<p>The Park Hill Historic District encompasses the first suburban residential subdivision of the city of North Little Rock, Arkansas. It covers 172 acre in a geographically central part of the city, bisected by JFK Boulevard, and roughly bounded on the north by H Avenue, the west by Ridge Road, the east by Cedar Street and Plainview Circle, and the south by Crestview Drive. This area was developed beginning in 1922 by Justin Matthews, a major local developer, and greatly expanded the city&#39;s housing stock through the 1940s and 1950s. The vast majority of its architecture is residential, with commercial development limited to its major arterial roadways. The district includes Crestview Park and the Park Hill Fire Station and Water Company Complex.</p><br>
<p>The district was listed on the National Register of Historic Places in 2000.</p><br>
<p>The Pyeatte-Mason Cemetery is a small historic cemetery at the junction of Waterside and Lily Streets on the west side of Maumelle, Arkansas. It occupies a small wooded lot, and has ten marked graves. It contains graves of some of Pulaski County&#39;s earliest settlers, the Pyeatte and Carnahan families. They settled this area in 1812, calling it Crystal Hill. The only dated graves in the cemetery are marked 1818 and 1883. They were led by the brothers James Pyeatt, a farmer, and Jacob Pyeatt, who operated a ferry on the Arkansas River. The first Protestant services held in Arkansas were conducted in 1812 in the home of James Pyeatt by the Reverend John Carnahan of the Cumberland Presbyterian Church. The original settlement, called Pyeattstown, grew to 150 people by 1819. Pyeatte township was formed in 1823. James Pyeatt died in 1833 and was buried near his land in a small cemetery that is now near the Maumelle Country Club’s golf course. The township of Maumelle was formed in 1842. It was composed of two sections: Little Maumelle and Big Maumelle.</p><br>
<p>The cemetery was listed on the National Register of Historic Places in 1996.</p><br>
<p>FDA Carstens Memorial is a heritage-listed memorial at Macrossan Street, Port Douglas, Shire of Douglas, Queensland, Australia. It was built from 1907 to 1908 by Melrose & Fenwick . It was added to the Queensland Heritage Register on 9 September 2003.</p><br>
<h2>History</h2><br>
<p>The memorial was erected -08 to honour Friederich Detleip Andreas Carstens, a Port Douglas publican and former Douglas Divisional Board Chairman. It was commissioned and paid for by his widow, Pauline Carstens, and presented -08 to Douglas Shire Council as a public memorial drinking fountain. The work was carried out by the prominent Townsville-based monumental masonry firm of Melrose and Fenwick, who designed, constructed and supplied memorials and headstones throughout North Queensland in the first half of the 20th century.</p><br>
<p>FDA Carstens was born on 9 August 1838 in Olpinitz, Denmark, to wealthy parents. He was well educated, attending the Heidelberg University in Germany. As a young man he developed health problems, and decided to immigrate to Queensland to a more congenial climate. In 1866 he commenced business in Brisbane as a general merchant. He then moved with his first wife Catherine to Dalby and built a hotel there. He also operated a successful butchery in Dalby, buying out his competitor. At Dalby he commenced his career in public life, being elected a member of the Dalby municipal council. Continued ill health prompted a move to North Queensland, where he purchased a hotel at Herberton, on the Atherton Tablelands, prior to moving to Port Douglas in 1886 where he purchased the Exchange Hotel. The Exchange was the leading hotel in Port Douglas; the only two-storeyed hotel in town, boasting the only underground cellar. The Carstens resided on the premises.</p><br>
<p>FDA Carstens very quickly engaged in local politics. He served on the Douglas Divisional Board in 1888 and again 1891-1898, and on the Douglas Shire Council 1903-06. From 1893 to 1898 he served as the Chairman of the Douglas Divisional Board and was instrumental in the establishment of the Mossman Central Mill and the Port Douglas and Mossman tramway. Fellow councillors almost unanimously regarded Carstens as fair minded, energetic and having the best interests of the district at heart.</p><br>
<p>In 1895, as Divisional Board Chairman, Carstens stridently advocated for the tramway, extracting a loan of £22,000 from a reluctant government. The construction of a tramway between Mossman and Port Douglas serviced both communities, and allowed expansion of the district&#39;s agricultural and sugar industry. Carstens was actively involved in other community organizations, and served as Chairman of the Port Douglas Hospital Committee in 1892-1893. His personal interest in horse racing led him to become secretary of the Jockey Club.</p><br>
<p>Carstens&#39; wife Catherine died at age 56 in 1895, and in 1897 he married Pauline Pratt. There were no children from either marriage.</p><br>
<p>Between 1899 until 1903 Carstens journeyed overseas, touring Britain, Germany, France, Italy and Denmark. Upon his return he served on the Douglas Shire Council until his death, after a long illness, in 1906.</p><br>
<p>After Carstens death his widow commissioned North Queenslands leading monumental masonry firm Melrose and Fenwick Ltd. of Townsville, to construct a public monument to honour the memory of her husband. No expense was spared when she ordered the memorial. It was made of imported Italian Carrara marble, and featured carved lion heads on all four sides, two of which were drinking founts, and a life-size bust of her husband. The structure was made in block sections with pipes inserted into the base and then shipped and reassembled in Port Douglas. Mrs Carstens presented it to the Douglas Shire Council -1908 and it was erected in the centre of the main street of Port Douglas, opposite the Exchange Hotel.</p><br>
<p>Around the same time Pauline Carstens also erected a very ornate and expensive gravestone on her husband&#39;s grave. It is the only grave in the Port Douglas cemetery to have a small marble border surrounding the plot with a jacquard marble and granite covering to the plot. The headstone is a large, detailed and ornate angel carved from Carrara marble.</p><br>
<p>In 1911, five years after Carstens&#39; death, a cyclone crossed the coast causing extensive damage to the buildings of Port Douglas, including the top floor of the Exchange Hotel. Amidst the chaos, the monument stood firm and unscathed. Upon reconstruction the Exchange Hotel second story was never re-built.</p><br>
<p>Very little is known about the circumstance of presenting the memorial to the Douglas Shire Council or the arrangement made by Pauline Carstens for the memorial to be placed in a public thoroughfare. Douglas Shire Council minute books reputedly were destroyed in a fire and again by the 1911 cyclone. There are very few remaining copies of the local newspapers, the Port Douglas and Mossman Record or the Post Douglas and Mossman Gazette, for the period between 1905 and 1910.</p><br>
<p>By the late 1960s, the marble bowls beneath the founts had been removed and the fountain no longer functioned. The late 20th century North Queensland tourism boom, however, sparked renewed interest in the conservation of the memorial. In 1999 the Douglas Shire Council, in collaboration with the Port Douglas Restoration Society Incorporated, began to explore ways in which to conserve the monument. A report was commissioned and under the guidance of a restoration consultant, Mr. Peter Maxwell, the marble was cleaned. It was decided that the water feature would not be restored to working order due to the difficulties of replacing or cleaning the internal piping without damaging the stone.</p><br>
<h2>Description</h2><br>
<p>The FDA Carstens Memorial is located on a traffic island in the centre of Macrossan Street, Port Douglas, in the principal business precinct between Grant and Wharf Streets. The monument is positioned approximately 90 metres from Grant Street and 190 metres from Wharf Street. The island that it stands on is approximately 10 metres x 6 metres.</p><br>
<p>The memorial comprises a square base with truncated corners, square pedestal, a shaft in the form of a Grecian column, and bust, all in Carrara marble, and stands approximately 5 metres high to the top of the bust. The whole rests on a concrete plinth.</p><br>
<p>The pedestal features a lion head and leaded inscriptions on each of the four sides. On the northern face the inscription reads:A vigorous advocate of the construction of the Mossman Tramway. Chairman of the Port Douglas Hospital Committee. 1892-1893.Above the lion head on this face is the lettering "Carstens Memorial". The lettering on the southern face reads:FDA Carstens. Arrived in Port Douglas 1886. Visited his native land 1899-1903.The inscription above the eastern lion head reads "IN MEMORIAM" and below the lion head:FDA Carstens. Born 9 August 1838. Died 20 September 1906.The western face reads above the lion head "FDA Carstens" and below the lion head:Elected to the Douglas Divisional board 1888, 1891-1893, Chairman 1893-1898, member of the Douglas Shire Council 1903-1906.Below the northern and southern lion heads are semi-circular wreaths. The monument originally incorporated a fountain with water flowing from the mouths of the lion head on the eastern and western sides. Below each of these lion heads was a small marble bowl, since removed.</p><br>
<p>On the eastern side of the base is the inscription:Erected and presented to the Douglas Shire Council by his loving wife, Pauline CarstensOn two sides in small lettering at the base is the lettering "Melrose and Fenwick" and on another corner "Townsville".</p><br>
<p>The column above the pedestal comprises a small base, shaft and capital. On the base are carved garlands of leaves, flowers (including hibiscus and daisies) and bows. The shaft of the column is fluted and features wreaths and crossed banding, and the capital is in extrapolated Ionic style. Above the capital rests a life-size bust of FDA Carstens.</p><br>
<h2>Heritage listing</h2><br>
<p>FDA Carstens Memorial was listed on the Queensland Heritage Register on 9 September 2003 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&apos;s history.</p><br>
<p>The FDA Carstens Memorial at Port Douglas, a decorative marble memorial drinking fountain erected -08, is important in demonstrating part of the evolution of Queensland&#39;s history, being evidence of a period in which public memorials honouring prominent local citizens was an acceptable expression of public sentiment. This was particularly evident in North Queensland, where distance focused local loyalties.</p><br>
<p>The memorial is important in contributing to our knowledge of a body of similar public memorial drinking fountains of the late 19th and early 20th centuries, illustrating public taste and social values of the period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>North Queensland public memorials similar in concept to the Carstens Memorial at Port Douglas have been erected to honour Dr EA Koch (Dr EA Koch Memorial, Cairns, 1903); Dr Lloyd (Mackay, drinking fountain); and WJ Castling (in Anzac Memorial Park, Townsville, 1908 drinking fountain. Mention should also be made of the earlier memorial to frontier heroine Mrs Mary Watson (Mary Watson&#39;s Monument, Cooktown, 1886 drinking fountain).</p><br>
<p>The FDA Carstens Memorial is important in illustrating the principal characteristics of its type: a decorative marble drinking fountain comprising a pedestal and shaft surmounted by a bust, with traditional lion head founts and relief work which includes traditional motifs such as laurel leaves, oak leaves, forget-me-nots and daisies but also incorporates an unusual tropical motif, the hibiscus flower.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial is important in exhibiting particular aesthetic characteristics valued by the community. When originally installed it was a prominent landmark in Port Douglas due to its location in the centre of the main street of the town, its height, and its stark white marble grandeur. In 1999, conservation work was carried out to clean the marble and enhance the immediate area surrounding the memorial, indicating that the community still values the aesthetic appeal.</p><br>
<p>The FDA Carstens Memorial is important in demonstrating the high quality of the work of North Queensland monumental masonry firm Melrose and Fenwick. The decorative details on the memorial were likely executed by their artisan Harry Orton who was renowned for intricate relief work.</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&apos;s history.</p><br>
<p>Erected in memory of Friederich Detleip Andreas Carstens, the memorial has a special association with the life and work of a man who contributed substantially to the advancement of the Port Douglas and Mossman region between 1886-1906, enabling the district to grow and prosper through his involvement with the Douglas Divisional Board and his role in promoting the construction of both the Mossman Central Mill and the Port Douglas and Mossman tramway.</p><br>
<p>The Galva Opera House is a historic theater located at 334-348 Front Street in Galva, Illinois. Built in 1878, the theater opened as the Blue Ribbon Temperance Hall; by 1886, it had lost its association with the temperance movement and was known by its present name. Galva&#39;s location on two major railroad lines allowed traveling theatrical troupes to visit the theater; shows produced by local talent performed in the building as well. Local schools also used the building for their graduation ceremonies, sporting events, and school plays until Galva High School opened its own auditorium in 1932. The building was used as a roller skating rink in the 1920s and 1930s and hosted Lions Club events in the 1950s.</p><br>
<p>The building was added to the National Register of Historic Places on February 11, 1982.</p><br>
<p>Lake Tulloch, located in Jamestown, California, is one of the few lakes in California that has private shoreline houses. At roughly 504 feet in elevation the lake covers 1,260 surface acres. Lake Tulloch provides water needs to downstream users and hydroelectricity to users throughout the state.</p><br>
<h2>Background</h2><br>
<p>Lake Tulloch had its start in the 1880s with Charles H. Tulloch who acquired a small ditch and water rights in the Central Valley of California. The ditch was originally made by miners for placer gravel. Furthermore, local farmers saw it as a great resource to irrigate their crops. The local farmers widened the ditch, thus irrigating 6,000 acres in Oakdale and South San Joaquin. The Oakdale Irrigation District (OID) and the South San Joaquin Irrigation District (SSJID) paid $650,000 to co-own water rights from Tulloch&#39;s expanded ditch on the Stanislaus River in July 1910. The two districts received their first license from the Federal Energy Regulatory Commission (FERC) to begin the Tulloch Project. Their permit was effective January 1, 1955 through December 31, 2004 Two years later, the districts received another license on February 28, 2006 that would give them an additional forty years to operate and expire on January 1, 2046.</p><br>
<h2>Tri-Dam Project</h2><br>
