<p>Melkhoutboom Cave is an archaeological site dating to the Later Stone Age, located in the Zuurberg Mountains, Cape Folded Mountain Belt, Sarah Baartman District Municipality in the Eastern Cape Province of South Africa.</p><br>
<h2>History</h2><br>
<p>Investigation of Melkhoutboom Cave and other sites in the Eastern Cape Province was spurred by earlier archaeological discoveries, including the discovery in the 1850s by Thomas Holden Bowker of a number of stone artifacts at the mouth of the Great Fish River, about 120 km southeast of the cave. John Hewitt, the director of the Albany Museum in Grahamstown from 1910 to 1958, excavated over twenty caves and rock shelters in the area – including an excavation at Melkhoutboom from 1930 to 1931 – and published his findings in a number of papers, which attracted the interest of collectors and helped to build up a large collection of artifacts at the museum. In 1963 Hilary Deacon of the Albany Museum initiated a research project “The Prehistory of the Eastern Cape” as a means of continuing Hewitt’s research and evaluating the collection of artifacts his research had helped to amass. The project involved the excavation of a number of rock shelters in the Grahamstown area, including Wilton Large Rockshelter and Cave, Glen Craig, Roodekrantz, and Spitzkop. Hewitt himself was also involved in excavations at Melkhoutboom, as well as Middelkop, Tefelburg Hall, and several sites near the Kabeljous River Mouth.</p><br>
<p>One of the main focuses of the “Prehistory of the Eastern Cape” research project was analyzing the subsistence ecology of human populations of the early Holocene era in southern Africa. The information gained from Hewitt’s work, specifically the excavations at Melkhoutboom Cave in 1967 and 1969, were an important factor in steering the program’s focus in this direction.</p><br>
<h2>Geography</h2><br>
<p>Melkhoutboom Cave is located in the Eastern Cape Province of South Africa, about 80 kilometers north of the coastal city of Port Elizabeth and about 160 km northeast of the Klasies River Mouth, the location of another important South African archaeological site. The cave is situated within a steep ravine in the Cape Folded Mountain Belt, a range of mountains that marks the boundary between the more tropical ecological zone of the inland Karoo and the coastal plain.</p><br>
<h3>Geography of the Eastern Cape</h3><br>
<p>The Eastern Cape can be divided into four main geographic areas: the coastal strip, the coastal plain, the Cape Folded Mountain Belt, and the Karoo-Cape Midlands. The coastal strip consists mostly of sand beaches bordered by dunes to the north. There is little vegetation, and subsistence in this area during the Later Stone Age likely consisted mainly of shellfish – as evidenced by the abundance of shell middens dating to within the last 12,000 years – as well as fish, crustaceans, great white sharks, and birds. The coastal plain is a strip of land approximately 35 km wide, beginning at the edge of the coastal strip and rising to an elevation of 300 m at the base of the Cape Folded Mountain Belt. This area consists mainly of grassland and shrubland, and contains many succulents and other edible plants and shrubs. The Cape Folded Mountain Belt runs east-west across the Cape, dividing the coastal plain and the Karoo-Cape Midlands. This area contains grassland, shrubland, fynbos, and scree forest, all with a variety of vegetation; the fauna is equally varied, consisting of antelope (including grysbok, duiker, and bushbuck), wild pigs, and other small- to medium-sized mammals. The Karoo-Cape Midlands is located inland of the Cape Folded Mountain Belt, sloping upward toward the Great Escarpment at the southern end of the Karoo Basin. This area has a much drier climate than the zones farther south; severe droughts are common, and this was likely the case in the Middle Stone Age as well, affecting habitability in this area. A variety of large mammals, such as rhinoceros, elephants, hippopotamus, wildebeest, eland, and large antelope, used to inhabit this area but have since migrated or gone extinct due to changes in indigenous vegetation caused by overgrazing.</p><br>
<h3>Geography of Melkhoutboom Cave</h3><br>
<p>Melkhoutboom Cave is located about 35 km from the coast in the Cape Folded Mountain Belt, inside a steep, forested ravine that runs north to south along the northernmost ridge of the Suurberg Range and ends at the Beans River. The environment within the ravine can be described as evergreen temperate forest, and there is a diverse assortment of vegetation throughout the ravine and the surrounding area, including tall trees throughout the ravine and surrounding the opening of the cave, which is about 6 meters above the floor of the ravine.</p><br>
<p>The cave itself is about 14 m wide at its entrance, and about 14 m deep at its deepest point, with a domed roof 6 to 8 m. The potential area that could be occupied within the cave measures about 150 m&sup2;. At the back of the main cave is a higher, smaller cave that shows some evidence of occupation in the form of ash and scattered artifacts, but has not been excavated.</p><br>
<h2>Excavation</h2><br>
<p>Melkhoutboom Cave was first excavated in 1930 by John Hewitt, whose findings prompted it to be included in the Albany Museum’s “Prehistory of the Eastern Cape” project, initiated in 1963. Excavations took place at the cave as part of this project in 1967 and 1969. The initial small-scale excavation of a 3 x test pit in 1967 was conducted to confirm and clarify the findings from Hewitt’s original excavation in the early 1930s. The subsequent excavation in 1969 was planned based on this initial excavation, extending and building upon it. Both excavations used the same grid system running north-south and east-west.</p><br>
<p>Of the approximately 150 square meters of “living area” inside the cave, about a fifth has been excavated, and only half of that area has been excavated all the way down to bedrock. This was primarily due to constraints on time and resources, which stopped excavation from being extended to promising areas or even bringing the whole of the excavated area down to bedrock; instead, efforts were focused on obtaining a large sample of artifacts and floral and faunal remains from the area already excavated.</p><br>
<p>The excavated area of Melkhoutboom Cave was divided into stratigraphic units based on soil composition and cultural content. The names given to these units and their estimated ages based on radiocarbon dates of hearths or artifacts are as follows, from bedrock to surface: Basal Unit (15,400 years BP), Rock Fall Unit (10,500 years BP), Medium Brown Series Unit (7,660 years BP), Wilton Base Marker Unit (7,300 years BP), Marker Unit (indirectly dated by comparison to preceding and overlying units), Wedge Unit (6,980 years BP), Main Bedding Unit (5,900 years BP), Cut Away Frontal Unit (2,870 years BP), the Overlie of the Main Bedding Unit, and the Surface Unit. The Wilton Base Marker Unit in particular appears to represent a major technological break from underlying units based on the cultural material found.</p><br>
<h2>Material Culture/Findings</h2><br>
<h3>Features</h3><br>
<p>A number of non-artefactual features were recorded inside the cave. Hearths and ash constituted a large portion of the excavated deposits, and the excavated area also included a number of pits that appear to have been used for storing fruits used for their oils. Most of these pits have been dated to about 3,000 years BP, and are comparable to pits of similar ages found at nearby Boomplaas Cave.</p><br>
<p>During his 1930 excavation, Hewitt noted a number of wooden pegs stuck into cracks in the walls of the cave. He did not record the number of pegs or their positioning, and none of these pegs remained by the time the 1967 and 1969 excavations took place, although there were some bits of wood found within some fissures in the cave walls. The 1969 excavation also unearthed five evenly spaced post holes about 75 mm in diameter and 75 to 100 mm deep, one of which still contained a shard of wood, which may be evidence of some sort of modifications made to the inside of the cave.</p><br>
<p>Two cave paintings were found inside Melkhoutboom Cave – one frog painted in yellow and red, and one bushbuck ewe painted below it, the latter being more faded. Both paintings were located high on the cave walls outside of easy reach, suggesting symbolic or totemic significance.</p><br>
<p>The 1969 excavation uncovered two burials, both of children. The first was of an infant less than a year old, buried in a narrow shaft capped by a flat quartzite rock. The mouth of the burial shaft opens into the Wilton Base Marker Unit, and the remains have been dated to 7,300 years BP. No grave goods were associated with this burial. The second burial was of a child about five years old, buried in a squatting position, again in a narrow shaft – this time, however, opening into the Main Bedding Unit and capped by a 6-millimeter-deep layer of powdered red ochre as well as three large stones on top of the ochre. This burial was associated with several grave goods: three notched shells and 14 baked earthen beads, which are thought to be part of a necklace.</p><br>
<h3>Artifacts</h3><br>
<p>The 1967 and 1969 excavations uncovered numerous artifacts that can be sorted in many ways, but are often sorted based on material, with lithics being considered separately from artifacts made from materials other than stone.</p><br>
<h4>Lithics</h4><br>
<p>The stone artifacts found at Melkhoutboom are used as the basis for sorting all of the artifacts in the Melkhoutboom sequence into three different artifact industries based on the typology of their lithics: the Wilton Industry, found in the Wilton Base Marker and overlying units; the Albany Industry, found in the Medium Brown Series and Rockfall units; and the Robberg Industry, found in the Basal unit. These industries were based on terminology already adopted by archaeologists in the Eastern Cape region.</p><br>
<p>The Wilton Industry is primarily characterized by microliths and hafted tools, often made from chalcedony or silcrete. The two earlier industries are primarily composed of quartzite flakes and are therefore easily distinguished from the later Wilton Industry.</p><br>
<p>Lithics belonging to the Wilton Industry can be further sorted into classes based on their form and function. Among the types of stone tools found at Melkhoutboom were chunks, chips, cores, core reduced pieces, battered pieces and debitage, unmodified flakes, retouched and modified flakes, scrapers, segments, backed bladelets, borers, adzes, anvils, hammerstones, grindstones, milled edge pebbles, and other broken or miscellaneous pieces.</p><br>
<p>Besides stone tools, other stone artifacts found at Melkhoutboom included red and yellow ochre, pieces of shale and micaceous sandstone (which are not found naturally in or near the cave and were therefore likely imports into the site), and unmodified slabs of quartzite and quartzitic sandstone, some associated with hearths.</p><br>
<h4>Other Artifacts</h4><br>
<p>Artifacts in a variety of materials were found at Melkhoutboom and, like lithics, they have been analyzed as evidence of the activities that may have taken place at the site. These non-lithic artifacts were analyzed in conjunction with lithic material, since stone tools are often used to manufacture or modify artifacts made from other materials.</p><br>
<p>Wooden artifacts found at the site included fire sticks, which are well-known ethnographically in the Eastern Cape and have been found at other Eastern Cape sites; fire drill bits; pegs, possibly used as hangers as evidenced by the pegs found in the walls by Hewitt in 1930, or possibly used for staking down skins for leatherworking; points, which were found in a range of sizes and shapes with no apparent single function; two possible handles for hafting stone tools, based on areas stained with dark resin; and other wooden artifacts that were broken or incomplete or whose function could not be determined. The wooden artifacts in the Melkhoutboom sequence are comparable to those from Gwisho sites in Zambia, dating to 4000 BP, as well as to those made by present-day Bushmen of the Kalahari Desert.</p><br>
<p>In addition to standard wood artifacts, many cut lengths of reed were recovered from the higher sequences. These are thought to have played an important role in making the composite tools characteristic of the Wilton Industry, and some may also have been used as arrow shafts.</p><br>
<p>Several pieces of cord made from plant material were also found, along with a few small pieces of netting made from the same type of cord. The netting appears too fine to have been used for hunting and fishing, and is thought to have been used to transport plant waste; this interpretation is supported by ethnography, and by the fact that the netting was found in association with plant waste.</p><br>
<p>Shell artifacts and fragments were found in almost every unit of the site, and were well preserved except in the very lowest units. Most of the shell pieces found were fragments, but decoration could be seen on some of the ostrich eggshell pieces, and unidentified marine shells were used to make the beads found in one of the burials. All of the marine shell found, including those from sea snails (found in all except the Basal unit, which corresponds to the late Pleistocene and lower sea level) and clams (found in much lower frequency), was imported to the site, likely for ornamental use. Ostrich eggshell and land snail shell fragments were found throughout all levels, and freshwater mussel shells were found in upper levels.</p><br>
<p>Compared to the numbers of wood and shell artifacts, there were far fewer bone artifacts found. Only a single ornamental item made of bone was found – a lynx vertebra with holes drilled in it, possibly for cord to be strung through, and coloration from red ochre. The rest of the bone artifacts found were tools: one spatula-like tool, four pointed tools, and a few small flakes of bone.</p><br>
<p>A small amount of pottery was found on the surface level, as well as a few small deposits in some of the pits that were discovered. The few rim sherds that were found appear to have come from pots and bowls. On the few decorated pieces found, the decoration consisted of simple dotting or incisions, comparable to pottery found at Scott’s Cave and in some of the coastal middens.</p><br>
<p>Additionally, a few leather artifacts were found in the main bedding. Only one fully reconstructible garment was found: a pull-through made of grysbok (antelope) leather, similar to those worn by present-day hunter-gatherer groups in South Africa. The remaining leather artifacts were small pieces of skin, some sewn, mostly from small antelope.</p><br>
<h3>Plant & Animal Remains</h3><br>
<p>Based on the plant remains recovered from Melkhoutboom Cave, the primary plant foods its inhabitants relied on were the corms of lilies, especially bugle lilies, and cape tulips. These corms were the main edible plant remains found, suggesting that plants with underground storage organs – and therefore nearly year-long availability – were given preference in collecting. In addition to these important plants, remains of wood sorrel, boophone, and star lily were found in samples from most levels. Wood sorrel is thought likely to have been used for medicinal purposes, and boophone leaves possibly as wrapping material or for arrow poison.</p><br>
<p>Animal bones were found in all layers, but were better preserved in the higher layers. The faunal remains found for the most part belonged to species currently found in the region such as bushpig, grysbok, bushbuck, and duiker, all of which require or prefer a habitat with dense vegetation. Faunal remains of some species from nearby areas, including Kudu, rooi ribbok, vaal ribbok, cape buffalo, baboon, and vervet monkey; and some extinct species, including blue antelope and mountain zebra, were also found. The faunal remains as a whole are indicative of a hunting pattern that has been associated with the tools of the Wilton Industry – the hunting of smaller, nocturnal, non-herd animals such as grysbok, bushbuck, and kudu, which appear to have been the main prey of the residents of Melkhoutboom. It is thought that such a pattern might indicate hunting with snares rather than with spears or other projectiles.</p><br>
<h2>Interpretations</h2><br>
<p>Melkhoutboom Cave is considered a three-component site, with each of the components being the product of several different occupations, sometimes separated by several thousand years.</p><br>
<p>The 1967 and 1969 excavations were intended to investigate the ways artifact styles and methods of production changed through time in the Eastern Cape, with special attention paid to the hafted tools of the Wilson Industry. The research was also more broadly intended to shed light on the prehistory of the Eastern Cape region, specifically on the changes that occurred – climactic, environmental, social, and technological – during the transition from the late Upper Pleistocene to the Holocene.</p><br>
<p>Based on the findings at Melkhoutboom, several conclusions have been drawn. The plant and animal remains in the Melkhoutboom sequence have been used to make inferences about the environment of the Eastern Cape region during the terminal Pleistocene and Holocene occupations of the cave. There are noticeable differences between the faunal remains found in the units corresponding to the Wilton Industry and the underlying units. In the lower levels, the primary species represented in the faunal record are zebra, hartebeest, and wildebeest, which are all diurnal herd animals and grazers preferring a grassland environment. In the Wilton Base Marker and overlying units, the faunal remains are primarily of nocturnal, non-herding animals that generally prefer a more vegetated environment. This change is thought to represent and correspond to a decrease in grassland and increase in scrub and brush that began in the terminal Pleistocene and continued into the Holocene. It is unknown whether this environmental change occurred as a result of human activity, but it is thought to be a natural occurrence that may have been reinforced by human activity.</p><br>
<p>The principal conclusion of the “Prehistory of the Eastern Cape” study is that there appears to be evidence for a stable human population in the Eastern Cape, or at least in the eastern zone of the Cape Folded Mountain Belt, from at least 15,000 years ago. Even though the sequence at Melkhoutboom shows up to several thousand years of non-occupation at a time interspersed with the periods of occupation represented by the material culture, it is expected for periodic occupation to be the norm even with a stable population based on studies of other current and past hunter-gatherer groups. This conclusion is supported by the fact that similar sequences representing alternating periods of occupation and non-occupation occur at a number of other caves in the area. The interpretation that occupation goes back to at least 15,000 years BP is supported by radiocarbon dating of the hearth found on the bedrock, as well as of some artifacts, animal bone, and carbonized plant remains found in the overlying Basal Unit.</p><br>
<p>Other conclusions that have been made based on the findings at Melkhoutboom concern the population itself. Based on the floral and faunal remains, lithics, and other artifacts found in the Wilton Base Marker Unit and above, inferences can be made about changes in subsistence strategies and technology that took place during the 15,000 years represented by the Melkhoutboom sequence. The appearance of the Wilton Industry as well and the changes in plant and animal remains both correspond to the aforementioned environmental changes that are thought to have taken place between the terminal Pleistocene and early Holocene. The floral and faunal evidence has been interpreted as indicating a change during this time period from a subsistence strategy more reliant on hunting to one more reliant on plant foods. This coupled with the shift in faunal remains toward nocturnal, solitary, territorial animals might also represent a change in hunting technology, from the bows and arrows used to hunt larger game to the use of some form of snare.</p><br>
<p>This change in subsistence appears to have had implications on social organization and lifestyle as well. The hunting of more territorial animals allows for more stable and sedentary living, with smaller territories. This change toward a subsistence strategy allowing for more stable living is also reflected in the changes in lithic technology to the microliths and hafted composite tools of the Wilton Industry about 7,500 years ago. The changes in non-lithic artifacts also show an increase in woodworking for both tools and personal ornamentation, the making of cords from plant fibers, and the making of leather garments, all of which can together be interpreted as showing a lower degree of specialization than in previous artifact sequences. The burials found in the Wilton Base Marker and overlying units, especially the burial in the Main Bedding Unit covered by a layer of red ochre, appear to show that these changes in lifestyle may have allowed for the development of ritual behavior. Overall, the Melkhoutboom sequence has been interpreted as representing a transition in the Eastern Cape during the early Holocene to a more sedentary existence based on plant-based subsistence with some reliance on hunting smaller, territorial game, and a more standardized lithic technology, all of which may have been adaptations to the changing environment of the early Holocene.</p><br>
<p>Njoro River Cave was first excavated in 1938 by Mary Leakey and her husband Louis Leakey. Dated to roughly 1,000 BC, the excavations revealed a mass cremation site. They also uncovered pottery, beads, stone bowls, basket work, pestles and flakes. The Leakey&#39;s excavation was one of the earliest to uncover ancient beads and tools in the area and a later investigation in 1950 was the first to use radiocarbon dating in East Africa.</p><br>
<h2>Dating</h2><br>
<p>The Njoro River Cave was the place of first use of radiocarbon dating in East Africa. Though the Leakeys only made a single observation in 1950, later tests in the 1980s on excavated elements confirmed the original estimate of 1000 BC and suggested more modern observational techniques would&#39;ve dated the site a few hundred years earlier.</p><br>
<h2>Cremation and burial</h2><br>
<p>About eighty bodies were originally recovered. While there is nothing that would suggest the items were only left for certain genders, the number of male remains found doubled the amount of female remains. each body was buried with some type of potsherd, basket, bead, stone bowl, pestle, gourd or other various items. It appears the bodies underwent a series of steps to complete the ritual. First the bodies were wrapped in skins. They were then bound and covered with soil before the burning took place. Then a hole was dug into the ground and the body was placed into the hole. They were covered with soil and red ochre. Then a fire was lit on top. Covering the bodies were subjected to an oven atmosphere, leaving the remains in various states.</p><br>
<h2>Beads</h2><br>
<p>The site contained thousands of beads made of semi-precious stones including agate, quartz, chalcedony and microcline. Before this excavation, beads such as these were thought to have been imported. Despite the fact many of the beads were burned for ceremonial purposes and lost their color, many of the excavated pieces kept their shape.</p><br>
<h2>Pottery and baskets</h2><br>
<p>Although many pottery pieces were found, they were only able to rebuild two pots. 78 stone vessels were recovered. There were several different types of bowls found, including platters and shallow basins, pestle-rubbing, deep bowls, round-and flat-based, convex-sided bowls with sharp rims, oblong and oval bowls. These patterns were more ornate than others in the region.</p><br>
<p>Sharon Cemetery Historic District is located in rural Harrison Township, Lee County, Iowa, United States near the town of Farmington. It was listed on the National Register of Historic Places in 1991.</p><br>
<p>The buildings in the district belong to Sharon Presbyterian Church and the cemetery in the church yard. They include the church itself (1885), the manse (1918), the sexton&#39;s house (1899), and the Toilet Rooms and Lavatory (c. 1902). The buildings are all of frame construction. The cemetery itself is the contributing site. It was divided in two sections. The oldest section is 4 acre and was established in the 1860s. The newer section, also four acres, surrounds the older section and was added in 1899. O.C. Simonds was a landscape architect who laid out the rural cemetery and created a plan for plantings on the property, but it is unclear how closely the plan was followed. An American Revolutionary War soldier who died in Lee County was reburied in the cemetery and a grave marker for him was erected in 1907 by an act of the Iowa General Assembly. The contributing object is a water fountain that has a galvanized iron basin is located at the junction of the entry-drive and the loop driveway. Other contributing structures include the driveways, entry gate, walkways, drainage system, stone curbs, hitching posts, and the coping, fence, and pedestrian gates.</p><br>
<p>The Captain John Plummer House is a historic house at 23 Pleasant Street in Addison, Maine. Built in 1842 for a ship&#39;s captain and local politician, it is locally distinctive for its Gothic Revival entry vestibule, an architectural style not found elsewhere in the small community. The house was listed on the National Register of Historic Places in 2009.</p><br>
<h2>Description and history</h2><br>
<p>The Plummer House stands in the village of Addison Point, located in the northwestern part of the rural community on the banks of the Pleasant River. It is set on the east side of Pleasant Street, a short road between Water and School Streets. It consists of a 1-1/2 story Cape style main block, with a two-story ell extending to the rear. The exterior is clad in a combination of clapboards and shingles, and most of the building rests on stone foundations. The most prominent feature of the house is its vestibule, which projects from the center of the five-bay front facade. It has a tall, steeply-pitched gable roof, with decorative bargeboard in the gable, which has a lancet-arched tracery window at its center. An open arch shelters stairs that rise to the front door, which also features a lancet-arch window, and is flanked by sidelight windows. The interior of the house retains significant early original features, including wide pine flooring and woodwork in its front parlors.</p><br>
<p>The house was built about 1842 for John Plummer, an Addison native and ship&#39;s captain, who later engaged in merchant business, lumbering, and politics, serving in the state senate during the American Civil War. It is unclear exactly when the Gothic Revival vestibule was added; it may have been around the time Plummer became politically active. The house remained in the Plummer family until about the turn of the 20th century.</p><br>
<p>The Richard Hunniwell House is one of the oldest surviving structures in the United States state of Maine. Located on Old Country Road near Black Point Road in Scarborough, Maine, this modest single-story building was probably built in 1702-03 by Richard Hunniwell, who had first settled Scarborough in 1684. The house was listed on the National Register of Historic Places in 1976. It is now owned and maintained by the town.</p><br>
<h2>Description and history</h2><br>
<p>The Hunniwell House is located in central Scarborough, in a triangular wooded island formed by Black Point Road (Maine State Route 207), Old Country Road, and Winnocks Neck Road. It is a 1-1/2 story Cape style wood frame structure, three bays wide, with clapboard siding and a stone foundation. Its windows are 19th-century sash windows, and the main door is topped by a four-light transom window. The interior of the house follows a typical central-chimney plan, with a small entry vestibule with a winding staircase to the attic, and rooms to either side. Trim and decoration are minimal.</p><br>
<p>Although Maine was settled by European colonists in the 17th century, most of its settlements were abandoned as a result of either King Philips War (1675–78) or King Williams War (1688-97). No 17th-century buildings are known to survive in the state. Richard Hunniwell, a veteran of King Philips War, was one of the signatories to Scarboroughs incorporation in 1684. His wife and child killed in an Indian raid, he was a leader of the local militia and supposedly carried an implacable hatred of Native Americans. The small community was abandoned in 1690 due to continuing Native raids, and was reoccupied in 1702. It is believed that the present Hunniwell House was built early in this reoccupation; Hunniwell was killed in a major raid on Maine coastal communities in 1703, early in Queen Annes War. The community survived, and Hunniwells widow (who survived the raid) lived here until her death in 1732.</p><br>
<p>The house was originally located in a field off Old Country Road. It sat abandoned for many years, until its historical significance was established in 1971 by the local Rotary Club. The house was given to the town, and moved to its present location in 1973, where it has since undergone restorative work.</p><br>
<p>Primrose Mill is a historic structure located in the unincorporated community of Primrose, Iowa, United States. It was listed on the National Register of Historic Places in 1983.</p><br>
<p>The mill itself is a three-story, rectangular, brick structure capped with a combination gambrel-jerkinhead roof. It is built on a limestone foundation. A corbelled brick frieze with a dentil pattern and a corbelled cornice follows the eaves line around the building. The cornice is partly returned at each corner. A Gothic gable dormer with a tall arched window is centered on each side of the roof. Its founding and operation is associated with the German population of the village, which may also explain the high degree of craftsmanship and the attention to decorative details found on the building.</p><br>
<p>Christian and Katharina Herschler House, Barn, and Outbuildings Historic District are historic structures located in Franklin, Iowa, United States. The historic district, now known as the Christian Herschler Winery, is located on the edge of town. At the time of its nomination it included three contributing buildings: the house , barn  and a shed/summer kitchen. It also includes two noncontributing buildings: a two room brick structure and a cement foundation. The Herschlers raised their own grapes and operated the town&#39;s only winery.</p><br>
<p>The house is a two-story limestone structure. The 44 by structure was built over a walk-in basement. The Herschler&#39;s extended the house to the west in 1871, and the dormers and porch were added to the south side of the house at that time. The L-shaped barn was also built in 1865. The main part of the barn measures 40 by. It too was enlarged to the west in 1871. The project enclosed the well and connected the outhouse and the lean-to to the barn. The wooden shed to the south of the house is thought to be the summer kitchen.</p><br>
<p>The Herschlers overextended themselves. A year after they expanded their buildings they were forced to sell their property and its contents at a Sheriff&#39;s sale. They moved to California in 1874.</p><br>
<p>Gabula was an Ancient city and former bishopric in Roman Syria, and remains a Latin Catholic titular see.</p><br>
<p>Its modern location is presumed at the marsh of al-Jabbul (Sabkhat al-Jabbul, Djebbul, Djabbul) in present Syria.</p><br>
<h2>History</h2><br>
<p>Gabula was important enough in the Roman province of Syria Prima to be a Metropolitan Archdiocese in the sway of the Patriarchate of Antioch (the provincial capital Antioch on the Orontes), but was to fade, presumably at the advent of Islam.</p><br>
<p>It has had two historically documented incumbents :</p><br>
<p>Bassianus (Bassones), participant at the First Council of Nicaea in 325</p><br>
<p>Flavianus, signator of the letter of the episcopate of Syria Secunda to Byzantine emperor Leo I the Thracian (457-474) in 458, after the lynch-mobbing by Copts of Patriarch Proterius of Alexandria.</p><br>
<h2>Titular see</h2><br>
