parris (1827). A chandelier hung from its center until at least 1851. During the 1898-1899 restoration, the rosette was reproduced with more elaborate detail-work. The reproduction also included the addition of electric globe sconces around the circumference of the rosette. Visual DescriptionIn the center of the ceiling is an ornamental rosette. The floral design is composed of twelve curved petals. Each petal has a dotted line down the center. The rosette is surrounded by globe lights. ca. 1852 These globe lights appeared around 1852 as gaslight fixtures. During the 1898-1899 restoration, they were restored and outfitted with electricity. ca. 1806 (possibly earlier) The pilasters (columns protruding from the walls) were reconstructed during the 1898-1899 fireproofing. However, most of the capitals (the decorative tops) of these pilasters are original to the 1806 Bulfinch era, with at least one possibly dating back to the rebuilt structure after the 1761 fire. 1898 These removable wooden folding seats were added to the Great Hall during the 1898 restoration. They remain in use today. Ancient and Honorable Artillery CompanyThe Ancient and Honorable Artillery Company of Massachusetts is “a patriotic service organization for preserving historic and patriotic traditions of Boston, Massachusetts, and the United States.” Granted a charter in 1638 by Governor John Winthrop of the Massachusetts Bay Colony, the Company stands as the oldest chartered military organization in North America. Faneuil Hall has served as the headquarters for the Company since shortly after its completion in 1746. When Charles Bulfinch completed the 1806 expansion of the Hall, the Company and other military groups gained access to this newly constructed floor. As other military groups left, the Company became the sole occupants of this space. Sources"Home," Ancient and Honorable Artillery Company, accessed January 2025. "Museum & Armory," Ancient and Honorable Artillery Company, accessed January 2025. Known as the Armory, this room has served as a meeting space for over two hundred years. The Armory contains an 1897 Great Seal of the Commonwealth of Massachusetts, portraits of Past Commanders of the Ancient and Honorable, paintings of historical scenes (starting in chronological order on the right), as well as flags and artifacts. Sources"Home," Ancient and Honorable Artillery Company, accessed January 2025. "Museum & Armory," Ancient and Honorable Artillery Company, accessed January 2025. The Museum Room hosts an array of artifacts and belongings, including fine China and glassware, weaponry, uniforms, documents, and awards and gifts presented to the Company. Sources"Home," Ancient and Honorable Artillery Company, accessed January 2025. "Museum & Armory," Ancient and Honorable Artillery Company, accessed January 2025. The Commandery, or Commander’s Quarters, is a ceremonial space reserved only for leaders and special guests of the Company. It sits beneath the cupola of Faneuil Hall. Thirteen steps lead to the arched entryway, representing the colonies that ratified the US Constitution. Listed in order, starting with Delaware, each step is embellished with a bronze plaque and has the state’s corresponding flag. Sources"Home," Ancient and Honorable Artillery Company, accessed January 2025. "Museum & Armory," Ancient and Honorable Artillery Company, accessed January 2025. |
Last updated: March 12, 2025