<p>The Donnells dam, Beardsley dam and Tulloch dam projects are located in Tuolumne County, California on the Middle Fork of the Stanislaus River. OID and SSJID co-developed the "Upper Works" (Donnells and Beardsley) and the "Lower Works" (Lake Tulloch) of the Tri-Dam Project Donnells Reservoir, Beardsley Reservoir, and Lake Tulloch were fully operational just two years after its making was agreed upon in 1955 The Tri-Dam met the irrigation obligations and in the 1980s added small hydro-power plants to the dams to provide electricity. The hydro- power plants are now currently controlled by the Turlock Irrigation District. The Tri-Dam project is currently composed of the dams, tunnels, penstocks, powerhouses, communications systems, and offices. All in which are stationed on the Middle Fork of the Stanislaus River. The Tri-Dam Project administrative offices are in Strawberry, California. There is a General Manager who manages the daily activities of the Tri-Dam Project and the Tri-Dam Power. The General Manager then provides information to the five members on the joint board of directors.The Tri-Dam Power Authority is separate from the Tri-Dam Project, but the General Manager is the chief executive officer for both of them.</p><br>
<h2>Recreation</h2><br>
<p>The lake provides a variety of recreation uses for visitors and residents, including boating, fishing, swimming, and camping. At, there are 130 waterfront sites that include, lakefront cabins, RV campgrounds with 50 amp hook up service, tent sites with water, picnic tables, and fire pits, and lastly, bathrooms, showers, and a laundromat are located conveniently for visitors. Also available at South Lake Tulloch RV Campground and Marina is a restaurant, a general store, gas dock, and boat rentals. Commonly caught near or in Lake Tulloch are Rainbow Trout, Brown Trout, Largemouth Bass, Smallmouth Bass, Catfish, Crappie, and Bluegill.</p><br>
<p>Hove is a largely beach area on the island of Tromøy in the municipality of Arendal in Aust-Agder county, Norway.</p><br>
<h2>Location</h2><br>
<p>The Hove area lies on the southwest part of the island of Tromøy. The Skagerrak lies to the southeast, and to the northwest is Hove Bay (Hovekilen), a shallow protected marine area. There is a strait to the southwest, separating Hove from the islands of Merdø and Gjessøya, and northeast of Hove is Spornes, with a beach that alternates between a sandy beach and a pebble beach depending on the wind and weather. Tromøy Church and the Brekka farm stand further to the northeast. The entire area is characterized by a large moraine, which creates the natural basis for pebble beaches, sandy beaches, and large areas of Aust-Agder&#39;s best arable land. The outer part of the Hove area is part of a moraine landscape area with the protected Hove Woods (Hoveskogen), containing windswept Scots pine. The inner part, facing Hove Bay, has extensive camping and beaches for swimming. Hove Camping and the Hove Farm are also located here. It is about 10 km from Hove to the town of Arendal.</p><br>
<h2>History</h2><br>
<h3>Viking era</h3><br>
<p>There are 17 registered burial mounds in Hove. The mounds date from the Bronze Age to the Viking Age. Hove was a part of a southwest Norwegian Viking kingdom around 800 AD. The name Hove suggests that it may have been the site of an old heathen hof.</p><br>
<h3>Modern history</h3><br>
<p>Hove Camp was taken over by the German occupation forces during the Second World War. Three radar installations were set up on Hove, a Regelbau R618 communications bunker, and an antiaircraft training center (the Feld Flakartillerie-schule (Nord) 50) from 1941 to 1944, probably along with four pieces of 88 mm antiaircraft artillery.</p><br>
<p>After the Second World War, Hove Camp was used by the Norwegian Armed Forces until 1962. In the 1970, the Workers&#39; Communist Party conducted some of its annual summer camps at Hove Camp. For many years, until 2006, the state also used Hove Camp as an asylum reception center.</p><br>
<p>In 2003, the Friends of Hove (Hoves Venner) society was established, dedicated to helping preserve the area. Hove Camp is now administered by the Hove Operation and Development Company (Hove Drifts- og Utviklingsselskap AS), under 100% ownership of the municipality of Arendal, and it is being developed for cultural and tourism purposes. Starting in 2007, the camp was used for the Hove Festival, which was Norway&#39;s largest music festival that year.</p><br>
<p>The Norwegian reality television series 71° nord has used Hove several times for its broadcasts.</p><br>
<h2>Agriculture</h2><br>
<p>Hove has easily cultivated self-draining soil, and was therefore a favorable place for early agriculture. The Hove area originally belonged to the Hove Farm, which was one of the most important farms on Tromøy. The first known records of growing potatoes in Norway show that they were grown at the Hove Farm; on May 31, 1757 the customs clerk Niels Ålholm wrote in his garden diary that he had "observeret Potatoes at opkomme" (seen the potatoes come up). In 1773, 5,015 potatoes were planted at the farm. Together with other farms located along Hove Bay, in the 19th century the Hove Farm was able to develop modern agriculture built around the sale of products in Arendal. The products were transported to the town by sea.</p><br>
<h2>Recreation</h2><br>
<p>Hove has a shallow, sandy beach along the north side, facing Hove Bay; this was a popular swimming beach in the 1900s, especially for families with children. It is possible to take boat trips to Hove from Arendal in the summer, and ferry service operates from the town center. There is a campsite connected to the beach. The area is also a popular recreation area for hikers and other outdoor enthusiasts.</p><br>
<p>Firura is an extinct volcano of the Central Andean Volcanic Belt, located in the Arequipa Region of southern Peru. Together with Sara Sara, Solimana and Coropuna it forms one of the Central Andean volcanoes. It is in the Andes, north of the Pucuncho Basin.</p><br>
<h2>Description</h2><br>
<p>Two domes form the Firura volcano, which has a low relief of 500 m. Lava flows and stratovolcanoes form a 10 - long field. Aside from the main summit Firura, there also are Soncco Orcco (5,191 m), Jahsaya (5,144 m) and separating Firura from Solimana Antapuna (4,852 m). The complex has generated basaltic or basaltic andesite lava flows that reach down into inhabited areas, as well as an ignimbrite resulting from the collapse of the ancient crater. Date of last volcanic activity is Pleistocene to Holocene but it doesn&#39;t appear to be a major hazard.</p><br>
<p>Much of the southern side of the volcano above 5,300 m altitude is covered with perennial snow. A small glacier (&gt;0.5 km&sup2;) is found on the southern summit of Firura and reaches down to 5,255 m. This glacier appears to be located above the local equilibrium line altitude.</p><br>
<p>Firura has well preserved moraine systems. A major moraine system with a relief of 80 - was left by the Last Glacial Maximum, although expansion of glaciers on the northern flank was constrained on a high plateau. The prevalent aridity of the climate impedes the degradation of these moraines.</p><br>
<p>Mount Abura is a 597 m mountain located on the border of Minami-ku, Fukuoka, Sawara-ku, Fukuoka and Jonan-ku, Fukuoka, Fukuoka Prefecture, Japan. Mount Abura is the location where the Indian Buddhist priest Seiga produced the first camellia oil from seeds made in Japan during the Nara period. Abura means oil in Japanese.</p><br>
<p>The Aburayama Incident occurred on August 10, 1945 in a wooden area near the municipal crematory when the Imperial Japanese Army executed and beheaded a total of eight US Army prisoners who were crew members of a Boeing B-29 aircraft. After the World War II, Genzō Abe, the 24th mayor of Fukuoka, built a memorial at the site. In addition, all the personnel who were involved in the incident were charged with conventional war crimes in separate trials convened by the Tokyo War Crimes Tribunal.</p><br>
<p>This mountain is easily accessible from downtown by car and is loved by local people as a relaxation spot.</p><br>
<h2>Facilities</h2><br>
<p>*Mōmōland Aburayama farm</p><br>
<p>*Aburayama citizens forest</p><br>
<p>*Aburayama Kannon Shōkaku-ji</p><br>
<h2>Routes</h2><br>
<p>The most popular route to climb this mountain is from Aburayama Denchi Guchi Bus Stop of Nishitetsu Bus. It takes about one hour to the top. Extra bus services from Fukudaimae Station on Subway Nanakuma Line are available on Sundays and public holidays between March and November.</p><br>
<p>Worsley River is a river in the South West region of Western Australia. The river rises in the Darling Range 2 km south of the old timber town of Worsley then flows east and south discharging into the Collie River in Wellington Reservoir.</p><br>
<p>The Worsley River was named after Charles Anderson-Pelham, Lord Worsley, patron of the Western Australian Land and Emigration Committee, which included James Stirling, John Hutt, William Hutt (MP), Edward Barrett-Lennard and Captain Bunbury. The committee promoted emigration to the Swan River colony and the Western Australian Land Company, which established the Australind land settlement project in 1841 under Marshall Clifton. The name was first recorded in surveys performed in the area in 1845.</p><br>
<p>The Worsley has no named tributaries.</p><br>
<p>The Camden Opera House Block is a historic multifunction building at 29 Elm Street in the center of Camden, Maine. Built in 1893 after the town&#39;s great 1892 fire, it is one of its most prominent buildings. It houses town offices, a social meeting hall, and a 500-seat theater. The building was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The Camden Opera House Block is located near the southern end of Camden&#39;s downtown business district, opposite the town common on the southwest corner of Washington and Elm Streets. It is a rectangular brick three-story structure, with storefronts (now mostly occupied by town offices) on the ground floor, the theater and meeting spaces on the second floor, and a large social hall on the third floor. The exterior styling is Romanesque, with round-arch windows on the third floor of both street-facing facades, and the main entrance recessed in a round-arch opening on the Elm Street facade.</p><br>
<p>On November 19, 1892, a fire swept through downtown Camden, destroying a large number of wood-frame commercial structures, including the town offices, numerous fraternal meeting facilities, and the town&#39;s opera house. The Opera House was one of the most prominent buildings constructed in the wake of the fire, designed by Lewiston architect Elmer I. Thomas and completed in 1893. The building was designed to house not just town offices and the theater, but meeting spaces for local business organizations and the local post office, as well as two retail storefronts. Over the years, the town has taken over many of its spaces. The theater is used for town meetings, local productions of all types, and is one of the host sites of the Camden International Film Festival.</p><br>
<p>The Frederick Squire House is a historic house at 185 North Street in Bennington, Vermont. Built about 1887, it is one of the town&#39;s finest examples of Queen Anne Victorian architecture. It was listed on the National Register of Historic Places in 1992.</p><br>
<h2>Description and history</h2><br>
<p>The Squire House is located north of downtown Bennington, at the southeast corner of North Street (United States Route 7) and Gage Street. It is a 2-1/2 story wood frame structure, with a cross-gabled roof, an exterior clad in clapboards and decoratively cut shingles, and a foundation of brick, stone, and concrete. It has a projecting front porch, now enclosed in glass, extending across the front, with a smaller second-story porch above. A band of cut shingles extends around the building between the first and second floors, with more such shingling in the gables above the second-floor windows. Small oval keystoned windows make decorative accesnts on the side facades. The interior retains original high-quality woodwork, including the staircase, builtin cabinetry, and spindlework transom screens on some of the windows. The dining room has a pressed metal ceiling.</p><br>
<p>The house was built about 1887 by Frederick Squire, a jeweler who was prominent in the local business community. The front porches and other Colonial Revival details were probably added by the house&#39;s second owner, who purchased it in 1904. For most of the 20th century it saw a variety of uses, including as a convent for an adjacent school, and as a real estate office.</p><br>
<p>The Albia Square and Central Commercial Historic District encompasses most of the central business district of Albia, Iowa, United States. It was listed on the National Register of Historic Places in 1985. The historic district includes 92 contributing properties from the late 19th and early 20th centuries. A newspaper story that called Albia the ugliest town in Iowa was the catalyst that First Iowa State Bank Board Chairman Robert T. Bates needed to organize in 1965 what became "Operation Facelift." Bates was a renowned interior designer who had worked in Hollywood before returning to Albia in the 1950s. Volunteers solicited a $25 contribution from building and business owners to the Albia Area Improvement Association fund as seed money for the project. Bates himself established a $2,000,000 trust for revitalization efforts in later years.</p><br>
<p>The Col de Rousset is a mountain pass located in the Vercors Regional Natural Park, Drôme, Auvergne-Rhône-Alpes, France and it is a part of the Vercors Massif and has a height of 1.254 meter, the mountain pass is popular by cyclists and the area around it by wintersports.</p><br>
<h2>Location</h2><br>
<p>The mountain pass is situated in the arrondissement of Die and the mountain is 19 km away from the town with the same name.</p><br>
<p>The Rousset Pass is one of the few crossing points, with the Col de la Bataille as an allowing access to the South-Vercors. It connects precisely Die south to Vassieux-en-Vercors nearby the northwest through a tunnel at 1254 meters and drilled in 1979 and a length of 769 m. It replaces a previous work from 1866 and parallel to it. True neck, the top of the ridge overlooking the tunnel, is for its part to 1367 meters and is within walking distance. The hamlet of Rousset to which the collar belongs to the municipality of Saint-Agnan-en-Vercors, in the Drôme department.</p><br>
<h2>Station Col de Rousset</h2><br>
<p>There is also an Alpine ski resort at with a funicular and six ski lifts which are serving thirty tracks offering all levels of difficulty. Nearby is also a snow stadium, the stadium Raphael Poiree, with tracks of Nordic skiing and dog sledding in the winter. The cervix is the start of the Great Crossing of Vercors (GTV), which leads to Villard-de-Lans, cross country skiing during the winter and mountain biking during the summer, through the high plateaus of Vercors.</p><br>
<h2>Tour de France</h2><br>
<p>The mountain pass was visited three times by the Tour de France in 1984, 1996 and 1998, with the results of the winners here:</p><br>
<p>Edition 1984 :</p><br>