<p>The diocese was nominally restored in 1929 as a Latin Catholic titular archbishopric.</p><br>
<p>It is vacant since decades, having had the following incumbents, all of the intermediary (archiepiscopal) rank :</p><br>
<p>Joseph Attipetty (1932.11.29 – 1934.11.15)</p><br>
<p>Patrick Finbar Ryan, Dominican Order (O.P.) (1937.04.13 – 1940.06.06)</p><br>
<p>Louis Batanian (1940.08.10 – 1952.12.06); previously Archeparch (Archbishop) of Mardin of the Armenians (1933.08.05 – 1940.08.10); later Archeparch of Aleppo of the Armenians (Syria) (1952.12.06 – 1959.04.24), Titular Archbishop of Colonia in Armenia of the Armenians (1959.04.24 – 1962.09.04) & Auxiliary Bishop of the patriarchate Cilicia of the Armenians (Lebanon) (1959.04.24 – 1962.09.04), Patriarch of Cilicia of the Armenians (Lebanon) ( 1962.11.15 – 1976.04.22) and President of Synod of the Armenian Catholic Church (1969 – 1976.04.22)</p><br>
<p>Pompeo Ghezzi (1953.10.25 – 1957.04.17)</p><br>
<p>Aurelio Macedonio Guerriero (1957.05.25 – 1963.10.19)</p><br>
<p>Francis Carroll, Society of African Missionaries (S.M.A.) (1964.01.14 – 1980.10.10)</p><br>
<p>The Lorettoberg, also known as Josephsbergle in Freiburg, is a mountain ridge in the South-West of the Wiehre district in the city of Freiburg im Breisgau in Germany. The mountain, with its elevation of 384,5 meters above sea level, is wooded at its peak. It divides the district Unterwiehre-Süd and borders the Vauban district in the West. 500 meters north of the “peak” there is a high spur 348m above sea level, next to which the eponymous Lorettokapelle is located. The name derives from Loreto, the second biggest Italian  pilgrimage destination, after the St. Peter&#39;s Basilica in Rome. The Schloss-Café is located at the top of the mountain making the Lorettoberg a popular destination for a getaway, strolling and a local recreation area.</p><br>
<p>The eastern main edge fault of the Upper Rhine Rift drags through Lorettoberg and the Höllentalbahn runs through the mountain via the Lorettotunnel. When the tunnel was built, a “geological window” was left open, through which the fault can be seen and where further decline of the Upper Rhine Rift can be measured.</p><br>
<h2>Buildings</h2><br>
<p>The 22,6 meter high Hildaturm (English :Hilda tower) has been standing on the subpeak at the north side of the main summit since 1886. It is built in Medieval Bergfried style and is a memorial of the day Princess Hilda Charlotte Wilhelmine of Nassau the last Grand Duchy of Baden moved to Freiburg following her marriage to Fredrick II, Grand Duke of Baden. The Hildaturm was used as an observation tower for aerial survaillance during the World War II. During summer, the 19.86 meter high observation deck is open to public on selected weekdays.</p><br>
<p>A little north of the Hildaturm, the Lorettokapelle, which consists of three single chapels and was founded by citizens of Freiburg in 1657, can be found. The church is a memorial to the bloody war that took place around Lorettoberg in 1644 (Battle of Freiburg) described among others by Reinhold Schneider a poet who used to live at Lorettoberg. Next to the Lorettokapelle, there is the “Schloss-Café” in the Guesthouse of the Lorettoberg, which was built in 1902 in the Art Nouveau style.Before this, a 19th-century building called "brother house" was located at the same spot. However, this building eventually became too small to host the numerous visitors and thus had to give way to the present construction.</p><br>
<p>It was at this very spot that French king Ludwig XV watched the shelling of Freiburg by his troops in 1744 during War of the Austrian Succession. A Cannonball that nearly hit him is immured in one of Lorretokapelle walls. Not far to the northwest of this point at the west side, one can still see the former quarry from which the stones used to construct the Freiburg Munster were excavated. Other quarries and clay pits can be found at Lorettoberg. Some were already used in the Middle Ages. One remaining clay pit, for example, is the lower Schlierbergweiher. During a detonation in 1896, the hydrophilic layer of the clay pit was damaged and the pit ran full of water, which is why the use of it was abandoned.</p><br>
<p>The are a few scattered houses built in Historistic style in the eastside of Lorettoberg, which were largely built between 1870 and 1914. The westside, which is sometimes referred to as "Schlierberg", has low building density that predominantly originates from the second half of the 20th century. Moreover, hillside vineyards belonging to the Staatlichen Weinbauinstitut Freiburg (Freiburg’s public institute for viticulture ) can be found there. Since recently, the headquarters of the Badischer Landwirtschaftlicher Hautpverband (Baden agricultural association) are in an unusual, multistory, wooden passive house, also called the Haus der Bauern (House of the farmers). The building is located at the Merzhauser street which runs along the foot of the mountain.</p><br>
<p>Several of the numerous villas at the Lorettoberg belong to student fraternities. The Catholic Loretto hospital is on the eastside, and on the foot of the mountain there is the Loretto Baths, an open-air swimming pool with a women and children only area. The Loretto Baths which are perhaps one of the last of its kind in whole Germany. From there (at the corner Loretto-/Mercystrasse) the so-called Bergleweg, a footpath, leads up to the chapel. The Way of St.James and the Zaehringer-trail run on this path. Before the ascent, there is the Chalet Widmer on the right, a Swiss-style prefabricated house of 1887 which was shown in the same year in the Upper Rhine crafts&#39; exhibition and meanwhile is under conservation of historic buildings. Further South there is the Silvicultural Research Institute of Baden-Wuerttemberg and the “Foresthouse”, a non-profit organization sponsored education and information center on the subjects of forest and sustainability.</p><br>
<p>On the southwestern foothill, the Heliotrope designed by the architect Rolf Disch, who also designed the nearby solar-powered village in Freiburg’s district Vauban, can be found.</p><br>
<h2>Miscellaneous</h2><br>
<p>In the crime story Lorettoberg by Volkmar Braunbehrens two people are murdered in the neighborhood of the villas on the eastern slope of the Lorettoberg.</p><br>
<p>The Philler Cottage, until recently the Dark Harbor House Inn, is a historic house at Pendleton Point and Jetty Roads in Islesboro, Maine. Built in 1894 for a wealthy Philadelphia banker, it is a high-quality regional example of a Georgian Revival summer house. It was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>The town of Islesboro occupies an eponymous island in Penobscot Bay, on the central Maine coast. The island is roughly shaped as two lobes joined by a narrow isthmus. The Philler Cottage is located close to the village of Dark Harbor, at the northern end of a peninsula that juts south from the southern lobe of the island. It is set on a roughly triangular property bounded on the north by Pendleton Point Road (the main north-south road on that part of the island) and on the south by Jetty Road. The house is a 2-1/2 story wood frame structure, with a hip roof, clapboard siding, and a two-story servants wing extending to one side. The roof is pierced by two brick chimneys and several gabled dormers, and is topped by a widow&#39;s walk railing. The long sides of the house each have an entrance sheltered by a porch with Tuscan columns, and an upper-level balustrade with posts topped by urns. A two-story porch, also supported by Tuscan columns, adorns the west side.</p><br>
<p>The house was built in 1894-96 to a design by architect Fred Savage of Bar Harbor, Maine, for George Philler, a wealthy banker from Philadelphia. Philler was one of a number of Philadelphia businessmen who organized an exclusive resort development in the Dark Harbor area, which was anchored by the now-lost Islesboro Inn. The house had until recently served as the Dark Harbor House Inn, which has since closed.</p><br>
<p>Intervale Farm is a historic farm property at 1047 Intervale Road in New Gloucester, Maine, United States. Its brick farmhouse, built early in the 19th century, is one of the only Federal style brick houses in the rural community, and the connected farmstead is one of the area&#39;s early examples of the type. A portion of the farm (34 acre was listed on the National Register of Historic Places in 2004. It is an active operation, raising vegetables and beef.</p><br>
<h2>Description and history</h2><br>
<p>Intervale Farm is located in southern New Gloucester, on the west side of Intervale Road (Maine State Route 231). It consists of 118 acre (down from a maximum of 275 acre once associated with the farm), of which 34 acre around the main farmhouse are under active cultivation, producing a variety of crops. The main house is a two story brick structure, with a hip roof and a series of wood-frame additions connecting it to a barn. The main facade faces east, toward the street, and is symmetrical, five bays wide, with a center entrance flanked by sidelight windows and topped by a Federal style wooden fan. The interior follows a traditional center-hall plan, somewhat altered by the addition of bathrooms and the repurposing of the original kitchen to serve as bedrooms. It retains modest original Federal period woodwork.</p><br>
<p>The early history of the house lacks clear documentation, but may well have been built by Jabez Cushman, an early owner of the land who was quite wealthy, and active in local civic affairs. It has been assigned a construction date of about 1811 based on an inscription on one of its attic beams. The relatively large size and sophisticated style of the house (built when most houses in the area were single-story Capes) suggest it was built by a person of some stature. The connected farmstead seen today reached its approximate configuration sometime before 1870, when it is documented in a photograph.</p><br>
<p>The Middletown Rural Historic District encompasses an area that was once the town center of Grafton, Vermont. Located northwest of Grafton Village along Middletown Road and adjacent roads, it includes nine well-preserved 19th-century properties, as well as the town&#39;s first cemetery and animal pound. The district was listed on the National Register of Historic Places in 2011.</p><br>
<h2>Description and history</h2><br>
<p>The area that is now Grafton was first chartered in 1754, but only began to see permanent settlement in the late 1770s. The town&#39;s first civic center was located on a hill near the geographic center of town, which is now at the center of the Middletown Rural Historic District. This area would by 1830 be economically eclipsed by Grafton Village and other areas along the Saxtons River. The area is now largely rural, with a small cluster of buildings at the corner of Middletown and Woodchuck Hill Road.</p><br>
<p>The district extends along most of the length of Middletown Road, between Grafton Village and its northern end at Vermont Route 121. Several dead-end spur roads radiate from Middletown Road, which also have contributing properties. The oldest resources in the district are the cemetery and the Hall House, both dating to about 1790. Most of the houses in the district are wood frame structures, in either Federal or Greek Revival style, with three examples of brick construction. The old town pound, its stone walls dating to about 1808, is near the cemetery, and an 1856 schoolhouse stands at the junction of Middletown Road with Route 121, marking the northernmost end of the district.</p><br>
<p>The Little Rock Confederate Memorial is a stone memorial marker in Little Rock National Cemetery, Little Rock, Arkansas. Set in an overflow area of the cemetery on 21st and Barber Streets, it is a granite obelisk, mounted in a concrete base, measuring 18 ft in height and a square base 67 in per side. Midway up the west side of the obelisk "U.D.C." is inscribed, with "1913" at the base of that side. Inscriptions on the sides of the base commemorate fallen Confederate Army soldiers. It was placed in 1913, paid for by the local chapter of the United Daughters of the Confederacy. The ceremony marked the first time that the federal government formally took charge of a former Confederate military cemetery.</p><br>
<p>The memorial was listed on the National Register of Historic Places in 1996.</p><br>
<p>The Park-to-Park Residential Historic District in Fort Madison, Iowa, United States, was listed on the National Register of Historic Places in 2014. The historic district is located to the north of the Downtown Commercial Historic District, generally between Central Park on the west and Old Settler&#39;s Park on the east. Both parks are contributing sites. For the most part the district is made up of single family homes built in the late 19th and early 20th centuries. Some of these homes were built as rental properties, while others became so in later years. The Albright House and the Chief Justice Joseph M. Beck House are contributing properties, and they are also individually listed on the National Register. There are also duplexes and a few small scale apartment buildings in the district.</p><br>
<p>Given its location adjacent to the central business district there are no historic commercial buildings located in its boundaries. Institutions in the district include buildings erected by local governments and churches. The Lee County Courthouse (1842) and jail (c. 1850) are located across the street from the downtown area. A combination building houses the Fort Madison City Hall and a fire station (1873). The former St. Josephs Catholic Church complex (various buildings from the 1850s to the 1920s) is located near Old Settlers Park, while St. Mary of the Assumption Catholic Church (1871), rectory (1876) and convent (1911) are located just west of Central Park. First United Methodist Church is associated with two sets of buildings in the district. Its original church built in 1888 now houses Joy Baptist Church. Their present church building was built in 1923. The present First Christian Church (1958) replaced an earlier church (1903) on the same property. Other denominations are represented by Union Presbyterian Church (1885) and Parsonage (c. 1890), St. Johns Evangelical Church (1864) and Parsonage (1893), and St. Lukes Episcopal Church that was built as Hope Episcopal in 1857.</p><br>
<p>North Yolla Bolly Mountain  is a 7,868 ft peak in the Klamath Mountains of the Coast Ranges located in Trinity County, Northern California. The mountain is located in an isolated part of the Yolla Bolly-Middle Eel Wilderness, in the Shasta-Trinity National Forest, about 50 mi west of Red Bluff. It is situated about 13 mi from Mount Linn , the highest point of the Coast Ranges south of the Trinity Alps.</p><br>
<p>North Yolla Bolly is located only a mile southeast of 7,755 ft Black Rock Mountain, often considered its sister peak. Together, the two summits and the cluster of surrounding peaks in the immediate vicinity are sometimes called the "North Yolla Bolly Mountains", although this grouping is not considered a true mountain range. A small glacial tarn, North Yolla Bolly Lake, is located in a cirque on its north slope. The area is accessible by a trail from Stuart Gap. On a clear day, one can see Mount Shasta and Lassen Peak as well as the Sierra Nevada from the summit of North Yolla Bolly.</p><br>
<p>The mountain divides the headwaters of the South Fork Trinity River and Cottonwood Creek. A spur of the mountain, Skylight Ridge, touches the headwaters of the Middle Fork Eel River, making it the triple point between the Klamath, Sacramento and Eel River systems, the three largest waterways of Northern California.</p><br>
<p>"Yolla Bolly" is a Wintu word meaning "snowy peak". The mountain is one of only a few in the area high enough to receive substantial snowfall in the winter.</p><br>
<p>Cattermole Memorial Library is a historic building located in Fort Madison, Iowa, United States. It was individually listed on the National Register of Historic Places in 1984. In 2007 it was included as a contributing property in the Fort Madison Downtown Commercial Historic District.</p><br>
<h2>History</h2><br>
<p>The first library in Fort Madison was a reading room established in the late 1870s by the White Ribbon Society, a local temperance group. It grew to such an extent that by 1884 the City Circulation Library was founded. This collection formed the nucleus of what would become the Cattermole Memorial Library in the next decade. Elizabeth Cattermole funded the construction of the building as a memorial for her husband Henry. He had made his fortune in pork packing and banking. Henry had stipulated in his will that $10,000 be used to build a training school. It was an insufficient amount of money to build the school so the money was set aside. Elizabeth recognized the need for a public library in Fort Madison and contributed $30,000 towards the effort to build a new building. She also contributed $500 towards the purchase of new books. This is the earliest extant example of local philanthropic support in Iowa for the construction of a building dedicated for use as a public library. Elizabeth died before the project was completed.</p><br>
<h2>Architecture</h2><br>
<p>Architecturally, the building is a combination of the Loire chateau and Richardsonian Romanesque styles. The exterior of the 2½-story structure is composed of brick with terracotta and stone trim. It is capped with a hipped roof. Roof dormers are located on the north and west elevations. The dominate feature of the building is a corner tower with a conical roof. An addition was added to the rear of the building in 1954.</p><br>
<p>The former Corinth Town Hall and Corinthian Lodge No. 59, I.O.O.F. is a historic community building at 328 Main Street in Corinth, Maine. Built in 1880 as a joint venture by the town and the local Odd Fellows chapter, it served as Corinth&#39;s town hall for about 100 years, and as a major social meeting and event location for the town. The building was listed on the National Register of Historic Places in 2008. The building continues to be used as a community center.</p><br>
<h2>Description and history</h2><br>
<p>The former Corinth Town Hall and IOOF lodge is located on the east side of Main Street (Maine State Route 15) in the center of East Corinth village, just south of its junction with Exeter Road (Maine State Routes 11 and 43). It is a large 2-1/2 story wood frame structure, with a gabled roof topped by a small open square cupola. The exterior is sheathed in clapboards, with its front corners quoined on the first floor and pilastered on the second, rising to paired brackets in the eave. The front-facing gable is decorated with Stick style woodwork. The entrance is in the center of the front, sheltered by a short shed-roof hood with gablet at the center. Windows as tall sash, with cornices above; the central window on the second floor is a more elaborate fixture, with a pair of fixed windows set under a gabled cornice and Eastlake-style carved motif. The interior of the hall was divided, with space formerly used as municipal offices and the town auditorium on the ground floor, and the former IOOF lodge facilities on the second floor and attic level. The IOOF hall retains original murals with symbology of the organization.</p><br>
<p>The hall was built as a joint venture by the town and the local IOOF chapter, the latter paying for 3/7 of the buildings construction and maintenance. The building replaced the towns previous town hall, which was built in 1836 at a different location. Although no architect has been definitively identified for the building, it bears some resemblance to the town hall of Orono, which was designed by Bangor architect George W. Orff and built in 1874. This building is one of East Corinth village&#39;s oldest non-residential buildings, surviving several fires. It served not only its formal civic and fraternal functions, but has also historically been a major local venue for social events, political rallies, and even as a gymnasium for the local schools. The IOOF lodge disbanded in 1986, turning its 3/7 share of the property to the town. Since 2006, it has been used by the local food bank.</p><br>
<p>Chief Justice Joseph M. Beck House is a historic residence located in Fort Madison, Iowa, United States. It was individually listed on the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>Joseph M. Beck moved to Fort Madison in 1850. He was a locally prominent lawyer who was elected mayor and county attorney. In addition to the law he was also involved in banking, railroad development, and organizing First Baptist Church. Initially a Whig, he helped establish the Republican Party. Beck served as a justice on the Iowa Supreme Court from 1868 to 1891. For five of those years he served as chief justice. On the court he was a supporter of civil rights for Blacks and the prohibition of alcohol.</p><br>
<h2>Architecture</h2><br>
<p>The two-story brick house sits on a corner lot. The Beck family owned the property from 1859 to 1937 when it was sold to the Napier family. The house was built in 1869. The structure portrays the influences of the Gothic Revival, Italianate, and the Romanesque Revival styles. The first two are strongly invoked in the high pitch of the north facade&#39;s gable, the elaborate verge boards, and the bracketed eaves at the cornice. The round arch windows are from the Romanesque Revival style. The house is painted in the same red hue as its original surface.</p><br>
<p>The Moore and Thompson Paper Mill Complex is a major late 19th-century industrial site off Bridge Street in Bellows Falls, Vermont. It is the largest surviving mill complex from the village&#39;s industrial heyday, and is one of the largest of the period in the state. It was listed on the National Register of Historic Places in 1984.</p><br>
<h2>Description and history</h2><br>
<p>The Moore and Thompson Paper Mill Complex is located at the southern end of the Island of Bellows Falls, created by the Connecticut River to the east and the Bellows Falls Power Canal to the west. It consists of two large clusters of buildings, one immediately east of the power station at the dam located at the southern end of the canal, and the other between that and Bridge Street to the north. The lower complex, built primarily in the 1880s, consists of multi-story brick structures formed into a roughly rectangular shape. These are connected via a bridge to a similarly sized group of single-story buildings, erected in 1924-25. The bridge crosses a former canal and railroad right-of-way, and historically carried utilities.</p><br>
<p>Albert C. Moore started in the papermaking business in Bartonsville, northwest of Bellows Falls. His mill destroyed by a flood in 1869, he entered the paper business of William Russell in Bellows Falls. In partnership with Edward Arms, Moore built the lower complex of buildings in 1880-81. Financing of this endeavor apparently prompted the partners to take on Horace W. Thompson as a third owner. Arms withdrew from the business in 1892, and Moore and Thompson was formally incorporated in 1893. In 1914 the company leased its water rights (to divert water from the canal for power) to the Bellows Falls Electric Company, in exchange for electricity delivered by its hydroelectric plant; this agreement was in 1984 still in force. The partners withdrew from the business in the early 1920s, and it is their successor, the Hudson Bag Company, that built the upper complex.</p><br>
<p>Moore and Thompson was not the largest papermaking operation in Bellows Falls. The largest, established by a predecessor to International Paper, was located northeast of its facility, and most of it was torn in the late 1920s, after it was closed following a major strike in 1921. Hudson Bag remained in business (as the area&#39;s largest papermaker) at the Moore and Thompson complex until 1963.</p><br>
<p>The Albright House  is a historic residence located in Fort Madison, Iowa. It was individually listed on the National Register of Historic Places in 1978. In 2014, it was included as a contributing property in the Park-to-Park Residential Historic District.</p><br>
<h2>Description and history</h2><br>
<p>The duplex was built in 1858 by brothers Jacob and William Albright, who had moved to Fort Madison in 1839 from Philadelphia. They patterned their house after the design of a double Italianate residence found in Samuel Sloan&#39;s The Model Architect (1852). The three-story brick house follows a cross-shaped plan. The watertable, lintels and window sills are all stone. It has a wide, overhanging cornice that is decorated with dentils and paired brackets with pendants. The entrance porch for each unit was built into the front angles of the structure. The house was known locally as the Betsy Ross House because Jacob Albright was married to Rachel Wilson, a granddaughter of Betsy Ross.</p><br>
<p>The Moyce–Steffens House, also known as the French Creek House, is a historic residence located in Fort Madison, Iowa, United States. It was listed on the National Register of Historic Places in 1997.</p><br>
<p>The house is named for the first two owners of the house, who also substantially built it. John Moyce was a stonemason, originally from Scotland. He built the original section of the house in 1844. It was a single room dwelling that was typical of the vernacular architecture built in frontier Iowa. It is noteworthy for its finely-hewn stone cellar walls. Moyce moved to Illinois in 1848 and the house was bought by Hermann Steffens. He was a carpenter&#39;s laborer who added a single room to the northeast corner of the house. It shows the advancement in building techniques by the use of milled studs instead of the pit-sawn and hewn studs, and the absence of brace framing that are found in the original section of the house.</p><br>
<p>Steffens died in 1882, and his widow Anna continued to live in the house until her death in 1904. During this time the western two rooms were added to the structure. It is possible this created a duplex as both the eastern and western sections of the house have their own front and rear entrances. This section, completed about 1892, shows further advancement in 19th-century building techniques. It utilizes balloon framing, and the brick nogging utilized in the earlier two sections is absent. The Tuscan columns found on the front porch are typical of the Colonial Revival style and replaced the original square posts with chamfered edges around 1910. Three of them were located in the cellar supporting a sagging foundation sill plate.</p><br>
<p>The George E. Schlapp House is a historic residence located in Fort Madison, Iowa, United States. It was listed on the National Register of Historic Places in 1982.</p><br>
<p>George E. Schlapp was born in 1839 in what is now Germany. He immigrated with his family to the United States when he was twelve years old, and they had settled in Lee County, Iowa by 1853. Schlapp started working in the brewing business by 1858. He built his own brewery on Front Street, now Avenue H, in 1866. His brother Henry joined him in 1871, and the brewery became known as George Schlapp and Brother. George Schlapp was also involved in banking, the development of the Fort Madison Western Narrow Gauge Railroad, and as a stock broker. He married Mary Dupuis in 1863 and they had six children. The exact date this house was built is unknown, but it is thought to have been built in the early 1870s. George Schlapp lived here until he died in 1912, and the house remained in the family until 1968.</p><br>
<p>The house is considered to be the best example of Italianate architecture in Fort Madison. The 2½-story, brick house sits on a bluff overlooking the city and the Mississippi River below. The rectangular main block is almost square, and it has a smaller, two-story wing in the back. It is capped with a hipped roof that is pierced by four symmetrically spaced interior brick chimneys with corbelled caps. The cornice that surrounds the house features elaborately carved, paired wooden brackets and dentils under the eaves. At the top of the main facade is a triangular pediment with a single round arch window. There is a flat area on top of the roof that suggests a widow&#39;s walk, but there is no evidence that it was ever built.</p><br>
<p>The MacArthur Park Historic District encompasses a remarkably well-preserved collection of Victorian buildings in the heart of Little Rock, Arkansas. The main focal point of the district is MacArthur Park, site of the Tower Building of the Little Rock Arsenal and Little Rocks 19th-century military arsenal. The district extends north and west from the park for about four blocks, to East Capitol Avenue in the north and Scott Street to the west, and extends south, beyond Interstate 630, to East 17th Street. This area contains some of the citys finest surviving antebellum and late Victorian architecture, including an particularly large number  of Second Empire houses, and achieved its present form roughly by the 1880s. The MacArthur Park Historic District was listed on the National Register of Historic Places in 1977.</p><br>
<p>The Essenrode Manor in Essenrode, a town within the municipality of Lehre, Lower Saxony, was built by Gotthart Heinrich August von Bülow in 1738.</p><br>
<h2>Description</h2><br>
<p>The mansion is built in a late Baroque style surrounded by a small English-style park. The park grounds are surrounded by a moat that once included a drawbridge, which was part of earlier fortifications built in 1337. To provide extra protection, these fortifications were constructed and surrounded by outbuildings.</p><br>
<h2>History</h2><br>
<p>The property has been owned by three different families throughout its history. From 1337 to 1625 it was owned by the von Garssenbüttel family.</p><br>
<p>In 1627, ownership was transferred to an aristocratic family, von Bülow, who controlled the property for the next 210 years (1627 to 1837). The von Bulows built the current mansion as it is today. Former Prussian, Kingdom of Westphalia and Duchy of Magdeburg politician, Hans, Count von Bülow, was born here in 1774. In 1750, Karl August von Hardenberg, Prussian reformer and Minister President of Prussia, whose mother was a von Bülow, was born in the mansion. Karl spent much of his childhood at the mansion and its during this time that many of his future reforms were developed.</p><br>
<p>Since 1837 it belongs to the Lower Saxon noble family.</p><br>
<h2>Literature</h2><br>
<p>Hans Adolf Schultz: Burgen, Schlösser und Herrensitze im Raum Gifhorn-Wolfsburg. Gifhorn 1985</p><br>
<p>The George R. Mann Building, also known as the Adkins Building, is a historic commercial building at 115 East 5th Street in Little Rock, Arkansas. Built in 1906 to a design by local architect George R. Mann, it is an important local example of Beaux Arts architecture, and served as the site of Manns office until 1912. Despite the buildings comparatively modest scale, it has a monumental-appearing facade, with two-story fluted columns set on paneled stone posts, with angled Ionic capitals supporting a heavily carved entablature. A line of dentil moulding separates that from a projecting modillioned cornice topped by a series of cartouches, with a recessed parapet behind.</p><br>
<p>The building was listed on the National Register of Historic Places in 1983.</p><br>
<p>Cattle House is a heritage-listed former bank building at 180 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by Addison & Corrie and built from 1903 to 1904. It is also known as Union Bank of Australia and the Cattleman&#39;s Union building. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Cattlemans Union building at 180 Quay Street, Rockhampton was erected in 1903 as a two-storeyed concrete-rendered brick building for the Union Bank of Australia. It was designed by Brisbane architects Addison and Corrie and was the second premises to be constructed on the site for the Union Bank of Australia. The original bank premises was erected in 1864 making it one of the earliest examples of commercial development in Quay Street. The Cattlemans Union Building contributes significantly to the streetscape of Quay Street which is characterised by commercial buildings of high quality from the 1860s to the 1900s.</p><br>
