<p>The Womans Club of El Paso was founded in the late nineteenth century, and during that time was the only womans organization in El Paso, Texas. The Woman&#39;s Club also allowed women in El Paso to become involved in community service and activism. The building which is the home for the club is located on 1400 N. Mesa Drive, and was erected in 1916. The club, now a non-profit organization, traces its official origins back to 1894, and continues to provide an "educational and cultural center for its members." The building is registered in the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Mary Hamilton Mills arrived in El Paso with her husband, William Wallace Mills on March 8, 1869. Mills began to create a social circle, which started to meet in 1881 and included Flora Hague, Octavia Magoffin, Olga Kohlberg, Eugenia Schuster, Carrie Fewel, Lemire Morehead, Elizabeth Irvin, Margaret Beall, Eliza Berrien, Laura Loomis, Carrie Race, Maude Austin, Harriet Shelton, Frances McCutcheon, Rebecca Falvey, Mary Voss, Carrie Sutherland and other important women in El Paso. Members of the group met at various locations in El Paso.</p><br>
<p>The Womans Club decided to create a permanent building for the club in 1915, raising club dues and appealing to local businesses for donations in order to get funding. The clubhouse was designed by the architect, Otto H. Thorman and construction began in 1916. The building was the first free-standing womans clubhouse in the state of Texas. The clubhouse was officially opened on November 8, 1916.</p><br>
<h3>Community service</h3><br>
<p>Members of the Womans Club were involved in the establishment of Texass first public school kindergarten. The club, led by one of the Womans Club presidents, Olga Kohlberg, worked to get a kindergarten established in the first school building in El Paso, Central School, in 1893. Kohlberg also helped establish the first hospital in El Paso, by creating the Ladies Benevolent Association. Members of the club were also heavily involved in establishing the El Paso Public Library. Mary Irene Stanton, who was the first president of the El Paso Library Association in 1895, was elected the Womans Club vice-president that same year. Stanton created the first childrens library in the United States. By 1913, El Paso had "over thirty womens organizations," though most were social in nature, and contrasted with the "civic and humanitarian objectives" of the Womans Club. Another president of the club, Eugenia Schuster, helped refugees from the Mexican Revolution in 1916, working with Amigos Listos. The club worked to get safe food and public sanitation laws passed and also worked to protect San Jacinto Plaza.</p><br>
<h2>Services</h2><br>
<p>The Womans Club of El Paso hosts annually a Fall Festival to raise money for the preservation of the clubhouse, a holiday Wassail party and also a Spring Celebration. Auxiliary groups to the Womans Club are the Arts and Crafts Study Club, the Book Club and the Junior Womans Club of El Paso. The Junior Womans Club was founded 1934 and works with local charities to help improve the community of El Paso. The club&#39;s building can be used as a venue for local events. The club also "regularly features and supports local artists."</p><br>
<p>The Old Wadena Historic District is a concentration of historical archaeology sites now largely contained within Old Wadena County Park in Thomastown Township, Minnesota, United States. Features include the sites of four successive trading posts established in 1782, 1792, 1825, and 1856; the original townsite of Wadena on the Red River Trails; and the county&#39;s first farm. The town was later moved 3.5 mi south to its present location. The historic district was listed on the National Register of Historic Places in 1973 for having state-level significance in the themes of agriculture, non-aboriginal archaeology, and transportation.</p><br>
<h2>Little Round Hill Trading Post</h2><br>
<p>The woods and rivers of what became Wadena County offered ample food resources, habitable areas, and well-situated water transportation routes. However as the first Euro-Americans entered the region it was on the hotly contested border between the Ojibwe and Dakota people. Métis historian William Whipple Warren recorded Ojibwe stories of a French-Canadian fur trader, known to them only as Ah-wish-to-yah ("Blacksmith"), who led a party of 20 into the area in 1782. They selected a site for a trading post at the confluence of the Crow Wing and Partridge Rivers which they dubbed Wadena ("Little Round Hill" in the Ojibwe language). Knowing they were in hostile territory they erected a wooden palisade or fence around the post, within which the Ojibwe party members erected their wigwams.</p><br>
<p>The Dakota did not look kindly on this incursion, and a force of 200 warriors attacked the post. According to Warrens sources, the Dakotas bows and arrows were no match for the traders&#39; firearms and were easily repulsed in the Battle of Partridge River. However the traders immediately abandoned the post and Euro-Americans avoided the area for nearly a decade.</p><br>
