text:
Talk:Parameter

Parameter article
You see it can be done. Many thanks, Andrewa, this is an excellent piece of work and I hope other mathematicians will take this as an example. Now we have all the tools for understanding the article and it is up to us now. Dieter Simon 01:03, 25 Nov 2003 (UTC)

I don't like the tenor of this page at all. It not only seems to make no distinction between a parameter and an argument to a function, but it seems to actually deny that there is any difference. More later........ Michael Hardy 22:50, 5 December 2005 (UTC)

A distinction should also be made between a parameter that can be measured for an object and an attribute of an object. DFH 13:01, 7 December 2005 (UTC)

Hum, restricting myself to the mathematics section. Its common to talk of a parameterised curve something like a circle which has a parametric equation $$(\cos(t),\sin(t))$$ with a parameter t does this fit? --Salix alba (talk) 23:43, 30 January 2006 (UTC)

Poor ordinary reader of Wikipedia
Please, please, please, take account of the majority of non-expert readers, who have come across the term "parameter" and want to find out what it is all about. Try to explain it to them in a way they can understand.

What is meant by an encyclopaedia such as Wikipedia? It is not a talking-shop among mathematicians, computer-scientists or logicians, nor is it a project for the advances of these sciences, it is purely and simply a way to find out about subjects I or many others do not know anything about, having other constituent terms explained and made reference to as we go along. You are mentioning the would-be keywords argument, open-predicate, etc., in italics, but omit to either explain them in the article nor reference them to any other Wiki article, where one could have them explained. Why not start in simple terms, explicating formulae, etc., and advance to a stage which allows you to make it creditable in the eyes of fellow-experts? Surely, there must be a way? I, as a humble layman, would warm to you in appreciation. Thank you. Dieter Simon 00:02, 26 April 2006 (UTC)

Perhaps, I should add, there are too many "givens", terms which are assumed to mean something to inexperts when it is precisely those in fact, they want to consult an encyclopaedia about in first place. Dieter Simon 00:58, 26 April 2006 (UTC)

--- --- ---

^^ Agreed, as a student at a UC looking for the defenition of Parameter as it applies specifically to the disparity between a statistic and parameter, this page had far too much jargon for me to make sense of it, or determine the definition myself. (04 May 2006, User: Evan Senter)

^^Also agreed, this is way to complicated for the average person. I suggest keeping the complicated stuff but leaving a section at the begginning explaining in simple terms what a parameter is.

 * I never thought this page was well written. It seems not as bad as it used to be.  But "parameter" is a concept defined a bit vaguely, and mathematicians have trouble writing clearly about things defined vaguely.  I read a brilliant exposition of this idea once.  I'm going to try to find it.  I may quote part of it here, with attribution. Michael Hardy 02:08, 5 May 2006 (UTC)
 * Thank you, Michael, it would be appreciated. Dieter Simon 23:30, 5 May 2006 (UTC)
 * I found it. I've added a short quote from it near the beginning. Michael Hardy 00:53, 2 July 2006 (UTC)
 * Many thanks. Dieter Simon 22:03, 2 July 2006 (UTC)

Improve paragraphs not remove them
I think parts of the article should be improved, not just removed. Have reverted. Dieter Simon 00:20, 27 May 2006 (UTC)

For normal people who have neither need for nor interest in mathematics, it would be sensible just to say what is generally meant by "parameter" and in particular to help distinguish between "parameter" and "criterion", two terms that are commonly but incorrectly interchanged. John Monteith (an environmental physicist who knew his maths) used the term parameter to mean a value (possibly but not necessarily numerical) derived from more than one predefined and objectively measurable factor. Thus: a parameter of success in scientific research is the number of papers published per year multiplied by the impact factor of the learned journal in which each was published; a parameter for water use efficiency of a plant is the number of H20 molecules lost per CO2 molecule fixed; a parameter for automobile efficiency is the number of kilometers travelled per liter of fuel consumed; a parameter of social good is the benefit which accrues to the most people minus the harm done to others. jon

 * Well yes, Jon. Sounds a good idea, so how about translating that into the actual article, so ordinary readers may get the benefit. Not everone reads the Talk pages. You may get some feedback from other experts, though, but if you know what you are talking about there should be no prob. Dieter Simon 23:28, 1 August 2006 (UTC)

i'd have done that if i had been able to find a way of editing the definition itself. as it is i seem only to have access to the examples etc. jon

 * I'm not sure what you mean, you can't edit the actual article of Parameter? Would How to edit a page help? Dieter Simon 00:13, 10 August 2006 (UTC)

Why I removed paragraph
The reason I removed the paragraph on parametric equalisers was that the (engineering) context was too specific. I can understand what the paragraph is trying to say, but a more general example should be given instead. I'll shift the parametric equaliser paragraph further down to the engineering section instead.132.234.251.211 00:54, 1 June 2006 (UTC)

 * Ok, 132.234.251.211, we now why you removed it, so how about doing exactly what you have suggested, give a more general example? Yes, as I originally proposed, we should write articles which the less initiated reader understands and then work on for the more technically-minded. Do you think you feel up to it? It would be appreciated. Dieter Simon 22:52, 1 June 2006 (UTC)

Reorganization
I tried to reorganize the article and rewrite some sections to present a coherent discussion of what a parameter is, rather than just a loose collection of examples of where the word "parameter" pops up. I also thought that it's important, especially to lay readers or students trying to understand mathematical and scientific terminology, to distinguish a parameter from a variable or an argument. As a physical scientist, I know how I and my colleagues use the terms, at least when we're being careful, but I'm not sure everything I wrote is spot-on from a mathematician's or statistician's point of view. Michael, what do you think? --Atemperman 22:37, 21 August 2006 (UTC)

 * Excellent work on a dificult subject. Dieter Simon 00:57, 22 August 2006 (UTC)

I think this needs to be split into a general page on what a parameter is for a complete layman and a more mathematical discussion. User:Mirams

What others say
The French Wikipedia gives the following definition of parameter: "Un paramètre est au sens large un élément d'information à prendre en compte pour prendre une décision ou pour effectuer un calcul." A rough translation into English may be: "A parameter is, in general meaning, a piece of information to be reckoned with in order to take a decision or to to perform a calculation."

Isn't this a simple and very general definition, good enough for many readers? The Swedes say:

"En parameter är en storhet som betraktas som konstant i en viss situation men som kan anta andra värden i andra situationer." A rough translation into English may be: "A parameter is a value, that is treated as constant in a given situation, but can have another value i another situation"

Also quite good and informative for non specialist readers.

Garbage? How about editing it so that everyone understands it?
Cuvette, rather than calling it "garbage", how about editing it so that it is factual but at the same time readable and making sense? We would appreciate it. It is an abstruse subject and people who come across the various strands want to understand it, I am sure. So, you are welcome to help us out here. Many thanks. Dieter Simon 01:00, 1 November 2007 (UTC)

Re examples: can you not try to make it easier for the layperson?
Once again we have reached a point when only mathematicians understand what you are talking about. Please do try to see my point here. I know the subject is abstruse and difficult for the lay person, and to write in such a way they can understand what you are talking about, isn't easy. This is an encyclopaedia, for goodness sake, not a learned treatise only like-minded mathematicians and logicians understand. You must lead people into your arguments in a way they understand, try to put yourselves into their place, not assume everyone is brilliant enough to follow you. Start from the beginning if need be, so all the terms you are using make sense to the uninitiated, because it is they who want to find out all about this, that is what an encyclopaedia is all about. Dieter Simon (talk) 01:51, 26 November 2007 (UTC)

 * Dieter, I had the same problem over at Hilbert space. It took months, if not years, before the opening paragraph was comprehensible to a lay person, and I got a lot of push-back from experts.
 * Perhaps we'll see the same result here, eventually. *sigh*
 * * Septegram * Talk * Contributions * 06:26, 30 November 2009 (UTC)
 * All your efforts are very much appreciated, many thanks. Dieter Simon (talk) 18:58, 30 November 2009 (UTC)

You could easily illustrate the difference between a parameter and a variable by using f(x)=ax. Changing "a" would change the slope and thereby allow the purpose of this particular parameter to become visual and easy to grasp. —Preceding unsigned comment added by Tomowsiak (talk • contribs) 17:46, 4 December 2009 (UTC)

What is a parameter?
How's this for a precise definition of two of the senses? The first sense appears scattered through the article in many vaguely and differently worded guises. The second is the sense described in the section Analytic geometry.

(1) Given an n-ary function, say the 5-ary function F = F(_,_,_,_,_) (that is a function of n arguments, a function of n independent variables), and given an (n-k)-ary function, say the (5-2)-ary (that is, 3-ary) function F(q,r,_,_,_) = f(_,_,_) = f, the k variables which are inputted to turn the n-ary function F into (n-k)-ary functions of the form f are called parameters of the class of all possible (n-k)-ary functions of the form f (the latter functions differing from each other according to the values of the parameters, in this case q and r).

(2) The argument (independent variable) of the vector-valued function defined by a so-called parametric equation. That is, a function from some interval of R to some real coordinate space specific to that function.

Dependent Variable (talk) 06:58, 7 March 2011 (UTC)

my understanding of differences between parameters and variables
a mathematic model described by mathematic functions includes parameters and variables. variables determine the function structure(type of mathematic functions, symmetric or non-symmetric). parameters change some function properties(increasing function or decreasing function). — Preceding unsigned comment added by Jiancontrol (talk • contribs) 19:18, 31 March 2011 (UTC)

Error
I just deleted the following definition, which was included in the lead paragraph:

 * Parameter- is a computation from data values recorded- but it is not actually a data value recorded from a subject. Example: for a population of test scores, a parameter would not be an actual score, but perhaps an average computed from all scores, or a percent computed from all scores.

