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Romanesque art
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Carving from Maria Laach Abbey, in the Eifel, Rhineland.
The "Morgan Leaf", detached from the Winchester Bible of 1160−75. Scenes from the life of David.
Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 12th century, or later, depending on region. The preceding period is known as the Pre-Romanesque period. The term was invented by 19th-century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style – most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration – but had also developed many very different characteristics. In Southern France, Spain and Italy there was an architectural continuity with the Late Antique, but the Romanesque style was the first style to spread across the whole of Catholic Europe, from Sicily to Scandinavia. Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style.
Contents
[hide]
1 Characteristics
2 Background
3 Sculpture
3.1 Metalwork, enamels, and ivories
3.2 Architectural sculpture
3.2.1 Sources and style
3.2.2 Subject matter
3.2.3 Late Romanesque sculpture
4 Painting
4.1 Manuscript illumination
4.2 Wall painting
5 Other visual arts
5.1 Embroidery
5.2 Stained glass
6 See also
7 Notes
8 References
9 External links
Characteristics[edit]
Outside Romanesque architecture, the art of the period was characterised by a very vigorous style in both sculpture and painting. The latter continued to follow essentially Byzantine iconographic models for the most common subjects in churches, which remained Christ in Majesty, the Last Judgement and scenes from the Life of Christ. In illuminated manuscripts, for which the most lavishly decorated manuscripts of the period were mostly bibles or psalters, more originality is seen, as new scenes needed to be depicted. The same applied to the capitals of columns, never more exciting than in this period, when they were often carved with complete scenes with several figures. The large wooden crucifix was a German innovation at the very start of the period, as were free-standing statues of the enthroned Madonna, but the high relief was above all the sculptural mode of the period.
Master of Pedret, The Virgin and Child in Majesty and the Adoration of the Magi, apse fresco from Tredòs, Val d'Aran, Catalonia, Spain, c. 1100, now at The Cloisters in New York City.
Colours, which can be seen as bright in the 21st century only in stained glass and well-preserved manuscripts, tended to be very striking, and mostly primary. Stained glass became widely used, although survivals are sadly few. In an invention of the period, the tympanums of important church portals were carved with monumental schemes, often again Christ in Majesty or the Last Judgement, but treated with more freedom than painted versions, as there were no equivalent Byzantine models.
Compositions usually had little depth, and needed to be flexible to be squeezed into the shapes of historiated initials, column capitals, and church tympanums; the tension between a tightly enclosing frame, from which the composition sometimes escapes, is a recurrent theme in Romanesque art. Figures still often varied in size in relation to their importance, and landscape backgrounds, if attempted at all, were closer to abstract decorations than realism - as in the trees in the "Morgan Leaf". Portraiture hardly existed.
Background[edit]
During this period Europe grew steadily more prosperous, and art of the highest quality was no longer confined, as it largely was in the Carolingian and Ottonian periods, to the royal court and a small circle of monasteries. Monasteries continued to be extremely important, especially those of the expansionist new orders of the period, the Cistercian, Cluniac, and Carthusian, which spread across Europe. But city churches, those on pilgrimage routes, and many churches in small towns and villages were elaborately decorated to a very high standard - these are often the structures to have survived, when cathedrals and city churches have been rebuilt. No Romanesque royal palace has really survived.
The lay artist was becoming a valued figure – Nicholas of Verdun seems to have been known across the continent. Most masons and goldsmiths were now lay, and lay painters such as Master Hugo seem to have been in the majority, at least of those doing the best work, by the end of the period. The iconography of their church work was no doubt arrived at in consultation with clerical advisors.
Sculpture[edit]
Metalwork, enamels, and ivories[edit]
Stavelot Triptych, Mosan, Belgium, c. 1156–58. 48×66 cm with wings open, Morgan Library, New York
Precious objects in these media had a very high status in the period, probably much more so than paintings — the names of more makers of these objects are known than those of contemporary than painters, illuminators or architect-masons. Metalwork, including decoration in enamel, became very sophisticated. Many spectacular shrines made to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun and others (ca 1180–1225). The Stavelot Triptych and Reliquary of St. Maurus are other examples of Mosan enamelwork. Large reliquaries and altar frontals were built around a wooden frame, but smaller caskets were all metal and enamel. A few secular pieces, such as mirror cases, jewellery and clasps have survived, but these no doubt under-represent the amount of fine metalwork owned by the nobility.
The Gloucester candlestick, early 12th century
The bronze Gloucester candlestick and the brass font of 1108–17 now in Liège are superb examples, very different in style, of metal casting. The former is highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a triumphal column and other fittings at Hildesheim Cathedral, the Gniezno Doors, and the doors of the Basilica di San Zeno in Verona are other substantial survivals. The aquamanile, a container for water to wash with, appears to have been introduced to Europe in the 11th century. Artisans often gave the pieces fantastic zoomorphic forms; surviving examples are mostly in brass. Many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest.
The Cloisters Cross is an unusually large ivory crucifix, with complex carving including many figures of prophets and others, which has been attributed to one of the relatively few artists whose name is known, Master Hugo, who also illuminated manuscripts. Like many pieces it was originally partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of which many pieces or fragments remain from croziers, plaques, pectoral crosses and similar objects.
Architectural sculpture[edit]
The tympanum of Vézelay Abbey, Burgundy, France, 1130s, has much decorative spiral detail in the draperies.
With the fall of the Roman Empire, the tradition of carving large works in stone and sculpting figures in bronze died out, as it effectively did (for religious reasons) in the Byzantine world. Some life-size sculpture was evidently done in stucco or plaster, but surviving examples are understandably rare.[1] The best-known surviving large sculptural work of Proto-Romanesque Europe is the life-size wooden Crucifix commissioned by Archbishop Gero of Cologne in about 960–65, apparently the prototype of what became a popular form. These were later set up on a beam below the chancel arch, known in English as a rood, from the twelfth century accompanied by figures of the Virgin Mary and John the Evangelist to the sides.[2] During the 11th and 12th centuries, figurative sculpture strongly revived, and architectural reliefs are a hallmark of the later Romanesque period.
Sources and style[edit]
Figurative sculpture was based on two other sources in particular, manuscript illumination and small-scale sculpture in ivory and metal. The extensive friezes sculpted on Armenian and Syriac churches have been proposed as another likely influence.[3] These sources together produced a distinct style which can be recognised across Europe, although the most spectacular sculptural projects are concentrated in South-Western France, Northern Spain and Italy.
Man and confronted animals, Cahors Cathedral
Images that occurred in metalwork were frequently embossed. The resultant surface had two main planes and details that were usually incised. This treatment was adapted to stone carving and is seen particularly in the tympanum above the portal, where the imagery of Christ in Majesty with the symbols of the Four Evangelists is drawn directly from the gilt covers of medieval Gospel Books. This style of doorway occurs in many places and continued into the Gothic period. A rare survival in England is that of the "Prior's Door" at Ely Cathedral. In South-Western France, many have survived, with impressive examples at Saint-Pierre, Moissac, Souillac,[4] and La Madeleine, Vézelay – all daughter houses of Cluny, with extensive other sculpture remaining in cloisters and other buildings. Nearby, Autun Cathedral has a Last Judgement of great rarity in that it has uniquely been signed by its creator, Giselbertus.[5][6]
A feature of the figures in manuscript illumination is that they often occupy confined spaces and are contorted to fit. The custom of artists to make the figure fit the available space lent itself to a facility in designing figures to ornament door posts and lintels and other such architectural surfaces. The robes of painted figures were commonly treated in a flat and decorative style that bore little resemblance to the weight and fall of actual cloth. This feature was also adapted for sculpture. Among the many examples that exist, one of the finest is the figure of the Prophet Jeremiah from the pillar of the portal of the Abbey of Saint-Pierre, Moissac, France, from about 1130.[6]
One of the most significant motifs of Romanesque design, occurring in both figurative and non-figurative sculpture is the spiral. One of the sources may be Ionic capitals. Scrolling vines were a common motif of both Byzantine and Roman design, and may be seen in mosaic on the vaults of the 4th century Church of Santa Costanza, Rome. Manuscripts and architectural carvings of the 12th century have very similar scrolling vine motifs.