<p>Archaeological excavations on the site have discovered a potsherd, a rosehead nail, an axe, a fire striker, and fragments of a kettle.</p><br>
<h2>Cadotte's Trading Post</h2><br>
<p>In 1792 fur trader Jean Baptiste Cadotte, Jr. led a new expedition into Central Minnesota. The group split into smaller parties, and one led by Cadottes brother Michel Cadotte journeyed up the Crow Wing River. As winter set in they established their post on the bank, while another party pressed on and established Réaumes Trading Post on the Leaf River. Cadotte&#39;s post consisted of log huts surrounded by a palisade. He was an effective trader who forged a positive relationship with the Dakota, thus opening this region to the fur trade.</p><br>
<p>Vestiges of Cadotte&#39;s post were first documented in 1868, though the six visible depressions were assumed to be rifle pits. In 1972 the site received a modern archaeological field survey in an area measuring 160 by. This survey noted seven depressions: four rectangular (the largest being 30 x), two circular, and one irregular in shape. The surveyors could also discern an eroded path dropping 25 ft down to the river.</p><br>
<h2>Prescott's Trading Post</h2><br>
<p>Three decades later, in 1825, Philander Prescott led another fur trading party into the area. That year the First Treaty of Prairie du Chien had specified a border between Ojibwe and Dakota territory. However Prescott and his party initially established their camp on Leaf Lake, right in the contested zone. Hostilities with the Dakota left two Ojibwe members of the party dead, prompting the survivors to retreat to the mouth of the Leaf River where they were firmly within Ojibwe territory.</p><br>
<p>The trading post consisted of a house for Prescott, a storehouse, and a lodge for the rest of the men. It was a severe winter that brought starvation to many in the area, but the trading was lucrative and in spring Prescott returned to Fort Snelling with thirty packs of furs. Meanwhile the Ojibwe members continued on to Leech Lake for the annual maple sugar harvest.</p><br>
<p>At the time of the district&#39;s nomination to the National Register in 1973, the exact location of this post had not been rediscovered.</p><br>
<h2>Old Wadena</h2><br>
<p>In the mid-19th century the Red River Trails were forged between Minneapolis–Saint Paul and the Red River Colony in present-day Manitoba. A route blazed in 1844, known as the Woods Trail, forded the Crow Wing River between the mouths of the Partridge and Leaf Rivers. In the 1850s the USA government began improving the Woods Trail but ultimately only progressed as far as the Crow Wing crossing.</p><br>
<p>At this crossing in 1856, a land speculator named Augustus Aspinwall platted a townsite which he named Wadena. He established a trading post, a post office, and a ferry, and it became a regular stop for travelers on the Woods Trail. Wadena was named county seat and Aspinwall anticipated a flood of settlers as soon as railroad track could be built through the area. However the Panic of 1857 suppressed railroad construction for years, and when the Northern Pacific Railway finally laid track through the area in 1871 they chose a route 3.5 mi to the south. What little population had collected in Aspinwall&#39;s town abandoned the site and established a new town of Wadena along the railway.</p><br>
<p>Around this time, though, Peter and Angeline Roy established Wadena County&#39;s first farm in the vicinity of what soon became known as Old Wadena. They cultivated fields and kept dairy cattle.</p><br>
<p>The C.H. Whitehead House is a historic residence located in Marshalltown, Iowa, United States. Whitehead was a Boone County, Iowa native who came to Marshalltown in 1898, where he established a womens and childrens clothing store that is thought to be the first of its kind in Iowa. He had this home built around the turn of the 20th century. The house does not exemplify any one style, but is a compilation of several styles. The Queen Anne style is found in overall asymmetry of the main facade, especially the projecting bay and the porch&#39;s pediment, as both are off-centered. The Georgian Revival style is found in the rectangular form of the structure, the horizontal proportions, and the Adamesque details. The 17th century colonial architecture of New England is found in the way the second floor overhangs the first floor on the side elevations. The house was listed on the National Register of Historic Places in 1979.</p><br>
<p>Cunnamulla War Memorial Fountain is a heritage-listed memorial at John Street, Cunnamulla, Shire of Paroo, Queensland, Australia. It was built. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>It is not known by whom the Cunnamulla War Memorial Fountain was designed. The concrete memorial honours those who fell during the First World War. The names of the fallen are not listed on the memorial, but on an honour board in the Civic Centre. Indeed, if not for an inscription, the fountain would be difficult to identify as a war memorial.</p><br>