That's a definition of 'statistic', not a definition of 'parameter'. Sometimes the word 'parameter' is used that way in everyday speech, but it's an error. Rinconsoleao (talk) 12:11, 20 July 2011 (UTC)

Main definition
Most of the article is very clear and helpful, but the first paragraph is awful. In 2008 there was a comprehensible lead paragraph, although it failed to define 'parameter' precisely. Here's the main definition as of 2008:

 * In mathematics, statistics, and the mathematical sciences, a parameter (G: auxiliary measure) is a quantity that defines certain characteristics of systems or functions. In different contexts the term may have special usage.

Now (2011) I simply can't understand the first sentence, and I'm particularly perplexed by the way the word 'variable' shows up twice in a row. Here's the current definition, July 2011:

 * In mathematics, statistics, and the mathematical sciences, a parameter (G: auxiliary measure) is a quantity that serves to relate functions and variables using a common variable when such a relationship would be difficult to explicate with an equation. In different contexts, the term may have special uses.

From all the examples, one gets the following picture: functions may be said to depend on 'variables' and 'parameters'. Changing a variable means moving along the axis (or axes), whereas changing a parameter means shifting the curve. Can anyone state that in a more precise and correct way? Rinconsoleao (talk) 12:53, 20 July 2011 (UTC)

I would suggest the following as definition:

 * In mathematics, statistics, and the mathematical sciences, a parameter is a quantity that can be changed but is being held fixed (within some discourse). The concept is thus an intermediate between variable and constant, the distinctions from which are in both cases subjective.

That parameter in parametric curve and one-parameter group is taken to mean independent variable is effectively a separate meaning of the word and the article should state so clearly. This second meaning does however arise as a degenerate case of the general meaning, since the things being unified by the parametrisation are not functions or graphs of same, but individual points. 130.239.234.45 (talk) 16:06, 16 October 2012 (UTC)

 * I think that, even if the common meaning of the term is restricted to an independent variable or an external influence, this definition must be preserved in the introduction which is addressing common users. The intro should not enter into scientific demonstration but only refer to the different meanings that are developed later in the article. The use of the term "parameter" is not restricted to science. It is commonly used in arts, in architecture, in philosophy, in politics and so on... Any artistic or architectural project will be designed in relation to diverse parameters which can be environmental, emotional, technical and so on. Why should the article favour the mathematical meaning of the term?--Christophe Krief (talk) 22:20, 16 October 2012 (UTC)

Proposed split
I think the contents related to mathematics and statistics should be split to a new article Parameter (mathematics) and that this article should be a disambiguation page listing various uses of the word parameter. What do other people think? Isheden (talk) 13:43, 1 October 2012 (UTC)

 * I think that it would be preferable to keep the article as one, because to my understanding, the different meanings of the term are related; and it is the variety of meanings that make the term rich and interesting.--Christophe Krief (talk) 22:16, 16 October 2012 (UTC)

Computing vs. Computer Programming
I split the use of parameter in computing from the computer programming discussion. This is still not a good fit, but this more general usage of parameter doesn't go with the detailed discussion of arguments and parameters in the computer programming section, which I think might be confusing (IMO). It also doesn't fit any other of the mentioned uses. This usage of "parameter" is more general, for example a program to analyze some data could be run with the limits of acceptable vs. unacceptable values as parameters, or a program to integrate a function could be run with the limits as parameters. Peter Flass (talk) 14:12, 7 March 2014 (UTC)

Free Willey
Wikipedea's mathematics section are such garbage. And this is because it is controlled by a few idiotic academic professors who refuse to make them understandable to the public and then pour on multiple lines of theory. They are valueless as a result. — Preceding unsigned comment added by 166.84.1.2 (talk) 16:59, 18 March 2017 (UTC)
 * Please be civil in discussions. Referring to other editors as "idiotic academic professors" does nothing to advance your argument. You may be blocked for failing to abide by this WP policy. Mind  matrix  21:44, 19 March 2017 (UTC)

This talk section where people talk. You should know how people feel when they run into editors who park their ego's a an article and block fruitful efforts to make complex subjects understandable by the lay public. That lay public will be your experts of tomorrow. It is what encyclopedias are made for. And when you treat this with disdain, they react by feeling you are an idiot. And then they might even say that in the talk section rather than vandalize the real article.166.84.1.2 (talk) 01:36, 20 March 2017 (UTC)

Parentheses following $$\log$$
It is not necessary, except that the argument to $$\log$$ is something like $$a+b$$. This is true also for $$\sin$$/$$\cos$$/$$\tan$$/$$\exp$$/$$\sum$$/$$\int$$. — Preceding unsigned comment added by Biohuang (talk • contribs) 10:18, 21 November 2018 (UTC)

 * Good luck! Try being bold. Purgy (talk) 10:48, 21 November 2018 (UTC)

Proposed separate main article for Parameter (artificial intelligence)
The section on artificial intelligence refers to parameters in Artificial neural networks (NN) only. There are several additional models for artificial intelligence and Machine learning, where parameters have a different significance. Logistic regression, Conditional random field, Decision tree learning and Support vector machines (SVM) are among them. I propose a separate article for the details and a link to such a new main article similar to the existing link to Parameter (computer programming). BBCLCD (talk) 07:54, 4 January 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Parameter


text:
Talk:Software reusability

Today's edit was incorrect.

Software Reuse and Software Reusability are not exactly the same thing

Restore the definition for " Sw Reuse"

title: Talk:Software reusability


text:
Christian Brothers

Christian Brothers may refer to:

Arts and entertainment

 * Christian Brothers (film), a 2011 Malayalam-language thriller film
 * The Christian Brothers, a 1975 play by Australian writer Ron Blair
 * "Christian Brothers", a song by Elliott Smith from his 1995 album Elliott Smith

Religious orders

 * Congregation of Christian Brothers or Irish Christian Brothers, a Catholic lay order founded in Ireland in 1802
 * De La Salle Brothers or French Christian Brothers, a Catholic lay order founded in France in 1680

Schools

 * Christian Brothers Academy (disambiguation)
 * Christian Brothers College (disambiguation)
 * Christian Brothers High School (disambiguation)

title: Christian Brothers


text:
Frick Collection

The Frick Collection (colloquially known as the Frick) is an art museum on the Upper East Side of Manhattan in New York City, New York, U.S. It was established in 1935 to preserve the art collection of the industrialist Henry Clay Frick. The museum consists of 14th- to 19th-century European paintings, as well as other pieces of European fine and decorative art. It is located at the Henry Clay Frick House, a Beaux-Arts mansion designed for Henry Clay Frick. The Frick also houses the Frick Art Reference Library, an art history research center established by Frick's daughter Helen Clay Frick in 1920, which contains sales catalogs, books, periodicals, and photographs.

The museum dates to 1920, when the trustees of Frick's estate formed the Frick Collection Inc. to care for his art collection, which he had bequeathed for public use. After Frick's wife Adelaide Frick died in 1931, John Russell Pope converted the Frick House into a museum, which opened on December 16, 1935. The museum acquired additional works of art over the years, and it expanded the house in 1977 to accommodate increasing visitation. Following fundraising campaigns in the 2000s, a further expansion was announced in the 2010s. From 2021 until March 2024, during the renovation of the Frick House, the Frick Madison operated at 945 Madison Avenue. The Frick House is scheduled to reopen in late 2024.

The Frick has about 1,500 pieces in its collection as of 2021. Artists with works in the collection include Bellini, Fragonard, Gainsborough, Goya, Holbein, Rembrandt, Titian, Turner, Velázquez, Vermeer, and Whistler. The museum has gradually acquired additional pieces over the years to supplement the paintings in Frick's original collection. In addition to its permanent collection, the museum has hosted small temporary exhibitions on narrowly defined topics, as well as academic symposiums, concerts, and classes. The Frick Collection typically has up to 300,000 visitors annually and has an endowment fund to support its programming. Commentary on the museum over the years has been largely positive, particularly in relation to the works themselves and their juxtaposition with the Frick House.

History
Henry Clay Frick was a coke and steel magnate. As early as 1870, he had hung pictures throughout his house in Broadford, Pennsylvania. Frick acquired the first painting in his permanent collection, Luis Jiménez's In the Louvre, in 1880, after moving to Pittsburgh. He did not begin buying paintings in large numbers until the mid-1890s, and he began devoting significant amounts of time to his collection. This made Frick one of several prominent American businessmen who also collected art, along with figures such as Henry Havemeyer and J. P. Morgan. In explaining why he collected art, Frick said, "I can make money... I cannot make pictures." He curated his collection with the help of Joseph Duveen, 1st Baron Duveen.

When the Frick family moved from Pittsburgh to New York City in 1905, they leased the William H. Vanderbilt House at 640 Fifth Avenue, and Frick expanded his collection during that time. The collection was spread across their homes in New York, Pennsylvania, and Massachusetts. Thomas Hastings of Carrère and Hastings designed Frick's permanent house at 1 East 70th Street, which was completed in 1914. The house had been designed with the collection in mind. James Howard Bridge, Frick's personal assistant, was hired as the house's curator in 1914 and worked at the house for fourteen years. Frick, who was known for being especially particular in his tastes, spent an estimated $10 million to acquire pieces during his lifetime. Duveen opened four art-purchasing accounts for Frick, including two accounts specifically for art from Morgan's estate.

Establishment of Frick Collection Inc.
Frick died in 1919 at the age of 69, bequeathing the house as a public museum for his art collection. His widow Adelaide Howard Childs Frick continued living in the mansion with her daughter Helen; if Adelaide died or moved away, the house would be converted to a public museum. At the time, the collection alone was worth $30 million, and Frick also provided a $15 million endowment for the maintenance of the collection. Nine people, including Adelaide, Helen, and Helen's brother Childs, were named as trustees of his estate; Childs served as the head of the Frick estate's board of trustees until his death in 1965. Per the terms of Frick's will, the trustees moved to incorporate Frick's art collection in April 1920, submitting articles of incorporation to the New York state government. The Frick Collection Inc. was incorporated that month.