This capital of Christ washing the feet of his Apostles has strong narrative qualities in the interaction of the figures.
Another source of the spiral is clearly the illuminated manuscripts of the 7th to 9th centuries, particularly Irish manuscripts such as the St. Gall Gospel Book, spread into Europe by the Hiberno-Scottish mission. In these illuminations the use of the spiral has nothing to do with vines or other plant forms. The motif is abstract and mathematical. The style was then picked up in Carolingian art and given a more botanical character. It is in an adaptation of this form that the spiral occurs in the draperies of both sculpture and stained glass windows. Of all the many examples that occur on Romanesque portals, one of the most outstanding is that of the central figure of Christ at La Madeleine, Vezelay.[6]
Another influence from Insular art are engaged and entwined animals, often used to superb effect in capitals (as at Silos) and sometimes on a column itself (as at Moissac). Much of the treatment of paired, confronted and entwined animals in Romanesque decoration has similar Insular origins, as do animals whose bodies tail into purely decorative shapes. (Despite the adoption of Hiberno-Saxon traditions into Romanesque styles in England and on the continent, the influence was primarily one-way. Irish art during this period remained isolated, developing a unique amalgam of native Irish and Viking styles which would be slowly extinguished and replaced by mainstream Romanesque style in the early 13th century following the Anglo-Norman invasion of Ireland.[7])
Judas Iscariot hangs himself, assisted by devils, always a favourite subject of carvers. Autun Cathedral
Subject matter[edit]
Most Romanesque sculpture is pictorial and biblical in subject. A great variety of themes are found on capitals and include scenes of Creation and the Fall of Man, episodes from the life of Christ and those Old Testament scenes which prefigure his Death and Resurrection, such as Jonah and the Whale and Daniel in the lions' den. Many Nativity scenes occur, the theme of the Three Kings being particularly popular. The cloisters of Santo Domingo de Silos Abbey in Northern Spain, and Moissac are fine examples surviving complete, as are the relief sculptures on the many Tournai fonts found in churches in southern England, France and Belgium.
A feature of some Romanesque churches is the extensive sculptural scheme which covers the area surrounding the portal or, in some case, much of the facade. Angouleme Cathedral in France has a highly elaborate scheme of sculpture set within the broad niches created by the arcading of the facade. In the Spanish region of Catalonia, an elaborate pictorial scheme in low relief surrounds the door of the church of Santa Maria at Ripoll.[6]
Around the upper wall of the chancel at the Abbaye d'Arthous, Landes, France, are small figures depicting lust, intemperance and a Barbary ape, symbol of human depravity.
The purpose of the sculptural schemes was to convey a message that the Christian believer should recognize wrongdoing, repent and be redeemed. The Last Judgement reminds the believer to repent. The carved or painted Crucifix, displayed prominently within the church, reminds the sinner of redemption.
Ouroboros, single and in pairs at Kilpeck, England
Often the sculpture is alarming in form and in subject matter. These works are found on capitals, corbels and bosses, or entwined in the foliage on door mouldings. They represent forms that are not easily recognizable today. Common motifs include Sheela na Gig, fearsome demons, ouroboros or dragons swallowing their tails, and many other mythical creatures with obscure meaning. Spirals and paired motifs originally had special significance in oral tradition that has been lost or rejected by modern scholars.
The Seven Deadly Sins including lust, gluttony and avarice are also frequently represented. The appearance of many figures with oversized genitals can be equated with carnal sin, and so can the numerous figures shown with protruding tongues, which are a feature of the doorway of Lincoln Cathedral. Pulling one's beard was a symbol of masturbation, and pulling one's mouth wide open was also a sign of lewdity. A common theme found on capitals of this period is a tongue poker or beard stroker being beaten by his wife or seized by demons. Demons fighting over the soul of a wrongdoer such as a miser is another popular subject.[8]
Pórtico da Gloria, Santiago Cathedral. The colouring once common to much Romanesque sculpture has been preserved.
Late Romanesque sculpture[edit]
Gothic architecture is usually considered to begin with the design of the choir at the Abbey of Saint-Denis, north of Paris, by the Abbot Suger, consecrated 1144. The beginning of Gothic sculpture is usually dated a little later, with the carving of the figures around the Royal Portal at Chartres Cathedral, France, 1150–55. The style of sculpture spread rapidly from Chartres, overtaking the new Gothic architecture. In fact, many churches of the late Romanesque period post-date the building at Saint-Denis. The sculptural style based more upon observation and naturalism than on formalised design developed rapidly. It is thought that one reason for the rapid development of naturalistic form was a growing awareness of Classical remains in places where they were most numerous and a deliberate imitation of their style. The consequence is that there are doorways which are Romanesque in form, and yet show a naturalism associated with Early Gothic sculpture.[6]
One of these is the Pórtico da Gloria dating from 1180, at Santiago de Compostela. This portal is internal and is particularly well preserved, even retaining colour on the figures and indicating the gaudy appearance of much architectural decoration which is now perceived as monochrome. Around the doorway are figures who are integrated with the colonnettes that make the mouldings of the doors. They are three-dimensional, but slightly flattened. They are highly individualised, not only in appearance but also expression and bear quite strong resemblance to those around the north porch of the Abbey of St. Denis, dating from 1170. Beneath the tympanum there is a realistically carved row of figures playing a range of different and easily identifiable musical instruments.
Painting[edit]
The Three Magi from the St. Albans Psalter, English, 12th century.
Manuscript illumination[edit]
A number of regional schools converged in the early Romanesque illuminated manuscript: the "Channel school" of England and Northern France was heavily influenced by late Anglo-Saxon art, whereas in Southern France the style depended more on Iberian influence, and in Germany and the Low Countries, Ottonian styles continued to develop, and also, along with Byzantine styles, influenced Italy. By the 12th century there had been reciprocal influences between all these, although naturally regional distinctiveness remained.
The typical focii of Romanesque illumination were the Bible, where each book could be prefaced by a large historiated initial, and the Psalter, where major initials were similarly illuminated. In both cases more lavish examples might have cycles of scenes in fully illuminated pages, sometimes with several scenes per page, in compartments. The Bibles in particular often had a, and might be bound into more than one volume. Examples include the St. Albans Psalter, Hunterian Psalter, Winchester Bible (the "Morgan Leaf" shown above), Fécamp Bible, Stavelot Bible, and Parc Abbey Bible. By the end of the period lay commercial workshops of artists and scribes were becoming significant, and illumination, and books generally, became more widely available to both laity and clergy.
Wall painting[edit]
Life of St. Eldrado, abbot. 11th century fresco in Novalesa Abbey
Apse of Sant Climent de Taüll, a Spanish fresco by the Master of Taüll, now in Museu Nacional d'Art de Catalunya.
The large wall surfaces and plain, curving vaults of the Romanesque period lent themselves to mural decoration. Unfortunately, many of these early wall paintings have been destroyed by damp or the walls have been replastered and painted over. In England, France and the Netherlands such pictures were systematically destroyed or whitewashed in bouts of Reformation iconoclasm. In Denmark and elsewhere many have since been restored. In Catalonia (Spain), there was a campaign to save such murals in the early 20th century (as of 1907) by removing them and transferring them to safekeeping in Barcelona, resulting in the spectacular collection at the National Art Museum of Catalonia. In other countries they have suffered from war, neglect and changing fashion.