<p>By 1920 the Paroo Shire Council had decided to erect a war memorial fountain in the centre of Cunnamulla town. However, it appears that the memorial was not erected immediately as in July 1924, the masonry firm of Andrew Lang Petrie, Brisbane wrote to the Paroo Shire Council offering designs. In September 1926, the Paroo Shire Council and the Diggers Racing Club agreed to erect a fountain, expecting it to be in place in time for the Diggers Carnival on 11-13 November that year. Little is known about the design of the fountain; however there is an identical fountain (not a memorial) in the New South Wales town of Wellington, indicating that it was a stock line and not specially commissioned. It is unclear if there was an official unveiling ceremony, but on 26 November 1926 a photo of the "newly constructed Soldiers Memorial Fountain at Cunnamulla" appeared in a newspaper.</p><br>
<p>The town of Cunnamulla was first settled in the 1880s to serve the developing pastoral area. The Western railway line was extended to the town in 1898, increasing its importance as a centre for the 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. Although there are many different types of memorials in Queensland, fountains were an uncommon selection as the main town memorial. They were more often used in school grounds where, as drinking fountains, they also served a useful function.</p><br>
<p>Fountains were selected as memorials in other places, as water was considered symbolic of renewed life and cleansing. Water is a significant element in many memorials of note, including The Pool of Reflection in the Australian War Memorial in Canberra. Many other smaller memorials had drinking spouts and water troughs incorporated into their designs.</p><br>
<p>As water is a scarce commodity in rural Queensland, a fountain may have been considered a suitable "sacrifice" as a memorial.</p><br>
<p>There was originally a captured gun or "war trophy" within the enclosure, but this was removed at some stage.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in a five way intersection, forming a traffic island in the centre. It is surrounded by a grassed strip and enclosed by a low post and chain fence.</p><br>
<p>The concrete memorial comprises a shallow trough, with a tall and elaborate centrepiece. The trough measures 7 metres in diameter and is painted blue internally. A small leaded marble plaque on the north face bears the inscription:Erected by the citizens of Paroo Shire in memory of those gallant Australians who fell in the Great War 1914 - 1918.The centrepiece comprises four basins, decreasing in scale as they reach the peak. The lower basin has scalloped edges which incorporates heads of gargoyles. It is supported by four large winged griffins holding shields bearing emus and kangaroos. They sit on a base with foliated designs at the centre and corner of each face.</p><br>
<p>Above the first basin is a square pedestal with moulded festoons on each face. This is surmounted by an urn-like element with four small winged griffins and scrollwork at the top, which is the support for the second basin. This is also has scalloped edges and heads of gargoyles. The shaft continues to rises to a third basin which is simpler in design and is surmounted by a small boy figure. The final basin is located above the figure&#39;s head.</p><br>
<p>The entire shaft, which tapers towards the peak, is heavily ornamented with a variety of design elements, including scrollwork, panels and foliated patterns.</p><br>
<h2>Heritage listing</h2><br>
<p>Cunnamulla War Memorial Fountain 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>War memorial fountains of this scale are uncommon in Queensland, however water is a popular symbolic element suggesting renewed life and cleansing. It is rare as a war memorial with imagery not found on other memorials.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial is of aesthetic significance as a distinctive landmark in the centre of a small country 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>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>Hove Farm  is an original undivided farm  on the southwest part of the island of Tromøy in the municipality of Arendal in Aust-Agder county, Norway. The farm is located on a headland, with the sea behind it to the southeast and facing Hove Bay  to the northwest. Hove Bay is a protected marine area, accessible only to small vessels. The islands of Merdø and Gjesøya lies closest to Hove. Until 1942, Hove Farm had a single registration number and a single owner. The farm was purchased by the state in 1942, and was then used by the German occupation forces during the Second World War. Today the farm belongs to the municipality of Arendal.</p><br>
<p>The farmhouse dates from 1725 and was built after the original structure at the site burned. Below the farm there were one or two cotter&#39;s farms in the past, when a tannery operated at the farm in the early 1800s.</p><br>
<h2>Ownership</h2><br>