<p>Edition 1996 :</p><br>
<p>Edition 1998 :</p><br>
<p>Aramac War Memorial is a heritage-listed memorial at Lodge Street, Aramac, Barcaldine Region, Queensland, Australia. It was designed and built by F M Allan in 1924. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Aramac War Memorial was unveiled on 12 April 1924 by Aramac Shire Chairman, E W Bowyer in lieu of the Queensland Governor who was unable to attend. It was designed and executed by monumental masonry firm, F M Allan and cost £700 in total; £580 for the monument and £48 for the fence. Funds were raised by the Memorial Committee, a group of mostly young women who held entertainments and collected public subscriptions. The stone memorial honours the 132 local men who served in the First World War, including fifteen dead and eleven wounded.</p><br>
<p>The memorial serviced the whole of the Aramac Shire and is located in the main intersection of the town of Aramac. It is of a comparatively large scale and dominates the small town.</p><br>
<p>The area of Aramac was first settled in the late 1850s after the area was discovered by European explorers Nathaniel Buchanan and William Landsborough. The town reserve was gazetted on 26 June 1869. Settlement was slow and sheep and cattle stations difficult to establish due to the remoteness of the area and the lack of water. By the late 1870s most land settlement had taken place.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger (soldier) statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>The maker of the Aramac War Memorial, F M Allan was located in Rockhampton and was responsible for many war memorials in Central Queensland. This memorial and the one at Bundaberg are the two most intact digger memorials still remaining in their original settings at intersections.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial dominates the main intersection of Aramac. It is surrounded by sandstone kerbing and corner posts and then by another enclosure comprising granite corner posts linked by double metal rails. A metal flagstaff is located at the south-west corner of the enclosure.</p><br>
<p>The granite and Ulam marble memorial comprises an obelisk surmounted by a digger statue. It sits on a square base of rock-faced grey granite, slightly higher than the surrounding sandstone wall.</p><br>
<p>The remainder of the monument is of Queensland Ulam marble. The obelisk sits on a slightly larger base comprising a single smooth-faced step with an angled top surmounted by a larger tapered smooth-faced block with cyma recta moulding to the top. The step has a leaded inscription on the front face and the larger block bears the leaded names of the 132 men who served in the First World War, including the 15 dead and 11 wounded, whose names are recorded on the front face.</p><br>
<p>Rising from the base is the obelisk, slightly tapering towards a plain cornice. On the lower front face is a leaded AIF badge and the dates of the First World War.</p><br>
<p>Surmounting the obelisk is the digger statue, which is life-sized. The soldier stands with his head bowed. His hands are crossed on top of a reversed rifle which rests on his left boot. A tree stump is located behind and to the side of the right leg for support.</p><br>
<h2>Heritage listing</h2><br>
<p>Aramac War Memorial 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1924, the memorial at Aramac demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>This memorial is of particular significance as it is extravagant in scale and design in comparison to the size of the town. It is a dominant landmark in the area and is an uncommon example of a memorial still situated in its original and intact setting.</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 memorial has a strong association with the community as evidence of the impact of a major historic event and also with Rockhampton masonry firm, F M Allan as an example of their work.</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&apos;s history.</p><br>
<p>The memorial has a strong association with the community as evidence of the impact of a major historic event and also with Rockhampton masonry firm, F M Allan as an example of their work.</p><br>
<p>The Appanoose County Sheriffs House and Jail is a historic structure located in Centerville, Iowa, United States. Provisions for a jail in Appanoose County were not realized until 1855 when a small stone building was constructed. It was used for about ten years when one of the inmates easily escaped. The county sent its inmates to Wapello County until 1872 when this facility was completed. Jacob Shaw and Thomas Wentworth built the two-part facility. The front portion of the structure is a two-story brick structure that served as the sheriffs residence. The single-story stone jail facility was in the rear of the structure. A single story frame wing that served as a kitchen and pantry was added to the south end of the house around 1879. In 1904 the Pauly Jail Building Company of St. Louis designed and installed the steel and iron cells when the building was remodeled. There were four cells for men and two for juveniles or women. A frame addition was made to the jail around the same time. A shed roof was added around 1940 and connected this addition to the kitchen addition, and created a carport.</p><br>
<p>The facility was used as the county&#39;s jail until the mid-1960s, and in 1973 the county Board of Supervisors gave the building to the Appanoose County Historical Society for use as a museum. It was placed on the National Register of Historic Places in 1997.</p><br>
<p>Atherton War Memorial is a heritage-listed memorial at Kennedy Highway, Atherton, Tablelands Region, Queensland, Australia. It was built in 1924. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Atherton War Memorial was unveiled on 1 May 1924 by Chairman of the Tinaroo Shire, Mr Grau. It is thought to be designed and executed by Melrose and Fenwick, the leading monumental firm in north Queensland at the time. Funds for the memorial were raised mainly by the local women, with the Atherton RSL contributing £100. Excess patriotic funds allowed Atherton to expand its existing hospital into a larger war memorial hospital.</p><br>
<p>The stone memorial honours the 67 local fallen of the First World War. On Anzac Day, 1954, a plate was added to pay tribute to the 35 local fallen of the Second World War.</p><br>
<p>Initial attraction to the area of Atherton was due to the availability of timber, with a saw mill established in the early stages of development. The town was surveyed in 1885, several years after the discovery of tin in the tableland. Atherton became a large agricultural producer, providing much of the foodstuffs for the surrounding mining population. This was further enhanced by the arrival of the Chinese in the 1900s who continued to clear and cultivate the land for agricultural use. Major development occurred in 1903 and in the 1920s and 1930s and the town continued to be a base for the surrounding mining sites.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>The statue at Atherton is unusual in that it portrays the digger in action. The monument suggests victory rather than reverence and mourning which is more familiar to Australian war memorials. Other details are also unique to this memorial such as the inclusion of a gas mask, a tin hat rather than a slouch hat and rocks as support instead of the ubiquitous tree stump. The digger originally carried a rifle with a fixed bayonet in his left hand.</p><br>
<p>The monument was formerly located in the town&#39;s main intersection of Main and Vernon Streets. However it was re-located two blocks north-east to the grounds of the RSL in the early 1980s. Despite this, it remains a significant landmark within the town.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in one of the main intersections of Atherton facing the RSL building. It is located within a park setting and is complemented by a gun or "war trophy", a flagstaff, flower beds and poinciana trees.</p><br>
<p>The painted sandstone monument comprises a pedestal surmounted by a digger statue.</p><br>
<p>It sits on an octagonal base consisting of three smooth faced steps of the same height surmounted by a larger step, also smooth faced. Rising from this is a tall square pedestal capped by a large and simple cornice. The pedestal displays leaded marble plates on the front and rear faces. The front plate bears the names of the 67 men from the district who fell during the First World War and the plate at the rear bears the names of the 35 fallen from the Second World War.</p><br>
<p>The pedestal is surmounted by a digger statue in an animated pose. The figure is striding forward with the right arm raised. The remnants of a rifle (now missing) can be seen in the left hand. The figure is wearing a tin helmet and gas mask and is supported by a pile of rocks.</p><br>
<h2>Heritage listing</h2><br>
<p>Atherton War Memorial 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>This memorial is unique as the only digger statue in Queensland in an animated pose.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1924, the memorial at Atherton demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It is of aesthetic significance both for its high degree of workmanship and design and as a dominant landmark within the town.</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 memorial has a strong association with the community as evidence of the impact of a major historic event.</p><br>
<p>Barcaldine War Memorial Clock is a heritage-listed memorial at Ash Street, Barcaldine, Barcaldine Region, Queensland, Australia. It was designed and built in 1924 by monumental masons Andrew Lang Petrie and Son. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Barcaldine War Memorial Clock, a major regional memorial was unveiled on 21 May 1924 by the then Governor of Queensland, Sir Matthew Nathan. It was designed and executed by Andrew Lang Petrie, monumental masons of Toowong, Brisbane at a cost of £524. The marble and granite memorial honours the 292 local men who served during the First World War, including the 38 fallen.</p><br>
<p>Settlement in the area of Barcaldine began in 1886 due to the extension of the Central Western Railway. In 1891 the town was the site of one of Queenslands most significant events, the shearers strike which caused widespread unrest and ultimately lead to the formation of the Australian Labour Party. Shortly after this, artesian water was discovered, causing an influx of people followed by a rush of development, including a brewery, meat processing plants and other new industries.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although many different types of war memorials were erected throughout Queensland, there are few of the clock type. The form of a clock was decided upon by public ballot held in 1922 after the Barcaldine Shire Council initiated the proposal for a memorial.</p><br>
<p>This is a particularly ornate type of war memorials. Although no others have been located in Queensland, the design is described in A L Petrie&#39;s records as clock tower number two design. The monument was originally surrounded by four granite posts, however these have been removed at some stage, as has the original street light. In 1992, the monument was damaged by a storm and the clocks were replaced by Synchronome Pty Ltd.</p><br>
<p>A L Petrie and Son were the largest monumental masonry firm in Queensland at this time and produced many memorials throughout the state.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in the middle of the intersection of Ash and Beech Streets, Barcaldine and is an dominant feature in the streetscape. It stands on a concrete pad with rough hewn stone posts at each corner.</p><br>
<p>The memorial stands 12 feet high and comprises a base surmounted by a pedestal and clock.</p><br>
<p>The marble (probably Ulam) memorial sits on a stepped base of rough hewn granite. Above this is a smooth faced marble step capped with cyma recta mouldings and a leaded unveiling inscription on the front face. This is surmounted by a marble plinth carved to represent chamfered blocks and capped with a simple cornice.</p><br>
<p>Rising from the plinth is the pedestal comprising recessed square plates of a finer marble with engaged pillars at each corner. The recessed plates bear the leaded names of the 292 local men who served in the first World War, including the 38 fallen whose names are recorded on the front face.</p><br>
<p>The clock sits above the pedestal. There is a clock face on all four faces which are illuminated at night. Each face is surrounded by a laurel wreath and foliated carving is located in the bottom corners. A hood mould over each face creates a domed surface on which sits a large cable moulding. This is crowned by a smaller dome surmounted by a marble sphere.</p><br>
<p>The dials of the four clock faces are driven from a master clock with an electrically-driven pendulum housed in the Barcaldine Shire Hall.</p><br>
<h2>Heritage listing</h2><br>
<p>Barcaldine War Memorial Clock 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>This memorial is of particular significance as it is one of the few clock type war memorials and the only one of this style in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1924, the memorial at Barcaldine demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It is of aesthetic significance both as a dominant landmark in the streetscape and for its high level of workmanship, materials and design.</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 Barcaldine memorial has a strong and continuing association with the community as evidence of the impact of a major historic event and as the focal point for the remembrance of that event</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&apos;s history.</p><br>
<p>It also has special association with monumental masonry firm A L Petrie and Son as an example of their workmanship.</p><br>
<p>Mitchell War Memorial is a heritage-listed memorial at Cambridge Street, Mitchell, Maranoa Region, Queensland, Australia. It was designed and built in 1927 by Andrew Lang Petrie and Son. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Mitchell War Memorial was unveiled in 1927. It was designed and produced by monumental masonry firm A L Petrie of Toowong, Brisbane and honours the 51 local fallen of the First World War. It cost £464, which was raised by local residents.</p><br>
<p>The Mitchell Downs run was taken up during the 1850s. A Post Office opened at Mitchell Downs in 1865 with mail services commencing for the surrounding district at this time. The Reserve for the town of Mitchell was gazetted in 1869, on the site of the Mitchell Downs head station, the owners having erected another homestead further west. The Booringa Division was gazetted in 1879 and Mitchell became the administrative centre for the Division and later the Booringa Shire. The Western railway line was extended to Mitchell in 1885, and Mitchell consolidated its position as the business centre of the surrounding pastoral district.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>There were many different types of memorials erected in Queensland; however this is the only known one of this design. The design is unusual, as are the materials.</p><br>