A classic scheme for the full painted decoration of a church, derived from earlier examples often in mosaic, had, as its focal point in the semi-dome of the apse, Christ in Majesty or Christ the Redeemer enthroned within a mandorla and framed by the four winged beasts, symbols of the Four Evangelists, comparing directly with examples from the gilt covers or the illuminations of Gospel Books of the period. If the Virgin Mary was the dedicatee of the church, she might replace Christ here. On the apse walls below would be saints and apostles, perhaps including narrative scenes, for example of the saint to whom the church was dedicated. On the sanctuary arch were figures of apostles, prophets or the twenty-four "elders of the Apocalypse", looking in towards a bust of Christ, or his symbol the Lamb, at the top of the arch. The north wall of the nave would contain narrative scenes from the Old Testament, and the south wall from the New Testament. On the rear west wall would be a Last Judgement, with an enthroned and judging Christ at the top.[9]
The painted crypt of San Isidoro at León, Spain
One of the most intact schemes to exist is that at Saint-Savin-sur-Gartempe in France. The long barrel vault of the nave provides an excellent surface for fresco, and is decorated with scenes of the Old Testament, showing the Creation, the Fall of Man and other stories including a lively depiction of Noah's Ark complete with a fearsome figurehead and numerous windows through with can be seen the Noah and his family on the upper deck, birds on the middle deck, while on the lower are the pairs of animals. Another scene shows with great vigour the swamping of Pharaoh's army by the Red Sea. The scheme extends to other parts of the church, with the martyrdom of the local saints shown in the crypt, and Apocalypse in the narthex and Christ in Majesty. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black. Similar paintings exist in Serbia, Spain, Germany, Italy and elsewhere in France.[10]
The now-dispersed paintings from Arlanza in the Province of Burgos, Spain, though from a monastery, are secular in subject-matter, showing huge and vigorous mythical beasts above a frieze in black and white with other creatures. They give a rare idea of what decorated Romanesque palaces would have contained.
Stained glass, the Prophet Daniel from Augsburg Cathedral, late 11th century.
Other visual arts[edit]
Embroidery[edit]
Romanesque embroidery is best known from the Bayeux Tapestry, but many more closely worked pieces of Opus Anglicanum ("English work" - considered the finest in the West) and other styles have survived, mostly as church vestments.
Stained glass[edit]
The oldest-known fragments of medieval pictorial stained glass appear to date from the 10th century. The earliest intact figures are five prophet windows at Augsburg, dating from the late 11th century. The figures, though stiff and formalised, demonstrate considerable proficiency in design, both pictorially and in the functional use of the glass, indicating that their maker was well accustomed to the medium. At Le Mans, Canterbury and Chartres Cathedrals, and Saint-Denis, a number of panels of the 12th century have survived. At Canterbury these include a figure of Adam digging, and another of his son Seth from a series of Ancestors of Christ. Adam represents a highly naturalistic and lively portrayal, while in the figure of Seth, the robes have been used to great decorative effect, similar to the best stone carving of the period. Glass craftsmen were slower than architects to change their style, and much glass from at least the first part of the 13th century can be considered as essentially Romanesque. Especially fine are large figures of 1200 from Strasbourg Cathedral (some now removed to the museum) and of about 1220 from Saint Kunibert's Church in Cologne.
Most of the magnificent stained glass of France, including the famous windows of Chartres, date from the 13th century. Far fewer large windows remain intact from the 12th century. One such is the Crucifixion of Poitiers, a remarkable composition which rises through three stages, the lowest with a quatrefoil depicting the Martyrdom of St Peter, the largest central stage dominated by the crucifixion and the upper stage showing the Ascension of Christ in a mandorla. The figure of the crucified Christ is already showing the Gothic curve. The window is described by George Seddon as being of "unforgettable beauty".[11] Many detached fragments are in museums, and a window at Twycross Church in England is made up of important French panels rescued from the French Revolution.[12] Glass was both expensive and fairly flexible (in that it could be added to or re-arranged) and seems to have been often re-used when churches were rebuilt in the Gothic style - the earliest datable English glass, a panel in York Minster from a Tree of Jesse probably of before 1154, has been recycled in this way.
See also[edit]
Book: Romanesque Art and Architecture
Romanesque architecture
Regional characteristics of Romanesque architecture
List of Romanesque artists
Spanish Romanesque
Notes[edit]
Jump up ^ Some (probably) 9th century near life-size stucco figures were discovered behind a wall in Santa Maria in Valle, Cividale del Friuli in Northern Italy relatively recently. Atroshenko and Collins p. 142
Jump up ^ G Schiller, Iconography of Christian Art, Vol. II,1972 (English trans from German), Lund Humphries, London, pp. 140–142 for early crosses, p. 145 for roods, ISBN 0-85331-324-5
Jump up ^ V.I. Atroshenko and Judith Collins, The Origins of the Romanesque, p. 144–50, Lund Humphries, London, 1985, ISBN 0-85331-487-X
Jump up ^ Howe, Jeffery. "Romanesque Architecture (slides)". A digital archive of architecture. Boston College. Retrieved 2007-09-28.
Jump up ^ Helen Gardner, Art through the Ages’’.
^ Jump up to: a b c d e Rene Hyughe, Larousse Encyclopedia of Byzantine and Medieval Art
Jump up ^ Roger A. Stalley, "Irish Art in the Romanesque and Gothic Periods." In Treasures of Irish Art 1500 B.C. to 1500 A.D., New York: Metropolitan Museum of Art/Alfred A. Knopf, 1977.
Jump up ^ "Satan in the Groin". beyond-the-pale. Retrieved 2007-09-28.
Jump up ^ James Hall, A History of Ideas and Images in Italian Art, p154, 1983, John Murray, London, ISBN 0-7195-3971-4
Jump up ^ Rolf Toman, Romanesque, Könemann, (1997), ISBN 3-89508-447-6
Jump up ^ George Seddon in Lee, Seddon and Stephens, Stained Glass
Jump up ^ Church website
References[edit]
Legner, Anton (ed). Ornamenta Ecclesiae, Kunst und Künstler der Romanik. Catalogue of an exhibition in the Schnütgen Museum, Köln, 1985. 3 vols.
Conrad Rudolph, ed., A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd ed. (2016)
External links[edit]
Wikimedia Commons has media related to Romanesque art.
Metropolitan Museum Timeline Essay
crsbi.ac.uk (Electronic archive of medieval British and Irish Romanesque stone sculpture)
Corpus of Romanesque Sculpture in Britain and Ireland
Romanes.com Romanesque Art in France
Círculo Románico: Visigothic, Mozarabic and Romanesque art's in all Europe
Romanesque Sculpture group on Flickr
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Defensive three-second violation
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A defensive three-second violation, also known as illegal defense, is a basketball rules infraction in the National Basketball Association (NBA) introduced in the 2001–2002 season. It is assessed when a member of the defending team spends more than three seconds in the free throw lane (also known as the 16-foot lane, or colloquially as "in the paint") while not actively guarding an opponent. To be considered actively guarding, a defender must be within arm's length of an opponent and in a guarding position.[1] A three-second count is suspended if:[2][clarification needed]
a player is in the act of shooting
there is a loss of team control
the defender is actively guarding an opponent
the defender clears the painted area
it is imminent the defender will become legal
In addition, a player guarding an opponent with the ball may be in the paint without actively guarding the opponent.[3]
The team committing a defensive three-second violation is assessed a team technical foul. The offense receives one free throw and retains possession of the ball.[4]
Prior to the 2001–2002 NBA season, any form of zone defense was considered an illegal defense violation and resulted in a warning on the first violation and then a technical foul for any subsequent violations.[5] However, the defensive three-second violation makes it difficult for NBA defenses to play zone, since zone defenses usually position a player in the middle of the key to stop penetration.[6] The Philippine Basketball Association used to follow the illegal defense rule until the 2003 PBA season when it was abolished.[7] The high school game does not use this rule, nor does European basketball.