<p>Hove Farm was mentioned in written sources for the first time in 1595, when the farm belonged to the crown. On May 19, 1659 the farm was pawned against a loan of 20,000 riksdaler. On May 31, 1663 the king sold Hove Farm to Oluf (or Ole) Jensen Brun, a wealthy merchant from Artendal. This was part of the sale of land belonging to the crown whereby the king of Denmark–Norway sold significant property to fund war efforts. Nothing else is known about the circumstances of Ole Jensen and his family living at Hove Farm.</p><br>
<p>There was a series of different owners until 1737, when Mathias Jensen Aalholm purchased the farm. The farm was owned by the Aalholm family until 1891, when it was sold by the shipowner Nils Aalholm to the shipbuilder Anders Henriksen Friisø, who owned the Friisø Shipyards (Friisø Skibsverft). The farm was sold again in 1913, to the pharmacist Martin Onsager and A. Evensby, who sold it again to the timber merchant Christian Hauge. Hauge logged the woods associated with the farm. The woods were then given protected status by a 1914 Tromøy district council statute, based on the 1893 Act on Conservation and Protection of Forests (Værneskogens bevarelse og mod skogenes ødelæggelse). Hauge then sold the farm to Knut Engelskjøn in 1915.</p><br>
<p>During the Second World War, the farm was occupied by German forces, and they set up an antiaircraft training center (the Feld Flakartillerie-schule (Nord) 50) there. The Germans built over 70 buildings in the area. After the war, the Norwegian Armed Forces took over the farm and set up a training school there for antiaircraft artillery. The school operated until 1963, and then the Norwegian Directorate of Public Construction and Property developed the location into a camping center. In 1998, the property was sold to the municipality of Arendal. Since 2002, it has been administered by the Hove Operation and Development Company (Hove Drifts- og Utviklingsselskap AS), which is under 100% ownership of the municipality of Arendal.</p><br>
<h2>Agriculture and potatoes</h2><br>
<p>Extensive agriculture has taken place on the farm throughout history, and it is claimed that this is the first place that potatoes were grown in Norway. This is documented by the customs clerk Niels Ålholm in his garden diary for May 31, 1757, when he wrote 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 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>
<p>War Memorial and Heroes Avenue is a heritage-listed memorial at Bungil Street, Roma, Maranoa Region, Queensland, Australia. It was built in 1920. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Roma War Memorial was completed in two stages; the avenues of trees followed by the cenotaph.</p><br>
<p>The Heroes Avenue of 93 bottle trees (Brachychiton rupestris) was planted by 1920, with the first 27 trees planted on 20 September 1918, and was the initial memorial to those killed in the First World War. Each tree originally bore a brass plaque stating the name of one of the 93 local men who fell during the First World War. Only one of these plaques survives, now on a cairn which was dedicated by the Roma RSL sub-branch on Remembrance Day, 1983. The cairn is located outside the Post Office near the corner of McDowell and Wyndham Streets. It also provides information regarding the rows of bottle trees and lists the 93 names originally displayed on the trees. Some of the original trees have been replaced and some have been removed to allow for increases in traffic.</p><br>
<p>The impetus for the Heroes Avenue began with the Mayor of Roma, Alderman Miscamble who had been impressed by avenues of memorial trees in southern states. The bottle tree was selected as it was a species commonly associated with Roma and it is thought that the first was planted in 1918 to commemorate the death of local soldier Lt Cpl Norman Saunders who was killed in France in 1916. This is the tree located outside the Post Office and known locally as the Tree of Knowledge. Trees were planted to commemorate subsequent deaths and although the plaques have disappeared each tree still retains its association with a particular soldier.</p><br>
<p>The Cenotaph is located in Queens Park and was commissioned by the Local Repatriation Committee. It was unveiled on Anzac Day, 25 April 1938 by Colonel Sir Donald Cameron and honours the 93 local men who fell in the First World War (the same names that were originally recorded on the trees) and the 39 who fell in the Second World War. The erection of the cenotaph was delayed as the Committees first priority was to provide for the welfare of returned soldiers. A memorial honour board had already been erected by the committee in the Town Hall.</p><br>
<p>Planted behind the monument are nine pine trees which were grown from seeds allegedly collected at Lone Pine, Gallipoli.</p><br>
<p>The traditional ANZAC Day march moves from the Roma railway station to the cenotaph in Queen&#39;s Park.</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". 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>
<h2>Description</h2><br>
<p>The First World War Memorial encompasses a large area and comprises the avenues of trees, the cairn and the cenotaph.</p><br>
