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Exit Lists by State

Connecticut

Exit Number	Exit Name	Connecting Routes	Misc.
1	Downtown New Haven	CT 34 West
2	New Haven	Hamilton St.	Southbound only
3	New Haven	Trumbull St.
4	New Haven	State St.
5	New Haven	US 5, State St.	Northbound only
6	New Haven	US 5, Willow St., Blatchley Ave.
7	Fair Haven	Ferry St.	Southbound only
8	North Branford	CT 17, CT 80, Middletown Ave.
9	Montowese Ave.
10	Hamden, Cheshire, Mt. Carmel	CT 40
11	North Haven	CT 22	Northbound only
12	Washington Ave.	US 5
13	Wallingford, North Haven	US 5
14	Wallingford	CT 150
15	Yalesville, Durham	CT 68
16	Main St.		Southbound only
17	East Main St.	CT 15, to CT 66, I-691
18		CT 66 East, I-691 West
19	Baldwin Ave, Preston Ave.		Southbound only
20	Country Club Rd., Middle Street
21	Cromwell, Berlin	CT 372
22N	New Britain	CT 9 North	Southbound only
22S	Middletown, Old Saybrook	CT 9 South	Southbound only
22	New Britain, Middletown	CT 9	Northbound only
23	West St., Rocky Hill	CT 3
24	Rocky Hill, Wethersfield	CT 99
25N	Glastonbury	CT 3 North	Southbound only
25S	Wethersfield	CT 3 South	Southbound only
25-26	Glastonbury, Old Wethersfield	CT 3	Northbound only
26	Old Wethersfield		Southbound only
27	Brainard, Airport Road		Northbound only
28	Newington, Wethersfield	CT 15 South, US 5 South
29	East Hartford, Boston	US 5 North, CT 15 North, to I-84	Northbound only
29A	Capitol Area
30	East Hartford, New London	I-84 East	Southbound only
31	State St.		Southbound
32AB	Trumbull St., Waterbury	I-84 West
33	Jennings Rd.
34	North Main St., Windsor Ave.	CT 159
35A	Manchester	I-291 East
35B	Windsor, Bloomfield	CT 218
36	Park Ave., Bloomfield	CT 178
37	Bloomfield Ave., Windsor Center	CT 305
38	Poquonock, Windsor	CT 75
39	Kennedy Rd., Center St.		Northbound only
40	Bradley International Airport	CT 20
41	Kennedy Rd., Center St.		Southbound only
42	Windsor Locks	CT 159
44	East Windsor	US 5 South
45	Warehouse Pt., Ellington	CT 140
46	King St.	US 5
47E	Hazardville, Somers	CT 190 East
47W	Suffield	CT 190 West
48	Elm St., Thompsonville	CT 220
49	Enfield St., Longmeadow, MA.	US 5

Massachusetts

Exit Number	Location	Road(s) Crossed	Notes
1	Forest Park, Longmeadow	US 5 South
2	Forest Park, East Longmeadow	MA 83	Northbound only
3	Agawam	US 5 North to MA 57, Columbus Ave.
4	Springfield	MA 83, Main Street
5	Springfield	Broad St.
6	Springfield		Northbound only
7	Springfield	Columbus Ave.	Southbound only
8	Boston	US 20 East, I-291
9	West Springfield	US 20 East	Northbound only
10	West Springfield	Main Street	Northbound only
11	West Springfield	US 20 West, Birnie Ave.
12	Chicopee	I-391
13AB	West Springfield	US 5, Riverdale St.
14	Boston, Albany	I-90 (Mass Pike)
15	Ingleside	Lower Deerfield Rd.
16	Holyoke Center, South Hadley	US 202
17AB	South Hadley, Holyoke	MA 141
18	Northampton, Easthampton	US 5
19	Northampton, Amherst	MA 9	Northbound only
20	Northampton, Hadley	US 5, MA 9, MA 10	Southbound only
21	Hatfield	US 5, MA 10
22	Whatley, North Hatfield	US 5, MA 10	Northbound only
23	Whatley, North Hatfield	US 5, MA 10	Southbound only
24	Whatley	US 5, MA 10, MA 116
25	Deerfield	MA 116	Southbound only
26	Greenfield Center, North Adams	MA 2
27	Greenfield, Boston	MA 2 East
28AB	Bernardston, Northfield	MA 10