The WNBA started using it in 2013.[8]
References[edit]
Jump up ^ NBA Official Rules (2009-2010) Rule 10, Section VII, B. Retrieved July 25, 2010
Jump up ^ NBA Official Rules (2009-2010) Rule 10, Section VII, D. Retrieved July 25, 2010
Jump up ^ NBA Official Rules (2009-2010) Rule 10, Section VII, E. Retrieved July 25, 2010
Jump up ^ NBA Official Rules (2009-2010) Rule 10, Section VII, Penalty. Retrieved July 25, 2010
Jump up ^ Blinebury, Fran (June 8, 2006). "Rule changes have NBA back in the fast lane". Houston Chronicle. Retrieved July 26, 2010.
Jump up ^ http://www.sportingcharts.com/dictionary/nba/defensive-three-second-violation.aspx
Jump up ^ Cruz, Agnes (January 24, 2003). "PBA get fresh look this season". Arab News. Retrieved January 13, 2014.
Jump up ^ "WNBA Announces Rules Changes for 2013 Season". WNBA. Retrieved Dec 16, 2012.
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Train wheel
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Flanged railway wheel
Railroad car wheels are affixed to a straight axle, such that both wheels rotate in unison. This is called a wheelset.
A train wheel or rail wheel is a type of wheel specially designed for use on rail tracks. A rolling component is typically pressed onto an axle and mounted directly on a rail car or locomotive or indirectly on a bogie (UK), also called a truck (North America). Wheels are cast or forged (wrought) and are heat-treated to have a specific hardness. New wheels are trued, using a lathe, to a specific profile before being pressed onto an axle. All wheel profiles need to be periodically monitored to ensure proper wheel-rail interface. Improperly trued wheels increase rolling resistance, reduce energy efficiency and may create unsafe operation. A railroad wheel typically consists of two main parts: the wheel itself, and the tire (or tyre) around the outside. A rail tire is usually made from steel, and is typically heated and pressed onto the wheel, where it remains firmly as it shrinks and cools. Monobloc wheels do not have encircling tires, while resilient rail wheels have a resilient material, such as rubber, between the wheel and tire.
Contents
[hide]
1 Wheel geometry and flange
2 Wheel arrangement
3 Wheel-related topics
4 Parts of a rail wheel
5 Wheels for road-rail vehicles
6 Tire
7 Tire installation
8 Causes of damage
9 See also
10 References
11 External links
Wheel geometry and flange[edit]
Railway wheel flange (left)
Tram wheel flange (right)
Most train wheels have a conical geometry, which is the primary means of keeping the train's motion aligned with the track.[1] Train wheels have a flange on one side to keep the wheels, and hence the train, running on the rails, when the limits of the geometry-based alignment are reached, e.g. due to some emergency or defect. See Hunting oscillation. Some wheels have a cylindrical geometry, where flanges are essential to keep the train on the rail track.
Wheel arrangement[edit]
Main article: Wheel arrangement
Wheel-related topics[edit]
Driving wheel: A wheel in contact with the rail that also propels a locomotive.
Bogie
Flat: A wheel defect where the tread of a wheel has a flat spot and is no longer round; flats can be heard as regular clicking or banging noises when the wheel passes by. This is caused either by a locked bearing, or a brake that was not fully released before the car was moved, dragging the wheel without turning.
Pony truck: A two-wheel truck (US) or bogie (UK) at the front of a locomotive
Sand: granular material poured on the rail in front of the drive wheels to improve traction. (Sandite is a more specialised form for a similar purpose.)
Slippery rail: The condition of fallen leaves or other debris lying on and clinging to a railroad track that could cause train wheel slippage, resulting in premature wheel wear and train delays.
Torpedo (US): A small explosive device strapped to the top of the rail to alert an approaching train of danger ahead. A torpedo creates a loud noise upon contact with a locomotive wheel, signaling the engineer to reduce speed to 20 mph or less; the train cannot resume its original speed until it has traveled at least a mile beyond where it encountered the device. Traditionally used in pairs to ensure that the sound registered with train crews, torpedoes today are essentially obsolete as modern locomotive cabs' soundproof construction renders the devices useless. (UK:Detonator)
Trailing wheel
Wheel climb: The process of a wheel climbing up and often off the inside or gauge side of the rail. It is a major source of derailments. Wheel climb is more likely to occur in curves with wheels whose flanges are worn or have improper angles. See Rail adhesion.
Wheel flange: The inner section of a wheel that rides between the two rails. The angle between the wheel tread and flange is often specific to the rail to prevent wheel climb and possible derailments. See Rail adhesion. The wheel flange is part of the wheel tire.
Wheel tapper: An historical railway occupation; people employed to tap train wheels with hammers and listen to the sound made to determine the integrity of the wheel; cracked wheels, like cracked bells, do not sound the same as their intact counterparts. The job was associated with the steam age, but they still operate in some eastern European countries. Modern planned maintenance procedures have mostly obviated the need for the wheel-tapper.
Wheel tread: The slightly conical section (often with a 1 in 20 slope) of a railroad wheel that is the primary contact point with the rail. See Rail adhesion.
Wheelset: the wheel-axle assembly of a rail vehicle. The frame assembly beneath each end of a car, railcar or locomotive that holds the wheelsets is called the bogie (or truck).
Parts of a rail wheel[edit]
Crank pin: A pin protruding from a wheel into a main or coupling rod.
Wheels for road-rail vehicles[edit]
The small rail wheels fitted to road-rail vehicles allow them to be stored away when the vehicle is in road-going mode.
Wheels used for road-rail vehicles are normally smaller than those found on other types of rolling stock (such as locomotives or carriages). This is because the wheel has to be stored clear of the ground when the vehicle is in road-going mode - Such wheels can be as small as 245 mm (9.65 in) in diameter. In Australia, wheels for Road-rail vehicles should comply with the requirements of AS7514.4 which is the standard for infrastructure maintenance vehicle wheels.
Tire[edit]
Main article: Railway tire
The wheels of many rail vehicles, especially steam locomotives and older types of rolling stock are fitted with steel tires (or tyres in British English, Australian English and others) to provide a replaceable wearing element on a costly wheel.
These steel tires should not be confused with the tires fitted to rubber-tyred metros and people movers, for example some lines of the Paris Métro, the Mexico City Metro, the Caracas Metro, the Montreal Metro, Sapporo Subway, Seattle Center Monorail, Taipei Rapid Transit System and the Santiago Metro.
Tire installation[edit]
Steel tire on a steam locomotive's driving wheel is heated with gas flames to expand and loosen it so it may be slipped over the wheel.
Replacing a whole wheel because of a worn contact surface is expensive, so older types of railway wheels were fitted with replaceable steel tires. The tire is a hoop of steel that is fitted around the steel wheel centre. The tire is machined with a shoulder on its outer face to locate it on the wheel centre, and a groove on the inside diameter of the flange face. The inside diameter of the tire is machined to be slightly less than the diameter of the wheel centre on which it is mounted, to give an interference fit.
The tire is fitted by heating to a controlled temperature, avoiding overheating. This causes the tire to expand. The wheel centre, usually already mounted on the axle, is lowered into the tire which is flange side up. The tire cools, and the retaining ring (a shaped steel bar rolled into a hoop) is fitted into the groove. Hydraulically operated rolls swage the groove down on to the retaining ring.
The tire is primarily held in place by its interference fit. The shoulder on the outside and the retaining ring also keep the tire in place if the interference fit is lost. This is most often due to severe drag braking down a gradient, or due to an error in the machining.
Removal of a worn tire is by machining out the retaining ring and heating the tire to relax the interference fit.
Some steam locomotive wheels had tires bolted through the rim, or with a second smaller shoulder machined on the inside face of the tire. This shoulder was severely limited in size as it had to pass over the wheel centre for assembly.