The New York and Pennsylvania state governments fought over which government should collect taxes from Frick's estate. Amid this dispute, the collection was reassessed at $13 million in 1921; this figure was repeated in a revised appraisal of Frick's estate that was filed with the New York state government in 1923. Meanwhile, Helen Frick studied plans for the Witt Library in London in the early 1920s, as she wanted to create a library for Frick's personal collection. Helen catalogued most of the collection over the next decade. The Frick Art Reference Library was organized at the mansion after Frick's death, and a dedicated library building opened the next year. During the 1920s, the library added thousands of volumes and photographs to its holdings. Over the years, four additional trustees had to be appointed after their predecessors died.

Opening of museum
After Adelaide Frick's death in October 1931, the trustees were finally allowed to open the house to the public; they announced in January 1933 that the collection would likely open to the public within a year. John Russell Pope was hired to alter and enlarge the house. Frederick Mortimer Clapp, who had joined the Frick Collection as an advisor in 1931, was hired as the museum's first director. Work on the mansion began in December 1933. A new library wing was constructed on 71st Street to replace the original library. Other modifications included a new storage vault and renovations of the Frick family's living space. The museum's opening, originally scheduled for 1934, was postponed because of the complexity of the construction project. The Frick estate also sued the city government in 1935 to obtain a property-tax exemption for the museum, and the taxes were waived the next year, as the Frick Collection was a public museum.

When the rebuilt library opened in January 1935, it had 200,000 photographs, 18,000 catalogs of art sales, and 45,000 books. The museum itself had a soft opening on December 11, 1935; the preview was noteworthy enough that the names of 700 visitors were published in that day's New York Herald Tribune. The Frick Collection officially opened to the public five days later on December 16. When it opened, the museum did not charge admission fees, but staff distributed timed-entry tickets to prevent crowding. Although about 600 tickets were distributed daily to people who showed up in person, other visitors had to make reservations several weeks in advance due to high demand. Ropes were placed throughout the house to force visitors to follow a specific path. The galleries were originally closed on holidays, Sundays, and for a month in the middle of the year. Artworks were arranged based on how they blended in with the house's ambiance, rather than being arranged by year.

1930s to 1960s
Within a year of the museum's opening, demand had declined enough that officials decided to scale down, and then eliminate, its timed-entry ticketing system. The ropes throughout the house were taken down, and visitors were allowed to visit the Frick House's rooms in any order. Museum officials also presented lectures five days a week during the late 1930s, and they started hosting afternoon concert series in November 1938; these concerts and lectures continued throughout Clapp's tenure at the museum. Clapp also obtained fresh flowers each day and placed them in the first-floor galleries for esthetic purposes. Three magnolia trees were planted on the grounds in 1939. To expand their land holdings, museum officials bought a neighboring townhouse at 9 East 70th Street in 1940 and used that building as storage space.

Museum officials constructed a vault in 1941 to protect the artwork from air raids. During World War II, the museum continued to host visitors, but some rooms were closed, and more than five dozen paintings and all of the sculptures were moved into storage. Museum officials took these pieces out of storage in May 1945 and restored them; other artworks in the house were rearranged and cleaned as well. The Frick acquired another townhouse at 7 East 70th Street in 1947 and replaced it with a service wing. By the late 1940s, the museum had cumulatively spent about $2.9 million in acquisitions since Frick's death. When John D. Rockefeller Jr. offered to donate several pieces of artwork in 1948, Helen Frick objected, arguing that the museum only accepted gifts from Frick family members. In the lawsuit that followed, a New York Supreme Court judge ruled that the terms of Frick's will did not prevent the museum from accepting external gifts; the court's Appellate Division upheld this ruling. Rockefeller, who had been on the board of trustees, resigned amid the dispute.

Clapp resigned in 1951 and was replaced by the museum's assistant director Franklin M. Biebel. Biebel established a decorative-arts conservation program, and the number of annual visitors nearly doubled under his tenure. The museum's collection remained largely unchanged over the next several years, as Helen Frick opposed any expansions, saying that her father would not have wanted items to be added. Helen resigned from the museum's board of trustees in 1961, when the board finally voted to accept Rockefeller's gift. Assistant director Harry D. M. Grier replaced Biebel, becoming the museum's third director in 1964. By the mid-1960s, the Frick had 160 portraits, 80 sculptures, and various other items in its collection. The Frick was open six days a week (except in August, when it was closed) and was still free to enter. The collection was small compared to that of the Metropolitan Museum of Art, which at the time had 365,000 items. Edgar Munhall was hired as the museum's first chief curator in 1965, a position he would hold for thirty-five years. As part of a master plan in 1967, the Frick's trustees drew up plans for an annex at 7 and 9 East 70th Street.

1970s to 1990s
By the early 1970s, the museum recorded about 800 daily visitors and employed 75 staff members. The next year, the museum began asking visitors to pay an optional admission fee due to rising taxes and expenses. After Grier was killed in a traffic accident in 1972, Everett Fahy was appointed as the museum's fourth director in 1973. The museum announced plans to construct an annex at 5–9 East 70th Street. After the New York City Landmarks Preservation Commission (LPC) expressed concerns over the fact that the expansion would require the demolition of the Widener House at 5 East 70th Street, the museum announced a plan for a "temporary garden" on the 70th Street lots, which the LPC approved. The original annex was canceled that November, and Frick officials subsequently decided to build a one-story wing on the Widener House's site. The annex had been proposed because, at the time, the mansion could accommodate only 250 people at once.

Under Fahy's tenure, the museum began hosting more temporary exhibits, which it had seldom held before Fahy took over. The Frick began charging admission for the first time in 1976. The annex was completed the next year, along with a garden, designed by British landscape architect Russell Page. The Frick renovated the Boucher Room and cleaned and rearranged its paintings during the following decade. By the mid-1980s, the museum displayed 169 works of art, and the galleries occupied 16 rooms. The museum periodically hosted chamber music performances in the Frick House's courtyard. It was relatively low-profile compared to others in New York City, only sporadically expanding its collection and hosting small temporary exhibitions. After Helen Frick died in 1984, the museum took over responsibility for the Frick Art Reference Library; initially, the library had no endowment as Helen had not provided anything for the library in her will. Ceiling lights were installed in the Fragonard and Boucher rooms in the 1980s.

Charles Ryskamp, the former director of the Pierpont Morgan Library, was appointed as the Frick's fifth director in December 1986 after Fahy's resignation, though he did not assume that position for another six months. Under Ryskamp's directorship, some of the paintings were rearranged or brought out of storage. By the 1990s, the art reference library was low on funds; the library had a $25 million endowment by 1993, and the Frick began charging "frequent commercial users" of the library that year. Through the 1990s, the Frick banned all children under the age of 10, as well as unaccompanied minors between ages 10 and 15, and the museum also did not have a café. The New York City government passed a law banning public institutions from discriminating by age in 1993, which would have forced the museum to start admitting children. Museum officials requested a waiver, saying that they would have to install barriers if children were allowed, and they received such a waiver in 1995. In addition, further lighting upgrades were made in the mid-1990s.

Ryskamp announced his retirement in 1997. After Samuel Sachs II was named as the museum's sixth director that May, the trustees tasked him with raising funds. Under Sachs's directorship, the museum launched a website in the 1990s, and replaced the lighting and hosted additional special exhibitions. Sachs also contemplated expanding the exhibition space, adding a café, and relocating the entrance to the house's garden. In addition, the museum began providing complimentary audio guides for the mansion and artworks and, in the early 21st century, added the Bloomberg Connects smartphone app. Museum officials also began allowing parties to be hosted in the Frick House. A group named Friends of the Fellows of the Frick Collection was formed to raise interest in the museum.

2000s and 2010s
Colin Bailey was appointed as chief curator in 2000 after Munhall resigned. During the late 1990s, the Helen Clay Frick Foundation proposed moving its archives in Pittsburgh to the Frick Collection's archives, prompting an intra-family debate over whether the collections should be merged. The foundation's collection ultimately was split between the two cities in 2001, and most of the objects were sent to New York City. After attendance dropped following the September 11 attacks that year, the Andrew W. Mellon Foundation provided $270,000, in part to fund extended hours on Fridays. Sachs announced in January 2003 that he would resign as the museum's director in eight months, as the board of trustees had not renewed his contract. At the time of Sachs's resignation, the museum recorded 350,000 annual visitors, 20 percent more than in 1997, but it was running at a $1 million annual deficit. Annexes to the museum were proposed in 2001, 2005, and 2008, but all of these plans were canceled because it would have required an extended closure of the museum and still would not have provided sufficient space.

The art scholar Anne L. Poulet was hired in August 2003 as the Frick's first female director, and the museum was reorganized as a tax-exempt public charity shortly after Poulet became the director. Under Poulet's tenure, she replaced lighting in several galleries and rearranged some of the pieces. She also raised $55 million for renovations; the museum's facilities had become dated, and the basement exhibition space was no longer sufficient. Because of the Frick's classification as a charity, the museum had to raise a third of its budget from donations. The Frick created programs to attract major donors and art collectors, and it began charging admission fees for concerts in 2005. During the 2000s decade, the Frick did not acquire many additional items. In contrast to larger museums, it generally hosted small, detailed exhibits, though the number of short-term exhibitions at the Frick increased during the decade. Further restorations of the museum's galleries took place through the late 2000s to attract visitors.

Poulet announced her retirement in September 2010, and Ian Wardropper was hired as the museum's director in 2011. A sculpture gallery, designed by Davis Brody Bond, opened at the Frick House in December 2011, becoming the first new gallery at the museum in three decades. Bailey resigned as the chief curator in 2013, and Xavier F. Salomon was hired as the chief curator the same year. During the 2010s, the Frick began raising $290 million for its renovation. The collection had reached more than 1,100 works by the mid-2010s. In addition, the museum was hosting an average of five temporary exhibits per year. The Frick House's facilities were not adequate for the museum's modern needs. For example, paintings had to be carried into the museum through the house's front door, and portraits had to be placed in storage whenever the Frick hosted a visiting show. The concerts at the museum sometimes sold out as well.