<p>The avenue of trees begins at the Roma railway stations, turns right into Wyndham Street and left into Bungil Street ending just after the intersection with Hawthorne Street. There are over 90 trees, all of which are bottle trees (Brachychiton rupestris).</p><br>
<p>The cairn is located outside the Post Office and is a white painted concrete pillar with a large chamfer on the top corner. The chamfered face displays a bronze plaque with the names of the 93 local men who fell in the First World War. These names were originally located on plaques attached to each tree.</p><br>
<p>The memorial located in Queens Park comprises a cenotaph sitting on a slightly larger base, both of rock faced pale grey granite. The cenotaph has three leaded marble plaques which are recessed into the granite. The front face (facing Bungil Street) bears Laurence Binyons ode "For the Fallen" with a bronze AIF badge above. The rear plaque bears the 93 names of the fallen with a bronze laurel wreath above. A later plaque has been added to the eastern side to commemorate the 39 local men who fell in the Second World War.</p><br>
<p>The cenotaph is located in the centre of a paved area facing the end of the avenue of bottle trees. It is surrounded by a formal setting of kerbed paths and grassed areas. Encircling it is a semi-circle of nine pine trees which are allegedly grown from seeds collected from the Lone Pine at Gallipoli.</p><br>
<h2>Fallen soldiers</h2><br>
<p>The fallen soldiers commemorated by the War Memorial and associated avenue of bottle trees include:</p><br>
<p>Neil McMaster Crawford, Private 31st Battalion, died 26 September 1917 at the Battle of Menin Road</p><br>
<p>James Henry Frederick, Private 25th Battalion, died 4 July 1918, memorial at Crucifix Corner Cemetery Villers-Bretonneux, The Somme, France.</p><br>
<p>David Alexander Murphy, Lance Corporal 15th Battalion, cabinet maker, friend of Neil Crawford, died at Polygon Wood 26 September 1917, memorial on Menin Gate, Ypres.</p><br>
<h2>Heritage listing</h2><br>
<p>War Memorial and Heroes Avenue 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 Roma avenue of trees was planted by 1920, and the "cenotaph" was erected in 1938.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>Avenues of trees as memorials, and particularly those where each tree is attributed to a particular fallen serviceman are uncommon in Queensland. Most memorials erected during or after the First World War were of the monumental type.</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>It 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 war memorial planting is arguably one of the most impressive in Queensland and is of aesthetic significance as a dominant landmark in 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>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 Robert P. Carr House is a historic house on Main Street in Bowdoinham, Maine. It is a high quality area example of Italianate architecture, built about 1870 for one of the town&#39;s most prominent citzens of the period. The house was listed on the National Register of Historic Places in 1990.</p><br>
<h2>Description and history</h2><br>
<p>The Robert P. Carr House stands on the north side of Main Street (Maine State Route 125), a short way east of its junction with Center Street and Back Hill Road. It is an L-shaped 2-1/2 story wood frame structure, with a cross-gable roof, clapboard siding, and granite foundation. Its street-facing front facade is two bays wide, with polygonal bays on the first floor topped by bracketed hip roofs. The building corners have paneled pilasters, rising to an eave studded with paired brackets. The front gable has a deep eave, also with paired brackets and modillions. A round window is at the center of the gable, sheltered by a bracketed hood. The main entrance is on the right side, near the crook of the L, sheltered by a porch. The interior of the house features high quality period woodwork.</p><br>
<p>The house was built about 1870 for Robert Potter Carr, a prominent local businessman and politician, and is a remarkably high-style Italianate structure for a relative modest rural village setting. Carr was the owner of the local country store, which was established by his father. He is believed to be one of the first people in the town to engage in the business of ice harvesting on a commercial scale. Carr served for many years in the state legislature, and in county-level positions.</p><br>
<p>Songo Lock is the last surviving lock of the Cumberland and Oxford Canal, a 19th-century canal in southern Maine, United States. The lock is located on the Songo River, just above its confluence with the Crooked River at the northern end of Sebago Lake State Park in the town of Naples. The lock, built in 1830, is now used primarily during the summer months by pleasure craft. It was listed on the National Register of Historic Places in 1970.</p><br>
<h2>Description and history</h2><br>