Tires of different designs were fitted to wheels with wooden centers (Mansell wheels in the UK) and to various other types.
The use of tires is becoming obsolete. The utilisation of traditional freight wagons was often so low that tires never needed renewal, so it was cheaper to fit a one-piece ("monoblock") wheel. Monoblock wheels are lighter and offer better integrity as there is no tire to come loose. Modern flow-line repair lines are disrupted by the inspection of the wheel centre once the tire is removed, possibly generating extra rectification work, and the need to make each tire fit its allocated wheel centre. Monoblock wheels are now more economical.
Causes of damage[edit]
The most usual cause of damage is drag braking on severe gradients. Because the brake blocks apply directly on the tire, it is heated up, relaxing the interference fit. It is not feasible to fit the tire with such a heavy interference as to eliminate this risk entirely, and the retaining ring will ensure that the tire can only rotate on the wheel center, maintaining its alignment. In rare instances the rotation could be so severe as to wear the retaining ring down till it breaks, which could result in derailment.
Severe braking or low adhesion may stop the rotation of the wheels while the vehicle is still moving can cause a flat spot on the tire and localized heat damage to the tire material.
Tires are reasonably thick, about 3 inches (76 mm), giving plenty of room for wear. Worn tires or tires with flats are re-profiled on a wheel lathe if there is sufficient thickness of material remaining.
See also[edit]
Adhesive weight
Conical shape
References[edit]
Jump up ^ Liszewski, Andrew (15 March 2017). "The Reason Trains Have Angled Wheels Is Incredibly Clever". Gizmodo. Retrieved 14 March 2017.
ISO 1005 Parts 1-9 BS 5892 Parts 1-6 AS7414.4
External links[edit]
"APTA PR-CS-RP-003-98 Recommended Practice for Developing a Clearance Diagram for Passenger Equipment 5.3.2.1 Design tolerances" (PDF). APTA.com. American Public Transportation Association. 1998-03-26. Retrieved 2015-01-17.
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Jack McCoy
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the politician and labor activist, see Jack E. McCoy.
Jack McCoy
Law & Order character
First appearance
"Second Opinion"
"Entitled" (SVU)
Last appearance
"Rubber Room" (Law & Order)
"The Undiscovered Country" (SVU)
Portrayed by
Sam Waterston
Time on show
1994–2010, 2018
Seasons
5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20
Credited appearances
368 episodes (L&O)
2 episodes (HLOTS)
4 episodes (SVU)
2 episodes (TBJ)
376 episodes (total)
Preceded by
Ben Stone (EADA)
Arthur Branch (DA) (L&O)
Succeeded by
Michael Cutter (EADA)
Information
Family
Rebecca McCoy (daughter)
John James McCoy is a fictional character in the television drama Law & Order. He was created by Michael S. Chernuchin and portrayed by Sam Waterston from 1994 until the end of the series in 2010. He is the second-longest tenured character on the show (16 seasons), after Lt. Anita Van Buren (17 seasons; portrayed by S. Epatha Merkerson). He appeared in 368 episodes of Law & Order, four episodes of Law & Order: Special Victims Unit, two episodes of Law & Order: Trial by Jury, two episodes of Homicide: Life on the Street, and the made-for-TV movie Exiled.
Waterston's performance as McCoy on the New York-based series was so popular that it resulted in him being declared a "Living Landmark" by the New York Landmarks Conservancy, along with fellow longtime series cast member Jerry Orbach (who portrayed the popular police detective Lennie Briscoe for 12 years).[1]
Contents
[hide]
1 Character overview
2 Personal life
3 Notable conflicts
4 In Law & Order: Special Victims Unit
4.1 As executive assistant district attorney
4.1.1 Season one
4.1.2 Season two
4.2 As district attorney
4.2.1 Season 9
4.2.2 Season 10
4.2.3 Season 11
4.2.4 Season 12
4.2.5 Season 13
4.2.6 Season 19
5 Reception
6 District attorney's office timeline
7 Appearances on other TV shows
8 References
Character overview[edit]
Jack McCoy brings 24 years of experience with him as he is appointed executive assistant district attorney by Adam Schiff (Steven Hill) in the season-five premiere episode "Second Opinion". He quickly establishes himself as a more unconventional, ruthless litigator than his predecessor, Ben Stone (Michael Moriarty). He often bends—and sometimes breaks—trial rules to get convictions, finds tenuous rationales for charging defendants with crimes when the original charges fail to stick, and charges innocent people to frighten them into testifying against others. McCoy is found in contempt of court 80 times for such behavior, and his tactics occasionally incur negative publicity for the DA's office. His underlying motivation, however, is not, he maintains, corruption, but a sincere desire to see justice done. To that end, McCoy has gone after defendants accused of perverting the justice system to arrange wrongful convictions with just as much determination as his more mundane cases. Such aggressive actions in the courts have earned him the nickname "Hang 'em High McCoy".[2] He has subsequently developed a reputation with both colleagues and rival attorneys, once being referred to as "the top of the legal food chain" by a rival attorney during a trial.[3]
Following the 17th season (2006–2007), Jack McCoy was appointed interim district attorney, taking over from Arthur Branch (Fred Thompson). McCoy's appearance on Law & Order: Special Victims Unit on the November 13, 2007, episode "Blinded", marked his first appearance in the Law & Order universe as district attorney. The replacement for his former position is Michael Cutter (Linus Roache), a prosecutor with a penchant for recklessness not unlike McCoy's own in his younger days. This occasionally presents political difficulties for the new district attorney. More than once, McCoy berates Cutter for reckless conduct, in the same manner as he was berated by district attorneys when he was executive assistant district attorney.
In the season-19 episode "Lucky Stiff", McCoy begins his election campaign for New York County District Attorney after serving the last season and a half as interim DA. In the season-19 episode "Promote This", in 1991 his wife Ellen (whom he was divorcing) is revealed to have unknowingly employed an undocumented immigrant as a nanny. This causes McCoy political havoc during a murder case where the motive was racism against illegal immigrants of Hispanic descent. In the episode "Skate or Die", the place where his final campaign fundraiser would be held is discovered by the organizers to be owned by a man who served a 20-year prison sentence for racketeering. Eventually, the final campaign fundraiser is held at a Chinese seafood restaurant with a kosher section.
McCoy was hand-picked for the interim DA position by Governor Donald Shalvoy (Tom Everett Scott), and the two initially have a friendly, productive working relationship. By the end of the 18th season, however, McCoy discovers that Shalvoy is involved in a prostitution scandal that is tied to a murder case he is prosecuting. Angered and disappointed, McCoy orders Cutter to start investigating Shalvoy, who retaliates by lending his support to McCoy's opponent in the election. In the last episode of season 19, "The Drowned and the Saved", Cutter uncovers evidence that Shalvoy tried to buy a Senate seat for his wife, and threatens him with public disgrace unless he resigns. McCoy's opponent suddenly has no patron, giving McCoy good prospects for victory.[4] In the opening episode of season 20, McCoy was revealed to have won the election; he serves as DA for the remainder of this final season of Law & Order.