In 2014, the museum announced plans for a six-story annex on 70th Street designed by Davis Brody Bond. Russell Page's garden on 70th Street would have been demolished to make way for the annex; this prompted opposition from residents and preservationists, and the Frick announced in June 2015 that it would draw up new designs. To attract younger visitors, the museum began hosting free events in the mid-2010s, such as First Fridays. The Frick hired Annabelle Selldorf to design a revised expansion plan for the museum, which was announced in April 2018; the LPC approved Selldorf's plans that June. The Frick then sought to relocate to the Solomon R. Guggenheim Museum temporarily, but the Guggenheim was available for only four months. By September 2018, the Frick was negotiating to take over the Whitney Museum's space at 945 Madison Avenue; the Frick finalized a two-year lease for that building in 2020.

2020s to present
The Frick closed in mid-March 2020 due to the COVID-19 pandemic in New York City; the opening of the temporary location was delayed due to the pandemic. The museum's collection was moved to 945 Madison Avenue, which reopened as the Frick Madison in March 2021. The Frick Madison housed the museum's old masters collection, including 104 paintings, along with sculptures, vases, and clocks. Most of the 1,500-piece collection of artwork was placed in storage at 945 Madison Avenue, and about 300 works were placed on display. At the Frick Madison, the artwork was exhibited against stark dark gray walls, in contrast to the Frick House's ornate decoration; the paintings were also grouped according to their age and region of origin. The Frick Madison also included a café.

The museum had raised $242 million for its capital campaign by the end of 2023. Wardropper announced in January 2024 that he would resign the following year, after the Frick House's renovation was complete. That month, the museum received permission for 14 liquor licenses at the Frick House, which would allow the museum to serve alcohol at special events. The Frick Madison closed on March 3, 2024, and the Henry Clay Frick House is scheduled to reopen in late 2024.

Collection
The Frick has a collection of old master paintings and furniture housed in 19 galleries of varying size within the former residence. Frick ultimately acquired a variety of European paintings, Renaissance bronzes, French clocks, and a set of porcelains. Toward the end of Frick's life, he focused on porcelains, sculptures, and furniture. Although Frick made over a thousand acquisitions over his lifetime, he resold most of the things he bought. The original collection contained 635 pieces of art or decorations when Frick died. When the museum opened, it displayed 136 or about 200 paintings in addition to porcelains, enamels, and bronzes. There were also 80 sculptures on display.

Helen Clay Frick and the board of trustees expanded the collection after his death; in 2006, the New York Times estimated that about 30 percent of the collection had been acquired after Frick died. Nonetheless, until 1948, the museum accepted donations of art only from Frick family members. The museum can lend works acquired after Frick's death, but not works that he owned in his lifetime; this restriction has prevented works from appearing in other museums' exhibitions. The Frick is also prohibited from selling items in its collection and seldom acquires new works. Some of the works are normally not visible to the public but can be displayed as necessary. The Frick has sometimes borrowed paintings for long periods, including a portrait of Cosimo de' Medici that was displayed in the museum from 1970 to 1989. Purchases of new art were funded by the museum's endowment until 2016, when the museum's trustees established an acquisitions fund.

, the museum has 1,500 pieces in its collection, including both paintings and other objects; it normally displays 470 objects. Prior to the museum's 2021 renovation, the artwork was displayed in 15 galleries.

Visual arts collection
Frick's collection initially consisted of salon pieces and works by Barbizon School artists, and he bought 90 paintings from Charles Carstairs between 1895 and 1900 alone. He had begun to acquire other types of paintings by the end of the 19th century, and his acquisitions during the 1900s were increasingly composed of Old Master artworks. By the early 1910s, his collection consisted largely of English and Dutch paintings, with scattered French and Spanish paintings; a magazine article from that time described him as having relatively little interest in Italian Renaissance work. The paintings ranged from the 14th to 19th centuries, and many of the paintings depicted women. There were some chronological gaps in the original collection: for example, there were no 17th-century French paintings when the museum opened, even as the museum had both older and newer French paintings.

When Frick died, he was variously cited as having collected 103, 137, "about 140", or 250 paintings. Some of the original paintings in Frick's personal collection were discovered to be forgeries after his death, while other paintings were found to be misattributed. Artists with works in the museum's collection have included:
 * Giovanni Bellini
 * François Boucher
 * Agnolo Bronzino
 * Cimabue
 * John Constable
 * Jean-Baptiste-Camille Corot
 * Aelbert Cuyp
 * Jacques-Louis David
 * Gerard David
 * Jean-Honoré Fragonard
 * El Greco
 * Gentile da Fabriano
 * Thomas Gainsborough
 * Francisco Goya
 * Frans Hals
 * Meindert Hobbema
 * William Hogarth
 * Hans Holbein the Younger
 * John Hoppner
 * Jean Auguste Dominique Ingres
 * Thomas Lawrence
 * Jean-François Millet
 * Bartolomé Esteban Murillo
 * Jean-Marc Nattier
 * Henry Raeburn
 * Rembrandt
 * Pierre-Auguste Renoir
 * Joshua Reynolds
 * George Romney
 * Titian
 * J. M. W. Turner
 * Johannes Vermeer
 * Paolo Veronese
 * Diego Velázquez
 * Anthony Van Dyck
 * Jan van Eyck
 * Jacob van Ruisdael
 * James McNeill Whistler

Several artists, including Holbein, Vermeer, Rembrandt, Turner, Gainsborough, Van Dyck, Fragonard, and Boucher, painted multiple pieces that are in the collection. Included in the modern collection are Fragonard's The Progress of Love, three Vermeer paintings including Mistress and Maid, two van Ruisdael paintings including Quay at Amsterdam, El Greco's Christ Driving the Money Changers from the Temple, Titian's Portrait of a Man in a Red Cap, one of Rembrandt's self-portraits, and della Francesca's St. John the Evangelist.

Notable works in the original collection
Some of the earliest works in Frick's collection were portraits of his family, created for his Pittsburgh residence. At the beginning of the 20th century, Frick bought works such as Rembrandt's Portrait of a Young Artist (possibly the first Old Master painting in the collection ), Jean-Baptiste-Camille Corot's Ville d'Avray, Constant Troyon's A Pasture in Normandy, and Vermeer's Girl Interrupted at Her Music. From 1905 to 1915, Frick also acquired paintings such as Hals's Portrait of a Woman, Velázquez's Portrait of Philip IV in Fraga, Rembrandt's A Dutch Merchant, and Rembrandt's The Polish Rider.

After Frick had finished his own mansion, he brought over several paintings of his firstborn daughter Martha, who had died in her childhood. He also obtained 14 Fragonard panels from the collection of J. P. Morgan and moved the panels to his house's drawing room. At the time of the house's completion, he owned paintings by such artists as El Greco, Goya, Hals, Rembrandt, Romney, Titian, Anthony van Dyck, and Velázquez. In the late 1910s, Frick acquired additional pieces from outside the Morgan collection, such as Hans Holbein's portrait of Thomas Cromwell, Rubens's Portrait of the Marquis Ambrose de Spinola, Rembrandt's An Old Woman Reflecting Over the Lecture, and Gainsborough's Mall between 1915 and 1916 alone. He also bought four Boucher panels, although he turned down the opportunity to buy additional panels. From 1917 through 1919, Frick obtained several pieces of Boucher tapestry furniture, Van Dyck's Countess of Clanbrazil, Hals's Portrait of a Man, Vermeer's Mistress and Maid, and a Gilbert Stuart portrait of George Washington.

Notable acquisitions after Frick's death
In the half-century after Frick died, thirty objects were added to the original collection. After Frick's death but before the opening of the current museum, the Frick estate's trustees bought the Portrait of Comtesse d'Haussonville by Jean-Auguste-Dominique Ingres, as well as a painting by Duccio and the Coronation of the Virgin by Paolo Veneziano. The Giuseppe Bastiani painting Adoration of Magi was acquired in 1935. Works by Cimabue, Duccio, della Francesca, and Filippo Lippi entered the museum's collection for the first time between 1924 and 1950. Shortly after the museum opened, it acquired items such as a Renaissance-era panel by della Francesca, a portrait that Boucher painted of his wife, Jacques-Louis David's painting of a French noblewoman, Monet's Vétheuil in Winter, and a Paul Cézanne landscape. This was followed in the 1950s by three Italian Renaissance paintings, David's portrait of Antonio Bartolomeo Bruni, and Jan van Eyck's Virgin and Child, with Saints and Donor. The collection had only one 17th-century French work until the 1960s, when the museum obtained Claude Lorrain's painting of the Sermon on the Mount; the museum also obtained della Francesca's Crucifixion during that decade.

The Frick did not acquire anything between c. 1968 and 1991, when the museum obtained its first Jean-Antoine Watteau painting, Portal of Valenciennes. The museum's other acquisitions in the 1990s and 2000s included one of Corot's oil sketches, two of Jean-Baptiste Greuze's portraits, and Gabriel de Saint-Aubin's The Private Academy. After former director Ryskamp died in 2010, he bequeathed some of his collection to the Frick. The museum's other acquisitions in the 2010s included a self-portrait by Bartolomé Esteban Murillo that had been owned by Henry Clay Frick's grandson. In 2023, the Frick obtained Giovanni Battista Moroni's painting Portrait of a Lady, the first Renaissance-era portrait of a woman in the collection.

Other objects
The modern-day museum's collection includes numerous works of sculpture and porcelain, in addition to 18th-century French furniture, Limoges enamel, and Oriental rugs. The objects in the collection include 18th-century tapestries that belonged to Louis XV and Louis XVI of France.

Frick had acquired some objects from the J. P. Morgan estate specifically to complement the visual art in his collection. Some of these acquisitions included 18th-century French sculptures and furniture, a hawthorn beaker, and Chinese porcelains. In one case, Frick paid $1.5 million for some of Morgan's 44 enamels and 225 bronzes. He also acquired 40 Limoges enamels from Morgan's collection in 1919, one of the last things he would personally purchase. Outside of the Morgan collection, Frick also bought the bronzes Bust of a Jurist by Danese Cattaneo, Antonio Galli by Federico Brandani, and Duke of Alba by Jacques Jonghelinck. Although Frick had planned a sculpture gallery to his home in the late 1910s, the lack of other statuary caused him to cancel the plan. Duveen displayed numerous marble busts in the Frick House while Frick decided whether to buy them.