<p>The memorial was made and presumably designed by the Brisbane monumental masonry firm of A L Petrie and Son. At this time, they were the largest monumental masonry firm in Queensland and supplied many memorials throughout the state.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is located in a park setting and is surrounded by cast iron posts with decorative finials.</p><br>
<p>The sandstone and granite memorial sits on a stepped concrete base with the cast iron posts fixed into the lower step. Above this is a smooth faced step capped with a cyma recta moulding. The front face bears the words "Their Name Liveth Forever More".</p><br>
<p>Surmounting the base is a smooth faced step with a chamfered central section on each face. The non-chamfered corners provide bases for columns with Doric order capitals and bases which surround a recessed plates of red polished granite. The plates bear an inscription and the cut and (originally) gilded names of the 51 local who served from the First World War. The uppermost section of the front plate bears a AIF badge.</p><br>
<p>The four columns support a large entablature comprising a smooth faced fascia and a concave cornice. Each corner is surmounted by large acroteria. Positioned in the centre of the entablature is a red granite column which sits on a square base step. It has a simply moulded base and no capital and is capped by a polished red granite sphere.</p><br>
<h2>Heritage listing</h2><br>
<p>Mitchell War Memorial 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>The memorial is an unusual design and is the only one of its type in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1927, the war memorial at Mitchell demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It is of aesthetic significance for its high level of workmanship, materials and design.</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>It has a strong and continuing association with the community as evidence of the impact of a major historic event and as the focal point for the remembrance of that event.</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&apos;s history.</p><br>
<p>It also has special association with monumental masonry firm, A L Petrie and Son as an example of their workmanship.</p><br>
<p>Gayndah War Memorial is a heritage-listed memorial at Capper Street, Gayndah, North Burnett Region, Queensland, Australia. It was designed and built in 1921 by Ernest Gunderson. It is also known as Rawbelle Shire War Memorial. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Gayndah War Memorial to the First World War was presented to the Rawbelle Shire and Gayndah Town Councils by Harold Wilson in 1921. It was designed and produced by Ernest Gunderson and honours the 270 local men who served during the First World War, including those who died.</p><br>
<p>This memorial was privately commissioned by Harold Wilson of nearby Cooranga station, and then donated to the local shires. It was unveiled by Mr Bernard Corser M.L.A. on the 8th September 1919.</p><br>
<p>Gazetted in 1849, the town of Gayndah initially developed as the centre for a number of large sheep stations taken up in the Burnett region during the 1840s. Gayndah&#39;s early growth as a pastoral "capital" is largely attributed to the determination of the squatters, and for a short time, the town reputedly rivalled Brisbane as the capital for Queensland. Gayndah also developed as the administrative centre for the area, as a school (Gayndah State School) was established in 1861, and post office and court house were erected. A branch of the Commercial Banking Company of Sydney was opened in 1864, and a local government authority (Rawbelle Divisional Board) was established in 1867. By the late nineteenth century, cattle had replaced sheep as the dominant pastoral activity. Citrus orchards also flourished, and together with cattle and dairy farming, provided the basis for the development of Gayndah from the turn of the century.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although honour boards are a common type of war memorial, they are usually situated internally in a publicly accessible place such as the local Shire Hall.</p><br>
<p>The main honour board at Gayndah is located externally in a public square between the Post Office and the Library. It was commissioned from the firm of Ernest Gunderson and is regarded as the company&#39;s finest piece of work. Indeed, Gunderson himself considered it to be his finest work.</p><br>
<p>Ernest Gunderson established his metalworking company in Brisbane after migrating from Norway. The company operated until the mid 1930s and supplied honour boards statewide. The distinctively original artwork was modelled by Gunderson and then applied to a blackened brass framework. The board at Gayndah displays an unusual combination of both Australian and British motifs as well as a large number of symbolic emblems. The re-use of items such as the artillery shells was a common feature of Gunderson&#39;s work.</p><br>
<p>In the 1960s, some unsuccessful renovation work was undertaken, resulting in the original brass lettering and backing (which still exists in storage) being replaced with the present nameplates. Other minor alterations were also made at this time.</p><br>
<p>In anticipation of the fiftieth anniversary of the end of the Pacific War (August 1995), some of the damaged and lost items of the intervening wars were reinstated. The lost figure of Liberty was remodelled in bronze by Brisbane sculptor Fred Waitehouse from photographs of the original, and the rather two-dimensional bronze horsemen were cast (and made slightly more three-dimensional) from the identical figures on Gunderson&#39;s memorial at Petrie.</p><br>
<p>The 1903 Krupp war trophy gun was repaired and fitted with replicated wheels and armour and mounted to address the street. A small commemorative garden was constructed and a surrounding series of concrete slabs holding recent memorials commemorating personnel from the locality who served in the Second World War, and later conflicts up to Somalia.</p><br>
<p>Completed in 1995, the new work and repairs to the Second World War items were researched and organised by local RSL identity "Sam" Weller and the costs were donated by Frank Robinson on behalf of his family.</p><br>
<p>The First World War Memorial was originally complimented by a fence and a light which was removed, possibly to make way for the 1995 additions. The original flagstaff has also been replaced.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated between the Post Office and the Library in Capper Street, Gayndah and directly addresses the street. Behind is a memorial garden comprising a trophy gun, paving and garden beds, and surrounding concrete slabs which commemorate service personnel of the Second World War and subsequent conflicts up to Somalia. The Second World War names are incised in white granite, and the other plaques are in bronze.</p><br>
<p>The First World War Memorial is of concrete and bronze and comprises a bronze art metal honour board mounted on a freestanding concrete structure.</p><br>
<p>The concrete structure sits on a wide stepped base, also of concrete apart from the central portion of the upper step which is marble veneered. The structure itself comprises a flat central section capped with a triangular pediment and flanked by two square pillars with a simple repetitive motif on the front faces. The pillars are surmounted by artillery shells encircled with bronze wreaths. At the foot of each pillar are bronze plaques commemorating later conflicts.</p><br>
<p>The bronze honour board is mounted on the central section. It displays the names of the local men who served in the First World War with those who died identified by a small crown after their name. The five columns of names are centrally located on the board and are covered by clear glass in a metal frame.</p><br>
<p>The upper section of the board is capped with scrollwork flanking a female figure of Britannia holding a shield of "Liberty". The figure stands above a laurel wreath encircling crossed flags and the words "FOR KING AND COUNTRY". An oval plaque indicating the origins of the memorial sits below the wreaths and is flanked by AIF badges. The words "ROLL OF HONOUR" follow the line of the scrollwork. On each side of this central section are pilasters capped by figures of mounted Light Horsemen above the dates 1914 - 1919. Relief work of infantry men are displayed at the bottom of each pilaster.</p><br>
<p>The lower section of the board displays oval plaques in each corner with relief work of an emu and a kangaroo. Additional relief work comprises a British lion and a kangaroo in the centre and cannons at each side.</p><br>
<h2>Heritage listing</h2><br>
<p>Gayndah War Memorial 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>This particular memorial is a rare example of a war memorial which was privately commissioned and then donated as a public memorial, and later supplemented by another major private donation.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>Erected in 1921, the memorial at Gayndah demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial and its setting are of aesthetic significance for their high degree of workmanship and design and for their contribution to the aesthetic qualities of the townscape.</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>It has a strong and continuing association with the community as evidence of the impact of a major historic event and as the focal point for the remembrance of that event.</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&apos;s history.</p><br>
<p>It also has special association with metal worker Ernest Gunderson as the finest example of his work in Queensland.</p><br>
<p>The former United States Post Office is a historic building located in Centerville, Iowa, United States. The Georgian Revival style structure was designed by the architectural section of the USA Treasury Department, which was under the supervision of James Knox Taylor at that time. Completed in 1904, the main block of the building is five bays wide, and three deep. It has quoined corners, and it is capped with a hipped roof with a wooden modillion cornice and a narrow, decorative frieze. The roof originally had a cupola in the center and a balustrade. An addition was built onto the west side of the building in 1932, and an enclosed loading dock was added in 1951. The post office moved into a new facility on North Tenth Street in 1977. The building was listed on the National Register of Historic Places in 1978.</p><br>
<p>The West Water Tower and Ground Storage Tank are a historic water tower and storage tank located at 310 11th Avenue in Orion, Illinois. The tower and tank were built in 1928 as part of the village&#39;s new water system, which had been approved the previous year. The water system was introduced both as a response to several fires which had plagued the village and as an effort to bring modern technology and progress, among other civic concerns. The water tower consists of a steel tank with a hemispherical bottom supported by a steel trestle; the structure is 136.5 ft tall. The ground storage tank, located at the base of the tower, is made of redwood and holds 30,000 USgal of water.</p><br>
<p>The structures were added to the National Register of Historic Places on February 5, 2003.</p><br>
<p>Cairns War Memorial is a heritage-listed memorial at The Esplanade, Cairns, Cairns Region, Queensland, Australia. It was built in 1925. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Cairns War Memorial is located between the Esplanade and Trinity Bay near Florence Street. It includes a granite, sandstone and marble World War I (WWI) monument with a digger (soldier) statue; an 1887 naval gun and a 1940 field gun; and a memorial garden walkway with plaques commemorating four post-WWI conflicts, the military services, and emergency service organisations. Initially unveiled in 1926 at the intersection of Abbott Street and Shields Street, the WWI monument was relocated to its current site in 1972. The monument has strong aesthetic and social significance and is part of a pattern of commemoration prevalent across Queensland and Australia after WWI. The later memorials added near the monument represent the common Australian practice of adding post-WWI conflict memorials and plaques to WWI memorial sites, and are also of social significance.</p><br>
<p>Trinity Bay was chosen as the port for the Hodgkinson goldfield in 1876. The first settlers arrived in October that year and Cairns became a port of entry on 1 November 1876. The founding of Port Douglas in 1877 almost stifled Cairns, as it provided an easier access route to the Hodgkinson. When tin was discovered on the Wild River in 1880, the road from Port Douglas to Herberton was also preferred to the pack tracks from Cairns. However, in September 1884 the government announced Cairns as the preferred terminus for a railway from Herberton to the coast and Cairns future as the main settlement and port for Far North Queensland was assured. It was declared a municipality (Borough of Cairns) in 1885, and the municipal council became the Town of Cairns in 1903. Cairns was declared the City of Cairns in 1923 and the following year the North Coast railway from Brisbane to Cairns was completed. During the interwar period the economy of Far North Queensland boomed - thanks to an expanding and subsidised sugar industry, improved transport, and increased tourism. This prosperity was reflected in the citys built environment.</p><br>
<p>Like all Australian towns and cities, Cairns was affected by the impact of WWI. Of the 330,770 Australians who embarked for overseas service in WWI, 58,961 died and 170,909 were wounded, went missing or became prisoners of war. This meant that around 69% of embarked personnel became casualties - or 21% of eligible Australian males. No previous or subsequent war has had such an impact on Australia in terms of loss of life; almost every community in every Australian state lost young people. Even before the end of hostilities, memorials were being erected by Australian communities to honour local people who had served and died. These memorials were a spontaneous and highly visible expression of national grief; substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. The word "cenotaph" literally means "empty tomb" and was commonly applied to war memorials following its use for the famous Cenotaph at Whitehall, London. Cenotaphs were tapering structures like the London precedent but the term applied generally to war monuments.</p><br>
<p>WWI memorials took a variety of forms in Australia, including honour boards, stone monuments (including obelisks, soldier statues, arches, crosses, columns or urns), tree-lined memorial avenues, memorial parks, and utilitarian structures such as gates, halls and clocks. In Queensland the digger (soldier) statue was the most popular choice of monument, while the obelisk predominated in southern states. The first permanent WWI memorial was unveiled at Balmain, New South Wales, 23 April 1916, while the first soldier statue&#39;s foundation stone was laid at Newcastle, New South Wales, three weeks before ANZAC Day (25 April) 1916.</p><br>