Personal life[edit]
While he is a brilliant legal mind, McCoy has more than a few personal demons. He was abused by his father, an Irish Chicago policeman who had also beat Jack's mother, and who eventually died of cancer.[5] McCoy says that his determination and unyielding work ethic are a byproduct of having been harshly punished by his father for losing at anything.[5] He also revealed that his father was a racist who once hit him for dating a Polish girl.[6] McCoy disliked his father, calling him a "son-of-a-bitch"; however, he admits he could have easily become like him.[6]
While not a nationalist, he cares enough about his heritage to be offended by a lawyer's insinuation that two murder suspects committed the crime because of their "Irish temper".[7]
McCoy has been divorced twice (one ex-wife having been a former assistant) and has an adult daughter, Rebecca, with Ellen. One of his ex-wives left him because he worked too many late nights.[8] A gossip columnist writes that McCoy has not seen or spoken to his daughter since 1997, and McCoy receives an envelope containing pictures of his daughter.[9] He does not open the envelope; rather, he places it in his bottom left desk drawer, next to a bottle of Jim Beam. In "Fallout", the last scene shows McCoy meeting his daughter at a restaurant. During a conversation with (fictional) New York Governor Donald Shalvoy, he mentions Rebecca has taken a job in San Diego, and that she drove up to Los Angeles to meet him there for dinner while he was attending a conference on official business;[10] the governor uses this to try to smear McCoy, wrongly implying that he used public funds to visit Rebecca. In the season-20 episode "Dignity", McCoy mentions to EADA Michael Cutter (Roache) and ADA Connie Rubirosa (Alana de la Garza) that his daughter is either pregnant or a new mother, thus making him soon to be or already a grandfather. He also has a nephew, which indicates that he has at least one sibling.[11] By 2008, his nephew had a young daughter.[12]
McCoy has a reputation for having romantic affairs with his ADAs. Claire Kincaid (Jill Hennessy) mentions this when they first meet; he tells her he has had affairs with only three of his ADAs, but by the end of the episode, she realizes that he has only had three female ADAs before her.[13] In the episode "Scoundrels", McCoy reveals that Sally Bell, a recurring defense attorney played by Edie Falco, had been one of those ADAs.[13] He at one point was revealed to have had a romantic relationship with his frequent courtroom adversary, defense attorney Vanessa Galiano (Roma Maffia).[14] Kincaid initially makes it clear that she is not interested in a romantic relationship, and McCoy agrees to her stipulation.[13] However, throughout the two seasons in which the two characters appear together, they are implied to be having an affair, with the relationship eventually confirmed in the season-9 episode "Sideshow", long after the Kincaid character had exited the show. Kincaid is killed in a car accident,[5] a source of ongoing pain for McCoy. Defense attorneys have used his sexual history against him.[15] Since Kincaid's death, McCoy has kept his relationships with assistants professional, albeit friendly.
McCoy's affairs with his ADAs have often had explosive consequences. For instance, his former ADA Diana Hawthorne (Laila Robins), with whom he had a sexual relationship, was found to have suppressed evidence so they could win a case, resulting in an innocent man going to prison. During her trial for intentionally engineering the wrongful convictions, Hawthorne claims that the convictions earned McCoy a promotion he was seeking. Ironically, in the same trial, during which McCoy is forced to admit he was having an affair with Hawthorne, he is being represented by Kincaid, with whom he is presently having an affair.[2]
In "House Counsel", McCoy tries to prosecute a mobster for bribing and murdering a juror. The man's lawyer, Paul Kopell (Ron Leibman), is one of McCoy's oldest friends, with whom he had a competitive relationship for years, and he proves to be equally aggressive in his approach to his work. As Kopell repeatedly stymies McCoy's prosecutorial efforts, McCoy takes the position that Kopell is not acting as an independent attorney, but as a participant in organized crime, and eventually prosecutes Kopell for conspiracy in the juror's murder. He tells Kopell's wife that the prosecution is not personal, but she angrily replies that McCoy simply wants the final victory over a rival. By the end of the episode, though he has won the case, McCoy is so troubled that he does not even want to share an elevator with Kincaid.[16]
While McCoy was not exactly a part of the 1960s counterculture, he did protest against the policies of the Richard Nixon administration, particularly the Vietnam War. In 1972, he published an article in the New York University Law Review in defense of Catholic priests who had been opposed to the conflict.[17] He does retain some of the wild streak from his youth; he is a fan of The Clash[18] and he rides a Yamaha motorcycle.[19] He is opposed to the Iraq War.[20]
Unlike his predecessor Ben Stone (Michael Moriarty), McCoy embraces the option of the death penalty, claiming it is a suitable punishment for particularly heinous crimes and a useful threat in plea bargaining. This often leads to heated arguments with his more liberal colleagues. In "Savages", when the death penalty has just been restored in New York following the election of Governor George Pataki, Kincaid asks McCoy about the probability of executing an innocent individual. McCoy responds that, with the lengthy prosecution process and opportunities for the defendant to appeal the verdict, the probability of wrongful execution is unlikely. Kincaid asks McCoy if he is able to accept the probability of "unlikely"; his hesitation indicates that he has never considered the possibility. In later seasons, his view towards the death penalty has apparently changed: in season 18's "Executioner", he is deeply troubled hearing of a gruesomely botched execution in South Carolina, and in season 20's "Four Cops Shot", he resists efforts by a U.S. attorney to prosecute a suspect in the murder of a police officer under a federal death penalty statute.
He has shown mercy on occasion, such as the 1997 episode "Burned" in which he prosecutes a boy with bipolar disorder for murdering his sister. The boy's grandfather (Robert Vaughn), a wealthy CEO (and good friend of Schiff's) who also proved to suffer from the disorder, had attempted to get his grandson to plead guilty and go to jail rather than plead insanity and be committed to a mental institution, fearing that a public revelation of the boy's illness would provide enough evidence to reveal his own illness and affect his reputation. McCoy leads the effort to prevent an unjust punishment for the boy.[21] Similarly, in season seven's "Deadbeat", he declines to prosecute a woman who is the sole caregiver for a boy dying of cancer, although he implies that he may do so once the son has died.[22]
McCoy was raised Catholic, but does not appear to be in practice, and has not been for some time; he describes himself as a "lapsed Catholic".[23] McCoy was educated by the Jesuits.[24] On several occasions, religion has been the subject of various cases. In the episode "Thrill", in which two teenaged boys are accused of killing a man just for fun, McCoy finds his case particularly complicated when one of the suspects confesses the crime to his uncle, a priest. When the confession tape is labeled privileged, McCoy ignores the bishop's request to preserve the sacrament of reconciliation and instead tries to use the tape as evidence. When Detective Rey Curtis (Benjamin Bratt) tries to dissuade McCoy from doing so, reminding him that he is a Catholic, McCoy responds, "Not when I'm at work."[25]
When a man is accused of killing a drug dealer who killed the man's son, a priest confesses to the crime. Though McCoy personally believes that the priest is covering for the man, he prosecutes the priest, instead. At the end of the episode, McCoy says that he lost his faith after the death of a childhood friend.[26]
Notable conflicts[edit]
McCoy's unconventional and sometimes ruthless professional conduct has put his job in jeopardy more than once throughout the series. Some of the more serious occurrences are:
In "Competence" (season five), McCoy withholds turning over the statement of a witness to the defense. The statement would have aided the defense's case by showing strong motive to another individual for the crime, casting a reasonable doubt. Under Brady v. Maryland, the prosecution is required to turn over exculpatory evidence to the defense. McCoy's reasoning is that he was not going to call the witness at trial and that he is not obliged to "...turn over irrelevant and potentially misleading evidence." When defense eventually learns of the withheld statement and accuses the DA's office of misconduct, DA Adam Schiff (Steven Hill) is angry about McCoy's judgment call, and suggests that McCoy is at grave risk of being disbarred. At the resulting hearing, a judge declares that McCoy pushed the envelope, but that the ambiguity of the law did not prove his actions were unethical.
In "Corpus Delicti" (season six), McCoy tries to prosecute a man, first for insurance fraud involving a wealthy widow show horse owner, and then, when the widow disappears, for her murder. When McCoy is unable to prove her murder without her body, he repeatedly questions the defendant as though the fraud against the widow is a fact, and her murder, therefore, must have been the logical consequence, despite the judge's repeated instruction not to do so. The judge declares a mistrial because of McCoy's repeated refusal to follow the instruction. When the widow's body is found several months later, McCoy reacts as though he will naturally be able to represent his case. When Schiff recalls that McCoy did want more time to find the widow's body, McCoy responds as though his emotional nature sometimes gets the better of him, but he smiles as though he knows well that "his emotional nature" was a stalling tactic to delay the case until the widow's body was found.