<p>A branch of the Union Bank of Australia had operated in Rockhampton in rented premises from 28 October 1862. By the end of 1863 a two-storeyed brick building with verandahs was nearing completion on the site of the present building. The contract price for the building was £3,291/5/- and the final cost, including office fixtures and furnishings, was £3,612/14/-. The building consisted of a banking chamber, strongroom, managers room, clerks room and dining room on the ground floor and a drawing room and four bedrooms on the first floor. The complex, on half an acre of land, also included a temporary brick kitchen, servants rooms, outhouses and wooden stables. The Union Bank had been cautious to keep the cost of the 1864 building close to £3000 as re-sale was a possibility because of some uncertainty, in these early years, of Rockhamptons future as a commercial city.</p><br>
<p>The bank occupied one of the most advantageous positions in the city being situated on Quay Street close to the wharves and the other principal business premises. During the 1860s, Rockhampton was the major port in central Queensland which handled the pastoral and mineral products that came increasingly from the hinterland. It was in these early years that Quay Street developed in a commercial capacity to serve the passing trade at the wharves.</p><br>
<p>Development in Rockhampton and in Quay Street escalated greatly during the 1880s due to the immense wealth generated by the discovery of gold at Mount Morgan. The new economic buoyancy of the 1880s created a period of rebuilding throughout the city, a trend reflected by development in Quay Street. Nearly all the major buildings in Quay Street were constructed between 1882 and 1903. The establishment in 1903 of the North Coast railway line to Brisbane caused the importance of the port to diminish and further commercial development in Rockhampton to be more closely tied to the city centre. The construction of the new Union Bank premises in 1903 was a part of the tail end of the 19th century development boom in Quay Street.</p><br>
<p>The present building was erected after the Union Banks General Manager sought approval from the board in 1902 to rebuild on the site of the run-down 1864 bank building. Despite his concerns about the poor economic conditions in the area due to drought, the new building was occupied at the end of July 1904. Tenders for the new bank premises were called in September 1903 by Brisbane architects GHM Addison and Leslie Gillespie Corrie in conjunction with Rockhampton architects AM Hutton and EM Hockings. Addison and Corrie had practised as architects in Brisbane from 1898 to 1905 and designed such buildings as the Bank of New South Wales in Fortitude Valley and Queen Street, Brisbane (1899), and the former Chandlers building (Moon&#39;s building) in Adelaide Street, Brisbane (1900). GHM Addison had previously sustained a successful career in Brisbane from 1886, establishing himself as a prominent architect being responsible for the design and completion of the Exhibition Building in 1891.</p><br>
<p>In October 1951, the Union Bank of Australia and the Bank of Australasia merged to form the Australian and New Zealand Banking Corporation Ltd. The Quay Street Building remained the premises of the ANZ Bank until 6 November 1980, when the building was purchased by the Cattleman&#39;s Union who continue to own and occupy the former Union Bank building.</p><br>
<h2>Description</h2><br>
<p>Cattle House, the former Union Bank of Rockhampton, is a substantial two storeyed load bearing masonry building on Quay Street, facing north-east overlooking the Fitzroy River. The building, like the nearby former National Bank, employs classical architectural features, most prominently a double storeyed arcaded loggia on the principal Quay Street facade.</p><br>
<p>The building is L-shaped with a double storeyed loggia to Quay Street, rear double storeyed verandah and two storeyed service wing from the northern end of the rear elevation. Abutting this section a single storeyed wing runs. The corrugated iron roof, which is concealed behind a parapet comprises a hip over the principal section parallel to Quay Street perpendicular to which a double hipped section covers the remaining part of the principal building. Another hipped section extends over the service wing.</p><br>
<p>The end bays of these five bay loggias project slightly from the face of the building and are surmounted by triangular pediments. The end bays emphasise the two principal entrances of the building, the one to the northern end providing access to the ground floor, former banking chamber, and on the southern end providing access to the stair hall leading to the first floor. At the ground floor level the arcaded loggia features round headed arched openings, full length in the end bays indicating openings and partially infilled with a heavy solid masonry balustrade on the three central bays. The arcade openings are separated with single storeyed pilasters whose base mouldings align with the balustrade mouldings. The intrados, or soffit of the archway is clad with coffered plasterwork.</p><br>
<p>The arcaded loggia on the upper floor has fine rounded arched bays, corresponding to those on the ground level but with shorter supports. The archways rest on rendered masonry imposts which taper gradually towards the arch supports giving the opening a complex curved shape. Italianate masonry balustrading is found in each of the five openings. Pilasters separate the openings and these rest on bases which, again, align with the top moulded course, frieze panel and dentilled cornice. All this is surmounted by a parapet of Italianate balusters divided into sections by squat piers which align with the pilasters on the ground and first floor levels. Ornate plasterwork of foliage arabesque with rosettes is found in the spandrels of the archways in the end bays of the first level. Above these, in the pediment of the end bays is a cartouche flanked by acanthus and floral plasterwork. Surmounting the apex of the pediment is a plasterwork palmette moulding which also adorn the pediment as acroteria.</p><br>
<p>Two entrances provide access to the building from the Quay Street facade. Separating the entrance from Quay Street within the arched opening are double wrought iron gates. The northern end, where access is provided to the ground floor, is fitted with a double multi panelled door of painted timber, flanked by side lights and all surmounted by a semi-circular fanlight. Half glazed French doors are fitted to the internal section of the door frame. The other entrance, at the southern end, and providing access to the stair hall is fitted with a double timber door of also of multi-panelled design, flanked by long thin window openings and surmounted by a semi-circular fanlight.</p><br>
<p>Generally the interior of the building is notable due to the high quality of early decorative elements, in particular excellent quality joinery and plasterwork. The interior was planned to provide banking chamber and offices on the ground floor and a residence on the first floor and this layout is still able to be appreciated, despite changes particularly at the rear of the ground floor.</p><br>
<p>Upon entering the ground floor, one encounters the former banking chamber, now a large reception foyer for the Cattleman&#39;s Union. This room has a particularly ornate pressed metal ceiling divided into three sections with heavy beams clad with pressed metal. Each section is decorated with moulded ribs dividing the surface of the ceiling into smaller planes decorated with panels of foliated moulding and ceiling roses.</p><br>
<p>On the eastern wall of this room access is provided three rooms, two offices including the former manager&#39;s office which has window openings to Quay Street, and the former strong room, which has a massive concrete shell, heavy iron door and a vaulted concrete ceiling. The western wall of the former banking chamber has several large cut away openings making the room seem to extend into the rear of the building.</p><br>
<p>The stair and entrance hall, access to which is provided through the entrance at the southern end of the Quay Street facade, is a long room extending the breadth of the building and divided by a round arched opening with moulded architrave and imposts and with a prominent keystone. The archway separates the principal stair from the entrance area. This is a dog-legged timber stair with turned balusters and turned newels at the landings and at the base and top. A vertical sash window opening is fitted with simple leadlights.</p><br>
<p>The upper floor of the former Union Bank is arranged with a central hallway running parallel to Quay Street from which the principal first floor rooms are accessed. The hallway has a timber boarded ceiling, plaster cornice and frieze rail, dado rails and timber skirting. The timber floor is covered with carpet. The former drawing room, now a meeting room, is a large room in the north-eastern corner of the building with two pairs of french doors opening onto the first floor loggia. This is the largest room on the floor and has a timber boarded ceiling with timber strip mouldings creating a geometric pattern over the timber boards and skirting boards. Two other rooms face Quay Street on the first floor of the former Union Bank, a small former dressing room and a former bedroom. The bedroom has a detailing similar to that of the drawing room but the other rooms on this floor have more simple timber boarded ceilings and less substantial detailing.</p><br>
<p>The interior of the former Union Bank features two quite grand chimney pieces, one in the former manager&#39;s office and the other in the former drawing room. The fire surround is constructed from highly ornate, carved timber forming two fitted shelving units flanking the fireplace and supporting, with five overscaled timber brackets over the fireplace, a substantial timber mantle. Several other chimney pieces in the building are derivative of these larger examples.</p><br>
<h2>Heritage listing</h2><br>
<p>Cattle House was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Erected in 1903 as premises for the Union Bank of Australia, Cattle House forms part of the historic Quay Street precinct in Rockhampton which is distinguished by its late 19th century commercial buildings. The Quay Street precinct stands as a legacy to the activities of the Port of Rockhampton which served the vast area of central Queensland from 1858. The port was influential in establishing Rockhampton as the premier commercial city of central Queensland and the river wharves fostered the substantial commercial development along Quay Street, enabling it to become the principal business district of the city. The solidity of the buildings were a symbol of Rockhampton&#39;s great wealth during the latter 19th century which was precipitated by the success of the Mount Morgan gold mines discovered in 1882. Cattle House is an example of the later development in Quay Street which occurred before the diminishing importance of the wharves saw commercial development become more closely tied to the city centre and the new railway from about 1903.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Cattle House possesses important aesthetic value contributing significantly to the streetscape of Quay Street which retains the character of a nineteenth century quayside. In conjunction with the neighbouring buildings, particularly the Rees R & Sydney Jones Building, it forms a dominant block which strongly defines the corner of Quay and Denham Streets.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>Cattle House has special association for the people of Rockhampton through its significant aesthetic and historic contribution to Quay Street. This street is for many people the symbol of Rockhampton and is very closely associated with the image of the city.</p><br>
<p>Australian Estates Building is a heritage-listed commercial building at 182 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was built from 1861 to 1884. It is also known as Mansfield&#39;s Building and Luck House. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Australian Estates building at 184 Quay Street, Rockhampton was originally constructed in 1861 as premises for the store and office of Percival Douglas Mansfield. The present facade was added in 1884 when the building was altered. The additions were designed by the prominent Rockhampton architect John William Wilson. The building is one of the oldest surviving in Quay Street and it contributes to the 19th century commercial streetscape which bears testament to the once thriving wharves of the Fitzroy River precinct.</p><br>
<p>The building was originally used as an office and store for the general merchant Percival D Mansfield who was the first postmaster of Rockhampton and the second mayor in 1862. During the early 1860s Mansfield advertised as "General Storekeeper and Commission Agent" in Quay Street but by 1867 he leased the building to numerous professionals who included three architects, a solicitor, a conveyancer and a surveyor. These tenants were listed in the Post Office Directories of 1868 in which the building was referred to as Mansfields Building. When PD Mansfield died in May 1869 the property was left to his daughter, Elizabeth Cuthell, but was not transferred until 1891. In the 1870s Walter Reid & Co had its office on the ground floor of Mansfields Building and in 1874 solicitors WK D&#39;Arcy and Rees Rutland Jones occupied the upper floor.</p><br>
<p>The 1884 additions were designed by JW Wilson who called for tenders from bricklayers and contractors in May of that year for the erection of additions, alterations and repairs to the Mansfield Building. Wilson dominated the architectural scene in Rockhampton from 1864 until the 1890s. His work contributed significantly to the consistency of the Rockhampton townscape with six of the Quay Street buildings erected before 1901 being Wilson&#39;s design. Wilson designed over 200 buildings in the Central Queensland region during his 35-year practice and was one of the most prominent and prolific architects to have worked in Rockhampton.</p><br>
<p>The Australian Estates building represents two important stages in the development of Rockhampton as a prosperous commercial centre. The Canoona gold rush of 1858 helped establish Rockhampton as the major port in the region which later handled the mineral and pastoral products that came increasingly from the western settlements. Quay Street was one of the earliest parts of Rockhampton to be settled and it developed in a commercial capacity to serve the passing trade at the wharves which once stood across the road from the buildings. Quay Street developed rapidly from 1858-1882, with the construction in 1867 of the Central Western railway westward from Rockhampton increasing the flow of goods passing through the port. Very few buildings survive from this pre-1882 period and the former Australian Estates building is an example of early commercial development in Quay Street and Rockhampton.</p><br>
<p>The 1884 alterations reflect a boom time for the Quay Street precinct initiated by the Mount Morgan gold rush beginning in 1882. Rockhampton was well established by this time and the port attracted profits from the export of gold. The wealth from Mount Morgan allowed Rockhampton, and Quay Street in particular, to undergo considerable rebuilding, a trend reflected by the construction of the facade of the former Australian Estates building in 1884. In 1903 the Brisbane to Gladstone railway was opened and from this time the diminishing importance of the port caused the wharves to fall into disrepair and the development of the area to become more closely tied to the city centre.</p><br>
<p>The property remained in the Cuthell family until December 1941 when the Australian Estates & Mortgage Company purchased the building which they had leased since 1908. In 1980 the building was bought by Frank Luck Investments.</p><br>
<h2>Description</h2><br>
<p>The former Australian Estates building is a two storeyed brick building set in alignment with the street boundary. The building currently displays the street number 184. Its cement rendered facade is painted, and is asymmetrically arranged allowing for separate access to both levels of the building from the street frontage. The upper windows of the facade are timber framed double-hung sashes fitted into round-arched openings supported on pilasters, enframed by larger pilasters. The apron of each upper window is decorated with a relief, intersecting spherical design. The ground level shop fronts are aluminium framed single-paned glass windows, which are enframed by pilasters that have stylised leaf design capitals. Both entrance doors are multi-paned timber framed doors, which are not original. The gabled roof of the building is hidden from the street by a pediment that is capped with a simple cornice moulding. A large louvred ventilator exists in the rear gable end. Tie rods have been introduced into the facade and suggest previous structural instability. An awning has been unsympathetically attached across the width of the facade. The south-eastern elevation of the building is also cement rendered but is unpainted and features only an ashlar ruled finish. The other two elevations are face brickwork that has been over painted. The windows on these elevations are part of the original 1860&#39;s building fabric, being timber framed, double-hung windows with six panes per sash. Several of the upper level windows have had window mounted air conditioned fitted to them.</p><br>
<p>The ground floor internally has had most original dividing walls removed and various forms of portable glazed partitioning installed to create a new floor layout. Due to the introduction of air conditioning, false ceilings have been fitted throughout the floor effectively obscuring the original ceilings. The upper level is accessed via a set of narrow internal stairs located in the southern side of the building. The stairs lead to an L shaped corridor that, together with the stairwell, has a plasterboard ceiling and simple cornice. There are six rooms at the upper level of which several have the original timber lined ceiling. The floors throughout are either exposed timber boards or covered in vinyl. Original architraves and skirtings survive.</p><br>
<p>Attached to the rear of the building are two small and relatively recent flat roofed additions that house toilet facilities. The larger, which is two storeyed, is constructed of brick and the other, which is smaller and only single storeyed, is constructed of concrete block. A timber staircase provides access to the upper level of the building from the rear.</p><br>
<p>Also located on the building allotment is a completely separate structure that is cement rendered and has small awning style windows. This building is a much later of construction to the main building.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Australian Estates building was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Australian Estates building, erected in about 1861 and altered in 1884, forms part of the historic Quay Street precinct which is distinguished by its late 19th century commercial buildings. The Quay Street precinct stands as a legacy to the Port of Rockhampton which served the vast area of central Queensland from 1858. The port was influential in establishing Rockhampton as the premier commercial city of central Queensland. The river wharves fostered the substantial commercial development along Quay Street, enabling it to become the principal business district of the city. The solidity of the buildings were a symbol of Rockhamptons wealth, later boosted by the Mount Morgan gold rush of the 1880s, and reflected the confidence with which the community and developers viewed Rockhamptons future. This building is one of the earliest surviving structures in Quay Street, dating from about 1861, and is an example of the early commercial development near the wharves.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Australian Estates building possesses important aesthetic value because it contributes to the streetscape, continuity and character the late nineteenth century quayside.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Australian Estates building has special association for the people of Rockhampton through its significant aesthetic and historic contribution to Quay Street, which for many is the symbol of Rockhampton and is very closely associated with the image of the city.</p><br>
<p>The Queensland National Bank Building is a heritage-listed former bank building at 186 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by Francis Drummond Greville Stanley and built in 1880 by Collins & Mclean. It is also known as R Rees and Sydney Jones Building . It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Queensland National Bank is an imposing two-storeyed rendered brickwork building situated on the corner of Quay and Denham Streets in Rockhampton. It was erected in 1880 for the Queensland National Bank to the design of Queensland Colonial Architect FDG Stanley, however it was part of his private contractual work. It was constructed by Rockhampton builders Collins & Mclean for £8000.</p><br>
<p>The Queensland National Bank was the first and most successful of Queensland&#39;s three 19th century banks. It was established in 1872 and by 1880, (the year of the construction of the Rockhampton branch) the bank held 40 per cent of the total deposits and advances in Queensland, a higher proportion than any other banking institution in any Australian Colony.</p><br>
<p>The Rockhampton branch was situated in Quay Street, a precinct of solid commercial buildings which developed to serve the passing trade at the wharves from the 1860s until the early 1900s. The former bank&#39;s expression of confidence reflected the prosperity the river wharves brought to Quay Street during this period of high commercial activity. Although many of the fine buildings in the locality had their origins from Mount Morgan wealth, this bank predated the discovery of gold at Mount Morgan in 1882 by two years. The construction of a building of this calibre reflected the established success of Rockhampton as a major trade and transport centre of Queensland by the early 1880s.</p><br>
<p>Stanley&#39;s design for the building consisted of a banking chamber on its first floor, with a second storey providing a living residence for the bank manager. This combined function was performed by the building for nearly a century. At the time of its construction the Morning Bulletin referred to it as a "handsome structure". It was described by a visiting correspondent from the Brisbane Courier in 1893, as being "a stately colonnaded building".</p><br>
<p>The Queensland National Bank was to become a regular client of Stanley. Stanley&#39;s most impressive bank building was the headquarters of the Queensland National Bank in Brisbane which he designed in 1880 and was completed in 1885. Other Queensland National Banks designed by Stanley included, St. George 1878-9, Maryborough 1881, Warwick 1881-2, Toowoomba 1885 and Bundaberg 1887.</p><br>
<p>In 1886, Rockhampton architect John W Wilson called for tenders for painting the exterior of the building. Further work to the bank building was carried out under Wilson&#39;s supervision in May 1887 including painting and repairs to the building.</p><br>
<p>The Queensland National Bank on the corner of Quay and Denham Streets was vacated in 1975. The banking company moved from the premises to new offices situated in East Street. In April 1975, the former bank building was purchased by the legal firm Rees R & Sydney Jones who had occupied a building three doors away since 1886.</p><br>
<p>Rees Rutland Jones founded the legal firm in 1864 establishing what is today the oldest legal firm in Queensland operating under its original name. Rees R Jones was one of the best known legal practitioners and prominent public identities in central Queensland, eventually becoming a member of the Rockhampton Municipal Council, member for Rockhampton North in the Queensland Legislative Assembly, solicitor for the Mount Morgan Gold Mining Company and the town solicitor from the years 1871 until 1896. Rees R Jones at the time of his death was the oldest practitioner on the Roll of the Supreme Court.</p><br>
<p>Repairs to the former bank building as well as modifications to the internal arrangements of the banking chamber were carried out after the change of ownership in 1975. The original entrance to the building leading from Denham Street was altered, creating a new main entrance off Quay Street. This helped to maintain continuity for the legal firm whose former offices fronted Quay Street.</p><br>
<p>In 1987 further upgrading of the work environment and the introduction of new work practices saw the refurbishment of the premises in 1988. The ground floor of the building (former banking chamber) was redesigned to accommodate professional members of the firm as well as the support and administrative staff. With the increase in staff numbers and the introduction of new workplace technologies, it was decided that a mezzanine floor should be built between the ground and first floor.</p><br>
<p>The first floor of the building (the former living quarters and residence of the bank manager) was converted into an area containing the Law Library, Board Room, interview rooms, kitchen and staff rooms. The exterior of the building was repainted, and the interior re-carpeted.</p><br>
<p>Externally the glass and aluminium sections that enclosed the Quay Street second storey verandah were removed opening up the verandah. Extensive areas of the original timber ground floor supporting structures were replaced. The entrance from Quay Street was also closed off and the main entry from Denham Street was reinstated, complying with the original design for the building. The refurbishment was finished in 1989. Additional work was also undertaken in 1993-4.</p><br>
<h2>Description</h2><br>
<p>The former National Bank building is prominently located on the corner of Quay and Denham Streets, Rockhampton. The two storeyed rendered brick building has classically composed and detailed facades addressing both streets, with the principal entrance to the former banking chamber off Denham Street, and the entrance to the stair hall and former first floor residence off Quay Street. A shallow pitched hipped corrugated iron roof is concealed behind an Italianate balustrade surmounting the principal facades.</p><br>
<p>The principal facades of the former National Bank comprise two storeyed arcaded loggias. The arched openings are separated with double storeyed smooth finished pilasters with moulded bases and Corinthian capitals. These visually support an entablature comprising base string mouldings, a frieze with moulded rondels aligned with the pilasters and, above this, a dentilled cornice. Projecting slightly from the seven bay Denham Street facade is a central entrance portico with detailing consistent with the loggia with a triangular pediment bordered with the dentilled cornice moulding surmounting the entablature. The arched openings on the facades of the former National Bank have semi circular heads, with moulded architraves and imposts flanking the pilasters separating the openings. More decorative moulding around the arches emphasises the central projecting bay. The Quay Street facade extends for five bays, the middle bay of which has been recently infilled for the installation of a lift.</p><br>
<p>The arched openings are linked by cast iron balustrading on the two storeys. The ground floor loggia has concrete floors and a ceiling clad with small gauge corrugated iron and braced with chamfered timber beams. The upper storey loggia, which features arched openings of shorter proportion than those on the ground floor, has a timber boarded floor and ceiling.</p><br>
<p>The principal opening off Denham Street, accessed through the loggia within the projecting portico is a substantial double timber panelled and moulded door, with semi circular fanlight above, leading into a small entrance vestibule from which double timber framed and glazed doors, also with semi circular fanlight above, give access to the former banking chamber. Surrounding the double timber doors on the external wall is a plaster moulded architrave with prominent keystone. Flanking the doorway are two groups of three round arched window openings fitted with vertical sash windows and fixed louvre timber shutters. The moulded sills of these openings, and of those on the Quay Street facade of the building are integrated into a continuous string moulding at this level. At the northern end of the Quay Street facade is another entrance, comprising a single six panelled door flanked by sidelights, with a semi circular fanlight above. The first floor level features French door openings that correspond to the openings on the ground floor and also have round arched heads.</p><br>
<p>Internally the building can still be appreciated as a former bank, with layout evident on both floors, although recent modifications have been made. From the principal entrance, access is provided to the former banking chamber that is a large room in the centre of the ground floor of the building. The room is interspersed with several masonry piers and pilasters with Corinthian capitals, recalling the external detailing and providing support for large ceiling beams and defining the area where banking desks may have been formerly aligned. As well there are several cast iron columns, also with Corinthian capitals. The ceiling in this space has been replaced with a modern plasterboard ceiling through which services, including air conditioning, lighting and fire services, have been inserted. A modern steel framed mezzanine level has been added to the banking chamber. In a corner is a heavy masonry banking safe with a large iron door (John Tann, Patentee, London) and, internally, a vaulted concrete ceiling. Around the perimeter of the banking chamber access is provided via good quality moulded and panelled cedar doors to many offices that line the external walls of the ground floor.</p><br>
<p>The principal stair is located in the hall off the principal opening to the building on Quay Street. This dog leg stair has a large carved timber newel, cast iron balustrade and is cantilevered from the adjacent walls. The first floor level, which is smaller in plan than the ground floor, houses five major rooms arranged in an L-shaped plan along the two principal facades of the building. Access is provided to these rooms from an L-shaped hallway beginning at the stair hall and continuing around the rear of the building.</p><br>
<p>Generally the interior of the building has plaster clad walls with timber skirtings, concrete floors on the lower floor and timber floors on the first floor and plaster ceilings with deep plaster cornices. The joinery throughout the building is of very good quality cedar. Several chimney pieces survive intact including, on the ground floor, an ebonised timber with marbled infill panels, and on the first floor a green marble piece with red marble inserts as well as a white marble piece. These chimney pieces are complete with cast iron fireplaces.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Queensland National Bank was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Queensland National Bank building erected in 1880, forms part of the historic Quay Street precinct which is distinguished by its late 19th century commercial buildings. The Quay Street precinct stands as a legacy to the rise of the Port of Rockhampton which served the vast area of central Queensland from 1858. The port was influential in establishing Rockhampton as the premier commercial city of central Queensland and the river wharves fostered the substantial commercial development along Quay Street, enabling it to become the principal business district of the city. The solidity of the buildings were a symbol of Rockhamptons wealth and reflected the confidence with which the community and developers viewed Rockhamptons future.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Queensland National Bank is an outstanding example of 19th century colonial bank architecture. It demonstrates the principal characteristics of a substantial commercial building in the Classical Revival style, distinguished by the quality of its detailing and materials.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former bank building contributes significantly to the 19th century quayside of Quay Street being one the grandest and most prominently positioned buildings in the street.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The former bank building has special association for the people of Rockhampton through its significant aesthetic and historic contribution to Quay Street, which for many is the symbol of Rockhampton and is very closely associated with the image of the city.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>Designed by FDG Stanley, the building is one of his finest works which bears testament to the prominence of Stanley&#39;s work in Queensland.</p><br>