<p>The Cumberland and Oxford Canal was conceived in the early 19th century as a means to transports raw materials and goods between the harbor of Portland, Maine and the upland interior as far north as Bridgton and Harrison on Long Lake. The canal was completed in 1830, the year Songo Lock was finished, and operated as a commercial transport enterprise until 1870. Songo Lock was one of the 28 locks built for the canal, and provides a major transit point between Sebago Lake and Brandy Pond, the southernmost portion of Long Lake. The lock underwent enlargement and some modernization in 1911 by the Sebago Lake Improvement Company, which was developing the area as a summer resort destination. It is now maintained by the state as part of Sebago Lake State Park.</p><br>
<p>When built in 1830, the lock was 90 ft long and 26 ft wide, and was built to one side of an artificial rubblestone island, part of a scheme to divert the slow-flowing river around the construction site. The sides of the lock are granite, and its original control gates were wooden. When the lock was rebuilt in 1911, it was enlarged to be 110 ft long and 28 ft wide, it was given iron gates, and the walls were faced in concrete.</p><br>
<p>Wielki Staw Polski  - is a tarn located in the High Tatras, at an elevation of 1,665 metres above sea level in the Valley of the Five Polish Lakes , by the slope of the Miedziane. The lake is the second-largest lake by area  in the Tatra Mountains after the Morskie Oko . The lake is located in the Lesser Poland Voivodeship; in Poland.</p><br>
<p>Wielki Staw Polski is the deepest and longest (998 metres) lake in the Tatra Mountains, and the third-deepest lake in Poland (the deepest lake is Hańcza. The lakes volume is around 13 million m³ of water, and it is the largest lake by volume in the Tatra Mountains (its volume makes up one third of all lakes in the Tatra Mountains lakes). The highest temperature of the lakes water was 11.2 &deg;C.</p><br>
<p>The Southern Vermont Arts Center is a multi-disciplinary arts organization in Manchester, Vermont. It is located on the west side of West Road, at the former Yester House country estate. The center includes art galleries with permanent and rotating exhibits, the areas largest sculpture park, a performance space, and educational facilities. Its grounds are open to the public for recreational pursuits, with trails for hiking and cross-country skiing. The centers campus is listed on the National Register of Historic Places.</p><br>
<h2>Programs</h2><br>
<h2>Campus history</h2><br>
<p>The centers campus, first used as a farm and woodlot by members of the Orvis family, was established as a summer country estate by William and Gertrude Divine Ritter, then of Columbus, Ohio, in 1916. The Ritters hired the New York City architectural firm Murphy and Dana to design the main buildings of the estate, include the large 28-room Colonial Revival main house, now known as the Yester House Gallery. The Ritters apparently separated during the development of the estates plans, and were soon divorced. Gertrude Divine Ritter retained ownership of the estate, soon afterward remarrying, to Hugh Webster. Mrs. Webster used the estate for entertainment, and to display collected artworks, including more than 6,000 pieces of hand-blown glass. Although she wanted the house to become a museum for her collections, they were auctioned off after her death in 1947, and the property was put up for sale. Southern Vermont Artists, Inc. purchased it in 1950, and began development of the arts center with summer exhibits.</p><br>
<p>The campus has since then grown to include a modern gallery, open-air performance pavilion, and an education center.</p><br>
<p>Elizabeth Lake is a freshwater lake located in Waterford Township, Michigan along the Clinton River. It connects upstream to 90-acre Crescent Lake and downstream to 1,280-acre Cass Lake.</p><br>
<p>The lake is located south of Elizabeth Lake Road, north of Cass-Elizabeth Road, east of Cooley Lake Road, and west of Cass Lake Roads. The sand-bottom lake is 363 acres, making it the thirteenth largest lake in Oakland County, Michigan. At its deepest point, the lake is 72 feet deep.</p><br>
<h2>Namesake</h2><br>
<p>Elizabeth Lake was named for Elizabeth Cass, the wife of Territorial Governor of Michigan Lewis Cass</p><br>
<h2>Surroundings</h2><br>
<p>Elizabeth Lake is surrounded by residential neighborhoods on all sides of the lake, with many varieties of waterfront homes, ranging from 800 square foot to 5,400 square foot homes. The eclectic home styles on Elizabeth Lake include bungalows, cape cods, colonial, ranches and split levels. The homes on the lake were built as far back as the 1940s.</p><br>
<h2>Fish</h2><br>
<p>Elizabeth 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 Matthew Edel Blacksmith Shop and House are historic buildings located in Haverhill, Iowa, United States. The complex includes the blacksmith shop from the early 1880s, a garage addition from 1915, a house from the early 1890s, and a summer kitchen . It is a state historic site.</p><br>
<h2>History</h2><br>