In "Mad Dog" (season seven), McCoy becomes obsessed with proving that a recently paroled rapist (Burt Young) is guilty of the rape and murder of a young woman. McCoy pushes the police perilously close to harassment and considers putting the man under false arrest until Schiff decides to put a stop to it. At the end of the episode, the rapist is killed by his daughter after he attacks one of her friends. McCoy says, "I'm sorry it had to happen this way". ADA Jamie Ross (Carey Lowell) replies, "Not that sorry".
In "Under the Influence" (season eight), McCoy is prosecuting a drunk driver for killing three pedestrians. McCoy takes an incriminating statement from a flight attendant (a Colombian citizen) about how drunk the defendant was and encouraged the airline, at fear for its public image, to assign the flight attendant to an international route, putting her out of reach for the defense to question. McCoy then lies to the defense attorney about following all relevant discovery procedures, and is reinforced by the judge not to turn over the statement to the defense. Ross does not agree that withholding evidence furthers justice and warns McCoy that he faces disbarment. The defense's case is repeatedly undermined by the judge and McCoy, but eventually McCoy changes his mind and submits the flight attendant's statement at trial, prompting a plea bargain. The judge initially does not accept the plea bargain and threatens to charge McCoy with professional misconduct, but McCoy threatens to bring the judge before the ethics committee. The judge eventually accepts the plea and no misconduct charges are brought on either party. Dialogue throughout the episode implies that McCoy sees the defendant as a surrogate for the drunk driver who killed ADA Claire Kincaid (Jill Hennessy).
In "Monster" (season eight), McCoy is brought before the disciplinary committee of the New York Supreme Court, Appellate Division, on misconduct charges stemming from his previous case in "Under the Influence" in which he had hidden a material witness from the opposing counsel to support more serious charges against a defendant. Since McCoy had ultimately released the evidence before the case was decided, he is not seriously punished for what he did. In the same episode, he had wrongly prosecuted an innocent man for the sexual assault of a young girl; during the investigation, the suspect had been coerced by detectives Lennie Briscoe (Jerry Orbach) and Rey Curtis (Benjamin Bratt) into giving them a false confession. When the real perpetrator is caught, McCoy asks the girl's doctor to give the defendant's lawyer false information. The following episode explains that he is exonerated by the ethics committee.
In "DWB" (season 9), McCoy, in contradiction of Schiff's direct order, sues to invalidate a federal plea bargain to force a suspect to deal with the New York DA's office. McCoy assures Schiff that the federal judgment will eventually be overturned on appeal; Schiff retorts that, if it is not, "your letter of resignation will be on my desk".
In "Refuge, part II" (season 9), McCoy again disobeys a direct order from Schiff by instructing the police to imprison suspected Russian mobsters without charge. Near the end of the episode, a suggestion is made that McCoy is ready to resign over this issue, but Schiff simply says, "No martyrs" and allows him to remain in his job.
In "Invaders" (season 16), after the brutal murder of ADA Alexandra Borgia (Annie Parisse), McCoy pushes the envelope even further when he arranges to present a sham prosecution to intimidate a corrupt Drug Enforcement Administration agent to turn state's evidence against Borgia's murderers. When that trick fails, McCoy, hoping the agent would lead police to the killers, orders him released. While the murderers are arrested and the corrupt agent is killed, the severely unorthodox strategies used in the case lead to McCoy being removed from the case by order of the governor of New York. He is replaced for the duration of the case with an attorney from the New York State Attorney General's office.
In "The Family Hour" (season 17), in which a state senator is on trial for murder, medical examiner Elizabeth Rodgers (Leslie Hendrix) cites the wrong book during cross examination and later confesses to McCoy about it. McCoy wishes to disclose the error to the judge, but DA Arthur Branch (Thompson) decides the error is not exculpatory, and he orders McCoy to keep quiet. When McCoy refuses to cooperate, ADA Connie Rubirosa (Alana de la Garza) gives the trial's closing summation instead of him. Although Rubirosa wins the case, McCoy submits his letter of resignation in protest. Branch appears to dissuade him from resigning and says he would not be "in this chair forever." Although McCoy insists that he is a prosecutor, and not a politician, McCoy replaces Branch as the DA immediately thereafter.
In Law & Order: Special Victims Unit[edit]
McCoy has appeared in four episodes of Law & Order: Special Victims Unit; however, he is often referred to in the series, and his actions affect the ADAs working with the Special Victims Unit.
As executive assistant district attorney[edit]
Season one[edit]
"Entitled" (onscreen): McCoy makes his first appearance on the series. McCoy, working with his assistant, Abbie Carmichael (Angie Harmon), assists the Special Victims Unit in solving a cold case, that Briscoe handled years ago with his former partner, Detective Mike Logan (Chris Noth).
Season two[edit]
"Baby Killer" (mention): After a murder intertwines with ADA Alexandra Cabot's (Stephanie March) sex-crimes case, Chief Assistant District Attorney Charlie Phillips (Jeffrey DeMunn), Lewin's second in command, hands the murder case to McCoy.
As district attorney[edit]
Season 9[edit]
"Blinded" (onscreen): McCoy had been promoted to district attorney. At the end of this episode, he calls ADA Casey Novak (Diane Neal) to his office and reprimands her after discovering that she had "abused the authority" of his office. He gives her one more chance to stay on the case, threatening that if she does not behave, he will not only fire her, but also have the New York State Bar Association revoke her license to practice law.
"Cold" (mention): A mistrial is declared in the case Novak was prosecuting. After she violates due process, Novak is informed by Judge Elizabeth Donnelly (Judith Light) that McCoy has declined to refile charges against the defendant, and that Novak is being called before the bar. She is later censured for committing a Brady violation—withholding evidence that was relevant to the defendant's guilt or innocence.
Season 10[edit]
"Lead" (mention): ADA Kim Greylek (Michaela McManus) is called back to the Justice Department in Washington, DC. McCoy lets her leave immediately, and asks Cabot, who was working in the appeals bureau, to temporarily work with the Special Victims Unit.
Season 11[edit]
"Unstable" (mention): McCoy sends Executive ADA Sonya Paxton (Christine Lahti) to "clean the house" in the "he-said, she-said unit" due to too many convictions being overturned. However, during the fourth episode of season 11, Paxton is sent to drug rehabilitation after she appears drunk in court.
"Confidential" (mention): After SVU detective Elliot Stabler (Chris Meloni) believes he has made a mistake in charging an attorney who violated attorney-client privilege, he asks Cabot to drop the charges. However, Cabot states that it is "too late" and that "McCoy certainly won't let [her] drop the charges". While in court, the defense rests, Cabot has no rebuttal, and then the defense moves for a directed verdict of not guilty. Judge Donnelly, a former Bureau Chief ADA, agrees, despite revealing that, "it's abhorrent to me, that a district attorney would so blatantly use our system of justice as means to a political end." McCoy was initially supposed to appear in the episode.[27]
"Witness" (mention): Cabot's material witness in a crime is arrested by the Immigration and Customs Enforcement and is taken to a detention facility in New Jersey due to known terrorist links. The witness is released from the facility after McCoy calls the U.S. Attorney to have her released.
"Torch" (onscreen): McCoy transfers ADA Jo Marlowe (Sharon Stone) to SVU. He enlists her to take up a case of two young girls who were killed in a suspicious fire, because "when the DA [McCoy] sees dead little kids, he thinks special victims." McCoy makes his third appearance on SVU, in the squad room, where he pressures Marlowe to take the case to trial. McCoy is brought up again at the end of the episode when Marlowe mentions she needs to give him the bill for the house used in the fire recreation.