A bust of Henry Clay Frick by Malvina Hoffman was gifted to the museum when it opened in 1935. Other acquisitions of sculpture in the mid-20th century included a Diana bust by Jean-Antoine Houdon, a 15th-century bronze figure of an angel, and a pair of 15th-century Italian marble busts. In the 1990s and 2000s, the Frick received Winthrop Edey's collection of timekeeping pieces, a 19th-century terracotta bust by Joseph Chinard, a marble bust by Houdon; a bust by Massimiliano Soldani Benzi, and a clock. Acquisitions since the 2010s have included 131 Meissen porcelains, as well as 28 objects from collector Alexis Gregory (including rare clocks and enamels).

Temporary exhibits
The Frick Collection has historically hosted temporary exhibitions less frequently than similar museums. It initially focused almost exclusively on its permanent collection, with one temporary exhibit a year during the 1960s. Since 1972, the Frick has sometimes hosted small exhibitions on narrowly defined topics; in some cases, exhibitions have consisted of a single painting. By the 2010s, the museum hosted five exhibits a year on average, and exhibitions were scheduled several years in advance.

Late 20th century
Temporary exhibitions in the 1970s included an exhibit in honor of the museum's late director Harry D. M. Grier, bronzes by Severo Calzetta da Ravenna, and drawings by Fragonard. Topics of temporary exhibitions during the 1980s included busts by Houdon, French clocks, terracotta sculptures by Clodion, drawings by Ingres, Henry Clay Frick's earliest acquisitions, and Old Master paintings.

Especially in the late 20th and early 21st centuries, the museum has hosted temporary exhibitions about singular artworks or artists. Among the items exhibited in the 1990s were works by French painter Nicolas Lancret, watercolors from the Rijksmuseum, eighteenth- and nineteenth-century drawings from the Stanford Museum, a single Claude Monet painting, drawings by German artists, and drawings by French artists. In 1999, several items in the permanent collection were taken out of storage specifically to complement an exhibition of Ingres's Portrait of Comtesse d'Haussonville.

21st century
In the early 2000s, the topics of the Frick's exhibitions included drawings in the collection of the Albertina museum, paintings from John Hay Whitney's collection, El Greco paintings, antique clocks, pieces from the Toledo Museum of Art's collection, a set of Parmigianino paintings, and three consecutive exhibits of antique bronzes. Later in the decade, the temporary exhibitions included portraits by Hans Memling, paintings by Paolo Veronese, a show of French art, the Frick's first Meissen porcelain show, pieces from the Norton Simon Museum's collection, and a single painting by Parmigianino. The Frick hosted various exhibits in honor of its 75th anniversary in 2010, including an exhibition on its own founding. Other early-2010s exhibits included works from the Dulwich Picture Gallery, works from the Courtauld Gallery, Picasso drawings, Renoir paintings, Piero della Francesca panels, and a historical overview of St. Francis in the Desert.

After some works from the Mauritshuis in The Hague were displayed at the Frick in 2013, the Frick displayed several paintings at the Mauritshuis in 2015, marking the first time that the Frick lent paintings to a European museum. During the mid- and late 2010s, the subjects of the Frick's exhibits included paintings from the Scottish National Gallery's collection, paintings from the Museo dell'Opera del Duomo in Florence, works by Andrea del Sarto, objects by Pierre Gouthière, and canvases by J. M. W. Turner. When the Frick moved to 945 Madison Avenue in the early 2020s, its exhibits included a showcase of Barkley Hendricks paintings (the museum's first exhibit of a black artist's art) and a pair of paintings by Giovanni Bellini and Giorgio da Castelfranco.

Other programs
The museum hosts special events, such as academic symposiums, concerts, and classes. The educational programs are led by Rika Burnham, who became head of the museum's education department in 2008. The Frick's educational programs include online visits for students at secondary schools and postsecondary institutions, as well as courses where a single piece is discussed at length. The Frick also has partnerships with local educational partnerships such as the Ghetto Film School. Docents began hosting lectures in galleries in 2010, and the museum launched a mobile app in 2014, allowing visitors to bookmark artworks in the museum's collection. After the Frick closed for renovation, museum officials launched several digital programs, including drawing classes and discussions about artwork.

Every year since 2000, the Frick hosts the Young Fellows Ball, a springtime gala for philanthropists who are largely under age 40. The museum also started hosting an annual Garden Party in 2008;  the event, which began as a members-only gathering, evolved into an annual fundraiser. In 2016, the Frick introduced First Fridays, in which patrons could visit the museum for free on the first Friday of every month. First Fridays include gallery talks and activities for visitors.

The Concerts from the Frick Collection series was launched in 1938 and has continued through the 20th and 21st centuries. Musicians who have performed at the Frick Collection have included Ian Bostridge, Matthias Goerne, Guarneri String Quartet, Wanda Landowska, Gregor Piatigorsky, Artur Schnabel, and Kiri Te Kanawa. The concerts were broadcast on radio starting in 1939, first on the Municipal Broadcasting System, then on American Public Radio and WNYC. Although visitors originally could listen to the concerts free of charge (even after the museum started charging an admission fee), a separate admission charge for concerts was instituted in 2005. Prior to the 2020s renovation, the concerts were hosted in the Frick House's music room.

Publications
The collection is detailed in books such as Masterpieces of the Frick Collection, first published in 1970, and Art in the Frick Collection, first published in 1996. The history of the collection was also detailed in Henry Clay Frick: An Intimate Portrait, a biography of Frick written by his great-granddaughter Martha Frick Symington Sanger in 1998. Sanger's subsequent book The Henry Clay Frick House: Architecture-Interiors—Landscapes in the Golden Era, published in 2001, described the Frick House and its collection in detail. In 2011, the Frick and the BNP Paribas Foundation published a guidebook on the collection, its history, and the Frick House. The Frick launched its Diptych series in 2017; the series consists of short books with essays that relate to paintings from the museum's collection.

Building
The museum is ordinarily located at the Henry Clay Frick House at 1 East 70th Street, which is part of Fifth Avenue's Museum Mile. The house spans an entire blockfront on Fifth Avenue between 70th and 71st Streets. The original structure from 1914 was designed by Thomas Hastings in the Beaux-Arts style. The same style is also used for the 1970s reception wing, designed by Harry Van Dyke, John Barrington Bayley, and G. Frederick Poehler. Both structures have a facade of Indiana Limestone. The house has a lawn that is mostly closed to the public.

The interiors were designed by a variety of people. The British decorator Charles Allom furnished most of the rooms on the ground floor, while the majority of the rooms on the second and third floors were decorated by Elsie de Wolfe. Charles Carstairs and Joseph Duveen provided the original decorations for the rooms. Inside the house are the museum's galleries (adapted from the old living spaces of the mansion), as well as a courtyard with reflecting pool, the latter of which is based on a Roman atrium. Some parts of the house have been modified over the years specifically to accommodate the artwork, including a room for the Fragonard panels. In addition to the artwork and artifacts on display, there are bookcases placed throughout the Frick House's rooms, and some rooms have various other pieces of furniture such as a dining table.

Frick Art Reference Library
The Frick Collection oversees the Frick Art Reference Library, which was established in 1920 and opened to researchers in June 1924. The library is housed at a 13-story building at 10 East 71st Street (next to the original mansion). Prior to the library building's opening, the basement bowling alley was used as storage space for the library's collection. The library has always been open to the public, except during World War II, when it was closed for six months, and during the COVID-19 pandemic and 2020 renovation, when it was shuttered while being moved to the Frick Madison. The library is typically open free of charge to "any adult with a serious interest in art". In the late 20th century, the library served 6,000 people a year on average, most of whom made advance reservations or requests.

Helen Frick acted as director for six decades, during which time its collection expanded to include 50,000 sales catalogs, 400,000 photographs, and 150,000 books. By the 1990s, the library had an estimated 235,000 volumes, which grew to 280,000 by the late 2000s. The collections of the library focus on art of the Western tradition from the fourth century to the mid-twentieth century, and chiefly include information about paintings, drawings, sculpture, prints, and illuminated manuscripts. Archival materials supplement its research collections. The Frick Art Reference Library Photoarchive contains over a million photocopies of artwork, including objects that are not in the museum's collection.

The Frick has been part of the New York Art Resources Consortium (NYARC), which also includes the Museum of Modern Art and Brooklyn Museum, since 2007. NYARC operates Arcade, an online catalog that combines the collections of the three museums' libraries. The Center for the History of Collecting, also founded in 2007, is also part of the library. The Frick is a member of the International Consortium of Photo Archives (PHAROS), which operates a database of digitized artworks from the collections of 14 art museums.

Management
The Frick Collection is operated by a nonprofit organization of the same name, which is dedicated to conserving the artworks in the museum's collection. , Ian Wardropper is the Frick's director, while Xavier F. Salomon is the chief curator. The director's position has been known as the Anna-Maria and Stephen Kellen Director since 2020, while the chief curator's position is known as the Peter Jay Sharp Chief Curator.

The museum's board of trustees originally comprised nine trustees and was largely composed of Frick family members. The board was relatively small during the 20th century, with nine trustees until the 1990s and eleven by 2003. Under Poulet's directorship, in the 2000s, the board was expanded by 10 members and was broadened to include more people from outside the Frick family. Poulet also introduced the Director's Circle, a group of 44 members who each give a minimum of $25,000 a year to the Frick Collection.

Admission and attendance
After the museum opened in 1935, it accommodated 5,000 visitors in its first week and 100,000 visitors in six months; at its peak, the museum saw 1,600 visitors in one day. At the end of 1936, the museum had seen 136,000 visitors, an average of 460 per day. In the 1970s, the museum recorded between 800 and 1,500 daily visitors. The number of annual visitors averaged 250,000 by the late 1990s, and annual attendance had increased to 350,000 by the early 2000s. The Frick Collection had a typical annual attendance of up to 300,000 in the 2010s, although it recorded 420,000 visitors in 2013 due to a particularly popular exhibit there. Shows in the 2010s attracted upwards of 4,000 daily visitors.