Vermont

Exit Number	Location	Road(s) Crossed	Notes
1	Brattleboro, Vernon	US 5
2	Brattleboro, Bennington	VT 9 West
3	Brattleboro, Keene, NH, Chesterfield, NH	VT 9 East, to US 5
4	Putney	US 5
5	Westminster, Walpole, NH	US 5
6	Rockingham, Bellows Falls	US 5, VT 103
7	Springfield	US 5, VT 11, VT 106
8	Ascutney, Ludlow, Windsor	US 5, VT 12, VT 131
9	Hartland, Windsor	US 5, VT 12
10S	Airport, New Hampshire	I-89
10N	Barre, Montpelier	I-89
11	White River Jct.	US 5
12	Wilder, White River Jct.	Bugbee St., to US 5, US 4
13	Norwich, Hanover, NH	US 5, to NH 10
14	Thetford	VT 113
15	Fairlee, Orford, NH	To US 5
16	Barre, Bradford	VT 25, to US 5
17	Barre, Woodsville, NH	US 302
18	Barnet
19	New Hampshire	I-93
20	St. Johnsbury	US 5
21	St. Johnsbury, Montpelier	To US 2
22	St. Johnsbury
23	Lyndon, Lyndonville	US 5
24	Lyndon Center, Lyndonville	VT 122
25	Barton, Wheelock, Sheffield	VT 16, to US 5
26	Orleans	US 5, VT 58
27	Newport	VT 191
28	Newport	VT 105
29	Derby Line	To US 5

File:Ghirlandaio Old Man.jpg

An Old Man with a Strawberry Nose (1480). Tempera on wood, 62 x 46 cm Louvre, Paris

Domenico Ghirlandaio (1449 - January 11, 1494) was a Florentine Renaissance painter, a contemporary of Botticelli and Filippino Lippi. His many apprentices included Michelangelo.

His full name is given as Domenico di Tommaso Curradi di Doffo Bigordi; it appears therefore that his father's surname was Curradi, and his grandfather's Bigordi. Domenico, the eldest of eight children, was at first apprenticed to a jeweler or a goldsmith, most likely his own father. "Il Ghirlandajo" (garland-maker) nickname, came to Domenico from his father, a goldsmith was renowned in creating the metallic garlands worn by Florentine women. In his father's shop, Domenico was continually making portraits of the passers-by, and he was apprenticed to Alessio Baldovinetti to study painting and mosaic.

First works in Florence and Rome

In 1480 Ghirlandaio painted Saint Jerome and other frescoes in the Church of Ognissanti, Florence, and a life-sized Last Supper in its refectory. From 1481 to 1485 he was employed upon frescoes in the Sala dell' Orologio of the Palazzo Vecchio. There he painted the Apotheosis of St. Zenobius, a greater than life-size work, with much architectural framework, figures of Roman heroes and other detail, both striking in its perspective and structural propriety.

He was summoned in 1483 to Rome by Pope Sixtus IV to paint a Sistine Chapel wall fresco: Christ calling Peter and Andrew to their Apostleship. Other works in Rome are now perished. Before 1485 he had likewise produced his frescoes in the chapel of Santa Fina, in the Tuscan town of S. Gimignano, which after c.1350 was under the rule of nearby Siena. His future brother-in-law, Sebastiano Mainardi, assisted him in these productions in both Rome and San Gimignano.