Season 12[edit]
"Wet" (mention): ADA Mikka Von (Paula Patton) is assigned to the Special Victims Unit, as their new permanent ADA. However, in her first case, she sends the defense attorney on vacation to give the detectives more time to find out who actually committed the murder. Von is told by Captain Don Cragen (Dann Florek), on behalf of McCoy, to pack her bags and move back to Chicago because the "DA doesn't like dirty tricks," to which Stabler responds, "Unless he’s the one that’s doin’ em."
"Gray" (mention): Paxton returns from her rehabilitation, noting that she is on probation and that she needs to prove to McCoy that she hasn't lost her "winning ways".
"Reparations" (mention): Novak returns to the Special Victims Unit after three years, and reveals that McCoy's office had rehired her, but she is still on probation and if she loses her first case back, she is "done".
"Smoked" (mention): After an FBI special agent initially refuses to let his "personal bag man" co-operate with the Special Victims Unit detectives, ADA Sherri West (Francie Swift) pressures him to agree, by threatening to call McCoy and have him speak to the agent's boss.
Season 13[edit]
"Scorched Earth" (implied): McCoy is out of office by the season-13 premiere as Cutter, by this time the new Special Victims Unit Bureau Chief ADA, comments to Cabot that "the new DA wants the charges dropped" in the case they were trying at the time.
Season 19[edit]
"The Undiscovered Country" (onscreen): McCoy is back in office as DA. When ADA Barba's interference in a case results in a mercy killing, leading to the entire DA's office being in jeopardy, McCoy sends Barba to trial for murder. Barba is found not guilty but quits his job as an ADA and is replaced by Chicago Assistant State Attorney (ASA) Peter Stone – who has recently lost his father Benjamin Stone, the former New York Executive ADA who was replaced by McCoy himself in 1994.
Reception[edit]
Entertainment Weekly television critic Ken Tucker has praised Law & Order's creator Dick Wolf for putting McCoy at the center of "some of the best episodes of the immortal series' 19th season."[28] Tucker elaborates how the character, riding "herd over a couple of stubborn young bucks — assistant DAs Mike Cutter (Linus Roache) and Connie Rubirosa (Alana de la Garza) — McCoy argues, bellows orders, and croaks with outrage when his charges disobey his legal advice."[28]
District attorney's office timeline[edit]
Time period
Executive assistant district attorney (EADA)
Assistant district attorney (ADA)
District attorney (DA)
1994–1996 Jack McCoy Claire Kincaid Adam Schiff
1996–1998 Jamie Ross
1998–2000 Abbie Carmichael
2000–2001 Nora Lewin
2001–2002 Serena Southerlyn
2002–2005 Arthur Branch
2005–2006 Alexandra Borgia
2006–2007 Connie Rubirosa
2008–2010 Michael Cutter Jack McCoy
Appearances on other TV shows[edit]
Homicide: Life on the Street
Season 6
Episode 5: "Baby, It's You"
Season 7
Episode 15: "Sideshow"
Law & Order: Special Victims Unit
Season 1
Episode 15: "Entitled"
Season 9
Episode 7: "Blinded"
Season 11
Episode 21: "Torch"
Season 19
Episode 13: "The Undiscovered Country"
Law & Order: Trial by Jury
Episode 1: "The Abominable Showman"
Episode 8: "Skeleton"
References[edit]
Jump up ^ [1]. New York Landmarks Conservancy.
^ Jump up to: a b "Trophy". Law & Order. Season 6. Episode 12. January 31, 1996. NBC.
Jump up ^ "Chosen". Law & Order. Season 13. Episode 11. January 15, 2003. NBC.
Jump up ^ "The Drowned and the Saved". Law & Order. Season 19. Episode 22. June 3, 2009. NBC.
^ Jump up to: a b c "Aftershock". Law & Order. Season 6. Episode 23. May 22, 1996. NBC.
^ Jump up to: a b "In Vino Veritas". Law & Order. Season 17. Episode 17. November 3, 2006. NBC.
Jump up ^ "Wannabe". Law & Order. Season 5. Episode 16. March 15, 1995. NBC.
Jump up ^ "Patient Zero". Law & Order. Season 14. Episode 3. October 8, 2003. NBC.
Jump up ^ "Fame". Law & Order. Season 17. Episode 1. September 22, 2006. NBC.
Jump up ^ "Excalibur". Law & Order. Season 18. Episode 18. May 21, 2008. NBC.
Jump up ^ "Loco Parentis". Law & Order. Season 10. Episode 10. January 5, 2000. NBC.
Jump up ^ "Bottomless". Law & Order. Season 18. Episode 4. January 16, 2008. NBC.
^ Jump up to: a b c "Second Opinion". Law & Order. Season 5. Episode 1. September 21, 1994. NBC.
Jump up ^ "Ill-Conceived". Law & Order. Season 14. Episode 10. December 3, 2003. NBC.
Jump up ^ "Missing". Law & Order. Season 12. Episode 14. February 6, 2002. NBC.
Jump up ^ "House Counsel". Law & Order. Season 5. Episode 10. January 4, 1995. NBC.
Jump up ^ "Nullification". Law & Order. Season 8. Episode 5. November 5, 1997. NBC.
Jump up ^ "Access Nation". Law & Order. Season 12. Episode 15. February 27, 2002. NBC.
Jump up ^ "Rebels". Law & Order. Season 6. Episode 2. September 27, 1995. NBC.
Jump up ^ "Embedded". Law & Order. Season 14. Episode 8. November 19, 2003. NBC.
Jump up ^ "Burned". Law & Order. Season 8. Episode 9. December 10, 1997. NBC.
Jump up ^ "Deadbeat". Law & Order. Season 7. Episode 7. November 13, 1996. NBC.
Jump up ^ "Good Faith". Law & Order. Season 17. Episode 17. March 30, 2007. NBC.
Jump up ^ "Angel". Law & Order. Season 6. Episode 8. November 29, 1995. NBC.
Jump up ^ "Thrill". Law & Order. Season 8. Episode 1. September 24, 1997. NBC.
Jump up ^ "Under God". Law & Order. Season 13. Episode 12. February 5, 2003. NBC.
Jump up ^ "Listing for "Confidential"". The Futon Critic (Press release). NBC Universal. February 19, 2010.
^ Jump up to: a b Tucker, Ken. "TV: Sam Waterston's bark keeps giving Law & Order its bite", Entertainment Weekly 1026 (December 19, 2008): 49.
[hide]
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Law & Order
Characters
Police
Sgt. Max Greevey
Sgt. Phil Cerreta
Lennie Briscoe
Joe Fontana
Ed Green
Cyrus Lupo
Mike Logan
Rey Curtis
Nick Falco
Nina Cassady
Kevin Bernard
Captain Donald Cragen
Lieutenant Anita Van Buren
District attorneys
Benjamin Stone
Jack McCoy
Michael Cutter
Paul Robinette
Claire Kincaid
Jamie Ross
Abbie Carmichael
Serena Southerlyn
Alexandra Borgia
Connie Rubirosa
Adam Schiff
Nora Lewin
Arthur Branch
Recurring characters
Elizabeth Olivet, Ph.D.
Emil Skoda, M.D.
Elizabeth Rodgers, M.D.
Danielle Melnick
Seasons
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Notable episodes
"Prescription for Death"
"Everybody's Favorite Bagman"
"Manhood"
"Aftershock"
"Empire"
"Mother's Day"
"Sunday in the Park with Jorge"
"Public Service Homicide"
"Burn Card"
"The Drowned and the Saved"
"Dignity"
"Fed"
"Blackmail"
"Steel-Eyed Death"
"Boy on Fire"
"Rubber Room"
TV film
Exiled: A Law & Order Movie
See also
Episodes
Cast
Law & Order franchise
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jack_McCoy&oldid=838021970"
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