<p>The Royal Bank of Queensland Building is a heritage-listed former bank building at 194 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was built in 1888. It is also known as Diamonds & Pearls, Rivers Restaurant, and Winchcombe Carson. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Royal Bank building at 194 Quay Street, Rockhampton was constructed to its present form when a second storey and other extensions were added to an existing building on the site in July 1888. The additions were designed by prominent Rockhampton architect John William Wilson (1865-1899) and built by Wakefield McLean & Co.</p><br>
<p>The land was originally owned by the early settler William Archer who purchased the site at a sale of Crown Land in November 1858 as Allotment 2 of Section 46, Parish of Rockhampton. The property was thought to have been used by the Rockhampton Morning Bulletin from 1861-62 until the building was destroyed by fire. The Royal Bank of Queensland purchased subdivision 1 of Lot 2 of Section 46 in June 1887. The bank operated its business from a building on that property until mid-1888 when it temporarily relocated to the former premises of the Commercial Bank of Sydney in Denham Street during the construction of the additions.</p><br>
<p>The Queensland-owned Royal Bank was established in Brisbane late in the recession year of 1885. The Royal Bank was promoted as an alternative to the hugely successful Queensland National Bank. By early 1889, the Royal Bank had established 20 branches and agencies (Rockhampton 1887), including branches in London and Edinburgh, proving to be a viable competitor of the Queensland National Bank into the 1910s. In Rockhampton the Royal Bank was situated amongst the other leading banks on Quay Street including the Queensland National Bank), the Union Bank of Australia (now Cattle House) and the former Bank of New South Wales as well as numerous leading mercantile companies.</p><br>
<p>Tenders for the construction of the additions to the Rockhampton Royal Bank were called from May to June 1888 and work was commenced in July. A description of Wilsons plans printed in the Daily Northern Argus of 5 July 1888 said the alterations included "a second storey on the present building" and an extension of six rooms on the ground floor at the back of the "present" building. The front elevation was to be 35 feet high with an arcaded balcony on the upper floor finished with cement. The ground floor provided a banking chamber (25 ft x 30 ft), with a strong room, managers room, large dining room, lavatories, and a private entrance hall. The two front rooms were to be divided by folding doors which provided a 20x30 ft room when thrown open. The building was to be completed in four months.</p><br>
<p>John William Wilson dominated the architectural scene in Rockhampton from 1864 until the 1890s. His work contributed significantly to the consistency of the Rockhampton townscape with six of the Quay Street buildings erected before 1901 being Wilson&#39;s design. Wilson designed over 200 buildings in the central Queensland region during his 35-year practice and was one of the most prominent and prolific architects to have worked in Rockhampton.</p><br>
<p>The former bank was located in Rockhampton&#39;s principal business district which developed along Quay Street in the late 19th century to serve the passing trade at the wharves. Rockhampton had operated as a port since 1858 and had been the main centre for transport and trade in Central Queensland. A phase of increased development and rebuilding was apparent in Rockhampton during the 1880s generated by the immense wealth produced from the Mount Morgan gold mine discovered in the 1882. The extension of the Royal Bank building to its present form in 1888 was a reflection of this boom in Rockhampton.</p><br>
<p>In 1903 the Brisbane to Gladstone railway was opened and from this time the diminishing importance of the port caused the wharves to fall into disrepair and the development of the area to become more closely tied to the city centre. The building functioned as the Royal Bank until 1917 when the Royal Bank of Queensland merged with the Bank of North Queensland to form the Bank of Queensland which in turn was absorbed by the National Bank of Australasia in 1922. In 1958 the selling brokers, Winchcombe Carson Ltd, purchased the building and in 1980 the building was transferred to Dalgety Australia Ltd. The property was resold in November 1980 and subsequently leased as the office for the Minister of Works and Housing of the State of Queensland from 1983 to 1991. The building was sold again in 1993. At the time of purchase the building was intended for the dual use as a residence and beauty salon/finishing school. At this time the timber deck was installed at the back of the building and the arched openings in the ground floor dining room were installed. The building was converted to a restaurant in 1996.</p><br>
<h2>Description</h2><br>
<p>The former Royal Bank building is a two-storeyed rendered masonry structure located fronting Quay Street to the northeast overlooking the Fitzroy River. The building adjoins Archer Chambers to the southeast.</p><br>
<p>The Quay Street elevation has four arched openings to the ground floor, with the entrance to the first floor located at the southern end consisting of paired timber panelled doors with an arched fanlight. The entrance to the ground floor consists of a timber framed door with glass panels and an arched fanlight, flanked by arched sash windows surmounting recessed wall panels. Each arched opening is surmounted by a rendered moulding, and a shallow cornice separates the ground and first floors.</p><br>
<p>The first floor has an arcaded balcony fronting Quay Street, consisting of four arches with expressed impost and extrados, and cast iron balustrades with timber handrails. The first floor is surmounted by a shaped gable, consisting of a central triangular pediment supported by pilasters above a curved pediment with expressed keystone ornament. The pediment is flanked by a low parapet with corner pillars.</p><br>
<p>The rear wall of the building has casement windows with segmental arched fanlights to the first floor, flanking a central door with a cantilevered metal framed landing and stair accessing a rear first floor deck. A ground floor rear courtyard is enclosed by a storage and office building fronting Quay Lane.</p><br>
<p>Internally, the ground floor has an entrance hall and stair on the southern side, with a dining room fronting Quay Street on the northern side, and a bar, sitting area and kitchen at the rear fronting a courtyard. A masonry cross wall separates the front and rear areas, with access provided by two arches with pilasters flanking a decorative wall niche. The original strongroom is located centrally on the northern side, and is used as a store. Ceilings are finished with compressed sheeting, and masonry walls are rendered. The rear bar and sitting area opens via french doors to a courtyard, which is mostly covered by a first floor deck, and which contains toilets, stair and access to the rear store and office building. The entrance hall has a timber stair with turned balusters, newel posts and timber handrails, a boarded timber ceiling, and rear access to the bar area via an office under the stair landing.</p><br>
<p>The first floor has a dining room and bar fronting the Quay Street arcaded balcony, with amenities located centrally, and a function room and kitchen at the rear with access to a deck above the ground floor courtyard. The Quay Street dining room has decorative plaster ceiling details, and consists of two rooms joined by a large opening with timber architraves. Four sets of french doors with arched fanlights open onto the arcaded balcony, and large folding timber doors provide access to the function room at the rear. The balcony has a boarded timber ceiling and tiled floor. The function room has a fireplace with a timber surround in the western corner, and a suspended acoustic tile ceiling. A central hallway accesses the rear of the building, with timber panelled doors with fanlights and architraves opening into adjacent rooms. A timber panelled door with arched glass fanlight and sidelights separates the rear of the hallway from the entrance stair.</p><br>
<p>The rear store and office building fronting Quay Lane is constructed of concrete block with a sheet metal roof.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Royal Bank Building was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Royal Bank building, forms part of the historic Quay Street precinct which is distinguished by its late 19th century commercial buildings. The Quay Street precinct stands as a legacy to the Port of Rockhampton which served the vast area of central Queensland from 1858 and was influential in establishing Rockhampton as the premier commercial city of central Queensland. The river wharves fostered the substantial commercial development along Quay Street, enabling it to become the principal business district of the city. The solidity of the buildings were a symbol of Rockhamptons wealth, later boosted by the Mount Morgan gold rush of the 1880s, and reflected the confidence with which the community and developers viewed Rockhamptons future.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Royal Bank building, through its form, scale and materials, makes a strong aesthetic contribution to the streetscape of Quay Street. There is a continuity of cornices and parapets between the former Royal Bank building and the adjacent Archer Chambers which emphasises the nineteenth century character of the street and quayside.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building has special association for the people of Rockhampton through its significant aesthetic and historic contribution to Quay Street, which for many is the symbol of Rockhampton and is very closely associated with the image of the city.</p><br>
<p>The Rockhampton Customs House is a heritage-listed customs house at 208 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was built from 1899 to 1900 by Caskie and Thompson. It was added to the Queensland Heritage Register on 7 February 2005.</p><br>
<h2>History</h2><br>
<p>The Rockhampton Customs House was constructed in 1899 as the third Customs House in Rockhampton. It is one of a group of Customs Houses built in Queensland at the turn of the century to the design of innovative and skilful architects of the Public Works Department. The architect responsible for the design of the Rockhampton Customs House is thought to be Thomas Pye with the assistance of George Payne.</p><br>
<p>The Archer brothers made a private expedition to the Rockhampton district in 1853, and were the first Europeans to record and chart the Fitzroy River. They built a small wharf to allow for the transport of wool bales from their property, Gracemere station. West of the place chosen as the wharf a large bar of rocks prevented further movement upstream for sailing vessels, thereby dictating the siting of the eventual Port of Rockhampton. The short lived Canoona gold rush of 1858 and its massive influx of over eight thousand diggers provided "the landing place" with its first major activity of loading and unloading of vessels.</p><br>
<p>In 1858 Rockhampton was officially proclaimed a port by the Government of New South Wales (the separation of Queensland did not occur until 1859). The collection of Customs duties and the storage of bonded goods was carried out in a prefabricated timber building which was despatched from the Government of New South Wales. A reserve was declared where the Customs House of 1899 was built, and another timber building was constructed as the Queen&#39;s warehouse. The area of the Customs House formed a focal point for transaction of commerce with frontages onto both Quay Street and Little Quay Street (later Quay Lane), and dominating the strip of properties with water frontage.</p><br>
<p>Within four years, increased use of the Port resulted in the pre-fabricated building becoming inadequate and cramped conditions dictated the need for a new building. However, on 14 August 1862 the timber buildings comprising the Customs House including the Bond Store and Quarters were burnt down. As a result, tenders were called on 27 September 1862 for a new Customs building and this was constructed in the following year. The 1863 Customs House was a single storeyed, masonry building with a slate roof, a storage basement and a colonnaded porch facing Quay St. However the shallow foundations of the building were sunk in clay and the shifting of this strata was to lead to the eventual failure of the structure. A two storeyed brick bond store facing Quay Lane was constructed as part of this phase of development.</p><br>
<p>In the 1870s the Customs House Reserve was extended when portion 5 of Section 46 the site of the former Royal Fitzroy Hotel was acquired. A single storeyed brick bond store was constructed on this site. Further additions were made to this building in 1879. The building was known as the "Fitzroy Bond", and included frontages to both Quay and Little Quay Streets.</p><br>
<p>By the 1880s, the differential settlement of the soil around the foundations of the buildings on the Customs House site led to major structural problems. Repair work was undertaken at the recommendation of the Queensland Colonial Architect. However, this work failed to rectify the problem and it was necessary to attempt repairs a number of times during the 1880s and 1890s. Deputations were made from the Rockhampton Chamber of Commerce and Rockhampton Municipal Council in 1890 seeking replacement of the building. Because the growth and prosperity of Rockhampton as a new capital city was crucial to the separation of Central Queensland movement, who sought to create a new state in north Queensland, it was thought that new public buildings constructed in Rockhampton should be equal in prominence and design to those constructed in Brisbane, the capital of Queensland. In 1889 a large new Customs House was constructed in Brisbane and therefore the new Customs Houses throughout Queensland, and particularly those planned for Rockhampton and Townsville, would reflect the high standard of this building and the prominence of the northern cities.</p><br>
<p>At the time that funding was being sought for the construction of a new Customs House in Rockhampton the economic situation in Queensland was worsening with the depression of the 1890s. The Queensland Colonial Architect, Alfred Barton Brady, estimated some £6000 was required to finance a massive repair program to reconstruct the Rockhampton Customs House, money that was unavailable. Temporary premises were sought for Customs staff for three years until repairs could be made. Brady was aware of the need for a new building but was also aware of the reduced spending of the Colonial Government to cover new projects as a result of the depression. Despite more alterations and repairs, major structural problems had reappeared by 1897. With accommodation in the Customs House untenable by this stage, tenders were called for the refitting of the Queen&#39;s Warehouse as a temporary Customs House.</p><br>
<p>In November 1897, the Government Architect A B Brady submitted plans for approval to Treasury for a new Customs House. Estimated cost was to be £12,000. Completion was expected to take eighteen months. At this time other Customs Houses were being constructed by the colonial government in other ports along the Queensland coast, in locations such as Townsville and Maryborough. The construction of the Rockhampton Customs House was part of a major public works construction program leading to Federation of not only customs houses but also state government offices and post offices.</p><br>
<p>Tenders were called in March 1898 for removal of the old Customs House and demolition took place in May 1898. In August 1898, the Department of Public Works accepted the tender of Messrs Caskie and Thompson of Brisbane for £16,534.10. 2 to build the present Customs House. The design was produced under the guidance of Mr. A B Brady, the Government Architect. Chief Draughtsman Thomas Pye has been attributed with the design and George Payne is thought to have been responsible for many of the innovative and interesting details of the building. George Payne was also thought to be responsible for the design of the Townsville Customs House which was constructed soon after.</p><br>
<p>To secure adequate foundations for the building, Brady adopted a pile and rail method, whereby wooden piles 30 feet by 18 inches were driven into the ground, with 28lb. iron shoes driven to a depth of 20 feet, cut off at ground level, then tied on each side with rows of steel rails, with the tops of the piles and rails embedded in concrete. This was intended as a method to create a stable environment for the foundations of the building. As a result of this planning for the foundations, the building basement was situated above ground level and was to be utilised as the Queens&#39; warehouse.</p><br>
<p>The building was constructed from Stanwell freestone dressings to the front and sides and a rendered brickwork superstructure. A reserve for quarry purposes had been gazetted at Stanwell for the supply of stone for the structure prior to construction. Most of the stone was procured from the Number 4 quarry at Stanwell. The Works Department ensured that Stanwell freestone would be used on the side walls and return fronts, although these initially had been specified to be rendered masonry. J W Esdale was the stonemason, J Innis the foreman of works and the Corinthian order capitals were carved by employees of the London firm, Farmer and Binnelly. Although the contract was to be completed by March 1900, the contractors requested an extension of time as a result of wet weather and labour shortages. Unusually the Royal Coat of Arms was not included on the building, though this is thought to have been as a result of the shortage of stonemasons rather than an oversight.</p><br>
<p>At the completion of the Customs House, Caskie and Thompson tendered for and were awarded other works within the Customs House reserve associated with ancillary buildings as well as landscaping. The stables were to be rebuilt, to incorporate lavatories, paved two stall stable, a feed room and coachhouse. As well a stone boundary wall along Quay Street, fencing, gates, driveways, stables and lavatories were to be constructed at a cost of £1615.00. Along the boundary wall fronting Quay Street three entrances with stone pillars and wrought iron gates were provided. Double iron gates were provided for the entry to the Fitzroy Bond. The tender was approved on 10 October 1900.</p><br>
<p>The Customs House provided a large central Long Room where business was transacted, a Queen&#39;s warehouse, ten offices and a strong room.</p><br>
<p>Faced with local freestone from Stanwell Quarries, the other portion being of brick set in cement, except the base course, which is of Brisbane tuff. The outer dome is of timber covered in Muntz metal, the inner dome being of coke and cement concrete. The long room occupies the centre part of the upper floor with the principal offices on either side. Below the long room is the King&#39;s warehouse, with shipping and other offices at the sides. The outer palisading to street front is of hammered iron on freestone and porphyry walling.</p><br>
<p>Final cost of construction was £17 390/2/9 and ancillary buildings including walls and gardens cost £1 616/11/6.</p><br>
<p>The building was opened at a time when rivalry between Gladstone and Rockhampton was fierce and Rockhampton businesses were attempting to block construction of a trunk railway line between the two ports from the south. Rockhampton had been faced with a major deficiency as a port by being situated on the tidal Fitzroy River. Dredging programs were necessary to maintain a navigable channel to the sea. Construction of deep water ports at Broadmount and Port Alma both failed to rectify this problem of providing a deep water port for Rockhampton. By the turn of the century the actual area of river frontage used for wharfage had moved further downstream away from the area dominated by the new Customs House. Steam vessels of up to 4000 tons could make their way upriver. Larger vessels required unloading in Keppel Bay and transfer to lighters. After Federation customs collection was handed over to the Commonwealth although the Queensland Government maintained responsibility for maintenance on the building.</p><br>
<p>After completion of the Customs House warehousing, necessary for storage of bonded goods, was found to be in excess of requirements. A result of this was that the Fitzroy Bond building was (Portion 3 of the Reserve) sold to the Queensland Government in 1906.</p><br>
<p>The importance of the Customs House to the maritime activities of the Port of Rockhampton diminished gradually. During the Second World War, war ships and supply vessels navigated to the town reach. However the advent of bulk shipping accelerated the decline of the area of the town wharves. In the 1960s major upgrading of the Port Alma wharves was undertaken, and road connection was also provided to Rockhampton. However, this development was overshadowed by the construction of deep water bulk handling facilities at Gladstone starting in the 1960s and accelerating through the 1970s and 1980s. The Rockhampton river port and town wharves were closed to shipping in 1966. With a diminishing role in the activities of the Customs Service in the river port, the Customs House was adapted for uses other than the traditional collection of duties and storage of dutiable goods. The ancillary buildings of Customs House have been altered to reflect this adaptation. The Bond Store was converted into a Laboratory, and the stable and coach building was converted to provide animal pens for use by the Department of Health. A toilet block was also provided in 1923 along the northern boundary adjacent to the stables.</p><br>
<p>Further adaptations to the interior of the Customs House reflect the tenancy of the building by various Government departments. In the 1960s, the Department of Labour and National Service had become the major tenant. The ground floor offices on the southern side of the building were partitioned, and an amenities area was provided in the Queens Warehouse. The office for the Federal Member for the Rockhampton/Fitzroy electorate was also located in the building. The Long Room was divided internally with removable partitions. Within the area of the Queens warehouse further partitioning was introduced to increase office space. Air conditioning was introduced in 1971 to offices on the southern side of both levels.</p><br>
<p>Decreasing importance of the Customs Department saw it being limited in space to an area of the Queen&#39;s warehouse, and bond store. The Commonwealth Employment Service Regional office occupied the ground floor. In 1986 all employees of the Federal Government departments resident in the Customs House vacated the building and transferred to newly constructed offices.</p><br>
<p>In May 1987 the building was acquired by the Rockhampton City Council. At the time of the handover of the building it was anticipated that the Customs House would be used as either a museum or some form of tourist attraction. In 1989 the Rockhampton City Council sponsored a tenant for the Customs House- Skillshare Capricornia. Skillshare occupied various parts of the building and the laboratory/bond store for its activities. The Long Room, restored to its original layout, has been used for social and cultural functions including book launches, and art exhibitions. Part of the J. W. Wilson (Rockhampton Architect, designer of the School of Arts building) family furniture collection is stored within the office space in the building.</p><br>
<p>To commemorate the centenary of Federation in 2001, the Rockhampton Customs House was one of 43 major projects that received funding through the Queensland Heritage Trails Network Project. The $110 million Queensland Heritage Trails Network was an Australian first, funded through the Queensland and Commonwealth Governments in partnership with local government authorities and local communities. The project was designed to provide the city of Rockhampton with a central cultural attraction. The ground floor office partitions and air conditioning were removed and the area was refitted and currently houses the "Customs House Discovery Centre". The refit included the installation of a smaller air condition unit to the rear of the building on the ground floor. The Discovery Centre, which incorporates static and multimedia displays, introduces visitors to the city&#39;s history, Customs House, Quay, river and people of Rockhampton today. The first floor continues to be used for meetings, conferences, functions, etc. In 2003, a lift was installed in the south-west corner of the building, at the rear of the site.</p><br>
<h2>Description</h2><br>
<p>The Rockhampton Customs House is a well composed and substantial sandstone and rendered brick building prominently sited on Quay Street overlooking the Fitzroy River. Most of the buildings in Quay Street are built up to the line of the footpath except the Customs House which is set back from the street and has a large semi-circular entrance portico which contributes to its prominence in the street.</p><br>
<p>On the Customs House site is the Customs House, facing Quay Street and to the rear of this a two storeyed former bond store and in the north eastern corner a one storeyed former stables building which has a more recent addition along the north eastern property line. The former stables and the Customs House are contemporary.</p><br>
<p>The Customs House is a two storeyed rectangular planned building with a semi-circular porch projecting centrally from the north eastern facade to Quay Street and flanked by end bays. The building employs many classical architectural features. The principal floor housing the long room and large office spaces is on the first floor, beneath which, on the ground floor are secondary spaces. The first floor seems to sit on the heavy base provided by the ground floor which, externally, is heavily rusticated with banding.</p><br>
<p>The principal facade, facing Quay Street, is dominated by the centrally placed round porch to which access is given via two stone stairs starting from concrete steps from the footpath and curving around the projecting porch to the first floor. The porch comprises a row of Corinthian columns following the curve of this facade of the building, which support a semi-circular entablature over which a skillion roof sits. Flanking the porch are short arcaded sections which terminate and are aligned with the end bays of the building. The arcaded sections are formed from full length arched openings which have Italianate balustrading. Above the arches and aligned with them are elliptical openings. The symmetrical end bays have rusticated sandstone faces and an arched opening at first floor level which extends to the ground floor in the form of a long rectangular window opening. The base of the opening at first floor level has an Italianate balustrade. Flanking the opening at first floor level are pairs of Corinthian pilasters. These pilasters seem to support a string moulding which aligns with the entablature of the porch, forming a cornice along the entire length of the facade, above which a short parapet conceals the roof.</p><br>
<p>Projecting from the hipped, corrugated iron roof, centrally over the principal room of the building is a large dome clad with a copper and zinc alloy, known as Muntz metal sheeting. The metal sheets have been laid radiating from the central metal lantern in twelve sections with border mouldings which define the sections. The dome rests on a substantial sandstone drum which is pierced with twelve regularly spaced oculi or round windows, every second and third ones of which are blind openings. These are divided by slender pilasters which expand outward toward their base to form buttressing elements. The pilasters seem to support an entablature which surrounds the crown of the drum.</p><br>
<p>The north west and south east elevations of the building, continue the classical detailing of the principal facade of the end bays, with a series of round arched openings separated by pairs of Corinthian pilasters. The cornice detail and ground floor rustication continues around to these sides as well.</p><br>
<p>The rear of the building is of rendered brick, and is without the rustication and detailing which characterises the other facades of the building. Again a semi-circular bay projects from the centre of the facade and this is lined with rectangular window openings at ground and first floor levels. From this projects a two storeyed square planned section.</p><br>
<p>Access is provided to the Long Room from the porch through two doors on either side of the central projecting semi-circular bay. The doorways housing the double half glazed doors are surmounted with relief lettering "H.M. CUSTOMS" above which sits a corniced shelf. Rectangular windows line the face of the semi-circular bay and forming a lintel to these is a string moulding. The floor of the porch is concrete as are the floors throughout the first floor of the building. A wrought iron balustrade links the columns lining the porch.</p><br>
<p>Internally the first floor of the Customs House is arranged with a large central space, the Long Room, under the dome, and two long rooms flanking this along the sides of the building and articulated externally as the end bays. The flanking rooms are long spaces with plastered ceilings and walls, elaborate cornice and high timber skirting. Generally these rooms retain much of their original fittings, including joinery, plaster ceiling roses, ventilation shaft covers.</p><br>
<p>The Long Room is a grand internal space, classically proportioned and detailed in keeping with the parti of the building. The room comprises a central square planned space with the interior of the dome projecting above. Because the dome rests on a square base, that is the building, a pendentive, or series of curved inverted triangular sections in the corners of the square plan, join at their tops to form a circular crown on which the drum of the dome rests. The interior of the dome is ornamented with various moulded courses and panels and is regularly pierced with openings. Several round arched doorways provided access to this space from the corridors which flank the Long Room. A section of an early timber desk/counter is fitted within the space.</p><br>
<p>The ground floor is arranged about a central room beneath the Long Room with hallways running either side off which offices are found in the end bays of the building. Generally the ground floor ceiling is of timber boarding, the walls are plastered and modest skirting boards and cornices have been used. Much joinery remains and this is of excellent quality with unusual five panelled doors. Chimney pieces remain in some of the rooms and these are timber framed with tiled and marbled infill panels. Centrally located downstairs is a room formerly known as the Queens Warehouse, a large semi-circular space defined by a curved brick wall, forming the foundations of the porch the internal line of which it is directly above. The external line of the porch is supported on sandstone foundations which form another wall separated from the brick foundation wall by a walkway. The ceiling in this space is clad with small gauge corrugated iron. The Queen&#39;s Warehouse houses the "Customs House Discovery Centre". The interpretive centre includes wall mounted display cases, free-standing display cases, the use of crates and sacks and mannequins. The main feature is a reconstructed wharf sub-structure. The free standing cases and exhibits are secured by the placement of weights within the cases. A lightweight grid is suspended from the ceiling toward the northern end of the area, indicating Rockhampton street signs and for possible use in later exhibition design. A wall mounted display case is also located in this area. Some multimedia facilities are included in the interpretation centre.</p><br>
