5 CONCLUSION

In conclusion, visual and technical analysis of the incredibly diverse works in the Bregler Collection, including perspective, anatomical, and compositional drawings; oil sketches; sculptures; and photographic works, has allowed the Pennsylvania Academy of the Fine Arts to learn a tremendous amount about Thomas Eakins, his working technique, his scientific exactitude, and his creative vision.

ACKNOWLEDGEMENTS

Mark F. Bockrath would like to thank conservators Thomas Wollbrinck, James Vallano, and Paul Cooper for their treatment work on the Bregler Collection, conservator Nancy Pollak for assistance with microscopy, Robin Beckett for research and storage of the collection, and the conservation and curatorial staffs of the Philadelphia Museum of Art and the Hirshhorn Museum and Sculpture Garden for the opportunity to view their files and paintings related to Eakins.

Virginia N. Naud� would like to thank Jeanne Marie Gill, McCrone Research Institute, Chicago, for analysis of samples, Susan James Gadzinski, assistant curator, Pennsylvania Academy of the Fine Arts, for assistance with art historical research, Milo M. Naeve, Field-McCormick Curator of American Arts, Art Institute of Chicago, for providing x-radiographs of and access to the AIC reliefs of Spinning and Knitting, and Andrew Lins, sculpture conservator, Philadelphia Museum of Art, for providing x-radiographs of PMA's Spinning and for access to Eakins' original wax sketches.

Debbie Hess Norris would like to thank William Homer, Connie McCabe, Steve Puglia, Mary Schobert, and Sarah Wagner, who also assisted with this project. Solvent gels were prepared following formulas and guidance generously supplied by Richard Wolbers, associate professor, University of Delaware Art Conservation Program. Very special thanks to James Evans, whose help was invaluable and whose friendship will be sorely missed by those who knew him.