<p>In Queensland, 61 "digger" statutes were erected to commemorate WWI, and 59 survive today. The majority of these were carved from sandstone; with other materials being marble or bronze. Monumental masons Andrew Lang Petrie & Son, of Toowong, supplied more Queensland "digger" statues than any other firm, while Melrose & Fenwick, of Townsville, with branches in Charters Towers, Mackay and Cairns, held a virtual monopoly over the north. The firm supplied the diggers at Cairns (1926), Finch Hatton (1921), Gordonvale (1926), Mareeba (1923), Port Douglas (1923) and Sarina (1919). Other monuments by Melrose & Fenwick include an arch and obelisk at Ayr (1925), an obelisk at Babinda, a column and an honour board at Cardwell (separate locations, both in 1922), a cross at Eton, a column at Mackay (1929), and a clock tower at Townsville (1924).</p><br>
<p>The Cairns soldier statue stands "at ease", as do about half of Queensland&#39;s statues. The remainder stand in an attitude of mourning - "Rest on arms reverse" - while only one, the Atherton War Memorial, adopts an aggressive stance. All the statues supplied by Melrose & Fenwick stand "reverse arms" except for the Cairns statue.</p><br>
<p>The movement to build a war memorial in Cairns started as early as October 1916, when a collection was taken to form a fund for a permanent memorial, but no further action took place for some years. In early 1919 fundraising began for rest homes for returned men across Queensland, with the proceeds to be divided amongst eight districts, including Cairns. Later that year the Mayor of Cairns, RCF Gelling, discussed possible memorial forms (soldier statue, trees, pavilion or kiosk, honour boards, or a hospital ward) and locations (an intersection, Norman Park, the Esplanade, or ANZAC Park) with the Cairns sub-branch of the Returned Sailors and Soldiers Imperial League of Australia (RSSILA). ANZAC Park, at the corner of Abbott Street and Spence Street, was gazetted in December 1920, but it wasnt until May 1922 a Cairns Soldiers&#39; War Memorial Committee was formed to raise funds for a memorial to those soldiers of the district who had died. Subscription lists were issued and collectors were appointed for different areas of Cairns.</p><br>
<p>The Cairns Post regularly publicised a running total of donations from June 1922, but progress was slow. Only £165/5/9 was raised by 7 August 1922, and in September of that year a citizen complained in the Cairns Post that members of the Memorial Committee were "waiting for another war, so that the one memorial will do for the fallen in both wars". On ANZAC Day 1923 a procession took place from the military drill hall on Lake Street to ANZAC Park, where wreaths were laid on a temporary platform, and Digger Brown, the veteran presiding at the platform, stated it was a disgrace that a town of 8000 people could not raise money for a memorial.</p><br>
<p>Part of the reason for a delay in erecting a Cairns war memorial was disagreement over its form. A marble arch and a wrought iron gate in front of the courthouse were suggested in August 1922, while a kiosk in ANZAC Park was suggested in November 1923. The option of a tea room kiosk, including stone panels with names of the dead and a "digger" statue on the roof, was suggested by the Cairns Fathers&#39; Association with the approval of the RSL. The cost was estimated to be £3000-£4000, and the kiosk was the favoured option from December 1923 until mid-1924. However, the scheme was opposed by some, and the Mayor, JG Hoare, had concerns about the cost of a kiosk even though he supported a useful memorial. Only £497 had been raised by 29 November 1923.</p><br>
<p>The argument over whether a war memorial should simply be a monument, or have a utilitarian function (the sacred versus the useful), was repeated all over Australia. The utilitarians believed that their approach was more enlightened and humane, and utility also appealed to local governments, as donations could offset the cost of needed infrastructure. However, monumentalists argued that utilitarian solutions were at the mercy of progress and would become outmoded over time. Monumentalists also believed that it was not really "commemoration", if a public resource that should have been built anyway was named a memorial. Post-WWI, most Australian localities decided on a monumental approach (60%), with only 22% choosing utilitarian buildings (mostly halls) and 18% choosing the compromise position of utilitarian monuments.</p><br>
<p>In November 1923 the Cairns Post reported "certain sections have advocated something of a purely monumental nature, others have been equally keen in urging the erection of something which will be of public service, such as a hall or similar building, suitably ornamented with the names of the fallen". The newspaper pointed out if the aim was to build something of benefit to a larger, future Cairns, then it had to be kept in mind later generations might add new memorials; and the city could only erect a memorial which it could afford. The money available would help determine the form of the memorial. The Cairns Post article added the project was more likely to get local government subsidies, and public support, if the memorial had public utility- such as a city clock.</p><br>
<p>However, the opinion of monumentalists was expressed by WM Carleton Brush, who stated that "to collect money for a memorial for our fallen, and spend it for the benefit of the living, is shameful". Instead of a kiosk, there should be a cenotaph on the Esplanade. "An ice cream shop or a dancing hall are not monuments to those who are buried elsewhere, but are monuments to the selfishness of the living".</p><br>
<p>After wrangling within the War Memorial Committee in early 1924, when Mayor Hoare and the women subscribers squared off against those men in favour of the kiosk, a more modest form of utilitarian monument was decided on at a public meeting of subscribers in July 1924 - a public clock, with striker, on a column (the final form was an obelisk rather than a column). Cairns did not have a town clock, and it was recognised that the city could not afford a kiosk; opinion now favoured "some object combining beauty and utility with convenient and suitable form". It was stated that "every hour that it strikes the people will then realise that the clock is in memory of the men who left the district.". The idea of a clock may have been given a boost by the unveiling of a granite memorial column with four clock faces (built by Melrose & Fenwick) at Anzac Memorial Park in Townsville in April 1924.</p><br>
<p>At this stage the plan was for three marble plates to list those who had enlisted, with a fourth plate for those who had failed to return, but the memorial eventually only included those who died, arranged alphabetically (apart from two nurses) over three slabs. Many other Australian war memorials also listed those who served and survived. This was either by deliberate choice, or because smaller localities had the room on the memorial to list everyone. How to list the names - alphabetically or chronologically - was also a local decision. Just over half of Australias WWI memorials list survivors (the majority on separate panels). This was far more common in Australia than in the other Allied countries, because Australia was the only combatant country without conscription, and people felt it was appropriate to acknowledge the volunteers. Some communities went so far as to list those who had volunteered but had been rejected as medically unfit - such as at Montville in Queensland. About one in 10 local memorials record nurses names.</p><br>
<p>In October 1924 a design competition for the memorial was won by Melrose & Fenwick, although the height of their design was later increased. By this time £936/8/6 had been raised. A prominent position on the corner of Abbott and Shields Streets was selected as the site for the memorial in December 1924.</p><br>
<p>The foundation stone was laid by Mayor AJ Draper on 4 January 1925, and sales of cards to be placed in a time capsule in the stone, with the names of citizens who had purchased them, raised £6/4/-, boosting funds to £1113. Two local newspapers and an official message were also put into the capsule. It was anticipated that the memorial, of blue granite and freestone, would be unveiled on ANZAC Day 1925, but delays occurred over the design of the clock to surmount the obelisk, and no tenders were received until mid-1925. Eventually it was realised that a striking clock would be too heavy for the memorial, and when the memorial was finally unveiled on ANZAC Day 1926, it included a non-striking clock (actually four impulse, or "slave" clocks, operated by a master clock). The concrete foundation stone was prepared by TB O&#39;Meara & Sons of Cairns; the base was constructed by contractor M Garvey of Cairns; and Harry Orton of Melrose & Fenwick carried out the work on the memorial itself.</p><br>
<p>Unveiled by Mayor Draper (who preferred a clock to a non-practical memorial) in front of a crowd of 3000 citizens, the monument was reported as being 41&#39; (12.5m) high and composed of granite, freestone and marble. The final cost of the monument and clock, £2074, was met by last minute fundraising by Scouts and Girl Guides, plus an anonymous donation of £66, allowing it to be unveiled debt-free. The Reverend CW Morsley spoke at the ceremony, claiming that the clock would remind people of the time of day, but it would also remind them that this was the time when they commemorated the courage of the men who helped Australia step into its nationhood; a time when they condemned war; and a time to work for peace.</p><br>
<p>The Cairns monument is the most expensive soldier statue memorial in Queensland, probably due to the extra cost of the clock function; the next most expensive is Goondiwindi&#39;s at £1800. The only other memorial to combine clocks and a statue in Queensland is the Bowen War Memorial (unveiled 1926), built by Andrew Lang Petrie & Son. Other forms of Queensland WWI memorial that incorporate, or once incorporated, clocks are located in Barcaldine (1924, Barcaldine War Memorial Clock), Goomeri (1940, Goomeri War Memorial Clock), Ithaca (1922, Ithaca War Memorial), and Townsville (1924, Anzac Memorial Park).</p><br>
<p>WWI monument sites were usually chosen to be prominent and accessible, such as parks or major intersections, or were outside schools, town halls, and post offices. However, as towns grew and motor traffic volumes increased over time, monuments at intersections could become traffic hazards and a number were relocated - as was the case in Cairns. The Cairns monument stood at the intersection of Shields and Abbott Street until it was moved in 1972 to its current location between the Esplanade and the ocean, opposite the RSL, which has occupied its site (initially as a rest home) since c.1919.</p><br>
<p>By 1972 the clocks had been removed. The four impulse clocks, advanced every 30 seconds by a battery powered master clock (initially sited at Mackay&#39;s jewellers on Shields Street, and later the Council Chambers on Abbott Street) had not worked accurately since mains power was installed. They have now been replaced with painted replicas, set to the time of the ANZAC landing at Gallipoli - 4.28am on the morning of 25 April 1915.</p><br>
<p>During the move the soldier statue was dropped. Both arms broke off, the head fell off, and the rifle broke into three pieces, requiring repairs to be made. The name cards and newspapers inserted in the foundation time capsule in 1925 were retrieved at the time of the move (their current location is unknown) and a new capsule containing Cairns City Council and RSL records was placed beneath the paving in front of the memorial&#39;s new location.</p><br>
<p>At the new site a 1940 field gun (Quick Firing 25 pounder, MKII, Vickers Armstrong), and an 1887 naval gun (Vavasseur 5 inch breech- loading gun, Royal Carriage Department, Woolwich) were placed on either side of the WWI monument. The naval gun was sent to Cairns in 1889 for use by the Cairns Naval Brigade, formed in 1888, and it was initially positioned at the Cairns Courthouse. Guns of the same make and manufacture date are currently located at Maryborough and Townsville.</p><br>
<p>The Cairns War Memorials statue had been painted by 1985. The WWI monument and the two guns underwent repair work in 2001. Landscaping work around the monument circa 2003 included new concrete platforms for the guns, paving, extra concrete bollards, flagstaffs, palm trees, and lighting. A memorial garden walkway and a memorial flame sculpture were added north-west of the monument during the Esplanades redevelopment in 2003. The walkway includes memorial plaques dedicated to post-WWI conflicts, in accordance with the RSL&#39;s desire to have a more inclusive war memorial. The addition of memorials to later conflicts on or near WWI memorials is a common practice in Queensland and Australia, and creates a chronological record of the military service and sacrifice of a particular town or region over time. A World War II (WWII) monument to M and Z Special Units, which was previously located at the site of the Z Experimental Station "House on the Hill" at Earlville, and then at the HMAS Cairns naval base from 1994, was moved to near the WWI monument in 2006; and a memorial to 31/51 Australian Infantry Battalion (2 AIF) has also been erected.</p><br>
<h2>Description</h2><br>
<p>The Cairns War Memorial, facing Trinity Bay to the north-east, is located in a park reserve on the Esplanade near the junction with Florence Street. The WWI monument is located opposite the Cairns RSL at the corner of Florence Street, and is clearly visible from both the road and a walkway along the foreshore. The view from the road, with the WWI monument, a symbol of great sacrifice, juxtaposed against a tranquil, palm-lined setting overlooking the ocean, is particularly evocative. A memorial garden walkway, surrounded by trees and shrubs, is located north-west of the WWI monument.</p><br>
<p>The WWI monument is square in plan and sits on a stepped concrete platform surrounded by eight concrete bollards and a tapered unpolished granite base. The sandstone pedestal has a recessed block, with leaded marble plates mounted on each face, flanked by red polished granite corner columns. One marble plate contains dedicatory inscriptions only, while the other three include inscriptions and an honour roll of 140 alphabetically arranged mens names, followed by two female nurses names. Above this is a tapering painted sandstone obelisk with four clock faces, set at 4.28, each side of the rounded apex. The obelisk rests on a deep cornice, above which is the AIF symbol. Surmounting the apex is a sandstone statue of a soldier facing out to sea with head erect, rifle "at ease" and a tree stump support; the statue is now painted.</p><br>
<p>The monument is flanked by a 1940 field gun set on a raised concrete slab to the north and an 1887 naval gun with gun shield, also on a raised concrete slab, to the south-east. The area between the monument and the guns is paved, with lines of bollards, flags and foxtail palms within the paved area. Additional palms, plus lighting, are located outside the paved area.</p><br>