<p>The former stable building which is on the north west corner of the site, with an elevation facing Quay Lane. This is a small rendered brick building with rustication similar to that found on the Customs House. The corrugated iron roof is half hipped and surmounting it are two decorative ridge ventilators. Four door openings and two window openings, plainly detailed, are found on the south eastern wall. The wall facing Quay Street has a centrally located double window.</p><br>
<p>With a wall to Quay Lane is the former two storeyed brick Bond Store. The corrugated iron roof of this building has slightly overhanging eaves which are lined with diagonal timber boarding. The ground floor is rendered brick and the upper floor is face brick with white tuck pointing. Six paned vertical sash windows with heavy timber frames and mullions are found on all facades and these are awned with corrugated iron awnings supported on substantial timber brackets with infill battening in some places.</p><br>
<p>The bond store is accessed from a door adjacent to the Customs House, though which an entry hall is reached where a timber stair provides access to the first floor. Rooms open from the entrance hall on the ground floor. The rooms on the lower level have many early features; joinery and ceiling panelling, though most have been painted and covered with surface mounted conduits. The upper floor is generally re-ordered with recent partitioning concealing an early layout and any early features.</p><br>
<h2>Heritage listing</h2><br>
<p>The Rockhampton Customs House was listed on the Queensland Heritage Register on 7 February 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Customs House, constructed in 1899, is significant as it represents the development of Rockhampton as the regional centre of central Queensland and in particular Rockhampton&#39;s role as the principal port of this region. At the time of its construction, the Customs House was seen as a symbol of prosperity and progress in the city.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The building demonstrates the development of customs houses in Queensland and is significant as a good example of the substantial customs houses built along the Queensland coast at the turn of the century and designed by the Public Works Department.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Customs House has great aesthetic significance, it is a prominently sited building on an important street facing the Fitzroy River and a well composed substantial sandstone building with considerable architectural merit.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The foundation work supervised by AB Brady shows an innovative engineering solution to the problems of unstable foundations that led to the collapse of many Rockhampton buildings.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building, designed by Thomas Pye with George Payne, has special associations with them and the Public Works Department who produced many fine public buildings at the turn of the century.</p><br>
<p>The John P. Furber House is a historic house in Cottage Grove, Minnesota, United States, built in 1871, the same year Furber officially platted the 20-year-old settlement. It was listed on the National Register of Historic Places in 1982 for having local significance in the theme of community planning and development.</p><br>
<h2>Description</h2><br>
<p>The John P. Furber House is a two-story wood frame building. It is gabled on the front façade and on the two side bays, with round windows at the peaks. Elements of Italianate architecture are found in the low-pitched roof, wide eaves supported by scrolled brackets, and tall narrow windows.</p><br>
<p>The house originally had a full-width porch across the front façade. A lean-to was added to the rear sometime before 1940, replacing a small back porch.</p><br>
<h2>History</h2><br>
<p>John P. Furber and his four brothers originally hailed from New Hampshire, but between 1844 and 1860 they moved one-by-one to the Cottage Grove area, one of the first Euro-American farming regions in the future state of Minnesota. One of Washington County&#39;s first inland settlements emerged there as an informal village by 1851. The Furber brothers were notable early settlers, and John (or J.P.) was the village shopkeeper. In 1871 he conducted a survey of the townsite, formally platting the already-established community. This phenomenon of post-settlement platting also occurred in several other Washington County towns, such as Stillwater, Afton, and Point Douglas.</p><br>
<p>Some sources say Furbers house dates to the 1850s, making it the oldest standing building in the historic core of Cottage Grove. Official National Register documentation gives a construction date of 1871, the same year as Furbers survey.</p><br>
<p>The house remained in the Furber family for decades, only changing hands in 1940 with its acquisition by Jacob and Arlene Vandenberg. In 1947 Jacob Vandenberg built on the property a 130 ft dairy barn with an arched Gothic Revival roof. The estate stayed in the Vandenberg family for 70 years, only passing to all-new owners in 2010. Now billed as the Historic John P. Furber Farm, the third family to own the property has renovated the barn to serve as a wedding venue.</p><br>
<p>The Heritage Hotel is a heritage-listed former hotel at 230 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by John William Wilson and built in 1898 by John Kerslake Evans. It is also known as the Old Colonial Hotel and the Commercial Hotel. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Heritage Hotel, formerly the Old Colonial Hotel and originally the Commercial Hotel and Chambers, was erected in 1898 for Leah Johnson. Designed by prominent Rockhampton architect John William Wilson, the three-storey, concrete-rendered brick building featuring decorative iron-lace verandah balustrading was constructed by John Kerslake Evans at a cost of £6,500.</p><br>
<p>The Heritage Hotel is situated immediately opposite the wharves of the Fitzroy River, in the heart of Rockhampton&#39;s premier commercial district. From the 1850s, and especially in the latter part of the 19th century, the area around Quay Street attracted solid development, impressive new construction, which was fostered by the commercial activity the wharves brought to the quayside.</p><br>
<p>The Port of Rockhampton was proclaimed in 1868 with the discovery of gold at Canoona and became influential in establishing Rockhampton as the premier commercial city of central Queensland, handling the pastoral and mineral products, which came increasingly from the hinterland. The Commercial Hotel and Chambers building was a part of the confident commercial pattern of development that distinguished Quay Street in this period.</p><br>
<p>The substantial nature of development around the Quay Street precinct was also influenced by the immense wealth injected into Rockhampton from the Mount Morgan Gold Mine, discovered in 1882. Mount Morgan was the single richest gold mine in the world and its economic impact on the port city of Rockhampton was expressed through the confident and stylistic character of its principal business district on Quay Street. The period of development was also distinguished by the separation movement, which agitated for Rockhampton to be made the capital of a separate northern state. The erection of prestigious buildings, such as the Commercial Hotel and Chambers, reflected the notion of rivalry with the capital of Brisbane and was held as a great boon to the cause of separation.</p><br>
<p>Owner Leah Johnson was a well-known hostess in the Rockhampton hotel industry. With then husband Timothy Dean, the Welsh-born Leah Dean arrived in Rockhampton in 1871. The couple operated the Melbourne Hotel and an earlier Commercial Hotel until Timothy Dean&#39;s death in 1879. Leah Johnson ran hotels in Mackay and Charters Towers until the death of her second husband, H Johnson. After returning to Rockhampton, Leah Johnson owned the Royal and the Oxford Arms hotels before construction commenced on the Commercial Hotel and Chambers.</p><br>
<p>Situated at the corner of William and Quay Streets, the site was well placed for a hotel. William James operated the Golden Fleece Hotel there from 1859. After many changes of hands the licence had expired and the building was vacant until Leah Johnson purchased the site in June 1890. Construction of the new Commercial Hotel and Chambers commenced in May 1898. With forty-six bedrooms, all of which either faced onto a verandah overlooking the street or an internal courtyard, the hotel opened for business on 2 November 1898.</p><br>
<p>Johnsons Commercial Hotel and Chambers evidenced the self-sufficiency the city displayed against the influences of the state capital, Brisbane. Rockhampton architect John William Wilson was responsible for the hotels grand, balconied design. From early 1870 to 1915 Wilson designed over 200 buildings for the central Queensland region. Six to ten of them were located in the historic precinct of Quay Street, and approximately 30 of varying types stood within a three-block radius of the Commercial Hotel. Wilson was born in Banffshire in Scotland, emigrated to Australia shortly before 1854 and began his architectural career in Victoria before moving to Rockhampton and practicing there for about 35 years.</p><br>
<p>The local foundry firm Burns and Twigg manufactured the iron lace, so prominent a feature of the hotel&#39;s verandahs. Founded in March 1875 by engineer William Burns and pattern maker Edward F. Twigg, by 1900 the company employed over one hundred men and supplied engineering services throughout central and north-west Queensland.</p><br>
<p>The fine handcrafted cedar doors and window sashes fitted into the former Commercial Hotel were completed by the joinery firm founded by Walter Adam Lawson. At the time of its opening the furniture and fittings were obtained locally from such firms as James Stewart & Co., Williams and Graham, and W Kasch. The internal fittings also included a kitchen range manufactured by Burns and Twigg. The hotel&#39;s pottery, with its name stamped in each piece, was procured from Mr James Millroy of Liverpool House.</p><br>
<p>In line with commercial expansion throughout the region, the Commercial Hotel provided six ground-floor "sample rooms" facing William Street, which could be used by commercial travellers to display their goods. Other attributes were a commodious bar, a parlour, sitting and dining rooms, as well as a family dining room. For meetings the second floor featured a clubroom connected to the bar by a speaking tube and lift. An article published in a local newspaper The Record on the day of the Hotel&#39;s opening describes a promenade flat on the top of the building that was reached by staircase and provided a view of Rockhampton and environs. Also, a 1906 photograph of the hotel shows there was a vaulted gable on the William Street footpath canopy that marked the point of entry to the accommodation levels above. This photo also reveals that the solid parapet panels facing William and Quay Streets were each topped by pediments.</p><br>
<p>Following the death of Leah Johnson in 1923, the Commercial Hotel and Chambers continued to operate under various owners until the 1970s when it was known as the Old Colonial Hotel. Parts of the hotel were modernised in the late 1970s in conjunction with its renaming as the Heritage Hotel.</p><br>
<p>The hotel closed on 11 March 2015 after the business went into receivership, the owners citing the impact of drought, downturns in the coal industry and Cyclone Marcia as reasons for its demise. The building subsequently sold at auction for $1.4 million on 13 November 2015.</p><br>
<h2>Description</h2><br>
<p>The Heritage Hotel is located on the prominent corner of Quay and William Streets in the heart of Rockhamptons Central Business District. Quay Street, overlooking the Fitzroy River, was recognised as a streetscape of historical significance in the Australian Heritage Commissions Register of the National Estate. The Queensland Heritage Register features numerous other listings for this area, including the former Cahill Stores and the Mount Morgan Gold Mining Company Building, both of which are adjacent to the hotel to the south-east. Across William Street to north-west is Rockhamptons central pedestrian mall. Running along the short, south- western edge of the allotment is Quay Lane, which forms part of a system of such laneways inhabiting the city centres orthogonal grid and servicing its primary streets.</p><br>
<p>A largely three-storey brick building, the former Commercial Hotel and Chambers is a visually striking example of late 19th century commercial architecture. The upper two storeys of its street facades are encased by verandahs decorated with elaborate cast iron work, the outer edges of which sit in line with the street facades below. The Quay and William Street facades are approximately 20m and 40m long respectively. A two-storey rectangle of building occupies the rear, south-west corner of the 809m2 allotment and houses the hotel&#39;s service areas. The Quay and William Street footpaths are covered by a curved canopy, which sits atop a broad fascia line and regularly spaced square timber posts decorated with carved timber brackets. The steel framing is exposed on the underside of this roof. Greatly altered over the life of the building, the ground floor street facades currently comprise aluminium-framed glazing separated by wall areas finished with ceramic tiles and an upper band finished with render. The roofs to the main building and the street canopy are clad in corrugated iron.</p><br>
<p>Painted bricks are visible on the exposed facades to Quay Lane and the adjoining property. The tops of the building facing Quay and William Streets are finished with a parapet modelled using cement render. At the main north-eastern corner, a raised parapet piece topped with an open-bed pediment features the name "Commercial Hotel". On either side of this projection the parapets consist of open, circle-patterned balustrading, to the top and bottom of which are string courses. On Quay Street this is closed at the adjoining property boundary by a solid parapet panel. The open balustrading is finished with a similar panel on the William Street facade, and broken in the middle by a solid panel reading "1897". These two panels, unlike their Quay Street counterpart, are topped with simply modeled pediments. Beneath the lower string course the parapet render reveals some narrow rectangles of brick. A rooftop promenade, behind the parapet line, remains and still provides a magnificent view of Rockhampton city and the surrounding country.</p><br>
<p>The components of the cast iron work decorating the verandahs are fixed to a frame of square timber posts and beams. At the corner of the building there are double posts. Single baluster, frieze and fringe panels fit between the posts, as do timber handrails. The fringe panels are formed together with the brackets fixing to each post. Walls projecting approximately 20 cm above the line of the roof enclose the verandahs at the adjoining property on Quay Street and to Quay Lane on William Street. The floors to the verandahs appear to be finished with concrete. There is exposed framing to the underside of the verandah floors and roofs. Off the corner room on the first storey open a number of large double-hung sash windows (sill level with floor) with awning windows above. Off the other rooms (accommodation) open timber-framed french doors with awning windows above. A single flight of stairs at the western end of the William Street verandah connects the two upper levels.</p><br>
<p>Bar, dining and other entertainment facilities occupy the ground floor, while accommodation facilities occupy the upper two storeys facing Quay and William Streets. The upper accommodation levels can be accessed off William Street by a flight of stairs with polished timber handrails and paneling to the walls. The vaulted gable on the William Street footpath canopy, which once marked the entry to the accommodation levels above, no longer exists. The public bar area is still located at the ground floor corner of the building. In 2003, there are 24 rooms with shared modern facilities available. In each room a single wall with English Bond brickwork has been exposed. The long corridors into which the accommodation rooms open, are lined on the ceiling and walls with tongue and groove timber boards approximately 10 cm wide. The doors opening into these rooms have timber frames and large pivoted highlights.</p><br>
<h2>Heritage listing</h2><br>
<p>The Heritage Tavern was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Heritage Tavern is important in illustrating the evolution of Queenslands history because it provides evidence of the confidence in the future of Rockhampton, which the citys commercial interests expressed in the late 19th century. The quality and luxury of hostelry services provided by the Commercial Hotel supported the view that Rockhampton was an important city financially and regionally, a key argument in the movement for secession at the time. The quality and detail of its built fabric, constructed by local firms using local materials, visibly challenged the notion that only in the capital city of Brisbane was the best and latest to be found.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Heritage Tavern is important in illustrating the principal characteristics of the late 19th century hotel. In a prominent corner location and of substantial masonry construction, the building features bars below and upper-level guest rooms and verandahs. The intricate ironwork balustrading, essentially intact today, establishes the building as a notable example of the use of iron filigree in hotel architecture.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>As well as this individual importance, the building contributes to both the integrity and aesthetic value of the overall Quay Street streetscape.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The Heritage Tavern has a special association with the life and work of two well-known Rockhampton identities: Leah Johnson who commissioned the building in the late 1890s, and John W. Wilson, the prolific Rockhampton architect who designed more than 200 buildings in central Queensland over a period of thirty-five years.</p><br>
<p>Murgon Weir is a weir located near Murgon, Queensland, Australia. It was originally constructed only used by nearby farms for agricultural use, though public recreation is also permitted.</p><br>
<p>The weir is located on Barambah Creek, and is the first artificial walled dam below the Bjelke-Petersen Dam.</p><br>
<h2>Recreation</h2><br>
<p>The weir is widely unknown to the public because of its unsigned location and small access tracks. Though when found, the weir has opportunities for canoeing, swimming, bushwalking and other water sports.</p><br>
<h2>Kingaroy-Kilkivan Rail Trail</h2><br>
<p>The former bridge crossing of the Kingaroy Branch Railway is located 170 meters from the weir wall. The bridge was removed in early 2015, shortly after the demolition and removal of the railway track. The South Burnett Regional Council is working with Gympie Regional Council with the planning and construction of the Kingaroy-Kilkivan Rail trail between the large town of Kingaroy to Kilkivan via the rail corridor through Murgon. The trail is set to be completed in June 2016.</p><br>
<p>The Daniel McConn Barn is a historic agricultural building located in near Fort Madison, Iowa, United States. It was listed on the National Register of Historic Places in 2000. It is a bank barn that is built into a south-facing slope. The south exposure of the basement level of the structure allowed protection of livestock in cold weather. The Pennsylvania-type barn was built around 1857 on a farm owned by Daniel McConn, a native of County Down, Ireland. He made his way to Fort Madison in 1837 where he became a merchant. While he owned the farm, it was worked by a tenant farmer. The foundation of the structure is of rubble construction and the sides of the upper structure are of vertical board-and-batten siding. It is capped with a low-pitched, gable roof that features three pyramid-shaped hip roofed ventilation cupolas located along the ridge.</p><br>
<p>The Johannes Erickson House is a historic log cabin in Scandia, Minnesota, United States, built in 1868 with a gambrel roof, a distinctive tradition from southern Sweden. It was moved to its current site adjacent to the Hay Lake School in 1974 to be part of a small museum complex operated by the Washington County Historical Society. The Erickson House was listed on the National Register of Historic Places in 1976 for having local significance in the themes of architecture and exploration/settlement. It was nominated as a rare surviving example of a style brought to Minnesota by Swedish immigrants from Dalsland and Småland.</p><br>
<h2>Description</h2><br>
<p>The Johannes Erickson House is a small, two-story house measuring 28 by. The walls are of hewn oak logs, covered over with plank siding. There are two rooms on each floor. The gambrel roof allows for a full-height upper story instead of the cramped loft space of most log cabins.</p><br>
<p>Access to the upper floor was originally gained by an exterior staircase. In its early days the house also had a lean-to at the rear for use as a summer kitchen.</p><br>
<h2>History</h2><br>
<p>The house was built in 1868 by Johannes Erickson and his 13-year-old son Alfred. In 1904 the adult Alfred Erickson built a new home for the family, and the original cabin saw use over the years as a granary, a garage, and even a playhouse. By 1974 it was no longer useful to owner Vernon Jellum, and he made plans to have it demolished or relocated. The Washington County Historical Society purchased the building and had it moved 1.5 mi to its current site to form a small museum complex near a 1900 monument to the first Swedish settlers in Minnesota.</p><br>
<p>The John T. Cyphers House is a historic house in Lakeland, Minnesota, United States. It was built in 1858 using an early form of concrete poured around undressed rock. It was listed on the National Register of Historic Places in 1971 for having state-level significance in the theme of architecture. It was nominated as a rare Minnesota example of Northern European-style masonry, particularly unusual in a logging region with plentiful lumber.</p><br>
<h2>Construction</h2><br>
<p>Early Lakeland settler John T. Cyphers read an article in an 1855 edition of the St. Paul Pioneer Press suggesting a concrete mixture as a building material. This mixture, known at the time as "grout", comprised lime, sand, mud, and gravel. In 1858 Cyphers began constructing a house for himself using this method. He formed the core of the walls with small, undressed boulders. He outlined the two-foot-thick walls with wooden frames and poured in the grout. The principle walls were all built this way, but above the first story the gables, roof, and dormers are all wood.</p><br>
<h2>Description</h2><br>
<p>The John T. Cyphers House is a small, one-story cottage with a lower wing projecting from the rear. The main entrance is centered on the long west façade, flanked symmetrically by a pair of windows on either side. Directly above the windows are two dormers projecting from the roof, mirrored by another two dormers facing the rear. The house is largely plain, but there are Gothic Revival decorations in an arch above the door, arched windows on the gable ends, and rusticated wooden trim. Much of this trim is covered up by modern roofing material, and the carved bargeboards are gone. A 20th-century owner recoated the outer walls to prevent spalling of the original grout.</p><br>
<p>Valhalla Highlands Historic District, also known as Lake Valhalla, is a national historic district located near Cold Spring in Putnam County, New York. The district encompasses 57 contributing buildings, 11 contributing sites, 10 contributing structures, 7 contributing objects and a 900 acre forest in an early second home community established by primarily German/Austrians and Norwegians from New York City. It developed between the early-1930s and mid-1940s, and includes lodges that are typically one or two stories high and have fieldstone foundations. They are characterized by structural stone walls and full log construction and frame dwellings clad with half-log wood siding and fieldstone veneer, chimneys and terraces. The district also includes a boat lodge with a ping-pong room and terrace, a swimming dock, a boat dock, a tea pavilion, a recreation pavilion, a lookout pavilion, shuffleboard courts, a tennis court, a playing field, a picnic area, rustic improvements throughout the forest and the remnants of a hunting cabin.</p><br>
<p>The on-site National Register plaque states:</p><br>
<p>"Valhalla Highlands was initiated in the early 1930s as a stylistically cohesive summer community with individual lodges, shared amenities, including Lake Valhalla, community buildings and a 1,100 acre forest with trails and rustic facilities and Valkyrie, the home of Ludwig Novoting, the creator of Valhalla Highlands.</p><br>
<p>All the lodges were placed on a planned layout with a carefully organized system of boulder-lined unpaved roads, vistas and landscape features. No two lodges were the same and the community was harmoniously placed within its magnificent natural setting. The District was an early occurrence of seasonal retreats for New Yorkers in the rural areas of the Hudson Valley during the early twentieth century.</p><br>
<p>The lodges, roads, common facilities and landscaping were a rustic interpretation of the Storybook Style popular in America between World War I and World War II. With whimsy and creative playfulness, the Valhalla Highlands interpretation was picturesque and nostalgic. These qualities were evident in the buttressed field stone and half-log walls, swooping multi-color asphalt shingle roofs with peaks, asymmetrical roof pitches, prominent field stone chimneys, cantilevered entry canopies, free-standing peeled log arches at the entrances, window awnings, half-log flower boxes, small-paned steel and wood windows, field stone paths and steps, boulder borders, rock gardens with elf figurines and knotty pine interiors. The ensemble blurred the line of fantasy and reality with an inherent sense of humor. The playful, fairy-tale aesthetic of Valhalla Highlands matched the community’s theme of a Nordic paradise.</p><br>
<p>Eighty years later, on November 12, 2014, when the United States Department of the Interior listed the Valhalla Highlands Historic District on the National Register of Historic Places, the district was essentially unchanged from its time of origin."</p><br>
<p>It was listed on the National Register of Historic Places in 2014.</p><br>
<p>Cahills Stores is a heritage-listed commercial building at 232 - 234 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by John William Wilson and built in 1889. It is also known as Central Queensland Livestock Co-operative Society, Clarkes Building, Flamingos Nightclub, Stadium Nightclub, Dalgety & Co., WG Murray Ltd, Inglis Ltd, and Kerrisk Bros. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Cahill&#39;s Stores, built of brick and concrete render, were constructed for John and Kate Cahill in 1889. Designed by John William Wilson, the single-storey building housed the Rockhampton office and store of Dalgety & Co. Ltd between 1891 and c.1940.</p><br>
<p>The architect John William Wilson was a native of Scotland who had arrived in the Australian colonies. He practised in Rockhampton from 1874 until 1909. Included in the list of 200 identified buildings for which he is responsible are the Rockhampton School of Arts, the Commercial Hotel and Chambers (now the Heritage Tavern) and the Rockhampton Harbour Board Building. Cahill&#39;s Stores were constructed between the sites subsequently occupied by the Commercial Hotel and the Mount Morgan Gold Mining Company Building.</p><br>
<p>Rockhampton was established on the Fitzroy River on land originally part of Gracemere station, a pastoral property operated by the Archer family. Richard Palmer opened the area&#39;s first store on the south-western bank of the river from mid-1856. Following a survey by Arthur F Wood, Rockhampton was proclaimed a town on 25 October 1858. The first sale of allotments occurred the following month. The Municipality of Rockhampton was proclaimed on 15 December 1860. Along with the discovery of gold at Mount Morgan in 1882, the key importance of Rockhampton was its ability to provide goods, services and produce for the population of both the town and its regional hinterland.</p><br>
<p>Early merchants and storekeepers operated independent, locally based businesses. The first wave of these entrepreneurs, attracted to the area by the promise of gold at nearby Canoona, opened their stores in the late 1850s. A second wave arrived in the 1860s. Early merchants who survived the economic downturn of the late 1860s included John Headrick, Walter Reid and Albrecht Feez. By the 1880s many of Rockhamptons local merchants and agents operated in partnerships. Notable at this time were John M Headrick & Co., EK Ogg, Alex. Reid & Co. and WG Thompson & Co. The independence of these firms, supported strongly by local manufacture of ironmongery, timber joinery and items such as soap and cordial, was a reflection of the self-sufficiency that Rockhamptons community leaders expressed politically through a concurrent movement towards secession.</p><br>
<p>Commerce in Rockhampton in the late 19th century was very competitive. Up to twenty-seven separate firms provided services as shipping, mercantile or stock and station agents. Although numbers decreased after the bank crash of 1893 and the drought that followed, established companies from other parts of Australia also were attracted to Rockhampton by the profitability of the region.</p><br>
<p>Two years after its 1889 construction, Cahill&#39;s Stores were occupied by Dalgety & Co. Ltd, one of the first southern firms to set up business in Rockhampton. Born in Canada, Frederick Dalgety arrived in Australia in 1833. Initially he gained experience working in other mercantile houses. With two partners, in 1846 he formed Dalgety, Borrodale and Gore. Situated at first in Little Collins Street, Melbourne, this company earned substantial profits during the gold rushes of the 1850s. The head office of Dalgety & Co. was established in London in the same decade. Over the next twenty years the company opened mercantile offices in New Zealand and New South Wales (1878). The limited liability company, Dalgety & Co. Ltd, was registered in London on 29 April 1884, after which operations extended into Western Australia (1889) and Queensland (1891). Frederick Dalgety died in 1894.</p><br>
<p>The companys first Queensland office was in Cahills Stores at Rockhampton. FHB Turner commenced as manager. Their Brisbane office was not established until 1894. The first Townsville office for Dalgety & Co. Ltd opened in leased premises in Denham Street in 1896. From that time the company was well represented in regional Queensland and played a significant role in the development of the pastoral industry, particularly in the production of wool. Unlike Rockhampton, where the company would always lease its premises, a new Dalgety & Co. two-storey building was constructed in Townsville in 1923-24. The company&#39;s need for investment in a substantial building in Rockhampton may have been reduced by the financial strength of other mercantile companies. Their competition included GS Curtis, John M Headrick & Co., Goldsbrough Mort & Co and Walter Reid & Co, all of which constructed large stores or warehouses in Rockhampton between 1883 and 1902.</p><br>
<p>At different times smaller companies also occupied sections of the former Cahill&#39;s Stores. These included WG Murray Ltd, a warehouse and manufacturing company based there in the first decade of the 1900s and Inglis Ltd, tea merchants housed in the northern part of the store in the 1920s.</p><br>
<p>Following the death of John Cahill in 1915, ownership of the building passed to trustees, then to Elizabeth OBrien and later Brian OBrien. In 1949 an easement was granted over the site, allowing it to be sold as two separate stores divided by a party wall. The Australian Red Cross Society purchased the northern store, closest to William Street. It was not until 1983 that the building was returned to a single owner. In the interval it had been occupied by, amongst others, Kerrisk Bros. and Central Livestock and Produce Co-operative Society.</p><br>