Later Works in Tuscany

Back in Florence in 1485, Ghirlandaio painted fresco cycles in the Sassetti Chapel of Santa Trinita for the donor and banker Francesco Sassetti, head of the Medici bank in Genoa. He was later replaced by Giovanni Tornabuoni, a future patron of Ghirlandaio. In the chapel, Domenico painted six scenes from the life of St Francis, including St Francis obtaining from Pope Honorius the approval of the Rules of his Order; Death and Obsequies, and Resuscitation by the interposition of the beatified saint, of a child of the Spini family, who had been killed by falling out of a window. In the first work is a portrait of Lorenzo de Medici; and in the third the painter's own likeness, which he introduced also into one of the pictures in S. Maria Novella, and in the Adoration of the Magi in the hospital of the Innocenti. The altarpiece of the Sassetti chapel,Adoration of the Shepherds, is now in the Florentine Academy. Immediately after this commission, Ghirlandajo was asked to renew the frescoes in the choir of S. Maria Novella, which formed the chapel of the Ricci family, but the Tornabuoni and Tornaquinci families, then much more opulent than the Ricci, undertook the cost of the restoration, under conditions, as to preserving the arms of the Ricci, which gave rise in the end to some amusing incidents of litigation. The frescoes, by Domenico and many assistants, are in four courses along the three walls, the leading subjects being the lives of the Madonna and of the Baptist. These works are particularly interesting in containing many historical portraits, a method of treatment in which Ghirlandajo was preeminently skilled.

Ghirlandajo's series on the life of Mary, executed with utmost attention to realistic detail, seem to represent domestic scenes from contemporary life of the Florentine nobility, rather than historical events of cosmic significance.

There are no less than twenty-one portraits of the Tornabuoni and Tornaquinci families; in the subject of the Angel appearing to Zacharias, those of Politian, Marsilio Ficino and others; in the Salutation of Anna and Elizabeth, the beautiful Ginevra de Benci; in the Expulsion of Joachim from the Temple, Mainardi and Baldovinetti (or the latter figure may perhaps be Ghirlandajo's father). The Ricci chapel was reopened and completed in 1490; the altarpiece was probably executed with the assistance of Domenico's brothers, David and Benedetto; the painted window was from Domenico's own design. Other distinguished works from his hand are an altarpiece in tempera of the Virgin Adored by Sts Zenobius, Justus and others, painted for the church of St Justus, but now in the Uffizi gallery, a remarkable masterpiece; Christ in Glory with Romuald and other Saints, in the Badia of Volterra; the Adoration of the Magi, in the church of the Innocenti (already mentioned), perhaps his finest panel-picture (1488); and the Visitation (Louvre) which bears the latest ascertained date (1491) of all his works. Ghirlandajo did not often attempt the nude; one of his pictures of this character, Vulcan and his Assistants forging Thunderbolts, was painted for Lo Spedaletto, but (like several others specified by Vasari), no longer exists. The mosaics which he produced date before 1491; one, of especial celebrity, is the Annunciation, on a portal of the cathedral of Florence.

Critical Assessment and Legacy

His scheme of composition is grand and decorous; his chiaroscuro excellent, and especially his perspectives, which he would design on a very elaborate scale by the eye alone; his color is more open to criticism, but this remark applies much less to the frescoes than the tempera-pictures, which are sometimes too broadly and crudely bright. He worked in these two methods alone---never in oils; and his frescoes are what the Italians term buon fresco, without any finishing in tempera.

"Apotheosis of St. Zenobius" in the Palazzo Vecchio, Florence

A certain hardness of outline, not unlike the character of bronze sculpture, may attest his early training in metal work. He first introduced into Florentine art that mixture of the sacred and the profane which had already been practiced in Siena. Vasari says that Ghirlandajo was the first to abandon in great part the use of gilding in his pictures, representing by genuine painting any objects supposed to be gilded; yet this does not hold good without some considerable exceptions the highlights of the landscape, for instance, in the Adoration of the Shepherds, now in the Florence Academy, being put in gold. Many drawings and sketches by this painter, now in the Uffizi gallery, are remarkable for vigour of outline. One of the great glories of Ghirlandajo is that he gave some early art education to Michelangelo, who cannot, however, have remained with him long.

This renowned artist died of pestilential fever on the 11th of January 1494, and was buried in S. Maria Novella. He had been twice married, and left six children, three of them being sons. He had a long and honorable line of descendants, which came to a close in the 17th century, when the last members of the family entered monasteries. It is probable that Domenico died poor; he appears to have been gentle, honorable and conscientious, as well as energetically diligent.