<p>To the north-west of the 1940 field gun is a small concrete cairn with metal plaques honouring M and Z Special Units of WWII. There is also a metal plaque, set onto a concrete block, dedicated to the 31/51 Australian Infantry battalion (2 AIF), between the WWI monument and the ocean.</p><br>
<p>North-west of the monument is a memorial garden walkway, aligned south-east to north-west. It includes ten recessed curved bays of rendered concrete blockwork with sandstone capping, each bay including a bronze memorial plaque mounted on a sandstone plinth. The plaques are dedicated to WWII (1939-1945); the Korean War (1950-1953); Malaya and Borneo (1948-1960, 1965-1966); South Vietnam (1962-1973); each of the three armed services; and the Queensland Police, Ambulance, and Fire and Rescue services.</p><br>
<p>North-west of the memorial garden walkway is a memorial flame artwork, consisting of a stylised metal flame on a circular painted concrete base.</p><br>
<h2>Heritage listing</h2><br>
<p>Cairns War Memorial 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&apos;s history.</p><br>
<p>The Cairns War Memorial is important in demonstrating Queensland&#39;s involvement in major world events.</p><br>
<p>The World War I (WWI) monument, first unveiled at a different site in 1926, is a tribute to those from the district who died during WWI (1914-1918). WWI memorials, as the focus of ANZAC Day ceremonies, are an important element of Queensland&#39;s towns and cities and are also important in demonstrating a common pattern of commemoration across Queensland and Australia.</p><br>
<p>The later memorials added near the WWI monument represent the common Australian practice of adding post-WWI conflict memorials and plaques to WWI memorial sites. This facilitates remembrance of all those who have died in Australia&#39;s overseas conflicts.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The WWI monument is an excellent example of its type. It is located in a prominent position and includes a list of those from the local community who died in the war. It uses high quality materials and design in a formal composition with strong symbolic meaning, and has had memorials to later conflicts added nearby.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Cairns War Memorial, a place of strong symbolic meaning to the community of Cairns and its region, is important for its aesthetic significance. It is a place of sombre ceremonial purpose and reflection, heightened by its siting on the Esplanade overlooking the Coral Sea. The strong axiality of its paths and formal placement of memorials, plantings and flagpoles add to this aesthetic landscape.</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>As a focal point for remembrance ceremonies, the Cairns War Memorial is highly valued by the community for its spiritual, symbolic, cultural and social associations. The WWI monument has a long, special and enduring connection with the people of Cairns and surrounding district, while more recently placed memorials have added new layers of meaning.</p><br>
<p>The Central Park Bandstand, also known as the Music Pavilion, is a historic bandshell located within Central Park in Orion, Illinois. The bandstand was built in 1913 following a series of successful outdoor concerts in the park. Local engineer J.C. Ericson built the structure in the then-recently popularized bandshell form, which projected sound toward the audience through its rear wall. The bandstand was completed in three weeks; its opening concert hosted the largest crowd that the park had ever held until that time. From its inception until 1925, the bandstand continued to host concerts, usually once per week; movie screenings and church services were also held at the bandstand. Beginning in 1947, the bandstand became an event stage for the Midwest Corn Show, which later became the Orion Fall Festival; the structure is now mainly used during the festival.</p><br>
<p>The bandstand was added to the National Register of Historic Places on May 22, 2002.</p><br>
<p>Herberton War Memorial is a heritage-listed memorial at Myers Street, Herberton, Tablelands Region, Queensland, Australia. It was designed and built by Andrew Lang Petrie and Son in 1922. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Herberton War Memorial was unveiled on 3 May 1922 by Queensland Premier Ted Theodore. Funds were raised by local residents and the monument was commissioned from Andrew Lang Petrie. The stone memorial honours the 199 local men who enlisted during the First World War, including the 21 who were killed and the 7 who died on service.</p><br>
<p>The town of Herberton was settled following the discovery of tin in 1880. It was surveyed in August of the same year and rapidly expanded during the following decade. In October 1910 the Tablelands railway was extended to Herberton from Cairns, assisting in making the town a focal point for the surrounding district of mineral processing and pastoral industries.</p><br>
<p>The memorial forms a dominant landmark, situated on a hillside overlooking the town. A captured gun (war trophy) completes the setting.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>At this time, A L Petrie and Son of Toowong were the most prolific. They were the largest masonry firm in Queensland at this time and were responsible for many First World War memorials throughout the state. Some statues differed in detailing, although most were supplied on a range of standard pedestals.</p><br>
<p>This monument is an intact example of the workmanship of A L Petrie. It incorporates a standard type of pedestal first used in 1918 at Upper Coomera and subsequently in many other Queensland locations. The monument was painted in 1974.</p><br>
<p>Of particular interest is the inclusion of the name of an aboriginal (designated as such) listed among those who died in service.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in a dominant position on a hill overlooking the town. The memorial is surrounded by kerbing and a wire mesh panel (once a fence) with flagstaffs at each end stands behind it. A path leads to the memorial and various gardens, plantings and steps contribute to the setting. A gun or "war trophy" is located in front of the monument.</p><br>
<p>The painted sandstone memorial comprises a substantial pedestal surmounted by a digger statue.</p><br>
<p>The monument itself sits on a stone base step above two white painted concrete steps. A square recessed marble pillar projects from the base and bears the leaded names of the 199 local men who served in the First World War, including the 21 fallen and the 7 who died on service. One of those who died on service, one is designated as aboriginal. At each corner are engaged square pillars with Corinthian capitals. These support a simple cornice surmounted by four urns.</p><br>
<p>The digger statue stands on a pedestal which has a relief carved, green painted laurel wreath on the front face and relief carved crossed flags at the rear. The soldier statue stands erect, with his rifle at his side. The left foot is placed slightly in front of the right. His uniform is painted khaki green, as is his hat.</p><br>
<p>The entire monument is heavily painted in various colours.</p><br>
<h2>Heritage listing</h2><br>
<p>Herberton War Memorial 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.</p><br>
<p>It is unique in that lists an aboriginal amongst those who died in service.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>Unveiled in the early 1920s, the memorial at Herberton demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It is an uncommon example of a memorial still located in its original surrounds and has aesthetic value both as a dominant landmark and for its high degree of workmanship and design.</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 memorial has a strong association with the community as evidence of the impact of a major historic event.</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&apos;s history.</p><br>
<p>It also has a special association with Brisbane monumental masonry firm A L Petrie and Son.</p><br>
<p>Dalby War Memorial and Gates is a heritage-listed memorial at Patrick Street, Dalby, Western Downs Region, Queensland, Australia. It was designed and built in 1922 by Harry Shill and British firms. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Dalby War Memorial was unveiled on 26 July 1922 by the Governor of Queensland, Sir Matthew Nathan. The memorial and gates were designed by local monumental mason, Harry Shill and British firms contributed to the design and construction of the digger statue. The stone and bronze memorial honours the 360 local men who served in the First World War, including the 64 fallen.</p><br>
<p>Funds for the erection of the memorial were raised by public subscriptions and functions arranged by a public committee.</p><br>
<p>Dalby is a small town west of Toowoomba. It was surveyed as a township in 1854, and began to prosper with the arrival of the Western railway in 1868. However, this was shortlived as the railway eventually moved further west and the township of Dalby came to depend on its dairy industry and agricultural produce.</p><br>
<p>In 1919, Dalby requested advice from the Queensland Institute of Architects on the design of its war memorial. The Institute suggested that the town hold a design competition, which it would supervise. It is unclear what occurred next; however there is no evidence to suggest that a competition was held.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>The Dalby digger is based on a Sergeant-Major of the Grenadier Guards and was modelled by British sculptors, John Whitehead and Sons of London. It is one of only two known examples of their work in Queensland, as well as being one of only two bronze diggers in the state. To ensure accuracy of dress, the modelling was supervised by an officer from Australian Army Headquarters and Australia House lent certain accoutrements for copying.</p><br>
<p>The statue was cast at the foundry of A B Burton in London, whilst the stonework, including the pedestal and gate pillars, was produced by Harry Shill of Dalby.</p><br>
<p>The bronze plates bearing the names of the soldiers were created by Ernest Gunderson who established his company in Brisbane after migrating from Norway. The company operated until the mid-1930s and supplied honour boards statewide. His work was distinctly original, often incorporating both Australian and British motifs.</p><br>
<p>Memorials were often enclosed by a fence, indicating a special commemorative area. Occasionally this was further surrounded by a park or other space for the gathering of people on ANZAC Day. The Dalby War Memorial and gates are located in Anzac Park which was gazetted in 1906. The memorial, gates and the setting are considered as a complete entity in which each elements complemented the other.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in a park in Dalby facing Patrick Street. The park is entered from Patrick Street through a set of memorial gates flanked by sandstone pillars surmounted by torch shaped lights. The pillars sit on slightly larger base steps with picked stone faces and smooth-faced margins to the sides and top. They are of similar design to the pedestal of the memorial and capped by the same wide cornice. At the top of the front face of each pillar is a relief carved AIF badge with the date 1914 carved below the emblem on the right, and 1919 on the left.The swing gates are of wrought iron.</p><br>
<p>The memorial is centred within a wide path which leads from the gates and divides at the rear of the monument.</p><br>
<p>The sandstone memorial comprises a pedestal surmounted by a digger statue.</p><br>
<p>It sits on a smooth faced step capped by two cyma recta mouldings of decreasing scale. Rising from this is the pedestal dado which has bronze plaques with brass lettering on each of the four faces. Bronze wreaths are located above each plaque which bear the names of the 360 local men who took part in the First World War including the names of the 64 fallen. The dado is crowned by a large cornice comprising a number of cyma recta mouldings and steps.</p><br>
<p>Surmounting the pedestal is a larger than life-sized bronze digger statue. The statue portrays an Australian Infantry soldier standing with head bowed and arms reversed.</p><br>
<h2>Heritage listing</h2><br>
<p>Dalby War Memorial and Gates 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&apos;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>This particular digger statue is rare as one of only two in Queensland which are cast in bronze and one of only two known works by London sculptors John Whitehead and Sons in Queensland. It is also an uncommon example of a memorial still situated in its intact setting.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The memorial at Dalby demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial and its setting are a landmark within Dalby and contribute to the aesthetic qualities of the townscape. The memorial and gates are of aesthetic significance for their high degree of workmanship and design.</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>It has a strong and continuing association with the community as evidence of the impact of a major historic event and as the focal point for the remembrance of that event.</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&apos;s history.</p><br>
<p>It also has special association with the firms involved in its erection including sculptors John Whitehead and Sons (London), masons J Shill (Dalby) and metalworker Ernest Gunderson (Brisbane) as examples of their work.</p><br>
<p>The Butterfield-Sampson House is a historic house at 18 River Road in Bowdoinham, Maine. It is an unusual combination of an early 19th-century Federal period house, to which a Stick style house was added about 1890. The latter portion is a rare example in the state of a mail-order design from Palliser & Palliser. The house was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The Butterfield-Sampson House stands in the village center of Bowdoinham, on the west side of River Road (Maine State Route 24), just north of Railroad Avenue. The house is a 2-1/2 story wood frame structure, with a cross-gabled roof covering the main block and a gabled roof covering the older rear ell. The exterior is clad in a combination of wooden clapboards and scallop-cut wooden shingles, and it is set on a brick foundation. A single-story porch extends across the front facade, with slender columns and a spindled frieze beneath a shed roof. The front-facing gable has a deep eave decorated with Stick style applied woodwork and large brackets.</p><br>
<p>The rear ell of the house is its original portion. It is a 2-1/2 story five-bay wood frame structure, one room deep, oriented facing north (the current main block faces east). Its construction date is uncertain, but based on architectural evidence was probably built in the 1810s. In the 1840s that house was purchased by the railroad which runs just out of the property, and was sold 1861 to Robert Butterfield, the local postmaster, and in 1888 to Harriet Sampson. The Stick style main block was probably built soon after that sale, moving the old house further back on the property. It matches fairly closely Plate VII of Palliser&#39;s Model Homes, published in 1878 by the Palliser & Palliser Company of Bridgeport, Connecticut. Stick style architecture is generally uncommon in Maine, and the number of documented houses built to mail-order plans are also relatively few.</p><br>