<p>In 1985 the owners of the Cahill&#39;s Stores building also held title to the Heritage Tavern, formerly the Commercial Hotel and Chambers. With side access opening directly into the hotel and its party wall removed, the former stores building was converted into a nightclub. The open, singular space inside the building has served this purpose since then.</p><br>
<h2>Description</h2><br>
<p>The former Cahill Stores, a single-storey brick building, is located on a block of Quay Street that is populated almost exclusively with other buildings of heritage significance, including the Heritage Tavern and the Mount Morgan Gold Mining Company Building (now the Australian Broadcasting Corporation studios) on either side; Clewetts Building, Walter Reid Court, and Avonleigh. Quay Street overlooks the Fitzroy River and is recognised as a streetscape of historical significance in the Australian Heritage Commissions Register of the National Estate. About 200m to the north-west of this building is Rockhamptons central pedestrian mall and four blocks to the south-east is the citys central railway station. Running along the short, south-western edge of the allotment is Quay Lane, which forms part of a system of such laneways that inhabits the city centre&#39;s orthogonal grid and services its primary streets. The grid is aligned to the course of the Fitzroy River that flows from the north- west to the south-east.</p><br>
<p>The parapeted front facade to Quay Street is composed of classical motifs modelled with cement render in a free but also spare way. The street frontage is approximately 20m wide. There is a parapet wall to the side facade adjacent to the ABC studios, which can be viewed from a narrow corridor of space separating part of the two buildings. It is clear from the patterning of brickwork in this facade that a number of its openings have been closed up at some point in the past. The former Cahill&#39;s Stores abut the Commercial Hotel and Chambers building (former) to the north. On Quay Lane, the roof toward the front of the building appears to be hipped, with a broken segment extending to the rear facade. It is clad in corrugated iron. The rear segments of the side parapet walls step down towards the rear facade, which is constructed of unpainted concrete masonry. A great deal of air-conditioning equipment and support structures populate the roof.</p><br>
<p>The Quay Street facade is divided vertically into six bays by a series of pilasters. Above the second bay in from each end, there is a tall parapet projection denoting where two entry doors open into the building. There are glass double doors in each bay, however those beneath the parapet projections have fanlights above them, rather than simple highlights. The parapet projections are accented with render consoles. Beneath the variegated parapet top, a render entablature runs between each end of the front facade. The depth of the blank frieze seems somewhat exaggerated when compared with those of the cornice and architrave. Above the end pilasters, the entablature is visually enclosed by two narrow projections of the parapet top. The modelling in line with the entablature is reminiscent of single triglyphs.</p><br>
<p>The Tuscan-style pilasters sit on bases and plinths, the plinth line being expressed in the rest of the facade. Beneath the line of the door heads, the pilasters are evenly divided by four stringcourses, reminiscent of rustication. There is simple render modelling around each of the square headed doors, which is suggestive of a frame. Those with the fanlights sit in a panel of wall that sits slightly proud of the remaining facade. Above each of the square-headed doors is a render panel topped with a cornice-like course and three modillions. The edges of the doors with fanlights are decorated with simple render frames. A render panel, placed higher than the others on the facade, sits above these door openings. The panel is topped again with a cornice-like course and three modillions.</p><br>
<p>The interior has been extensively remodelled and currently houses nightclub facilities. The party wall that once separated the two segments of the building has been broken through at a number of points.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Cahill&#39;s Stores was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Cahill&#39;s Stores are important in demonstrating the evolution of mercantile history in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Designed by architect John W Wilson, the former Cahill&#39;s Stores exhibit integrity as a single-storey warehouse and store building, at the same time contributing to the continuity and character of the streetscape of Quay Street.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The former Cahill&#39;s Stores are of heritage significance as for nearly fifty years the building was associated with Dalgety & Co. Ltd, one of the largest and most successful pastoral firms in Australia.</p><br>
<p>Rockhampton School of Arts is a heritage-listed former school of arts at 230 Bolsover Street, Rockhampton City, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by William  Cherry built in 1894 by Walter Adam Lawson. It is also known as Rockhampton Regional Library and Rockhampton Municipal Theatre. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Rockhampton School of Arts building was built in 1894 and is an important element of the streetscape of Bolsover Street in Rockhampton. The building is a fine example of late nineteenth century Victorian Classical architecture. It has formed a major part of the cultural, social and civic life of Rockhampton since 1894, and has associations with a previous school of arts building that existed on the site from 1865. The School of Arts building is evidence of the growth of the City of Rockhampton, and is a reflection of the confidence, drive and energy of the citizens in the period of the late nineteenth and early twentieth centuries.</p><br>
<p>Rockhampton is fortunate in having such an excellent School of Arts which, was established so long ago as July 1861. The promoters worked under many disadvantages for a long time. The population was small, and there was great difficulty in getting a supply of books and papers, not to speak of collecting funds for a suitable building. A considerable portion of the population was coming and going, and many others were not of a reading class. However, on 23 July 1861 a meeting was held in the Rockhampton Court House, when it was resolved to establish a School of Arts.</p><br>
<p>Schools of Arts were synonymous with Mechanics Institutes, established in Britain early in the nineteenth century, and transplanted throughout the British Empire during the colonial era. The movement was instituted by George Birbeck who established a class for journeymen mechanics in Glasgow, and later formed the first Mechanics Institute in London. The purpose of forming such an institute was to improve the education of working men, and to instruct them in various trades. By the late nineteenth century, Mechanics&#39; Institutes had become popular agencies of adult education in general.</p><br>
<p>Mechanics Institutes were part of a wider nineteenth century movement promoting popular education in Britain, at which time co-operative societies, working mens colleges and the university extension movement were established. The call for popular education in turn can be contextualised within the broader liberal, laissez-faire, non- interventionist philosophy which dominated British social, economic and political ideologies in the nineteenth century. In this environment, Mechanics&#39; Institutes flourished as a means by which working men might improve their lot, either through self-education (the provision of reading rooms was an important facility provided by the Institutes), or by participating in instructional classes organised and funded by Institute members.</p><br>
<p>A School of Arts Reserve was proclaimed as part of the Rockhampton Town Plan in 1862. Prior to the proclamation of a reserve, a School of Arts had been proposed by the 700 residents of Rockhampton to encourage the diffusion of "literary, scientific and other useful knowledge amongst members". A reading room had been set aside by Police Magistrate John Jardine in the Rockhampton Court House. A Reserve of 1 acre was set aside for this purpose adjacent to the Rockhampton Town Hall. Sect 65A of the Rockhampton Town Survey comprised four portions in an area of more than five acres. The boundaries of this reserve were Bolsover, William, Alma, and Derby Streets. The 1 acre area set aside for the School of Arts was Portion Four, of the north eastern end of the section, with a frontage onto Bolsover and William Streets.</p><br>
<p>Post 1862, the establishing of the School of Arts faced great problems, with little public monetary contribution being forthcoming. The community continued to push for a building dedicated for a School of Arts in the period of 1862-4, with public fundraising within the Rockhampton community raising £434 in 1864. The Queensland Government promised to match this amount for the construction of a building. Tenders were called for the construction of a School of Arts, and in 1865 a tender of £900 was received from Downland and Hartley. The building however cost £1100 to construct. Despite the blow out in the budget, the first Rockhampton School of Arts was opened on 24 February 1865.</p><br>
<p>Despite the grandiose hopes of educating the community of Rockhampton, initial community reaction to the use of the public reading room was lukewarm. The overall quality of the standard of public education offered was not very high. Courses were offered in classical languages, at various times, but the standard of education was dependent upon interest from the local community, and the standard of school teachers who were willing to contribute to after hours lectures.</p><br>
<p>During the fifteen years to 1890 the membership in the School of Arts increased from 40 to 380. Likewise the library grew from 250 to 7000 volumes during the same period. A museum and library wing was added to the building in 1872.</p><br>
<p>On part of the reserve fronting William Street the portion of land adjoining this major thoroughfare was opened to the letting of commercial businesses in 1883. Prior to this a hotel was opened on the corner of William and Bolsover Street. Prior to 1881, the hotel was known under various names, including the School of Arts Hotel. In 1881 the present name of the Queensland Hotel was adopted. The shops and hotel were separated from the School of Arts building by a service lane.</p><br>
<p>In common with many other public and private buildings in Rockhampton, the clay strata on which the foundations of the first School of Arts was built proved to be detrimental to the fabric of the building. Underpinning of the front and rear foundations of the first School of Arts was necessary in 1867. By 1881 the movement of the clay sub strata had caused damage to the brickwork. In 1882 John William Wilson, an architect resident in Rockhampton submitted three plans for the reconstruction of the School of Arts.</p><br>
<p>Wilson, a prolific architect, was responsible for the design of over eighty buildings in Rockhampton in a career from the early 1860s until the early part of the twentieth century. The plans submitted by Wilson were not made public by the Committee of the School of Arts. To encourage further interest a public competition was launched for plans for the intended structure; however financial difficulties forestalled any further action.</p><br>
<p>As the centre of intellectual debate and learning in Rockhampton, the School of Arts building was used for the inaugural meeting of the central Queensland separation movement in 1890. This movement was to agitate throughout the period of the pre-federation years for the creation of a separate state centred on Rockhampton.</p><br>
<p>In 1893 further deterioration of the 1865 building made it essential that a replacement structure be built for the School of Arts. 1893 was also a period of economic depression within the Queensland economy; however £5000 was borrowed from the Union Bank of Australasia. The committee called for plans and specifications of a structure that was intended to be the centre of intellectual life in the Rockhampton community. The 1865 building was demolished, and a residence was erected facing Alma Street for the secretary-librarian.</p><br>
<p>The design that was chosen for the new School of Arts was attributed to local architect William (Walter) Cherry. Cherry was born in 1843 in Scotland, and worked as clerk of works at various Scottish architectural firms. Cherry emigrated to Queensland in 1884, and from 1885 he was employed as a clerk of works by FDG Stanley. The supervision of the design was entrusted to John William Wilson, and the contract let to Walter Adam Lawson for £5,500.</p><br>
<p>The School of Arts was constructed in masonry, a rarity amongst School of Arts buildings at this period. Bundaberg School of Arts and Maryborough School of Arts were the only other centres with comparable buildings. As Rockhampton was proposed to be the capital of the new state of Central Queensland, its new School of Arts would have to reflect the aspirations of its citizens. At a cost of £5,578 the Rockhampton School of Arts building would be the most expensive in the colony.</p><br>
<p>The two storeyed building featured a hall with seating for 800 patrons. The front facade of the building was designed in the classical style. The hall area featured a stage, musical pit and store rooms. A committee room, two large class rooms and a secretary&#39;s office were located on the ground floor, and on the upper floor were five apartments provided for the reading room and book collection. Other rooms on the upper floor were used for the museum collection and a class room. The reading room was described as being cool and pleasant, all rooms opening out onto the verandah.</p><br>
<p>The School of Arts building was officially opened in the presence of the Governor of Queensland, Henry Wylie Norman, on 6 March 1894. At the time it was claimed that the School of Arts had no other equal in the colony. Over 11,000 books were housed in the School of Arts collection on the two floors of the building.</p><br>
<p>An addition was made to the School of Arts in 1903 when a recreation room was provided between the School of Arts building, and the residence of the secretary-librarian. The recreation room featured two billiard tables, a chess and card room and a verandah. Allegations were later made that the rooms were being used for gambling by members of the School of Arts.</p><br>
<p>In 1904 a two-storeyed School of Mines was added to the complex facing Alma Street. An assay room and furnace were also provided. Classes were offered in metallurgy, geology, chemistry and mineralogy. A lack of interest from students saw the School closed in 1906.</p><br>
<p>Technical classes that had been a part of the education charter of the School of Arts Committee were taken over by the Department of Public Instruction in 1908. The State Government passed of the Government Technical Schools Act 1908, allowing for the establishment of vocational/education based studies. In 1909 the classes were placed in the hands of a specially organised Technical College Committee that was separate from the Rockhampton School of Arts.</p><br>
<p>Classes were still held in the School of Arts building, and additional classroom space was made available in the Market Building, for cookery classes, opposite the School of Arts building in Bolsover Street. The Technical College Committee was a partially elected, partially Government nominated body. In 1915 the Rockhampton Technical College was opened in Bolsover Street.</p><br>
<p>By 1909 the upper balcony of the hall was considered inadequate. Edwin Morton Hockings, architect of Rockhampton prepared plans for a curved gallery to extend from the stage line to the back of the hall and return. The curved dress circle was claimed to increase seating to 1500 patrons. The hall was a centre of social and entertainment life within the community of Rockhampton. Political rallies, fancy dress balls, patriotic rallies and the anti-conscription league all made use of its facilities. In the 1920s the hall was licensed as a place of "public amusement and entertainment".</p><br>
<p>During times of economic recession or depression the School of Arts was able to draw on additional sources of income other than membership subscriptions to survive. Rent from commercial buildings on William Street, let by the School of Arts provided an income in the absence of government subsidies, or members subscriptions.</p><br>
<p>Underpinning of the buildings foundations were required in 1923, as a result of settlement of the foundations at the southern corner of the library, at a cost of £591. At the same time the supper room verandah which faced onto the laneway was enclosed with weatherboards and louvres. Ventilation problems in the hall saw portions of the walls removed, and louvres and woven panels substituted. In the library area, air passages were placed in the dividing walls, and a large lantern light was installed in the roof. At the same time electricity was installed in the building, as well as septic toilets.</p><br>
<p>An entire new floor was installed in 1934 to provide a new surface for dancing. The floor of the library was replaced in 1938.</p><br>
<p>The administration of the library for the School of Arts underwent change in 1943. In 1927 the Queensland School of Arts Association had been formed to co-ordinate the activities of institutions, and the lending and purchase of books throughout the state. However the School of Arts reading room form of entertainment was facing competition from other popular forms of entertainment such as radio and cinema. In 1943 The Libraries Act established the Queensland Library Board and promoted the public library movement. The Library Board would supply assistance to selected schools of arts.</p><br>
<p>The Board had maintained paid library staff, however the growth of more formal technical education, and popular forms of entertainment, continued to erode the primacy of the school of arts. With declining membership, and reduced financial subscriptions the Rockhampton City Council took over the assets and the School of Arts in 1946.</p><br>
<p>The library and museum continued to function under the City Council, but the library remained a subscription based institution. In the post war period the School of Arts building became home to the Rockhampton School of Arts Little Theatre (later Rockhampton Little Theatre), and in 1949 the Rockhampton and District Historical Society formed to locate itself on the upper floor of the library. The Rockhampton Regional Promotion Bureau was located on the upper storey from 1959 until 1971.</p><br>
<p>Alterations were made in 1960 to provide a mezzanine floor above the adult library section on the southern side of the entrance vestibule. The 1960s saw the re-emergence of settlement problems in the foundations. A consulting firm of engineers provided suggestions to combat this problem, which included construction of deep piles to provide anchorage in the clays, and construction of waterproof sealed surrounds for the building. The removal of free water in the ground was also recommended.</p><br>
<p>The School of Arts Hall was judged inadequate for continued use in 1962. With its deteriorated condition plans were drawn up for a new auditorium in 1963. The old hall was removed, excepting a portion that faced the laneway. A new theatre was built on the location, and was constructed at an angle to provide a facade on the southern part of School of Arts property. The new building was christened the Municipal Theatre. The Municipal Theatre again was an important element of the social and entertainment life of Rockhampton, featuring concerts, balls, functions etc.</p><br>
<p>The closure of the Wintergarden Theatre in 1974 meant that the Municipal Theatre was the only auditorium venue available in Rockhampton. The Pilbeam Theatre Complex was opened by the Rockhampton City Council in 1979, and was used as an alternate venue for gatherings of a civic or entertainment nature. The Municipal Theatre continued to be used for functions such as weddings, balls and Little Theatre productions, as well as other cultural activities.</p><br>
<p>The Rockhampton City Council opened a free Municipal Library in North Rockhampton in 1971. The former School of Arts library was opened as a free facility in 1972. For the next five years the former School of Arts operated as a municipal library until the opening of a new Library on the corner of William and Alma Streets on 25 March 1977. The outbuildings of the School of Arts building, such as the recreation room, was removed in 1976 for a new building containing an immunisation clinic, club rooms for the Rockhampton Little Theatre and a caretaker&#39;s flat. The residence and two storeyed School of Mines building was removed and a child care centre established on the site.</p><br>
<p>The School of Arts building was classified by the National Trust in 1980. Piling of the foundations was considered in 1982 as part of a projected conservation programme for the School of Arts building, but was not carried out. At the completion of the conservation work, it was hoped to utilise the building as a museum. The Rockhampton and District Historical Society utilised the meeting room and a collection was located on the upper storey of the building until 1983, when the society relocated to new premises at North Rockhampton.</p><br>
<p>The former School of Arts building has been the beneficiary of a conservation plan prepared in 1994. The School of Arts is a continuing link with the social, educational and recreational aspirations of the people of Rockhampton and central Queensland.</p><br>
<p>The building was vacant for 33 years prior to 2010, when it reopened following a long-term refurbishment project at a cost of $3 million. As part of the project, a new building housing the Rockhampton Regional Library was constructed between the School of Arts building and the 1977 library, on the site of the demolished 1963 former Municipal Theatre. The 1977 building has since been used to house archives, while the School of Arts building, which reopened two years after the new library was opened in 2008, now serves as public access for the library, council offices and community facilities.</p><br>
<h2>Description</h2><br>
<p>The Rockhampton School of Arts, a two-storeyed rendered masonry structure, is located fronting Bolsover Street to the northeast, adjacent to the Rockhampton Council Chambers. The building consists of the front section of the original 1894 structure, with the c.1964 Municipal Theatre attached at the rear. The building has an elaborately decorated symmetrical facade to Bolsover Street, consisting of a central recessed colonnaded verandah with projecting central pedimented entrance, flanked by projecting corner wings. The facade has Corinthian pilasters supporting a deep entablature surmounted by a parapet with corner urns concealing a hipped corrugated iron roof. The pilasters, which surmount a deep base extending to the ground floor window sill height, are spaced narrowest on the projecting corner wings. The central entrance has paired corner pilasters, and the entablature has the name SCHOOL OF ARTS in relief. Both ground and first floor verandahs have been enclosed with glass louvres above balustrade height.</p><br>
<p>The ground floor has segmental arched sash windows to the projecting corner wings, with coursed rendered abutments. The ground floor verandah has arches with expressed imposts, and the first floor verandah has similar arches with expressed extrados and keystones. The first floor projecting corner wings have arched sash windows with expressed imposts, extrados and keystones, and semi-circular balconettes.</p><br>
<p>Both sides of the building are unadorned, and consist of four bays with relief mouldings at sill and floor heights, with roughcast render finish between smooth finish pilasters, and centrally placed window openings with glass louvres. The northwest side fronts onto a service laneway, and the southeast addresses the grounds of Rockhampton Council Chambers. The Municipal Theatre, which adjoins the rear of the building, is set back from the southern corner to create a main entrance.</p><br>
<p>Internally, the building has boarded timber ceilings and painted masonry walls. The ground floor consists of a central entrance vestibule, leading to a staircase at the rear, flanked by a series of large rooms interconnected via arched openings. Some sections of masonry walls have been removed, some openings bricked-up, and some partition walls installed. Internal doors are of timber panelling with fanlights and architraves, and French doors with fanlights open onto the enclosed verandahs. The staircase has turned timber newel posts and timber handrails, with cast iron balustrades panels, sections of which are missing. A stair has been installed in the northern end of the front verandah, toilets are located in the western corner, and several high level ventilation openings have been installed in internal walls. The first floor is similar in plan, with a roof lantern lighting the stair landing, and paired timber and glass doors with sidelights and fanlight opening from the central hall to the enclosed verandah.</p><br>
<p>Several areas of the building have deteriorated due to foundation subsidence and water ingress, which has resulted in large cracks in masonry walls and failed sections of flooring. Several archways have timber bracing, and tie rods are visible throughout the building.</p><br>
<p>The rear of the site includes an immunisation clinic and a child care centre fronting Alma Street.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Rockhampton School of Arts was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Rockhampton School of Arts is important for its contribution to the cultural and social development of Rockhampton. Constructed in 1894, the place demonstrates the growth and evolution of the School of Arts movement which fostered and developed an interest in education, cultural and social activities, and the performing arts, in towns and cities throughout Queensland in the nineteenth and early twentieth centuries. The building is located on the site of an earlier School of Arts constructed in 1865, on land which was proclaimed as a School of Arts reserve in the 1862 Rockhampton Town Plan.</p><br>
<p>The place is also important in demonstrating the development of the civic centre of Rockhampton, particularly during the late nineteenth century,</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>It is also a rare example of a substantial masonry School of Arts in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The School of Arts is significant architecturally as an example of Victorian Classical architecture of the late nineteenth century, and makes an important contribution to the streetscape of Bolsover Street, Rockhampton. The building is an important component of the civic centre of Rockhampton, and demonstrates the grand vision that the community held for Rockhampton as a future northern Capital during the separation movement of the 1890s.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place is significant for its association with the separation movement, which was established in the earlier School of Arts in 1890, and which was active in Rockhampton and central Queensland in the period of 1890-1901.</p><br>
<p>The place is associated with Rockhampton architects William (Walter) Cherry, and John Wilson who supervised the design of the School of Arts. Wilson was a prolific architect, responsible for the design of over eighty buildings in Rockhampton, in a career from the early 1860s until the early part of the twentieth century. Wilson was also responsible for the design of other residences in Rockhampton, such as Trustee Chambers.</p><br>
<p>Rockhampton Harbour Board Building is a heritage-listed office building at 288 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by John William Wilson and built in 1898 by Renshaw & Ricketts. It is also known as Fitzroy Shire Council Chambers. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Harbour Board Building was erected in 1898 for the newly established Harbour Board of Rockhampton. The former Harbour Board building was designed by John William Wilson and built by Renshaw & Ricketts for £3,200. The Harbour Board was the authority for the Port of Rockhampton from 1896 until 1979 and operated in the Quay Street building from 1898 to 1977. The erection of the prestigious Harbour Board offices in Quay Street reflected the significance of the port of Rockhampton and the wealth of trade it brought to the city during the late 19th century.</p><br>
<p>Rockhampton was declared a Port of Entry on 8 October 1858 following the influx of gold seekers to Canoona. The port served a vast area of Central Queensland, supported by a network of roads which brought the exports of gold, copper, hides, tallow and wool from the hinterland in the 1860s. In 1867 the Central Western railway line was established westward from Rockhampton which increased the flow of goods through the port. The port was influential in establishing Rockhampton as the major trade and communication centre of the region and its operation soon became a vital commodity in Rockhampton&#39;s economy.</p><br>
<p>The Rockhampton Harbour Board was established in 1895 by the Rockhampton Harbour Board Act and assumed authority for the Port of Rockhampton in January 1896. The Queensland Government had passed the Harbour Board Act of 1892 in an attempt to decentralise and offload the expense of maintaining Queensland ports due the financial downturn of the depression. The Harbour Board Act provided for the establishment of Harbour Boards at any Port where there was enough shipping trade to ensure the individual Harbour Boards were self- supporting.</p><br>
<p>The Rockhampton Harbour Board was among the first three boards to be established in 1895 together with Townsville and Bundaberg. Within the next 20 years Harbour Boards were established at Mackay (1896), Cairns (1905), Gladstone (1913) and Bowen (1914). The Harbour Boards assumed work formerly carried out by the Marine Department, Customs Department, Shipping Agencies and the Municipal Council. However, control of the tidal waters remained with the Crown and provision of pilotage and navigation remained under the control of the Marine Department. In spite of this, the principle of local control was applied by the Act. To allow it to function, a Board was granted tenure over port lands for the purpose of wharfage or port purposes, and the power to levy harbour dues on all goods discharched or shipped within the harbour, together with the right to lease land and facilities to provide funds for the Board&#39;s responsibilities of wharf construction, dredging and provision of other ports needs.</p><br>
<p>The Rockhampton Harbour Board building was constructed in 1898 and was part of the prestigious development which occurred along Quay Street from the 1860s to the turn of the century. The erection of this grand two-storied masonry building reflected the particular wealth of the Rockhampton Harbour Board which was a manifestation of the prominence of the port.</p><br>
<p>Tenders for the erection of the building were called by John W Wilson in March 1897. Wilson dominated the architectural scene in Rockhampton from 1864 until the 1890s. His work contributed significantly to the consistency of the Rockhampton townscape with six of the Quay Street buildings erected before 1901 being Wilson&#39;s design. Wilson designed over 200 buildings in the central Queensland region during his 35-year practice and was one of the most prominent and prolific architects to have worked in Rockhampton. The Harbour Board stands as one of his most striking designs.</p><br>
<p>The foundations of the building were described as "particularly strong" and were allowed to stand for a month before construction of the building continued in regard to the structural problems resulting from moving foundations experienced with other Rockhampton buildings. The former Harbour Board building is one of few Rockhampton buildings from its period which does not possess major cracking caused by foundation movement.</p><br>