The Frick was originally free to enter but has charged an admission fee since 1976. The museum offers pay-as-you-wish hours one day of the week, in addition to free admission on First Fridays. Free admission is also provided to members of the Frick; students and staff of certain universities in New York City; certain demographic groups such as youth, senior citizens, and people with disabilities; and other groups such as military personnel. Frick Collection members receive several membership benefits, including a queue jump for exhibits. As part of the Culture Pass program, persons with cards from New York City's public libraries could also visit the museum for free with a Culture Pass, albeit with restrictions on the number of passes distributed. Until 2019, the Frick also sold the Connoisseur Pass, which also provided admission to the Morgan Library & Museum and Neue Galerie New York.

Children under the age of 10 are not allowed inside the museum; this restriction, intended to protect the paintings, has existed ever since the museum opened in 1935. As part of the same restriction, youths between 10 and 15 years old are allowed to enter only if there is an adult with them. The museum provides guided tours to small groups and school classes. Starting in the late 1990s, the museum provided complimentary audio guides to visitors; it later added the Bloomberg Connects smartphone app. The guides are offered in several languages and consist of handsets that provide information about the artworks and the subjects of each painting. The Frick also launched its website in the late 1990s; the website has been updated several times since then.

Funding
Frick's will established a $15 million endowment fund for what would become the Frick Collection museum. At the Frick Collection Inc.'s 50th anniversary in 1970, the museum's endowment had grown to $40 million, and it received more than $1 million a year in income. By 1997, the Frick Collection had an operating budget of $10 million and an endowment of $170 million; this increased in the mid-2000s to a budget of $18.8 million and an endowment of $200 million. As of 2015, the museum had an endowment of $315 million.

20th-century commentary
In 1912, before the collection had become a museum, Town & Country magazine wrote that Frick owned "one of the greatest private collections of paintings in the world". Art World magazine said in 1917 that the Frick House contained "one of the most remarkable assemblies of old paintings in the United States belonging to a private collector", rivaling the collection of the former Lenox Library on the same site. When the Frick Collection opened to the public in 1935, a critic for The New York Times wrote that the museum's "informality in the distribution of works of art has even its amusing overtones", while another commentator in The Christian Science Monitor regarded the collection as having "long been recognized as one of the world's treasuries of art". One of the few detractors was Lewis Mumford, who felt that the other objects in the house diverted visitors' attention from the visual art.

A Los Angeles Times critic wrote in 1941 that few other art collections in the U.S. "so completely [exemplified] a great period in American art collecting". The New York Times wrote in 1969 that the Frick was one of the world's best "residence-museums" along with the Isabella Stewart Gardner Museum and the Wallace Collection. A critic for the Christian Science Monitor said in 1971 that the collection's paintings seemed to fit the building because Frick had "to be sure he felt at home with them". Another critic, writing for The Post-Standard of Syracuse, New York, in 1975, praised the museum's "tranquility and superb decorative arts coupled with masterworks".

John Russell of the Times said in 1981 that "The Frick is loved for its unpushy ways, for the largesse of its hospitality and for the high quality of what it has to show." In a review for the Christian Science Monitor the same year, Madeline Lee wrote that the museum was special because of its courtyard and reflecting pool; another reviewer for the same newspaper said "The Frick is the only museum I know whose collection consists almost exclusively of great or nearly great art." GQ magazine said that "the most renowned—and probably best—combined house and art collection of a so-called 'robber baron' is that of Henry Clay Frick". Bryan Miller of the Times wrote in 1987 that there were "artistic gems in every room", and Grace Glueck of the same paper called it "the enclave of masterpieces". A Los Angeles Times critic in 1990 said the Frick Collection "represents the aristocratic aspirations of turn-of-the-century robber barons". Another New York Times critic called the museum "as frumpy and elegant as a dowager queen", describing the quality of its collection and the Frick House. A Globe and Mail reviewer said the museum was extremely peaceful and was "a more comfortable museum than most" because it used to serve as a residence.

21st-century commentary
A 2000 poll by Travel Holiday magazine ranked the Frick Collection as the third-best art museum in the U.S. Upon the museum's 75th anniversary in 2010, a Wall Street Journal critic wrote that, although the museum lacked major shows and had not undergone a high-profile renovation, it "quietly attracts a steady stream of about 300,000 visitors each year who come to see one of the most extraordinary assemblages of fine and decorative arts in the world". A reviewer for the Condé Nast Traveler wrote that the museum was "exactly the right scale, everything in the collection is worth seeing, and can be viewed in an hour or less", while a New Yorker writer said that "you feel more than welcomed—you feel invited, like a family friend" at the Frick House. A critic for the Daily Telegraph wrote in 2014 that the Frick was "the best small museum in New York, perfect if you don't fancy dealing with a crush of people at MoMA or the Met".

When the museum was temporarily relocated to 945 Madison Avenue, one critic wrote that the temporary building was "an exercise in contrasts" with the Frick House's decorations and that "the vibe here is serious and meditative". Another critic wrote for Vogue that the Frick Madison was a "shock to the senses in every way" but that "the collection comes directly to the fore" amid that building's bare walls. Writers for the Financial Times and the Wall Street Journal similarly said that the spartan setting helped highlight the collection itself.

title: Frick Collection


text:
Michael Ironside

Frederick "Michael" Reginald Ironside (born February 12, 1950), is a Canadian actor and filmmaker. A prominent character actor with over 270 film and television credits, he is known for playing villains and antiheroes, but has also portrayed sympathetic characters. He is best known for his roles in action and science fiction films, and had his breakthrough performance in the 1981 David Cronenberg film Scanners.

Ironside's other notable roles include Overdog in Spacehunter: Adventures in the Forbidden Zone (1983), "Jester" in Top Gun (1986), Richter in Total Recall (1990), and Rasczak in Starship Troopers (1997). His signature deep voice has been lent to various video games and animated television shows, most notably as Sam Fisher in the Tom Clancy's Splinter Cell franchise.

He is a four-time Gemini Award, a Genie Award, and a Canadian Film Award nominee.

Early life
Frederick Reginald Ironside was born in Toronto on February 12, 1950, the son of housewife Patricia June (née Passmore) and street lighting technician Robert Walter Ironside. He has four siblings and is of English, Irish, and Scottish descent. He attended the Ontario College of Art in Toronto. At age 15, he wrote a play called The Shelter, which won first prize in a university contest. He also won the senior year writing award at Riverdale Collegiate Institute in 1968.

Career
One of Ironside's first roles was as evil telepath Darryl Revok in Scanners (1981), an early film by David Cronenberg. He played the role of a serial killer, Colt Hawker, in the slasher film Visiting Hours (1982) and appeared in 1983 as Miler Crane in The A-Team episode "Taxicab Wars" as well as Overdog McNab in Spacehunter: Adventures in the Forbidden Zone.

Ironside's breakthrough role was as cynical antihero Ham Tyler in the television miniseries V: The Final Battle and its following 19-episode series (1984). He is also known for his roles in Top Gun (1986) as Naval Aviator Lieutenant Commander Rick "Jester" Heatherly, Extreme Prejudice (1987) as Major Paul Hackett, Watchers (1988) as a conscience-free mutant assassin, and Total Recall (1990) as Richter, the murderous henchman of Ronny Cox's villain Cohaagen. Ironside played the villainous General Katana in the science fiction sequel Highlander II: The Quickening (1991) and, after a brief stint in ER's inaugural season, he was tapped to replace Roy Scheider as captain of the high-tech submarine seaQuest in the third season of seaQuest DSV as Captain Oliver Hudson. However, NBC cancelled the series after only thirteen episodes with Ironside as the star. In 1992, he starred as M. Emmet Walsh's brother in David Winning's thriller Killer Image. In 1993, he played Dial, the main antagonist of Free Willy. In 1994, Ironside starred as Luck Hatcher in the western Dead Man's Revenge. In 1995, Ironside had a brief cameo as Lt. Col. Stone in Major Payne. In 1997, Ironside was reunited with Total Recall director Paul Verhoeven for Starship Troopers. He appeared in The Perfect Storm (2000) and The Machinist (2004). He starred in the film Chaindance as a small-time crook, unable to make it on the outside, who was paired up with a disabled man. Ironside starred as Resistance General Hugh Ashdown in Terminator Salvation, reunited with his co-star from The Machinist, Christian Bale. In 2003, Ironside guest starred in season 3 episode 20 ("Twilight of the Idols") of Andromeda.

Ironside voiced comic book villain Darkseid in the DC Animated Universe, including Superman: The Animated Series, Justice League and Justice League Unlimited. He later reprised the role in the 2018 video game Lego DC Supervillains and the 2020 DC Universe/HBO Max web series Harley Quinn. In one episode of The New Batman Adventures, he voiced Batman in a Batman: The Dark Knight Returns sequence. Another part he played in the DC Comics universe was Lois Lane's father, General Sam Lane in three episodes of Smallville.

Ironside has worked in video games as the voice of character Sam Fisher in the Tom Clancy’s Splinter Cell games and Jack Granger in Command & Conquer 3: Tiberium Wars. He signed a five-year deal to portray Captain Jonas Trager in the SpaceWorks Television science-fiction series, Ice Planet but the show was not produced.

In 2009, he starred in The Beacon under the direction of Michael Stokes.

In 2010, Ironside guest starred in season 4, episode 1 ("Friends and Enemies") of Burn Notice.

In 2011, Ironside appeared in the film: X-Men: First Class, playing the Captain of the 7th Fleet. He appeared in Justified playing a supporting role as a Detroit hitman the following year. He also voiced the role of Ultra Magnus in season 3 of the Transformers Prime Beast Hunters television series in 2013.

Ironside appeared in the TV series Walker, Texas Ranger as 'The Chairman'.

In 2015, he appeared in the television series The Flash as Lewis Snart, the father of Captain Cold. Also in 2015, he starred as the main villain Zeus in the cult hit film Turbo Kid.