<p>The Tudor House is a historic house on Vermont Route 8 in Stamford, Vermont. Built in 1900 by what was probably then the town&#39;s wealthiest residents, this transitional Queen Anne/Colonial Revival house is one of the most architecturally sophisticated buildings in the rural mountain community. It was listed on the National Register of Historic Places in 1979.</p><br>
<h2>Description and history</h2><br>
<p>The Tudor House is located near the southern end of the Stamford&#39;s central village, on the west side of Main Road (Vermont Routes 8/100), between Jepson Road and The Lane. It is a 2-1/2 story wood frame structure, basically rectangular in shape, with a hip roof, clapboard siding, and a stone foundation. Its shape is obscured by the exuberant Queen Anne wealth of projecting gables, turrets, bays, and porches. Predominant features of the front of the house are a rounded two-story turret-roofed projection on the right, and a tall gable on the left, whose roof slopes down to the first floor and shelters a recessed porch. Inside its gable is a recessed round-arch porch opening. The interior of the house features high quality woodwork in a more restrained Colonial Revival style.</p><br>
<p>The house was built in 1900 by John Tudor, a Welsh immigrant who had made a fortune as a mill owner in northern Vermont and settled in Stamford in 1890. Stamford was then experiencing a population decline, and most of its architecture is conservative and vernacular. This house, set in a somewhat prominent setting on the southern approach to the main village, is a striking departure from the surrounding houses because of its style and size. It was built for Tudor in 1900; its architect and builder are not known.</p><br>
<p>The Hendrix College Addition Neighborhood Historic District encompasses a predominantly residential area of Conway, Arkansas that was developed in the first half of the 20th century. Located just north of the Hendrix College campus, it is an area of about 40 acre and twelve square blocks, bounded on the south by Winfield Street, the west by Washington Avenue, the east by Harkrider Street, and the north by Fleming Street. Architecturally, the houses in the neighborhood represent a cross-section of styles popular in the period, from the Prairie School and English Revival, to post-World War II ranch houses. The land had been acquired by Hendrix College when it relocated to Conway in the 1890s, and was developed as a way to pay off some of the debts incurred because of the move. It was one of the city&#39;s first formally platted subdivisions.</p><br>
<p>The district was listed on the National Register of Historic Places in 2007.</p><br>
<p>The Michael M. Hiegel House is a historic house at 504 Second Street in Conway, Arkansas. It is a picturesque 1-1/2 story structure, finished in brick and stucco and covered by a gable-on-hip roof. The main facade bays are articulated by brick pilasters, with the two right bays filled with round-arch windows, and the bay to their left housing the main entrance, deeply recessed under a similar rounded arch. To its left is a projecting gable-arched section with a pair of sash windows. Built about 1911, it is a high quality local example of Tudor Revival architecture. It was built by Michael Hiegel, a prominent local businessman who operated a grocery store and lumber business, and was active in local political affairs.</p><br>
<p>The house was listed on the National Register of Historic Places in 1998.</p><br>
<p>The Vermilion Estate is a historic building located in Centerville, Iowa, United States. W.F. Vermilion was a native of Kentucky who settled in Iowa after earning his medical degree from Rush Medical College in Chicago. He served as a captain in the Union Army during the Civil War. After the war he was admitted to the Iowa Bar, and served a term in the Iowa Senate as a Republican.</p><br>
<p>The Italianate style structure was designed for the Vermilions by Burlington, Iowa architect C.A. Dunham from the architectural firm of Dunham and Jordan. Completed in 1870, the two story frame house rests on a stone foundation, has bracketed eaves, and is capped with a hipped roof. The house is part of a 26 acre estate just outside the western city limits of Centerville. It was originally a 40 acre estate, and Dr. Vermilion did rely on livestock or horses for part of his livelihood. Most of the acreage was used for grazing land, and the crops that were cultivated on it were for livestock feed. The gazebo, barn and granary were built on the estate during the Vermilion&#39;s ownership. The garage (c. 1910), playhouse (c. 1920), and chicken house (1942) were built later. The estate was listed on the National Register of Historic Places in 1978.</p><br>
<p>Porter Hall is a historic residence located in Centerville, Iowa, United States. The 2½-story frame house exhibits aspects of the Picturesque Tudor Revival style, especially in the half-timbering and stucco. The house gained its present appearance during the ownership of Dr. Charles James in the 1910s and 1920s. There is some question as to whether this is an older 1880s house that has been extensively remodeled. It receives its name from Claude R. Porter who owned this property from 1906 to 1909. Porter was a Democrat, who served two terms in the Iowa House of Representatives, two terms in the Iowa Senate, United States Attorney for the Southern District of Iowa, and a member of the Interstate Commerce Commission. He was also a perennial candidate for Governor of Iowa and the USA Senate from Iowa, but lost every election to his Republican opponent. The house was listed on the National Register of Historic Places in 1980.</p><br>
<p>Stratton House is a historic residence located in Centerville, Iowa, United States. The 1½-story brick house exhibits aspects of the Gothic Revival style, especially in its plan, steeply pitched gables and bargeboard trim. It was built by Jonathan F. Stratton. Stratton was a Pennsylvania native who moved to Michigan in 1820 where he was a surveyor, community leader, commissioner of highways and Justice of the Peace. In 1841 he was the first person to stake a claim in Appanoose County, near present-day Cincinnati, Iowa. After moving to Udell Township two years later his home was the location for the first religious service and the first election in the county. His wife taught several local children in their home making it the first school in the northern part of the county. He opened the first grist mill in the county in 1845. The following year, Stratton surveyed, platted and settled Centerville, which had been named the new county seat. He built this house in 1858, and died here in 1884. It was listed on the National Register of Historic Places in 1975.</p><br>
<p>Sturdivant-Sawyer House is a historic residence located in Centerville, Iowa, United States. The house was built by Francis M. Drake, a former Governor of Iowa and founder of Drake University in Des Moines, as a wedding gift for his daughter Mary Drake Sturdivant. The Sturdivants owned house until 1908, and then again from 1914 to 1917. J. L. Sawyers, a Drake son-in-law, used the house as a medical clinic from 1908 to 1914 while he resided in the Drake House. Frank S. Payne bought the house in 1917. He was a local attorney who served two terms in the Iowa General Assembly, was president of Iowa Southern Utilities Company, and president of the Centerville National Bank. His wife, Grace, served in the leadership of various local women&#39;s organizations.</p><br>
<p>The house features Colonial Revival stylistic elements on a structure that follows an Italian Villa-type plan. Its most striking features are the two cyrtostyle porches with balconies above on the north and west elevations. The main facade on the west features a Palladian window above the porch. The basement-level garage was added sometime before 1924, and the sun porch above it was added in the mid-1950s. It was listed on the National Register of Historic Places in 1984.</p><br>
<p>The Painted Rocks Mountains are a short 15-mile  long mountain range of the north-central Sonoran Desert southwest of Phoenix, Arizona and in southwest Maricopa County. The Gila River flows through the central-north end of the range.</p><br>
<p>The famous Painted Rock Petroglyph Site lies at the northeast end of the range, adjacent the Painted Rock Reservoir, and the reservoir lies at the eastern end of the agricultural river valley that is locally names as the Lower Gila River Valley, extending approximately from the Colorado River at Yuma to the west and the reservoir at the east. The Gila River crosses all of southern Arizona from southwest New Mexico, and is the drainage for about 1/2 of Arizona (the south).</p><br>
<h2>Peaks, and landforms</h2><br>
<p>The highest elevation in the mountains is "unnamed" at 1,512 ft, and is located at the central & east region of the range. (The range has many northwest-by-southeast ridgelines.)</p><br>
<p>The Drayton Plains State Fish Hatchery was the second fish hatchery opened by the State of Michigan Department of Natural Resources . It was established in 1903 and originally named Drayton Plains Station. The name was officially changed to Drayton Plains State Fish Hatchery in 1934.</p><br>
<p>The Drayton Plains State Fish Hatchery was opened along the Clinton River on Mill Street (later Hatchery Road)</p><br>
<p>in what was then Drayton Plains, Michigan (now Waterford Township). Its purpose was to raise bass fingerlings on its 18-acre site.</p><br>
<p>In 1962, operations at the Drayton Plains State Fish Hatchery ended after nearly 60 years.</p><br>
<p>The Drayton Plains State Fish Hatchery was listed as a Michigan Historic Site on August 24, 1984.</p><br>
<h2>Fish Hatchery Background</h2><br>
<p>In the late 1920s, sportfishing was well established as a leisure time activity in Michigan. As a result, fish production moved away from food fish and focused on sport fish species including, brown trout, rainbow trout and brook trout along with many warm-water species. Most Michigan Department of Natural Resources fisheries work on the Great Lakes was abandoned as these fisheries were dominated by commercial fishing. Hatchery technology had improved by this time to allow the production of larger fish and the time period from 1930-1949 is considered the Fingerling Era.</p><br>
<p>As of 2016, there were six state fish hatcheries in operation in Michigan:</p><br>
<p>Harrietta State Fish Hatchery in Harrietta, Michigan (opened in 1901).</p><br>
<p>Marquette State Fish Hatchery in Marquette, Michigan (opened in 1920).</p><br>
<p>Oden State Fish Hatchery in Alanson, Michigan (opened in 1921).</p><br>
<p>Thompson State Fish Hatchery in Manistique, Michigan (opened in 1922).</p><br>
<p>Wolf Lake State Fish Hatchery in Mattawan, Michigan (opened in 1927).</p><br>
<p>Platte River State Fish Hatchery in Beulah, Michigan (opened in 1928).</p><br>
<h2>Nature Center</h2><br>
<p>The former Drayton Plains State Fish Hatchery is the site of the Drayton Plains Nature Center.</p><br>
<p>Opened in 1967, the Nature Center is situated on 138 acres, with an expanse of nearly one mile in length. It exhibits nature in various forms. The grounds include woods, ponds, streams and a prairie. Along with expansive trails, it offers an interpretive center that houses displays of specimens in their natural habitat.</p><br>
<p>The Chambers Ford Bridge is located southeast of Chelsea, Iowa, United States. It spans the Iowa River for 345 ft. The Tama County Board of Supervisors approved a petition to construct a bridge at Chambers Ford under the condition that the local residents to secure the right-of-way for the bridge, build the trestle work and all approaches to the bridge. The Clinton Bridge and Iron Works of Clinton, Iowa built a single-span, pin-connected Pratt truss in 1890. By the turn of the 20th century the north end of the timber trestle approach that the local citizens constructed deteriorated beyond repair. The county contracted with the George King Bridge Company of Des Moines for $3,987 to build a new Pratt through truss. It was listed on the National Register of Historic Places in 1998. The bridge has been closed since 2007</p><br>
<p>In 2012 Tama County expressed a desire to replace the bridge. Four years later Tama County let the contract for a replacement span to PCI Construction of Reinbeck, Iowa. After the construction of the new bridge, the historic Chambers Ford Bridge will be removed due to no one bidding on the historic trusses.</p><br>
<p>The Chapman-Hall House is a historic house museum at 270 Main Street in Damariscotta, Maine. Built in 1754 by one of the area&#39;s first permanent white settlers, it is the oldest standing house in the town, and one of the oldest in the state. It was listed on the National Register of Historic Places in 1970.</p><br>
<h2>Description and history</h2><br>
<p>The Chapman-Hall House stands at the eastern end of Damariscotta&#39;s downtown area, northwest of the corner of Main, Church, and Vine Streets. It is a single-story wood frame Cape style house, its exterior finished in unpainted wooden shingles. It has a side gable roof with a large central chimney. The main facade is five bays wide, with simple trim surrounding its windows and door, the latter topped by a four-light transom window. The interior features exposed beams, paneled fireplaces, and period plasterwork, and underwent a major restoration in the 1960s, when it first became a museum.</p><br>
<p>The Damariscotta area was first settled in the 17th century, but permanent settlement did not begin until 1748 due to repeated conflicts with Native Americans. This house was built in 1754 by Nathaniel Chapman, a housewright and half-brother of the area&#39;s first permanent settler, Anthony Chapman. Both were natives of Ipswich, Massachusetts, and Nathaniel was convinced to come here by his brother to build houses for the early settlers. Nathaniel Chapman at one time owned all of the area that is now downtown Damariscotta.</p><br>
<p>In 1960, the house was rescued from demolition by local citizens group, and restored to its 18th century appearance under the guidance of preservationist Abbott Lowell Cummings. It has served since then as a museum property, since 2008 by the Lincoln County Historical Association.</p><br>
<p>The Wait Block is a historic commercial building on Main Street  in Manchester Center, Vermont. Built in 1884-85, it is a distinctive late example of vernacular Italianate design, executed in brick and marble. It notably survived the 1893 fire that devastated the village&#39;s business district. It was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The Wait Block stands in the heart of Manchester Center&#39;s commercial business district, just east of the junction of Main Street (Vermont 7A) and Bonnet Street (Vermont Route 30) on the south side of Main Street. It is a three story brick structure, three bays wide, with a flat roof and marble trim elements. The facade is divided into three arched panels, articulated by brick pilasters, the center panel narrower than the outer ones. Windows on the upper levels are set in segmented-arch openings, with keystones and ears of marble. The main entrance is set in a paneled recess in the center bay, with large glass display windows in the flanking bays on the ground floor, also set in segmented-arch openings. A line of corbelled brickwork provides a minimal cornice for the flat roof.</p><br>