<p>Externally the building is substantially intact, with the decorative colonnaded facade fronting Quay Street. The rear of the building has been markedly altered with an extension replacing the original rear verandah. Internally, the brickwork walls were originally plastered with Portlands cement and finished with Keens cement. On the ground floor the space for the public and private offices is still evident with its original cedar mouldings and doors. The service counter originally curved towards the rear of the building.</p><br>
<p>The building was purchased by the Fitzroy Shire Council in 1977 and was used as offices until 1995. The building was purchased by the present private owner in February 1995.</p><br>
<h2>Description</h2><br>
<p>The former Harbour Board building, a two-storeyed rendered masonry structure, is located fronting Quay Street to the northeast overlooking the Fitzroy River. The building has a twin gable roof, the front section of which is hipped with central box gutter draining to the rear.</p><br>
<p>The Quay Street elevation has an arcaded colonnade to the ground floor and balcony to the first floor, each of which consists of three elliptical arches separated by pilasters supporting an entablature. The ground floor is designed in the Roman Doric order, and the first floor in the Corinthian order. Each arch has expressed mouldings, including imposts and keystones.</p><br>
<p>The ground floor pilasters have a deep pedestal, fluting to the lower section of the shaft, and rosettes to the neck of the capital. The entablature has expressed triglyphs and a shallow cornice, and a low cast iron balustrade with central paired entry gates and newel posts is located between the arches. The first floor pilasters have fluting to the entire shaft, and Corinthian order capitals. The entablature has expressed modillions to the deep cornice, which is surmounted by a parapet concealing the roof, and a rendered balustrade is located between the arches. The parapet has a raised central section which is framed by corner pillars flanking a perforated ring course. The central section is surmounted by a flagpole, and has the name HARBOUR BOARD ESTD 1896 in relief lettering framing a winged motif.</p><br>
<p>The ground floor colonnade has an encaustic tiled floor and curved rendered ceiling. Entry to the ground floor is via an off-set central paired timber panelled entry door, with entry to the first floor located at the northern end of the colonnade. Tall sash windows open onto the colonnade, and window and door openings have rendered architraves and sills, and security bars have been affixed. An engraved First World War memorial marble plaque is affixed to the colonnade wall, together with two metal plaques commemorating the use of the building by the Rockhampton Harbour Board and the Fitzroy Shire Council. The first floor balcony has a painted concrete floor and timber boarded ceiling, and French doors with fanlights open from the front rooms. The Quay Street elevation detailing returns the width of the colonnade and balcony either end of the building.</p><br>
<p>The southeast elevation has sash windows to the ground and first floors, each with a curved corrugated iron window hood supported by cast iron brackets, and security bars have been affixed to the ground floor windows. The northwest elevation, treated in a similar manner, has no windows to the ground floor.</p><br>
<p>The rear of the building has a first floor steel framed verandah surmounting the junction of a single-storeyed rear wing, constructed of concrete blocks with a ribbed metal roof, which replaced the original verandah. The rear wall of the building has a twin gabled parapet, with central arched ventilation panels. The first floor verandah has vertical louvres above the balustrade, and French doors and sash windows open from the rear rooms. The northern end of the verandah has been enclosed, and a narrow addition containing toilets has been attached.</p><br>
<p>Internally, the building has rendered masonry structural walls and timber partition walls, with cedar architraves, skirtings and cornices, however several of the internal doors have been removed. The ground floor contains three offices on the southern side, a large central room, and stair and strongroom on the northern side. The central room has a large carved timber reception counter at the front, and the name FITZROY SHIRE COUNCIL is inset in the vinyl tiled floor to the entrance. This room has a central cast iron column and timber boarded ceiling, and a dumb-waiter has been installed adjacent to the strongroom. Exposed air conditioning ducts have been installed, with ducts penetrating window and fanlight openings. The stair to the first floor has a cedar newel post and handrail, with turned cedar balusters to the first floor.</p><br>
<p>The first floor has similar finishes to the ground floor, however most of the panelled cedar doors are extant. Two rooms and a hallway front the Quay Street balcony, all with access via French doors, and the southern room has a suspended acoustic tiled ceiling. A large opening has been inserted in the timber partition wall adjacent to the stair landing, and the southwest room has been subdivided by the insertion of lower partition walls.</p><br>
<p>The rear wing contains offices and service rooms, and the property is accessed by a driveway on the southern side of the site which exits to Quay Lane at the rear.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Rockhampton Harbour Board Building was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Harbour Board building erected in 1898 reflects the significance of the Port of Rockhampton which was influential in establishing the city as a major commercial centre of Queensland during the late nineteenth century. It also reflects a Queensland government initiative which saw the development of numerous Harbour Boards throughout the colony around the turn of the century to maintain and manage the ports of Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Harbour Board, located at the southern end of Quay Street but visually isolated from the quayside precinct, is recognised as a local landmark and makes a significant contribution to the Quay Street streetscape and Rockhampton townscape. The building is of architectural and aesthetic importance, and the form and fabric of the building illustrate a skilled design approach. The detailing of the materials and finishes exhibit fine quality craftsmanship.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The former Harbour Board building has special association for the people of Rockhampton as an historical landmark of Quay Street which is closely associated with the image of the city.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The former Harbour Board building has special association with John W Wilson as one of his most prominent works. Wilson was a prolific architect in Rockhampton from 1864 to 1899 and designed about 200 buildings in the Rockhampton area.</p><br>
<p>Cornell–Manchester Farmstead is a historic home and farm located near Hoosick Falls, Rensselaer County, New York. The main house was built between about 1820 and 1840, and consists of a 1 1/2-story, gable roofed frame main block with an adjoining 1 1/2-story, gable roofed block added about 1850. It was remodeled about 1900 and three open Queen Anne style porches were added. Another 1 1/2-story frame house was added to the property about 1860. Also on the property are the contributing tool barn / grain house , pig house , blacksmith&#39;s shop , smokehouse , grain house , corn cribs , two hay sheds , shed , garage and vehicle shed , hen house , small pig house , three hen houses , and barn .</p><br>
<p>It was listed on the National Register of Historic Places in 2012.</p><br>
<p>The Primrose Hill Historic District encompasses a group of high-quality 19th century residences in Belfast, Maine. Set on Church and High Streets between Primrose and Anderson, this area is where the elite of early 19th-century Belfast built their homes. Four of the five most prominent houses are Federal, while one is Gothic Revival in style. The district was listed on the National Register of Historic Places in 1973.</p><br>
<h2>Description and history</h2><br>
<p>The Primrose Hill area of Belfast was developed after High Street was laid out in 1805. The part of High Street north of the citys central business district is elevated, with commanding views over the downtown and harbor beyond. As such, it became a desirable location for the citys elite to live. The historic district, when described in 1973 for listing on the National Register of Historic Places, described only five properties, extending along High Street from Primrose Street south to a triangular junction with High and Church Streets, and then south on Church Street to Anderson. Its bounds, however, are actually larger, as a portion of Anderson Street (between Church and Waldo Streets) was included in a 1993 amendment to the Belfast Historic District due to its earlier inclusion in this district. (The Belfast Historic District was intended to completely include this district).</p><br>
<p>On the east side of High Street stand two of the districts finer houses. The Benjamin Field House is a Federal style two-story wood frame house, with a hip roof, while directly to its south is the 1824 Benjamin Haseltine House, also Federal style. On the west side of High Street, opposite the Field House, stands the Johnson-Pratt House, built in 1812 for the son of one of Bowdoin Colleges founders. It has an elaborate Ionic portico, which was added about 1830. To its south stands the 1859 Gothic Revival House of Charles Haseltine, and the Anderson House, one of Belfasts finest brick Federal-style houses, stands further south; it was the residence of Hugh J. Anderson, a Governor of Maine. Houses on Anderson Street include a fine Gothic Revival cottage built by a ships captain about 1853.</p><br>
<p>Goldsbrough Mort Building is a heritage-listed warehouse at 238 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was built in 1899. It is also known as Drug Houses of Australia Ltd, Queensland Druggists Building, and Taylors Elliots & Australian Drug Ltd. It was added to the Queensland Heritage Register on 30 January 2004.</p><br>
<h2>History</h2><br>
<p>During the 1890s, Rockhampton&#39;s business community underwent many changes, including the toppling of many local stock and station agencies and wool and produce brokers. At the same time was witnessed the arrival of branches of large southern firms such as Dalgetys which opened a branch office in 1891, and then Goldsbrough, Mort & Co. Ltd in 1896.</p><br>
<p>The prosperous southern based pastoral house of Goldsbrough, Mort & Co. Ltd was established in Melbourne, with branch offices thereafter opened at Sydney and London. The Goldsbrough Mort Building situated at 514-526 Bourke Street (corner William St.) Melbourne, "is all that survives of a complex of distinctive stone woolstores and offices located in this area which comprised the Goldsbrough empire and were the nucleus of one of the world&#39;s greatest wool broking firms".</p><br>
<p>The expansion of Goldsbrough Mort activities into Queensland took place with the establishment of a branch office in Rockhampton. This branch office was initially located in East Street, Rockhampton, managed by Mr J.M. Niall. This was followed later by branch activities in Brisbane in the early 1910s, for which the Goldsbrough Mort Woolstore at Teneriffe stands testament.</p><br>
<p>In 1899, Walter and Eliza Hall had the extant building at 238 Quay Street, a late Victorian, classical-style single storey cement render and brick building, constructed. It was into these Quay Street premises that Goldsbrough Mort moved its office and store from East Street, to this more suitable commercial centre of Rockhampton conveniently placed opposite the important port and wharf facilities. An advertisement for Goldsbrough, Mort & Co., Ltd in 1900 directed commercial cliental attention to the firm as "The Oldest and Largest Wool Sellers in Australia." The firm&#39;s Quay Street branch office at this time was managed by Acting Manager Mr J. Fairweather.</p><br>
<p>Eliza Rowden Kirk (1847-1916) was the daughter of George Kirk, who had pastoral interests with Goldsbrough Mort founder, Richard Goldsbrough. In 1875, Eliza married Walter Russell Hall (1831-1911), a successful businessman and philanthropist. Hall made his business fortune through interests in Cobb & Co in Victoria and Queensland, and later in Queensland with the Mount Morgan Gold Mining Co. Ltd. As a philanthropist, Walter gave generously, often anonymously, to various public institutions and charities. After his death in 1911, Eliza set up a trust to commemorate her husband&#39;s memory, which was to become known as the Walter and Eliza Hall Trust. This Trust continued to be used for the relief of poverty and the advancement of education and research, including the establishment of the Walter and Eliza Hall Institute of Research in Pathology and Medicine in Melbourne in 1916.</p><br>
<p>The building situated at 238 Quay Street, though tenanted by Goldsbrough Mort, was owned by Walter and Eliza Hall, or their Trustees, till November 1917 when the building was purchased by Goldsbrough Mort. This location was to remain the branch wool and produce brokerage office and store for Goldsbrough Mort activities until 1932. In these final years at this location this branch office was managed by Mr J. Rankin.</p><br>
<p>In January 1932 the building at 238 Quay Street was purchased by Taylors Elliots & Australian Drug Ltd. who maintained interests at this location until December 1955, when ownership transferred to firstly DHA (Qld) Pty Ltd (till July 1964), and then Drug Houses of Australia Ltd from August 1964. This latter firm utilised these premises until September 1974, when it was taken over by Slater Walker Finance Corp Ltd, to be followed by various ownership.</p><br>
<p>In the 1980s and 1990s, the former Goldsbrough Mort Building at Quay Street was leased and utilised by Radio 4RK and the Australian Broadcasting Corporation.</p><br>
<p>In 2015, the building is occupied by a construction consulting company.</p><br>
<h2>Description</h2><br>
<p>The former Goldsbrough Mort Building is a single storey rendered masonry building addressing Quay Street, Rockhampton.</p><br>
<p>The main facade, facing north-west towards the Fitzroy River, has a central entry and two arch-headed windows to either side. The facade is articulated with pilasters and triangular pediments and has a parapet with ball finials above.</p><br>
<p>The rear elevation, facing the laneway, has a double gabled parapet.</p><br>
<p>The interior of the building has been modified to accommodate subsequent tenants.</p><br>
<p>The front section of the building (the former office area) appears quite intact, and retains large amounts of original fabric, including joinery, fenestration and other detailing, and much of the original room layout. The original ceiling may survive above the later suspended ceiling.</p><br>
<p>The rear area of the building has been substantially altered with a new suspended ceiling and mezzanine level supported by new timber columns.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Goldsbrough Mort Building was listed on the Queensland Heritage Register on 30 January 2004 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Goldsbrough Mort Building built in 1899 is important in demonstrating the evolution of Queensland&#39;s history, in this case the expansion of commercial enterprise and activity in the important regional centre of Rockhampton. This commercial activity is similarly representative of the role of the Port of Rockhampton throughout this process. In this respect this building is also important in understanding the business expansion of the major southern wool and produce brokers, and stock and station agents firm of Goldsbrough, Mort & Co. Ltd. in the 1890s.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>This former Goldsbrough Mort Building also exhibits particular aesthetic characteristics valued by the Rockhampton and broader community. This is especially so as it compliments, in conjunction with many other similarly valued buildings, the streetscape of Rockhampton&#39;s historic Quay Street.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>As an early surviving office building of the pastoral company Goldsbrough Mort the place has a special association with Goldsbrough Mort, an important organization in Queensland&#39;s economic history and the pastoral expansion in central Queensland at the turn of the twentieth century.</p><br>
<p>The Shaykh Bahai hammam is a historical hammam in Isfahan, Iran. The hammam belongs to the Safavid era and is located in the Shaykh Bahai alley in the Abd or-Razagh street. It is the most famous hammam in Isfahan. It was built in 1616 by Shaykh Bahai in the era of Abbas I and is located between Jameh mosque of Isfahan and Harounieh in the old Bazaar near the famous Darb-e Imam. Because of its unique features, there are many tales and stories about it.</p><br>
<h2>Fuel of Garmkhaneh (hothouse)</h2><br>
<p>The people of Isfahan believed since the old times, that Shaykh Bahai built the stove of this hammam, so that it can be warmed by only one candle and under the cauldron of the stove, he made an empty closed space and lit a candle in it and the candle was lighted for a very long time and the water of the hammam became warm by it. There are different theories about the fuel of the Garmkhaneh, which can not be proved because there is no candle and no complete research has been done yet.</p><br>
<p>The most realistic theory about the fuel of the Garmkhaneh is that there was an underground ceramic piping system between the public toilet of the Jameh mosque and the hammam and probably gases like methane and sulfur oxides led to the torch of heated pool by the natural suction method and methane and sulfur oxides burned directly as the heating source in torch, or these gases were used from the wastes of hammam. According to old residents in the neighborhood, there was an artificial marsh behind the Garmkhaneh and wastewater flew in the marsh and needed gas was obtained from this marsh.</p><br>
<p>The Shaykh Bahai hammam had two dressing rooms. The bigger dressing room was for men and the smaller one for women. The hammam had also a swimming pool, heated pools and a ab anbar.</p><br>
<p>The swimming pool section is used at present as a cotton spinning factory by private sector. Until 20 years ago, Shaykh Bahai hammam was used as a hammam. Then it was closed and after 10 years it came in the possession of the Cultural Heritage, Handcrafts and Tourism Organization. Since 2007, the Garmkhaneh of the hammam has been being repaired by this organization.</p><br>
<p>Clewetts Building is a heritage-listed former warehouse at 250 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was built. It is also known as Capricorn Survey Consultants Pty Ltd, Herron Todd White Building, JM Headrick & Co., W G Thompson & Co., Lamberton & Co., RM Gow & Co., St Andrews Hospital, and Herron Todd Valuers. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Clewett&#39;s building, built as a two-storeyed warehouse building, is thought to have been constructed for Felix Clewett (a Member of the Queensland Legislative Council) in the mid-1880s.</p><br>
<p>Following its initial occupation by the Archer brothers at Gracemere after 1853, Rockhampton was proclaimed a town and declared a port of entry in 1858. The first sale of town allotments was held in November of that year. Charles Campen purchased the Quay street site, conveniently close to the town&#39;s Fitzroy River wharves, on 16 August 1860.</p><br>
<p>In 1884 title for the land was transferred to Felix Clewett who held the property until his death in 1913. Until the financial downturn of 1866 Clewett had worked as a trainee surveyor under Frederick Byerley, Engineer of Roads of the Northern District. Just prior to his purchase of this Quay Street allotment he was operating a wholesale and retail store in Blackall.</p><br>
<p>Rockhamptons early merchants and storekeepers operated as independent, locally based businesses. The first wave of these entrepreneurs, attracted to the area by the promise of gold at nearby Canoona, opened their stores in the late 1850s. A second wave arrived in the 1860s. Some operated in partnerships. By the late 19th century, commerce in Rockhampton was very competitive with up to twenty-seven separate firms providing services such as shipping, mercantile or stock and station agents. Notable in merchandising during the 1880s were John M Headrick & Co., EK Ogg, Alex. Reid & Co. and WG Thompson & Co. The independence of these firms, supported strongly by local manufacture of ironmongery, timber joinery and items such as soap and cordial, was a reflection of the self-sufficiency that Rockhamptons community leaders expressed politically through a concurrent movement towards secession.</p><br>
<p>Like many stores which operated at this time, the former Clewetts building was occupied initially by locally-based merchants. This changed from the early 1890s when large southern firms, attracted to the area by the wealth of the Mount Morgan Gold Mining Company and Rockhamptons rural hinterland, established branches in Rockhampton, supplanting many local stock and station agents, wool produce brokers and others in the chain of commerce. Amongst the first was Dalgety and Co, which opened an office in Quay Street in 1891.</p><br>
<p>By 1887, JM Headrick and Andrew Newton, operating as JM Headrick & Co, General Merchants and Importers, had moved their business to Clewetts Quay Street building where they had taken up a seven year lease from 1 April 1887. Newspaper advertisements from 1887 for John M Headrick & Co. identify the ship used to transport the companys goods, emphasising this local firms direct links to suppliers overseas. Prior to taking up the lease on Clewetts property in 1887, JM Headrick & Co were situated in East Street. The Headrick family were strongly associated with business and civic interests in Rockhampton, with John Headrick Snr commencing business as early as 1862.</p><br>
<p>In 1893, after the retirement of Andrew Newton, John Mackay Headrick continued in partnership with his brother Arthur. Their success was such that at the end of their lease on Clewetts Quay Street site in 1894, the company moved to a substantial new two-storeyed premises in East Street, between William and Derby Streets. Despite Headricks move out of the Quay Street building, an association remained between Headrick and Clewett, as in August 1890, Headrick had married Felix Clewetts daughter, Annie Isabel Clewett. Following Headricks move back to East Street to the companys new building (John M Headrick & Co Building), the Quay Street store was occupied by the mercantile company and agency, Clewett and Thompson. William George Thompson was a well-known agent for a number of companies. After service in the Boer War, Thompson returned to his business, served as president of the Rockhampton Chamber of Commerce and, in conjunction with DW Jackson, as mercantile, insurance, shipping and forwarding agents. The firm also supplied stock and station requirements, groceries, wines, spirits, beers, tobaccos, cigars, cigarettes and butchers requisites.</p><br>
<p>While still a partner with Thompson, Felix Clewett also had other interests. After July 1890 he served as a member of the Legislative Council of Queensland. In 1909, following the introduction of steam trams in Rockhampton, which opened up new areas for housing, Felix Clewett was amongst the first to develop residential estates in the Allenstown vicinity. After Clewett&#39;s death in February 1913, Thompson purchased the Quay Street store. In December 1922 he was elected to the Australian Senate. He served until June 1932.</p><br>
<p>Yet another store, wine and spirits merchants Lamberton and Co, was established in the building after 1926. Royal Insurance Co. and Bluff Colliery Co. Ltd also had their offices in the building.</p><br>
<p>In December 1943 transfer of title site passed to RM Gow Pty Ltd. This company, formed in Brisbane, manufactured the Gold Crest brand of produce and conducted a wholesale grocery business from the Quay Street site.</p><br>
<p>The use of the store did not change after 1967 when ownership of the building was transferred to Walter Reid & Co. This firm owned the warehouse nearby at the corner of Quay and Derby Streets. With the intention of establishing a hospital, the Presbyterian Church of Queensland purchased both sites in July 1976. This did not eventuate and the building was bought by Herron Todd Valuers in July 1979.</p><br>
<p>The building was extensively renovated in the late 1980s. The building continues to be occupied by the Capricorn Survey Group which encompasses Herron Todd White Valuers.</p><br>
<h2>Description</h2><br>
<p>The former Clewetts building is located on a block of Quay Street that is populated almost exclusively with other buildings of heritage significance; those listed on the Queensland Heritage Register include: Walter Reid Court, the former Commercial Hotel and Chambers (now the Heritage Tavern), the former Cahills Stores, the Goldsbrough Mort Building (now the Capricornia studios of the Australian Broadcasting Commission) and the residence Avonleigh.</p><br>
<p>Running along the short, south-western edge of the allotment is Quay Lane, which forms part of a system of such laneways that inhabits the city centre&#39;s orthogonal grid and services its primary streets. The grid is aligned to the course of the Fitzroy River that flows from the north-west to the south-east.</p><br>
<p>The former Clewett&#39;s building is a two-storey brick building, of which the side facade to the south-east is undecorated but painted, the rear and remaining side facades are unpainted. The Quay Street facade is faced with cement render and painted. The long gable roof clad in corrugated iron is contained behind parapets on each facade. Its triangular shape in section is expressed on the rear facade. The front face of the building, approximately nine metres wide, is symmetrically arranged and its classical details are modelled using cement render.</p><br>
<p>Vertically, the building is divided into three basic parts by pilasters on each end and a central section sitting proud of the flanking walls. The central section of facade, approximately two metres wide, is surmounted by a tall projection of the parapet on which sit two decorative urns. The projection is capped with a cornice-like moulding, below which is a course of dentils and a further stringcourse. Curved render brackets connect the central projection to the lower halves of the parapet. Each end of the lower section, above the stylised framing pilasters, is accented with render globes. The capitals to the end pilasters incorporate some fluting, making them reminiscent of single triglyphs. Above these are placed single rosette-like ornaments.</p><br>
<p>A cornice-like stringcourse, running the full width between the outermost pilasters, creates a strong horizontal line on the facade to Quay Street. Beneath this is further render modelling and then a line of upper storey windows on either side of a central door. This French door opens onto a small, cantilevered balcony edged with cast iron balustrading. A simple label mould frames the semicircular fanlight atop this door, its ends resting on the tops of pilasters that extend to street level. The arched heads of the two double-hung sash windows on either side of the door are similarly framed. A suspended footpath canopy separates the upper and lower sections of the front facade. In the lower section, the four pilasters sit on an expressed plinth. Beneath the balcony is a set of French doors topped with a basket arch-shaped fanlight. On either side of this door are three double-hung sash windows, the heads of which meet the underside of the footpath canopy.</p><br>
<p>Currently entry to the building is gained through an entry area and opening in the south-eastern facade near Quay Street. This entry area appears to be built on the adjacent empty allotment.</p><br>
<p>The long south-eastern facade of the building is punctured by a number of small, square windows opening from the upper storey, and some service pipes. An uncovered stairway leads to the upper storey. A skillion-roofed concrete block addition has been added to the ground storey towards the Quay Lane end of this facade.</p><br>
<p>The lower storey of the rear facade has a central set of large loading doors. Above this are three symmetrically placed double-hung sash windows with brick sills and low arches to their heads. This facade has two rainwater heads and associated downpipes, the one in the southern-most corner appearing to be set into the wall. The facade to the north-west has only three, small windows in it.</p><br>
<p>The interior of the building has been extensively remodelled to accommodate commercial offices. A large room faces Quay Street on the lower storey, while three rooms do so on the upper storey. A row of steel columns supports the upper level floor. These have been encased in fire retardant panelling.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Clewett&#39;s Building was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Thought to be constructed in the mid-1880s, for Felix Clewett, the former Clewett&#39;s building is important in demonstrating the pattern of mercantile trading in a major regional centre of Queensland, representing a phase of commercial development and growth in Rockhampton during the late 19th century precipitated by trade at the port and the success of the Mount Morgan gold mines during the 1880s.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Clewett&#39;s building is significant as it retains the chief characteristics of a late Victorian commercial premises, comprising a street facade that is articulated with freely employed classical details common among such buildings, whilst the unadorned side and rear facades reflect its utilitarian purpose.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Clewett&#39;s building exhibits integrity as a two-storeyed warehouse and store at the same time contributing to the continuity and character of the 19th century commercial streetscape of Quay Street.</p><br>
<p>The Main Street Commercial District is a historic district encompassing a typical downtown city block of Little Rock, Arkansas, during the first half of the 20th century. The district consists of ten buildings lining the east side of the 300 block of Main Street. This area was completely redeveloped after a fire in February 1900 sparked an explosion at an arms company, levelling the block. The buildings in the district are stylistically diverse, and were built between 1900 and 1955.</p><br>
<p>The district was listed on the National Register of Historic Places in 2010. Four of the district&#39;s buildings are also individually listed on the National Register: the Fulk Building, the Taylor Building, the Rose Building, and the Gus Blass Department Store.</p><br>
<p>The Marshall Square Historic District encompasses a collection of sixteen nearly identical houses in Little Rock, Arkansas. The houses are set on 17th  and 18th  Streets between McAlmont and Vance Streets, and were built in 1917-18 as rental properties Josephus C. Marshall. All are single-story wood frame structures, with hip roofs and projecting front gables, and are built to essentially identical floor plans. They exhibit only minor variations, in the placement of porches and dormers, and in the type of fenestration.</p><br>
<p>The district was listed on the National Register of Historic Places in 1979.</p><br>
<p>Marshall_Square_Historic_District.JPGHouses on Vance Street, Little Rock, Arkansas</p><br>
<p>Marshall_Square_Historic_District,_9_of_10.JPGOld and new: house with car in Marshall Square Historic District</p><br>
<p>Marshall_Square_Historic_District,_6_of_10.JPGYellow theme: house in Marshall Square Historic District</p><br>
<p>Scott Covered Bridge is a covered bridge spanning the West River in Townshend, Vermont. Built in 1870, it is at 277 ft one of the longest covered bridges in the state , exhibiting three different forms of support: a Town lattice truss, kingpost trusses, and laminated arches. The bridge was listed on the National Register of Historic Places in 1973. It is closed to all traffic.</p><br>
<h2>Description and history</h2><br>