In 2016, he portrayed General Douglas MacArthur in the 4-part miniseries Tokyo Trial.

In 2018, he played J. P. Morgan in 4 episodes of TNT's The Alienist.

In 2021, he portrayed Eddie Williams, the father-in-law and boss of Hutch Mansell in the film, Nobody.

In 2022, he played Don Lucas in the Hulu miniseries The Dropout.

Personal life
Ironside married Karen Dinwiddie in 1986. They have one daughter together (born 1998) and he has another daughter from a previous marriage.

Ironside has survived cancer of the bowel, prostate, and thyroid.

title: Michael Ironside


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Dizzy Up the Girl

Dizzy Up the Girl is the sixth studio album by American rock band the Goo Goo Dolls, released on September 22, 1998, through Warner Bros. Records. The album is often noted for being the release which propelled the Goo Goo Dolls into a higher tier of stardom, although they had already scored a Billboard top five hit with the downbeat track "Name" in 1995. Dizzy features more upbeat compositions than they had previously recorded. It is also the band's first album to feature drummer Mike Malinin.

History
Dizzy Up the Girl is the Goo Goo Dolls' most successful album to date, selling over 4 million copies (4× platinum certified). The success of Dizzy Up the Girl can largely be attributed to the rock ballad "Iris", which was also included in the soundtrack album of the film City of Angels. "Iris" immediately reached No. 1 on the Hot 100 Airplay chart upon its release in March from the City of Angels soundtrack, and stayed on top for 18 weeks, setting a record that still stands as of June 2017. The song also reached No. 1 on the Billboard Modern Rock chart, the Adult Top 40 and Mainstream Top 40 chart, along with several other charts in the US and UK, and received three Grammy nominations. The album sold very well, with "Iris" and "Slide" being the two most successful singles, while the other three singles achieved modest success.

In addition to the huge success of "Iris" (US No. 9), Dizzy Up the Girl included three additional top-40 singles, with the songs "Slide" (US #8), "Broadway" (US No. 24), and "Black Balloon" (US No. 16). The album also produced the moderately popular song "Dizzy", which has since become a fan favorite. Along with top-40 single status, music videos for all five singles reached VH1's Top 20 Music Videos chart upon release.

Reception
Stephen Thomas Erlewine of AllMusic stated: "Like a less mannered and conflicted Let Your Dim Light Shine-era Soul Asylum, the trio balances hard rockers with ballads. The difference is, they enjoy the mainstreaming of their music and respond with one of their catchiest sets of songs. There's nothing new on the record apart from their willingness to polish their music so it reaches the widest audience. That will alienate whatever hardcore followers they have left, but that attitude will likely please anyone brought aboard with 'Name' and 'Iris'."

Track listing

 * In some countries the album was released with a bonus track, e.g. in Japan ("Iris" - Acoustic version) and in Germany ("Name").

Personnel
Goo Goo Dolls
 * Mike Malinin - drums
 * Johnny Rzeznik – lead and rhythm guitar, lead vocals, producer
 * Robby Takac – bass guitar, lead vocals on tracks 4, 7, 9, & 12, producer

Additional personnel
 * Tommy Keene - guitar on 'Broadway'
 * Rob Cavallo – producer
 * Jack Joseph Puig – mixing
 * Ken Allardyce – engineer
 * David Campbell – string arrangements
 * Greg Collins – assistant engineer
 * Steve Gerdes – art direction, design
 * Bob Ludwig – mastering
 * Jamie Muhoberac – piano, keyboards, processing
 * Tim Pierce - mandolin and guitar on track 11
 * Nick Paul – assistant engineer
 * Melanie Nissen – photography
 * Carmen Rizzo – programming
 * Allen Sides – engineer
 * Darrell Thorp – assistant engineer
 * Richard Ash - assistant engineer

title: Dizzy Up the Girl


text:
User talk:Wtctemporarymemorial

Hello there Wtctemporarymemorial, welcome to Wikipedia! I hope you like the place and decide to stay. If you ever need editing help visit How does one edit a page or how to format them visit our manual of style. Experiment at Sandbox. If you need pointers on how we title pages visit Naming conventions. If you have any other questions about the project then check out Help or add a question to the Village pump. If you ever think a page or image should be deleted, please list it at the votes for deletion page. There is also a votes for undeletion page if you want to retrieve something that you think should not have been deleted. Alexandros 01:17, 25 Nov 2003 (UTC)

Also, have you posted any copyrighted material? Alexandros

If they are not copyrighted, you should probably post your memorial pages at http://sep11.wikipedia.org/wiki/In_Memoriam  instead of the regular encyclopedia as they will probablly be removed from the encyclopedia, on grounds of being unencyclopedic. Alexandros 01:21, 25 Nov 2003 (UTC)

Hello and welcome.

Several tips are prompted by your articles:
 * Highlight the title word or title phrase at its first appearance, like this.
 * I decided to italicize the art proposals for the WTC memorial, following the convention that applies to book titles and movie titles.
 * External links are usually done in the following format:

title: User talk:Wtctemporarymemorial


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University of Padua

The University of Padua (Università degli Studi di Padova, UNIPD) is an Italian public research university in Padua, Italy. It was founded in 1222 by a group of students and teachers from the University of Bologna, who previously settled in Vicenza, thus, it is the second-oldest university in Italy, as well as the world's fifth-oldest surviving university.

The University of Padua was one of the most prominent universities in early modern Europe, known particularly for the rigor of its Aristotelean logic and science. Together with the University of Bologna, Padua had a central role in the italian renaissance, housing and educating a number of italian renaissance mathemathicians, amongst them Nicolaus Copernicus.

Today, it is made up of 32 departments and eight schools. Padua is part a network of historical research universities known as the Coimbra Group. In 2021, the university had approximately 72,000 students including undergraduates, postgraduates, and doctoral students.

History
The university is conventionally said to have been founded in 1222 when a large group of students and professors left the University of Bologna in search of more academic freedom ('Libertas scholastica'). Although it is certain that schools of law and medicine with students from various nations existed near Padua for a few years before 1222, more precisely in Vicenza. In reality, the first place where this group of students and professors from Bologna settled was at the University of Vicenza, where they were welcomed. Due to various vicissitudes the headquarters was permanently moved to Padua for various reasons. The first subjects to be taught were law and theology. The curriculum expanded rapidly, and by 1399 the institution had divided in two: a Universitas Iuristarum for civil law and Canon law, and a Universitas Artistarum which taught astronomy, dialectic, philosophy, grammar, medicine, and rhetoric. There was also a Universitas Theologorum, established in 1373 by Urban V.

The student body was divided into groups known as "nations" which reflected their places of origin. The nations themselves fell into two groups:
 * 1) the cismontanes for the Italian students
 * 2) the ultramontanes for those who came from beyond the Alps

From the fifteenth to the eighteenth century, the university was renowned for its research, particularly in the areas of medicine, astronomy, philosophy and law. At the time it was the most renowned school of medicine internationally. During this time, the university adopted the Latin motto: Universa universis patavina libertas (Paduan Freedom is Universal for Everyone). Nevertheless, the university had a turbulent history, and there was no teaching in 1237–1261, 1509–1517, 1848–1850.

The Botanical Garden of Padova, established by the university in 1545, is one of the oldest gardens of its kind in the world. Its alleged title of oldest academic garden is in controversy because the Medici created one in Pisa in 1544. In addition to the garden, best visited in the spring and summer, the university also manages nine museums, including a History of physics museum.

The university began teaching medicine around 1250. It played a leading role in the identification and treatment of diseases and ailments, specializing in autopsies and the inner workings of the body.

Since 1595, Padua's famous anatomical theatre drew artists and scientists studying the human body during public dissections. It is the oldest surviving permanent anatomical theatre in Europe. Anatomist Andreas Vesalius held the chair of Surgery and Anatomy (explicator chirurgiae) and in 1543 published his anatomical discoveries in De Humani Corporis Fabrica. The book triggered great public interest in dissections and caused many other European cities to establish anatomical theatres.

On 25 June 1678, Elena Lucrezia Cornaro Piscopia, a Venetian noblewoman and mathematician, became the first woman to be awarded a Doctor of Philosophy degree.

The university became one of the universities of the Kingdom of Italy in 1873, and ever since has been one of the most prestigious in the country for its contributions to scientific and scholarly research: in the field of mathematics alone, its professors have included such figures as Gregorio Ricci Curbastro, Giuseppe Veronese, Francesco Severi and Tullio Levi Civita.

The last years of the nineteenth and the first half of the twentieth century saw a reversal of the centralisation process that had taken place in the sixteenth: scientific institutes were set up in what became veritable campuses; a new building to house the Arts and Philosophy faculty was built in another part of the city centre (Palazzo del Liviano, designed by Giò Ponti); the Astro-Physics Observatory was built on the Asiago uplands; and the old Palazzo del Bo was fully restored (1938–1945). The vicissitudes of the Fascist period—political interference, the Race Laws, etc.—had a detrimental effect upon the development of the university, as did the devastation caused by the Second World War and—just a few decades later—the effect of the student protests of 1968–1969 (which the university was left to face without adequate help and support from central government). However, the Gymnasium Omnium Disciplinarum continued its work uninterrupted, and overall the second half of the twentieth century saw a sharp upturn in development—primarily due an interchange of ideas with international institutions of the highest standing (particularly in the fields of science and technology).

In recent years, the university has been able to meet the problems posed by overcrowded facilities by re-deploying over the Veneto as a whole. In 1990, the Institute of Management Engineering was set up in Vicenza, after which the summer courses at Brixen (Bressanone) began once more, and in 1995 the Agripolis centre at Legnaro (for Agricultural Science and Veterinary Medicine) opened. Other sites of re-deployment are at Rovigo, Treviso, Feltre, Castelfranco Veneto, Conegliano, Chioggia and Asiago.

Recent changes in state legislation have also opened the way to greater autonomy for Italian universities, and in 1995 Padua adopted a new Statute that gave it greater independence.