<p>The building was constructed in 1884-85 for Clark Wait, owner of the local drug store. Its ground floor would house a drug store for the next century, with living quarters for the proprietor above. It notably survived the 1893 fire that destroyed many wood-frame buildings in the business district. It was built during a time of relative prosperity in the village&#39;s industries, which were in decline by the time of the fire and never really recovered. As a result, no other buildings of this scale were built in the village.</p><br>
<p>The Lee Service Station is a historic commercial building at 28 South Broadway in Damascus, Arkansas. It is a single-story frame structure with a cross-gable roof configuration, its exterior finished in stone veneer with brick trim. It has a single former garage bay on the right side, the bay opening now enclosed with a pedestrian door at its center. To its left is an office space, with a center entrance flanked by a large multi-pane windows. Door and window openings are trimmed in brick laid in a three-in, three-out pattern, and the stone veneer is in a herringbone pattern. These design elements are all signatures of the builder, Silas Owens, Sr., the master mason who finished the exterior about 1940. The building served as an automobile filling and service station through the 1950s, and has since seen a variety of other commercial uses.</p><br>
<p>The building was listed on the National Register of Historic Places in 2005.</p><br>
<p>Loon Lake is a freshwater lake located in Waterford Township, Michigan. It borders Dixie Highway on the west and is south of Walton Blvd. on the north. The sand-bottom lake is 243 acres, making it the 18th largest lake in Oakland County, Michigan and one of the largest in Waterford Township.</p><br>
<p>Loon Lake is located on the upper reaches of the Clinton River watershed. The Clinton River enters Lake Loon on the north end from Lake Oakland upstream.</p><br>
<p>The Clinton River exits to the southwest downstream of Loon Lake.</p><br>
<p>Loon Lake also connects to Silver Lake to the east.</p><br>
<p>From Loon Lake, the Clinton River heads west toward the Drayton Plains State Fish Hatchery and then winds its way southward to Cass Lake.</p><br>
<p>At its deepest point, the lake is 73 feet deep, making it the ninth deepest lake in Oakland County.</p><br>
<p>The ten deepest lakes in Oakland County are:</p><br>
<p>Loon Lake is surrounded by residential neighborhoods on all sides except the western shoreline. The community, formerly called Drayton Plains, is on the lake to the west.</p><br>
<p>In the 1960s, Loon Lake hosted annual hydroplane boat races.</p><br>
<h2>Fish</h2><br>
<p>Loon Lake contains a variety of fish, including Black Crappie, Bluegill, Largemouth Bass, Northern Pike, Rock Bass, Smallmouth Bass, Sunfish, Walleye and Yellow Perch.</p><br>
<p>The Nashua Gummed and Coated Paper Company Historic District encompasses a collection of former industrial buildings on the north side of the Nashua River in Nashua, New Hampshire. Located on Franklin and Front Streets west of Main Street, the complex was developed by the Nashua Gummed and Coated Paper Company, later the Nashua Corporation, beginning in the late 19th century. It was a major manufacturing and employment center for the city until mid-1990s, when the company&#39;s business declined. One of its former storehouses was converted to residences in the 2000s, and the main complex is, in 2015-16, undergoing the same process.</p><br>
<p>The complex of surviving buildings was listed on the National Register of Historic Places in 2015.</p><br>
<p>Conants Cabin and Park, also known as the Rural Wayside Rest and Recreation Site, is a private park located east of Gladbrook, Iowa, United States. It was built in 1920 by local resident George Conant on 15 acre of farmland that he owned. The American Craftsman-style cabin was inspired by his father, J.W. Conant, who wanted to see a cabin like he constructed in 1855 built in the grove of bur oak trees. The two-room log structure is possibly the oldest park shelter in Iowa. In addition to the cabiin the park features two outhouses, outdoor and indoor picnic tables, grills, a swing, merry-go-round and horseshoe pit. The park was meant for public use even though it has remained under private ownership throughout its existence. It is rumored that author Robert Waller began his notes for The Bridges of Madison County during a stop at the park. The parks existence is an expression of one man&#39;s civic pride, and sense of community responsibility. Numerous community service groups have helped to maintain it over the years. It was listed on the National Register of Historic Places in 2000.</p><br>
<p>Hope Fire Company Engine House, also known as the Toledo Fire Station, is located in Toledo, Iowa, United States. The Hope Fire Company was established as the volunteer fire company in Toledo in 1876. Prior to moving here they were located in a simple two-story frame structure across the street that was built in 1883. The present two-story brick structure was completed four years later by Andrew A. Jones, a Toledo contractor. It was designed in the Moorish Revival by an unidentified Mr. Gruppe. The firefighters had to raise funds to complete the interior, and it was not finished until 1891. Toledo city hall was located in part of the second floor until 1928. The first floor had to be altered in 1959 to accommodate modern fire fighting equipment. The fire house was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Moorish architectural style was an unusual choice for a small town in Iowa. Originally, centered double doors with Moorish panels were located in the center of the first floor. They had to be removed because they were inadequate given the larger size of modern fire equipment. The style is still found on the pressed tin pediment with a sunburst motif and the central finial above, as well as the decorative work on the corner tower.</p><br>
<p>The former Tama County Jail, now known as the Tama County Historical Museum, is located in Toledo, Iowa, United States. Tama County was established in 1853, but it did not establish a jail. It sent its inmates to neighboring counties. The present courthouse was completed in 1865, and discussions turned toward providing a jail. The county Board of Supervisors decided in January 1869 to proceed with plans, and in June 1870 they contracted with Toledo builder David Stoner to design and build the new building. It was completed by the end of the year. The sheriff and his family lived on the second floor and acted as the jailers. A two-story addition was built onto the rear of the building in the late 19th century to provide more space. By the 1960s the building increasingly became inadequate, and it was condemned by a grand jury. It closed in 1970, and the county once again started to farm out its inmates to neighboring counties. The county Historical Society leases the building and uses it as a museum. It was listed on the National Register of Historic Places in 1981.</p><br>
<p>The Wieting Theater is located in Toledo, Iowa, United States. Ella W. Wieting had three opera houses built as memorials to her husband,</p><br>
<p>C.W. Wieting. The Wietings came to Toledo in 1867 from Worcester, New York. He was trained as a dentist, and was involved in other business ventures. They moved to Syracuse, New York around 1900, and he died there in 1906. She had the opera houses built in the three communities where they lived. The theater in Toledo housed productions from travelling road shows, local school productions, political meetings, movies, and lyceum courses. The theater closed in 1958, and reopened two years later by the Wieting Theatre Guild. It was listed on the National Register of Historic Places in 1979.</p><br>
<p>Completed in 1912, the two-story brick structure measures 50 by. The Colonial Revival style facade features a brick parapet, columned porch, and a Palladian window. The interior contains an auditorium, balcony, stage, dressing rooms, and an orchestra pit.</p><br>
<p>Sts. Peter and Paul Orthodox Church, also known as Sts. Peter and Paul Russian Orthodox Greek Catholic Church, is a historic church complex and national historic district located in the Lovejoy neighborhood of Buffalo, Erie County, New York. The complex was built between 1912 and 1965, and consists of the yellow brick Byzantine Revival style, roughly 2-story church , a 1-story parish hall , a 2-story frame house that serves as a rectory , and a frame garage . The church has a cross-in-square type plan, and the front facade features two 3-story towers. It is the oldest Orthodox church in Buffalo and oldest in use in the Orthodox Diocese of New York and New Jersey.</p><br>
<p>It was listed on the National Register of Historic Places in 2015.</p><br>
<p>The Camden Yacht Club is a yacht club serving the boating community of Penobscot Bay. It is located at 68 Bay View Street in Camden, Maine. Founded in 1906, it offers a variety of programs seasonally , as well as mooring facilities  to its members and the general public. Its clubhouse, designed by John Calvin Stevens and built in 1912, is listed on the National Register of Historic Places. In season the club serves lunch to its members and their guests, and its facilities are available for event rental.</p><br>
<h2>Facilities and history</h2><br>
<p>The Camden Yacht Club is located south of downtown Camden, on the southern bank of the Megunticook River, at its mouth where it empties into outer Camden Harbor. It clubhouse is located near the shore, with a lawn area on two outer sides with water views, and parking areas between the building and Bay View Street. The clubhouse is a large Shingle style building, its tall hip roof overhanging the structure on three sides, creating porches on those sides. There is a port-cochere on the northwest side with Oriental trim features. The building was designed by John Calvin Stevens, the Portland architect known as a major proponent of the Shingle style, and was completed in 1912.</p><br>
<p>The club was founded in 1906 by George B. Phelps, Cyrus H. K. Curtis, and Chauncey Borland, among others. The clubhouse was built by Curtis, for the then-large sum of $60,000, and rented it to the club for a nominal fee. In 1926 he gave the property to the town, stipulating its continued use as a yacht club facility as part of the gift.</p><br>
<p>The Parson Smith House is a historic house on River Road in southern Windham, Maine. Built in 1764 and virtually unaltered since, it is one of the state&#39;s finest examples of Colonial Georgian architecture. It was listed on the National Register of Historic Places in 1973. Now a private residence, it was for 40 years a historic house museum owned and operated by the Society for the Preservation of New England Antiquities.</p><br>
<h2>Description and history</h2><br>
<p>The Parson Smith House is located on the east side of River Road in southernmost Windham, just north of its junction with Anderson Road. It is set at the top of a rise, overlooking former farmlands (now partly wooded) of the old Maplewood Farm property. The house is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, two end chimneys, and clapboard siding. The main entrance is framed by sidelight windows and molded trim, the latter also surrounding the buildings sash windows. Nearly all of the buildings interior features are of 18th century origin, excepting some 19th-century fireplace mantels. There are wall sections that have fragments of early wallpaper. An ell, probably of mid-19th century origin, extends to the rear.</p><br>
<p>The house was built in 1764 by Parson Peter Thatcher Smith, the son of Rev. Thomas Smith, Windham&#39;s first settled Congregational minister. This house was built on the "ministerial lot", set aside by the town founders for the benefit of the minister. The house remained in the hands of Smith descendants (often descending through the female line with changes of last name), until 1952, when it was bequeathed to the Society for the Preservation of New England Antiquities (SPNEA, known as Historic New England).</p><br>
<p>The Cora B. Whitney School is a historic former school building at 814 Gage Street in Bennington, Vermont. Built in 1897, it served as one of the town&#39;s primary schools until 1994, and was converted into senior housing in 1999. It is architecturally an important early local example of Colonial Revival architecture, and was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Cora B. Whitney School stands in a residential area northeast of downtown Bennington, on the north side of Gage Street, between Bradford and Branch Streets. It is a two story brick building, set on a high marble foundation, with marble trim and a tall hip roof. The foundation is made of rough-cut coursed marble, and rises to the base of the first floor windows. The main entrance, set at the center of the south-facing front facade in a projecting section, is set midway on the height of the basement, and is accessed by a flight of stairs. Marble stringcourses join the lintels of the first-floor windows, and also the sills and lintels of the second-floor windows. The cornice of the deeply overhanging roof features exposed rafter ends and brick courses painted to resemble fascia boards.</p><br>
<p>The town of Bennington was the third in the state to consolidate its district schools, doing so in 1870. Classes for all grades were originally held in a single school building near downtown (no longer standing). This school was built in 1897 in order handle increasing enrollments, and was originally called the Seventh Ward School. It was later named for Cora Belle Whitney (1866-1918), one of its first teachers and a long-time principal. The school was doubled in size in 1957 with an addition to the rear, and was closed in 1994 after it was determined it would be too expensive to upgrade the building to current state standards. In 1999 it was converted into an independent senior living facility.</p><br>
<p>The Roselawn Memorial Park Gatehouse is a historic cemetery office building in Roselawn Memorial Park, a large public cemetery at 2801 Asher Avenue in Little Rock, Arkansas. It stands just inside and to the left of the main gate. It is a single story building, with a gable-on-hip roof, stuccoed walls, and a foundation whose exterior is finished in rough cobblestone. At either end of its main facade are two arches, lined with red brick, providing access to the recessed building entrances. Similar arches on the side walls give the recess a porch-like feel. The building was designed by Thompson and Harding, and built in 1924. It is the only known gatehouse design of firms associated with noted Arkansas architect Charles L. Thompson.</p><br>
<p>The building was listed on the National Register of Historic Places in 1982.</p><br>