<p>A native of Stuttgart, Germany, Matthew emigrated with his family to the United States in 1873, settling in Effingham, Illinois. While living there, he invented and patented a wire-binder grain harvester. He received financial backing from his neighbors and others in town, however the Deering Harvester Company successfully marketed a similar machine about the same time and his machine failed. He moved to Iowa, settling near Iowa City where he met Maria Hoffman. Matthew moved to Haverhill in 1883, and he opened a blacksmith shop. He married Maria the same year, and they lived on the second floor above the shop. Together they raised eight children. As the business prospered, Matthew expanded the shop and in the early 1890s built the two-story Late Victorian frame house. The summer kitchen may have been on the property when Matthew bought it, but it cannot be determined when it was built. It is from the same era as the shop and the house.</p><br>
<p>In addition to the normal blacksmith tasks, Matthew received patents on several of his inventions. In addition to the wire grain-binder, he also received patents for the Perfection De-Horning Clipper (1895), fence stretcher (1899), Perfection Wedge Cutter (1901), a type of nut pliers (date unknown), and Edel’s Garden Weeding and Cultivating Hoe (1924). Based on the testimonials on his brochures, he sold his products to customers in the Midwest and Northeast. He also made metal grave markers similar to those found in Germany. Outside of the German-Russian immigrants of North Dakota, this type of grave marker is rare in the United States.</p><br>
<p>While Matthew operated the blacksmith shop into the late 1930s, he realized he needed to adapt in order to stay in business. He expanded the shop in 1915 to include automobile repairs. His son Louis went Des Moines to study auto repair, and joined his father in business. Matthew died in 1940. Louis moved to Waterloo, Iowa in 1952, but continued to maintain his father&#39;s blacksmith shop basically as he had left it. He returned to Haverhill in 1964,and re-opened the automobile repair shop on a part-time basis. Louis auctioned off his tools in April 1978, and moved to Arizona where he died the following month. The complex was listed on the National Register of Historic Places in 1983, and Louis Edel’s heirs donated it to the State Historical Society of Iowa in 1986, which operates it as a historic site.</p><br>
<p>Silver Lake is a freshwater lake located in Waterford Township, Michigan in Oakland County, Michigan, United States.</p><br>
<p>The lake is located south of Walton Blvd., north of Silver Lake Road, and east of Dixie Highway.</p><br>
<p>Silver Lake is located on the Clinton River watershed. Silver lake connects with Loon Lake to the west and with Upper Silver Lake (35.5 acres) to the east.</p><br>
<p>The sand-bottom lake is 101 acres.</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>
<h2>Historical significance</h2><br>
<p>In 1818, Major and Mrs. Oliver Williams and their eight children set out to settle Oakland County along with Mr. and Mrs. Alpheus Williams, their four daughters and two sons, and Captain Archibald Phillips. Major Williams and his family established the first farm settlement in the county on the south shore of Silver Lake. Their farm was the first farm settlement on the Saginaw Trail.</p><br>
<p>In 1821, the first school in Oakland County was started in the loft of Oliver Williams&#39; sheep barn on the banks of Silver Lake. There were seven students.</p><br>
<p>In 1822, the first schoolhouse built of logs on Oliver Williams farm, south of Silver Lake. This was first school building in Oakland County and had 13 students.</p><br>
<h2>Surroundings</h2><br>
<p>Silver Lake is surrounded by heavily-wooded residential neighborhoods on all sides of the lake. There is a private boat ramp off of Walton Blvd.</p><br>
<h2>Fish</h2><br>
<p>Silver Lake contains a variety of fish, including black crappie, bluegill, largemouth bass, rock bass, smallmouth bass, sunfish, and yellow perch.</p><br>
<p>The Marshalltown Downtown Historic District is a nationally recognized historic district located in Marshalltown, Iowa, United States. It was listed on the National Register of Historic Places in 2002. The historic district covers most of the city&#39;s central business district. All of it is within the original town of Marshalltown, which was laid out and recorded on August 15, 1853 as the village of Marshall. Confusion with a town with the same name in Henry County led this village to be renamed Marshalltown in 1862. It was incorporated the following year.</p><br>
<p>The district contains a mix of commercial buildings, an opera house, a movie theater, a fraternal hall and warehouses. The civic buildings include the Marshall County Courthouse, sheriffs residence, municipal building, civic auditorium and public library. The buildings range in size from narrow, two-story commercial blocks to three story corner blocks, and the seven-story Hotel Tallcorn. The period of significance is from 1862 to 1950, and the buildings are constructed during that time frame. The commercial Italianate, Romanesque Revival, and especially vernacular architecture are dominant. Prominent architects who have buildings in the district include John C. Cochrane (courthouse; 1886), Patton and Miller (public library; 1902), Harry E. Reimer (Marshalltown Municipal Building; 1921), and Josselyn and Todd (Marshalltown Memorial Coliseum; 1929).</p><br>