<p>The Scott Covered Bridge is located west of Townshend&#39;s main village, spanning the West River just west of Vermont Route 30 south of Townshend Dam. The bridge consists of three spans: a main Town lattice truss span that is 166 ft long, and two kingspost truss spans with a combined length of 111 ft. The Town lattice truss has been strengthened with laminated arches. The bridge has a total width of 20 ft, and a roadway width of 16 ft. The sides and gable ends of the bridge are sheathed with vertical board siding.</p><br>
<p>The bridge was constructed in 1870, with original ownership by the town of Townshend. Originally, the kingspost trusses were exposed, but they were covered in 1873. The bridge was ceded to the Vermont Historical Commission in 1955 and subsequently added to the National Register of Historic Places in 1973. The bridge has been modified on three occasions to improve the structural stability: adding a concrete facing to the piers in 1915; adding structural support beams in 1961, and a concrete pier in 1981. Since 2012, the bridge have been closed to foot traffic, after a routine inspection showed serious structural integrity issues.</p><br>
<p>Walter Reid Court is a heritage-listed former warehouse now converted into apartments at 260 Quay Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by Richard Gailey and built from 1893 to. It is also known as Walter Reid & Co. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Walter Reid & Co warehouse in Quay Street, Rockhampton was erected for Walter Reid & Co in 1893 to the design of Richard Gailey. The three-storeyed rendered brickwork warehouse was the first of the two large Walter Reid warehouses to be constructed in Rockhampton which now dominate the precinct of similarly scaled structures in the area. It was part of the commercial infrastructure which developed near the wharves during a boom period in Rockhampton from the 1880s to the turn of the century. The structure displays its original design externally but has been rebuilt internally at least twice.</p><br>
<p>Walter Reid, the founder of Rockhampton&#39;s premier mercantile house Walter Reid & Co., settled in Rockhampton in 1862 to manage a southern owned retail store in East Street which he subsequently bought in 1864. He moved from his shop to new premises situated in Quay Street in 1868. It was in these new premises where Reid began to specialise as a wholesaler, trading in wine, spirits and general merchandise, supplying the hotels and stations in central Western Queensland. Since Rockhampton had been declared an official port in 1858, it had acted as the major transport and trade centre of central Queensland making it a prosperous city in which wholesale merchants like Reid could base their business.</p><br>
<p>Walter Reids business prospered in the expanding colonial economy. With the establishment, in 1867, of the Central Western railway line which linked Rockhampton with the central western Queensland towns, Rockhamptons position as the most important port in the region was sealed. Reid diversified his interests, and ran lighters down the Fitzroy River to Keppel Bay where larger overseas ships unloaded their cargoes. The firm acted as a local agent for British-based companies and it was through this business connection that the British company McIlwraith & McEachearn bought Reid out in 1881.</p><br>
<p>The new owners continued to operate the business under the name of Walter Reid & Co. and during the 1880s the turnover was in the vicinity of £50,000 per annum. The firm acted as general merchants distributing groceries, ales, domestic and builders&#39; hardware, farm produce, "fancy" goods, rural products, drugs, stationery, confectionery, and cigarettes. It also acted as importers and exporters, bondkeepers, storekeepers, produce dealers, shipowners, insurance, stock and station agents, financial agents and general commission agents. By 1890 the business had expanded so dramatically that new premises were needed.</p><br>
<p>Tenders were called for the erection of a warehouse at Rockhampton for Walter Reid & Co. in December 1892 by Brisbane architect Richard Gailey. Richard Gailey was a prolific architect in Queensland in the late 19th century and designed numerous warehouses in Brisbane and other ports around the colony. The former Walter Reid & Co. warehouse was reported to have cost about £12,000 and was completed in 1893 at which time Walter Reid & Co. took residence in the new warehouse on the corner of Quay and Derby Streets. In 1895 alterations were made to the building by Rockhampton architects Eaton & Bates who designed an entrance vestibule and office fittings for the warehouse which was also used as Walter Reid & Co.&#39;s head office. This alteration was most likely positioned at the southern end of the Quay Street frontage.</p><br>
<p>The prosperity which Walter Reid & Co had enjoyed throughout the 1880s was reflective of the wealth in Rockhampton during this period. The immense profit generated by gold mining at Mount Morgan from 1882 created a period of economic buoyancy in the city. The success of the firm during the 1880s manifested in the erection of the warehouse and helped it withstand the depression years of the 1890s and the following devastation which drought brought to Queensland in the early 1900s. In 1902 Walter Reid & Co. erected a second warehouse (now the Walter Reid Community Arts Centre) on the corner of East and Derby Streets, behind the original warehouse across Quay Lane, which was completed in 1904 and designed by Rockhampton architects Hutton & Hockings. The obvious presence of these grand warehouses reflected the prominence of Walter Reid as the major mercantile company in central Queensland.</p><br>
<p>Walter Reid & Company continued to expand importing goods directly from England, America, Europe and India at the turn of the century. A new produce store was built on the corner of Stanley and East Streets, and later a brick wool store on the corner of Stanley and Quay Streets. In 1904 Walter Reid & Co took over one of the oldest established wine and spirit merchants in Brisbane, Brabant & Co, as well as a subsidiary business in Mackay, WH Paxton & Co. A Sydney office was established in the 1910s and in the 1920s a large and expensive warehouse was built in the centre of Sydney.</p><br>
<p>During this time the 1893 warehouse underwent considerable change. On 11 October 1912 the warehouse was gutted, except in the south-west corner of the building, by fire which was started by lightning striking the roof on the corner of Quay and Derby Streets. A contemporary description from the Morning Bulletin of the path of the fire in the warehouse gives some idea of the building&#39;s original design.</p><br>
<p>The original design did not include an open courtyard, instead the second level was entirely covered by a roof. The ground and first levels had two two-storey high passageways which extended from Derby Street and Quay Lane and met at right angles, separating the south- western corner of the building from the rest of the structure. During the fire the passageways acted as fire-breaks preventing the destruction of that section of the building. The fire was said to have descended to the lower levels through a lift-well "at one end of the building in Quay Street" indicating the position of a lift near the Quay Street frontage. The rapid spread of the fire through the second level was attributed to the open planning of the floor which was most likely changed in the reconstruction of the interior of the building to increase resistance to fire damage. The installation of the courtyard could have occurred after the 1912 fire, although, apparently there was another fire in 1918 which also gutted the building requiring internal reconstruction. However the description of the building in 1912 indicates the courtyard was not an original component of the building. The description also referred to the "charred smoking beams" indicating the typical use of timber inside the original warehouse.</p><br>
<p>During the Second World War both Walter Reid & Co. warehouses on Quay and East Streets were used by USA troops. A large contingent of Americans were based in Rockhampton and they commandeered many buildings in the city. It is not certain for which purpose the Americans used the Quay Street warehouse, but Walter Reid & Co. continued to use the warehouse during the occupation.</p><br>
<p>Walter Reid & Co. was well enough established to survive the winding down of operations at the port in the middle of the 20th century and its main activities were no longer focussed on the river wharves. However, by the 1970s the firm was experiencing losses in its grocery wholesaling department due to changes in shopping practices since the 1950s. The company decided to move out of grocery wholesaling and was relocated to North Rockhampton where it continued under the name of Reids&#39;.</p><br>
<p>Both of Walter Reid & Co.s major warehouses in Rockhampton were sold in the 1970s. In 1979 the Quay Street building was purchased by St Andrews Presbyterian Church Welfare Administration who intended to convert the old warehouse into a hospital. At this time the former warehouse was once again stripped internally in preparation for the conversion which did not occur. Instead the building was transferred in August 1980 to H Katranevas, G Callionotis, Halmont Holdings Pty Ltd and Swanray Pty Ltd and was intended for conversion to inner-city residential apartments. In October 1981 the building was purchased by Albecs Holdings, Degotard Investments and Watlepark Investments. The new apartments opened in 1983.</p><br>
<h2>Description</h2><br>
<p>Walter Reid Court, a three-storeyed unpainted cement rendered masonry former warehouse structure, is located on the western corner of Quay and Derby Streets. The building is separated from the Walter Reid Community Arts Centre, another former warehouse, by Quay Lane to the southwest.</p><br>
<p>The building has a U-shaped plan, with masonry cross walls forming an enclosed courtyard space on the northwestern side. All of the original internal fabric has been removed, however the exterior remains largely intact, and to a lesser extent some of the early internal masonry walls which form the courtyard space. The building now has reinforced concrete floors and columns, and houses 16 flats, a solarium containing a swimming pool and sauna, garage space, and associated common areas.</p><br>
<p>The exterior of the building is composed of regularly spaced bays separated by engaged piers. The building has an expressed base, and expressed coursing separates the ground and first floors. The roof is concealed behind a parapet wall consisting of a cornice supporting short pillars with gabled crowns. The parapet is surmounted by a central shield shaped ornament, with the firm&#39;s name and coat of arms in relief, located above the central bay to the Quay and Derby Street elevations. Lower stepped ornaments are located above the end bays, and a number of flagpoles survive mounted behind the parapet. The name WALTER REID AND COMPANY LIMITED is located in relief on the frieze within the central five bays to the Quay and Derby Street elevations.</p><br>
<p>The Quay and Derby Street elevations have a three-storeyed recessed arch with expressed keystone to each bay. This arch frames a single window opening to each floor, with an arched opening to the second floor, and segmental arches to the lower floors. The ground floor window opening also has security bars and an expressed keystone, and all windows have been replaced with metal framed casements to the upper two floors and sash frames to the ground floor.</p><br>
<p>The Derby Street elevation has a vehicle entrance with a recessed roller door located in the central bay, and an entrance to a private flat is located in the southwest end bay. Both entrances are framed at the first floor level by projecting gablets supported by corbels from the engaged piers. This framing device is also used at the northeast end bay, which currently houses a window, and suggests this may have originally housed an entrance. An earlier doorway which has been converted into a window is located in the third bay from the eastern corner. The Quay Street elevation contains the main entrance to the complex, which consists of a metal framed glass door and fanlight with the name WALTER REID COURT in relief lettering above, located in the third bay from the eastern corner. The framing device used for the Derby Street entrances is also used for this entrance, and also on the third bay from the northern end which currently houses a window but suggests this may have originally housed an entrance.</p><br>
<p>The Quay Lane elevation is similar to the Derby Street elevation, but the ground floor has a number of roller doors inserted into the central bays. The window openings to this elevation have early multi- paned metal framed casement windows with wired glass panes.</p><br>
<p>The northwest elevation has no fenestration, with three bays at either end and a blank wall to the central section. These bays are regularly spaced, and are separated by engaged piers with a three-storeyed recessed arch with expressed keystone to each bay. The parapet detailing is similar to the principal elevations, and the firm&#39;s name is located in relief on the frieze to the three bays at each end. The ground floor has a fire escape door to the central section, and a roller door has been inserted into the third bay from the Quay Lane corner.</p><br>
<p>The building contains one, two and three bedroom flats, with a large games area on the first floor, and a solarium to the second floor. The flats are located fronting Quay and Derby Streets to each level, with common areas fronting Quay Lane. The Derby Street driveway entrance leads through to a courtyard area which contains car parking and accesses a garage fronting Quay Lane. The courtyard is also entered via a corridor from the Quay Street entrance, which provides access to the main stair and flats. The courtyard is enclosed by early masonry walls containing evidence of original openings, which currently house metal framed casement windows to the upper levels. Large openings have been inserted into the ground floor walls for garage access, and other openings have been bricked-up. Cantilevered metal framed walkways and stair almost encircle the courtyard space, and provide fire escape and access to flats and common areas. The southeast end of the courtyard has a large covered area with latticed balustrading to each floor, and is surmounted by a boarded gable.</p><br>
<h2>Heritage listing</h2><br>
<p>Walter Reid Court was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Walter Reid Court reflects the high level of commercial development which occurred near the wharves on the Fitzroy River during the latter 19th century. The Walter Reid building stands as a legacy to the prominence of Rockhampton as a commercial city port during the late 19th and early 20th centuries. Together with the adjacent Walter Reid Community Arts Centre, the building is an integral member of a highly intact warehouse precinct.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The building&#39;s exterior finish, of unpainted cement render, is a comparatively rare surviving example of a once common form of exterior architectural treatment.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Walter Reid Court, a three-storeyed former warehouse structure, has a considerable street presence due to its massive bulk, long street elevations and unpainted cement rendered facade. The building is recognised as a local landmark and makes a significant contribution to the Rockhampton streetscape and townscape. The building is of aesthetic merit, and the form, fabric and materials illustrate a skilled design approach.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The building has special association for the people of Rockhampton as an historical landmark which contributes to the image of the city.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building has special association with Walter Reid & Co, a longstanding Rockhampton based mercantile company which was important in Queensland economic history in the late 19th and early 20th centuries. It is also a significant example of the work of Brisbane architect Richard Gailey who was a prominent architect in Queensland from 1865 to 1924.</p><br>
<p>Walter Reid Community Arts Centre is a heritage-listed former warehouse and now community arts centre at 203 East Street, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by Hutton & Hockings and built from 1900 to 1902 by Dennis Kelleher. It is also known as Walter Reid & Co. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former Walter Reid & Co warehouse at the corner of East and Derby Streets was erected between 1900 and 1902 for the wholesalers Walter Reid & Co. The rendered brickwork building was designed by Rockhampton architects Hutton and Hockings and was built by Rockhampton builder Dennis Kelleher. It was the second warehouse to be constructed for the rapidly expanding merchandisers and was built when Rockhampton&#39;s activity as a thriving city port fostered such commercial development near the Fitzroy River wharves.</p><br>
<p>Walter Reid, the founder of Rockhampton&#39;s premier mercantile house Walter Reid & Co, came to Rockhampton in 1862 to manage a southern owned retail store in East Street which he subsequently bought in 1864. He moved from his shop to new premises situated in Quay Street in 1868. It was in these new premises where Reid began to specialise as a wholesaler, trading in wine, spirits and general merchandise, supplying the hotels and stations in central Western Queensland. Since Rockhampton had been declared an official port in 1858, it had acted as the major transport and trade centre of central Queensland making it a prosperous city in which wholesale merchants like Reid could base their business.</p><br>
<p>Walter Reid&#39;s business prospered in the expanding colonial economy. He diversified his interests, and ran lighters down the Fitzroy River to Keppel Bay where larger overseas ships unloaded their cargoes. The firm acted as a local agent for British based companies and it was through this business connection that the British company McIlwraith & McEachearn bought Reid out in 1881.</p><br>
<p>The new owners continued to operate the business under the name of Walter Reid & Co and during the 1880s the turnover was in the vicinity of £50 000 per annum. The firm acted as general merchants distributing groceries, ales, domestic and builders&#39; hardware, farm produce, "fancy" goods, rural products, drugs, stationery, confectionery, and cigarettes. It also acted as importers and exporters, bondkeepers, storekeepers, produce dealers, shipowners, insurance, stock and station agents, financial agents and general commission agents. By 1890 the business had expanded so dramatically that new premises were needed. The firm moved to the corner of Quay and Derby Streets taking residence in its new warehouse which was designed by Brisbane architect Richard Gailey.</p><br>
<p>The prosperity which Walter Reid & Co had enjoyed throughout the 1880s was reflective of the wealth in Rockhampton during this period. The immense profit generated by gold mining at Mount Morgan from 1882 created a period of economic buoyancy in the city. The success of the firm during the 1880s helped it withstand the depression years of the 1890s and the following devastation which drought brought to Queensland in the early 1900s.</p><br>
<p>As the new century approached the firm once again needed larger premises and directors of the firm Rees R Jones and John Ferguson acquired land for the company on the corner of East and Derby Streets. The allotment was behind the 1890 warehouse, across Quay Lane and next to the Headrick & Co Warehouse in East Street.</p><br>
<p>The Walter Reid & Co Warehouse, built between 1900 and 1902, stands as evidence to the activities of the port of Rockhampton around the turn of the century. The building served the passing trade of imports and exports and was situated in an area surrounded by other warehouses and commercial buildings which had developed near the wharves during the prosperous later decades of the 19th century. The 1902 Walter Reid & Co warehouse was the largest mercantile store in Queensland at the time and as such was a symbol of the importance of the Rockhampton port.</p><br>
<p>The building was designed by Rockhampton architects Hutton & Hockings. Edwin Morton Hockings was a pupil of Richard Gailey in Brisbane in the 1880s, and while there he entered and won a competition for the design of Rockhampton Girls Grammar School. He joined with Alfred Mowbray Hutton in 1898 after some years of sole practice in Rockhampton. Hutton & Hockings had designed other buildings similar to the Walter Reid warehouse including the New Zealand Loan and Mercantile Agency (1894), and the Mount Morgan Gold Mining Company Building in Quay Street (1897–98).</p><br>
<p>Construction of the Warehouse commenced in 1900 but the drought in central Queensland gave builder Dennis Kelleher (who also built the Rockhampton Post Office in 1892) trouble in finding heavy timber required for the supporting posts. This delay inflated costs for the construction of the warehouse and by 1901 more than £7000 had been outlaid for the building. When completed in 1902 the warehouse included a cartway that ran through the building from East Street to Quay Lane and a system of winches and lifts used to shift goods to the upper floors of the warehouse.</p><br>
<p>Walter Reid & Company continued to expand importing goods directly from England, America, Europe and India at the turn of the century. A new produce store was built on the corner of Stanley and East Streets, and later a brick wool store on the corner of Stanley and Quay Streets. In 1904 Walter Reid & Co took over one of the oldest established wine and spirit merchants in Brisbane, Brabant & Co as well as a subsidiary business in Mackay, WH Paxton & Co. A Sydney office was established in the 1910s and in the 1920s a large and expensive warehouse was built in the centre of Sydney.</p><br>
<p>During the Second World War both Walter Reid & Co warehouses on Quay and East Streets were used by American troops. The East Street warehouse was used as a United States Army Hotel, operated by the American Red Cross. After the war Walter Reid & Co moved back into the warehouses and began to diversify its business interests, becoming involved in pastoral and cattle properties, and hotel and retail establishments through subsidiary businesses. In the late 1950s, part of the East Street warehouse was used to manufacture tin and sheet metal until a new factory was built in North Rockhampton. The firm eventually went back towards retailing, buying department stores in Queensland provincial towns and marketing them under the name of Reids&#39;.</p><br>
<p>Walter Reid & Co was well enough established to survive the winding down of operations at the port in the middle of the 20th century and its main activities were no longer focussed on the river wharves. However by the 1970s the firm was experiencing losses in its grocery wholesaling department due to changes in shopping practices since the 1950s. The company decided to move out of grocery wholesaling and was relocated to North Rockhampton where it continued under the name of Reids&#39;.</p><br>
<p>Both of Walter Reid & Co&#39;s major warehouses in Rockhampton were sold in the 1970s. The warehouse at the corner of East and Derby Streets was bought by the Rockhampton City Council in 1977 and converted to a community arts centre. Before 1975 the building had undergone very little change. During the Second World War when the building was used as a Red Cross Club, toilets and bathrooms were constructed on the second floor. During the late 1950s part of the building was used as a tinware factory and the second floor may have been overlaid with concrete for this purpose, to support the necessary machinery.</p><br>
<p>In the 1970s two fire isolated concrete stairwells were constructed along the East Street and Quay Lane elevations and a passenger lift was introduced, enclosed in a brick shaft. The exterior of the building is virtually intact and the original dividing walls survive across the building, dividing it into three distinct parts. The overall impact of the changes to the warehouse have been minor and except for the fire stairs the changes could be easily reversed.</p><br>
<h2>Description</h2><br>
<p>The Walter Reid Community Arts Centre, a three-storeyed unpainted cement rendered masonry warehouse structure, is located on the northern corner of East and Derby Streets. The building is separated from Walter Reid Court, another former warehouse, by Quay Lane to the northeast.</p><br>
<p>The building has masonry cross walls, from East Street to Quay Lane, which divide the structure into three sections. The widest section, consisting of three bays, has a basement and is located at the southeast fronting Derby Street. A narrower three bay section is located centrally, and a two bay section which provides vehicle access through the building is located at the northwest. However, these three sections are not apparent from the exterior of the building, which is composed of regularly spaced bays separated by engaged piers.</p><br>
<p>The engaged piers have horizontal recesses, suggestive of coursing, and a deep cornice separates ground and first floors. The roof is concealed behind a parapet wall consisting of a deep cornice supporting rendered pillars which surmount the engaged piers. The sections between the pillars have the name WALTER REID AND COMPANY LIMITED in relief. Each corner bay is surmounted by an open bed triangular pediment with the company coat of arms in relief to the centre. The centre bay to both street frontages is surmounted by a rounded pediment with a central vertical moulding crowned by a rendered ornament. The parapet has three surviving flagpoles, two of which are located along the East Street elevation at the western end and in the centre, and the third is located at the eastern end of the Derby Street elevation.</p><br>
<p>The centre bay to Derby Street is narrower than the centre bay to East Street, however both are detailed in a similar manner, with gablets to the cornice framing the ground floor entrance, a vertical moulding separating the sash windows to the first floor, and an arch moulding framing low sash windows to the second floor. The ground floor is the tallest, and the second floor the shortest of the three floors.</p><br>
<p>The ground floor elevation has tall, paired sash windows with fanlights to each bay, and the Derby Street section has short segmental arched header lights to the basement. The East Street elevation entrances are located in the central bay, which consists of a loading bay with tall diagonally boarded timber sliding doors, and the second bay from the Derby Street corner, which has a stair accessing recessed doors framed by diagonally boarded timber panels. Vehicle access is located in the second bay from the northern end, and consists of a roller door surmounted by multi-paned glazing, and an introduced fire escape door is located adjacent at street level. The Derby Street entrances are located in the centre bay, which has a stair accessing recessed metal framed glazing, and an introduced fire escape door at the eastern end at street level.</p><br>
<p>The first floor has paired sash windows with segmental arched fanlights and expressed rendered mouldings to each bay, with the centre bay to East Street having two sets of paired sash windows. The second floor has shorter paired sash windows with arched fanlights to each bay.</p><br>
<p>The Quay Lane elevation is not rendered, but has a similar composition of regularly spaced engaged piers with paired sash windows to each bay. The ground floor has four loading bays, three of which have cast iron gutter covers which are embossed with the firm&#39;s name.</p><br>
<p>Internal framing is provided by substantial timber columns, bearers and joists, with ceilings lined with galvanised ripple iron to the ground and first floors. Steel box beams are also used in some areas to increase clear spans. Flooring consists of rough sawn timber boards, some areas of which have been sheeted over, and piers to the basement and sub-floor are masonry. The roof has timber framed trusses with bolted connections, forming a saw-tooth profile, with glass louvred clerestory windows. Ceilings are lined on the rake with beaded tongue and groove boarding, and the roof is sheeted with corrugated iron.</p><br>
<p>The ground floor is split-level, with the northern section slightly above street level for vehicle access. Three openings are provided in the central masonry cross wall to access the central section of the building, which has access to the Derby Street section of the building via a central opening in the adjoining cross wall. A central corridor connects the Derby Street entrance, and the space is partitioned to provide various sized compartments which function as a gallery space, administration offices, amenities, meeting rooms and studio spaces. Fire stairs are located fronting East Street and Quay Lane, and along the Derby Street frontage exiting at the eastern corner. A lift has been introduced on the northeast side of the building adjacent to the Quay Lane fire stairs. A timber stair is located centrally and accesses the basement, which has rendered masonry walls and piers, and a concrete floor. A second timber stair is located at the eastern corner.</p><br>
<p>The first floor is partitioned similarly, with a central corridor, large gallery and studio spaces, performance areas, and amenities at the eastern corner. A mezzanine has been introduced in the northern section.</p><br>
<p>The second floor has larger spaces, and the three sections of the building are more identifiable. The northern section houses two large gallery spaces, accessed via two arched openings in the cross wall, and the central section is predominantly open space with amenities at the northeast end. The Derby Street section houses a performance space at the northeast end, and a visiting artist&#39;s flat and studio at the southwest end.</p><br>
<h2>Heritage listing</h2><br>
<p>Walter Reid Community Arts Centre was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Walter Reid warehouse on the corner of East and Derby Streets, Rockhampton was erected between 1900 and 1902 and reflects the high level of commercial development which occurred near the wharves on the Fitzroy River during the latter 19th century. As the largest mercantile warehouse of its time in Queensland, the former Walter Reid warehouse stands as a legacy to the prominence of Rockhampton as a commercial city port during the late 19th and early 20th centuries. Together with the adjacent Walter Reid Court (Walter Reid Court) erected in 1890 the building is an integral member of a highly intact warehouse precinct reflective of the early trading centre near the wharves.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The building&#39;s exterior finish, of unpainted cement render, is a comparatively rare surviving example of a once common form of exterior architectural treatment.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Walter Reid Community Arts Centre is a typical example of warehouse construction, utilising masonry load-bearing external walls with heavy timber columns and bearers supporting timber floors and a saw-tooth roof. The building also retains elements such as the basement, through carriage-way, large interior volumes and evidence of early machinery, all of which are typical of warehouse structures.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Walter Reid Community Arts Centre, a three-storeyed former warehouse structure, has a considerable street presence due to its massive bulk, long street elevations and unpainted cement rendered facade. The building is recognised as a local landmark and makes a significant contribution to the Rockhampton streetscape and townscape. The building is of aesthetic merit, and the form, fabric and materials illustrate a skilled design approach.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The building has special association for the people of Rockhampton as an historical landmark which contributes to the image of the city.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It also has special association with Walter Reid & Co, a longstanding Rockhampton based mercantile company which was important in Queensland economic history in the late 19th and early 20th centuries. The building stands as an important example of the work of Rockhampton architects Hutton & Hockings (1898-1904).</p><br>