As the publications of innumerable conferences and congresses show, the modern-day University of Padua plays an important role in scholarly and scientific research at both a European and world level. True to its origins, this is the direction in which the university intends to move in the future, establishing closer links of cooperation and exchange with all the world's major research universities.

Since 2022, the University of Padua has been experiencing difficulties with the payments of scholarships for the "right to study". Thus, leaving 1955 students (207 of that international students) without any kind of accommodation and receiving stipends.

Finances
The university foresaw a budget of €831 million for the 2023 fiscal year. Of this, €545 million were contributions paid by the Ministry of Education, University and Research of Italy, the European Union, local administrations like regions and provinces, and other entities. The remaining €232 million were classified as own revenues, of which €106 million came from tuition fees and €125 million from research-related income.

The amount of tuition students pay depends on their major, the financial situation of their household and if they take more time to graduate compared to the established length of their program. Tuition is also significantly lowered for non-EU citizens of certain developing countries. There are also scholarships and fee-waivers based on merit on other factors. Generally, most students who are graduating in time and are not from low income households will pay around €2,700/year for the 2023/24 academic year.

Rankings
The university is constantly ranked among the best Italian universities.

For 2023, in U.S. News & World Report's World Best Global Universities Rankings, the University of Padua is ranked as the 1st place institution in Italy, taking 43rd place in Europe and the world's 115th. ARWU ranks the university in the Italian top 4, tied for 2nd place with the University of Milan and the University of Pisa under the Sapienza University of Rome. ARWU ranks the university in the 151st-200th range globally for 2023.

The 2024 Times Higher Education World University Rankings lists the university at 4th place in Italy and in the 201st-250th range worldwide. QS World University Rankings ranks the university 4th in Italy in 2024 and the best in Italy to study geology and geophysics, earth and sea sciences, biological sciences, psychology, anatomy and physiology. It also places the University of Padua at 219th in the world for 2024. Also, according to QS World University Rankings, the University of Padua is ranked 125th in the field of Medicine.

The NTU ranking, which focuses on productivity and quality of scientific production, places the University of Padua as 82nd worldwide for 2022.

The CWTS Leiden Ranking, based exclusively on bibliometric indicators, places the University of Padua as 2nd place in Italy and 104th worldwide.

Alumni
Notable people who have attended the University of Padua include:

 * In natural sciences
 * Nicolaus Copernicus (1473–1543) Polish mathematician and astronomer, placed Sun at center of Solar System
 * John Caius (1510–1573) English physician
 * Vesalius (1514–1564) known as founder of modern human anatomy; offered professorship at Padua, but died
 * Gabriele Falloppio (1523–1562) anatomist; anatomy of head and internal ear; reproductive organs
 * William Harvey (1578–1657) anatomist; described function of heart and circulatory system
 * George Ent (1604–1689) English anatomist, supporter of Harvey
 * Thomas Browne (1605–1682) English writer and physician
 * Sir Edward Greaves (1608–1680) English physician.
 * Nathaniel Eaton (1610–1674), Ph.D. and M.D., first Head Master of Harvard College
 * Tommaso Perelli (1704–1783), Italian astronomer
 * Federico Faggin (1941–) designer of the first commercial microprocessor
 * Mario Rizzetto (1945–) Italian virologist; worked with Hepatitis D virus
 * Petros Kestoras (1957–) Cipriot diplomat
 * Luigi Dall'Igna  (1966–) General manager of Ducati Corse

 * In politics and government

 * Ludovico Trevisan (1401–1465), Cardinal, Camerlengo of the Holy Roman Church, Archbishop of Florence, Patriarch of Aquileia, Captain General of the Church, and physician.
 * Sir Francis Walsingham (ca 1532–1590) spymaster for Queen Elizabeth I
 * Jan Zamoyski (1542-1605), Polish nobleman, magnate, diplomat and statesman
 * Seneschal Constantine Cantacuzino Stolnic (c. 1650–1716), Romanian nobleman and humanist scholar who held high offices in the Principality of Wallachia. Author of a History of Wallachia (unfinished), he was the first Romanian to ever graduate from this prestigious university.
 * Ioannis Kapodistrias (1776–1831), 1st Governor of Greece, Foreign Minister of the Russian Empire
 * Alexandros Mavrokordatos (1791–1865), Prime Minister of Greece
 * Luigi Luzzatti (1841–1927), financier, political economist, social philosopher and jurist, 20th Prime Minister of Italy
 * Abdirahman Jama Barre (1937–2017), Foreign Minister of Somalia
 * Daniele Franco (1953-), Italian economist, Draghi Cabinet Finance Minister.

 * In arts, theology and literature

 * Saint Albertus Magnus (d.1280)
 * Mikołaj Kiczka (around 1382-1429), nobleman, diplomat and priest
 * Francesco Barbaro (1390-1454), humanist
 * Nicolas of Cusa (1401–1464), in canon law. German philosopher, theologian, jurist, and astronomer.
 * Ermolao Barbaro (1454–1493) Italian renaissance scholar
 * Sir John Tiptoft, Earl of Worcester (1458–1464)
 * Giovanni Pico (1463-1494), humanist
 * Pietro Bembo (1470-1547), poet and cardinal
 * Francysk Skaryna (1470-1551/1552), printer of the first book in an Eastern Slavic language
 * Reginald Pole (1500-1558), cardinal
 * Cardinal Stanislaus Hosius (1504-1579)
 * Daniele Barbaro (1514-1570), translator of Vitruvius
 * Pomponio Algerio (1531-1556), student of civil law (1550s) executed under the Roman Catholic Inquisition
 * Jacopo Zabarella (1533–1589) physics, metaphysics, and mathematics.
 * George Acworth (1534–1578?), Anglican priest and civil lawyer
 * Torquato Tasso (1544-1595), poet
 * Theophilos Corydalleus (1563–1546) Greek Neo-Aristotelian philosopher, started Korydalism.
 * István Szamosközy (1565–1612), humanist and historian from Transylvania, the leading figure of Hungarian historiography at the beginning of the 17th century
 * Saint Francis de Sales (1567–1622), double doctorate "in utroque jure", that is, in canon and civil law (1591)
 * Roger Manners (1576-1612), 5th Earl of Rutland and poet and abettor of Essex's Rebellion
 * Angelus Silesius (1624-1677), German priest, physician and poet
 * Elena Cornaro Piscopia (1646–1684), first woman to receive a doctor of philosophy degree
 * Giuseppe Tartini (1692-1770), musician and composer
 * Moses Hayyim Luzzatto (1707-1746), kabbalist and playwright, founder of Hebrew literature
 * Giacomo Casanova (1725-1798), traveller, author and seducer
 * Ugo Foscolo (1778-1827), Italian writer, revolutionary, and poet
 * Edgar Manas (1875-1964), composer
 * Boris Pahor (1913-2022), writer

Notable faculty

 * Ermolao Barbaro (1454–1493), appointed professor of philosophy in 1477
 * Leonik Tomeu (1456–1531) first to teach Aristotle in original Greek
 * Jacopo Zabarella (1533–1589) held chairs of logic, and philosophy, from 1564 to 1589
 * Galileo Galilei (1564–1642) held chair of mathematics between 1592 and 1610
 * Elena Cornaro Piscopia (1646–1684), mathematics lecturer, and the first woman to receive a PhD degree
 * Antonio Vallisneri (1661–1730) held chairs of practical medicine, and theoretical medicine, between 1700 and 1730
 * Giovanni Battista Morgagni (1681–1771) held chairs of theoretical medicine, and anatomy, between 1711 and 1771
 * Tullio Levi-Civita (1873–1941) held the chair of Rational Mechanics, famous for his work on the absolute differential calculus (tensor calculus) and many other important contributions in the area of Pure and Applied Mathematics
 * Concetto Marchesi (1878–1957) rector from 1943 to 1953
 * Sergio Bettini (1905–1986) professor of History of Medieval Art and History of Art Criticism
 * Gianfranco Folena (1920–1992) Professor of the History of the Italian Language
 * Gian Piero Brunetta (1942-) Professor of cinema history and criticism
 * Patrizia Pontisso (1955–) Professor of internal medicine
 * Massimo Marchiori (1970–) Assoc. Prof. (2006–); Italian computer scientist and inventor of Hypersearch
 * Emilio Quaia Professor of radiology

Departments
The University of Padua offers a wide range of degrees, organized by Departments:
 * Department of Agronomy, Food, Natural Resources, Animals and the Environment
 * Department of Biology
 * Department of Animal Medicine, Production and Health
 * Department of Biomedical Sciences
 * Department of Cardiac, Thoracic and Vascular Sciences
 * Department of Chemical Sciences
 * Department of Civil, Environmental and Architectural Engineering
 * Department of Communication Sciences
 * Department of Comparative Biomedicine and Food Science
 * Department of Cultural Heritage: Archaeology and History of Art, Cinema and Music
 * Department of Developmental Psychology and Socialisation
 * Department of Economics and Management
 * Department of General Psychology
 * Department of Geosciences
 * Department of Historical and Geographic Sciences and the Ancient World
 * Department of Industrial Engineering
 * Department of Information Engineering
 * Department of Land, Environment, Agriculture and Forestry
 * Department of Linguistic and Literary Studies
 * Department of Management and Engineering
 * Department of Mathematics
 * Department of Medicine
 * Department of Molecular Medicine
 * Department of Neurosciences
 * Department of Pharmaceutical and Pharmacological Sciences
 * Department of Philosophy, Sociology, Education and Applied Psychology
 * Department of Physics and Astronomy
 * Department of Political and Juridical Sciences and International Studies
 * Department of Private Law and Critique of Law
 * Department of Public, International and Community Law
 * Department of Statistical Sciences
 * Department of Surgery, Oncology and Gastroenterology
 * Department of Women's and Children's Health

Schools
Departments have been united in a limited number of Schools:
 * Agricultural science and Veterinary medicine
 * Economics and Political sciences
 * Engineering
 * Human and social sciences and cultural heritage
 * Law
 * Medicine and surgery
 * Psychology
 * Sciences

title: University of Padua