<p>The State Center Commercial Historic District is a nationally recognized historic district located in State Center, Iowa, United States. It was listed on the National Register of Historic Places in 2002. The historic district covers the towns central business district. State Center is located at the highest point in Marshall County, midway between Marshalltown and Nevada. The town was established by the Cedar Rapids & Missouri Railroad on 80 acre of land in 1863. It was initially named "Centre Station," but William Barnes, the first railroad agent, changed the towns name to "State Centre."</p><br>
<p>The Lincoln Highway was originally routed on Fourth and Fifth Streets through town. The route was changed around 1924 bringing it down Main Street, which was paved in 1930. Unlike many other towns along the route, the street was paved with concrete rather than brick pavers. Main Street is one of the contributing structures in the historic district.</p><br>
<p>The district contains a mix of commercial buildings, an opera house, a medical facility, residential and industrial structures. Civic buildings include the fire station, city hall, post office, and former high school (now a middle school). Watsons Grocery was individually listed on the National Register of Historic Places in 1998. The buildings range in size from small scale and modest size structures, which reflect the impact of destructive fires in 1895 and 1917 and State Centers modest commercial economy. The period of significance is from 1869 to 1952, and the buildings are constructed during that time frame. Late 19th and early 20th century revival styles and the Prairie School style are dominant.</p><br>
<p>The Digger Statue is a heritage-listed memorial at 57 Heeney Street, Chinchilla, Western Downs Region, Queensland, Australia. It was designed by Andrew Lang Petrie and built in 1919 by A L Petrie & Son. It is also known as Chinchilla WWI Memorial and Chinchilla Soldier Statue. It was added to the Queensland Heritage Register on 1 August 1999.</p><br>
<h2>History</h2><br>
<p>The Chinchilla digger statue was erected as part of the Chinchilla War Memorial, unveiled on 30 January 1919 by the Governor of Queensland, Sir Hamilton John Goold-Adams, GCMG, CB. The memorial was designed and executed by the well-known monumental masonry firm of AL Petrie of Toowong, Brisbane. In 1977 the statue was removed from its original position and separated from its pedestal and base. Part of the pedestal was re-erected in Fuller Place in Heeney Street in 1979, surmounted by a spire; while the statue was kept in storage until re-erected in front of the Returned Services League of Australia (RSL) hall further south on Heeney Street in 1992.</p><br>
<p>The Chinchilla district, on the northern Darling Downs, had been opened to non-indigenous settlement following explorer Ludwig Leichhardts journey through this area in late 1844. Pastoral runs (both sheep and cattle) were taken up in the second half of the 1840s, including Matthew Goggs Chinchilla run (by 1848). At Charleys Creek, on the main dray route from Toowoomba to western Queensland, teamsters regularly camped, and by late 1876 a small township of three hotels, three stores and two butcher shops had been established there. With the Western Railway extension from Dalby to Dulacca constructed in the 1870s, the Chinchilla railway station opened at Charleys Creek in January 1878, and remained the railhead until August that year. The town of Chinchilla was surveyed around the railway station in late 1880/early 1881, and in the last two decades of the 19th century, developed as a railway locomotive depot (mid-way on the Toowoomba-Roma run), and as a service centre to surrounding pastoral properties. In the early years of the 20th century, the town&#39;s progress was retarded by the spread of prickly pear throughout the district. In 1917, 1920 and 1922 devastating fires which destroyed many of the commercial buildings in Chinchilla Street (one entire side was destroyed in 1922). Rapid eradication of the prickly pear following the introduction of cactoblastis larvae in the mid-1920s opened the area to closer settlement, and during the 1930s Chinchilla prospered as a district centre, despite worldwide economic depression.</p><br>
<p>As early as 1915, residents of Chinchilla formed a committee to raise funds for a memorial to the soldiers and a nurse from Chinchilla Shire serving or having given their lives in World War I (1914–18). At the time, war memorials were becoming a feature of the Australian landscape, recording the devastating impact of war on a young nation. By the war&#39;s end, some 60,000 Australians had lost their lives from a population of about 4 million, representing one in five of those who served. By 1925 most communities across the nation had a war memorial, a visible expression of grief that cut across class, ethnic and other divisions of Australian society. To those that erected them, war memorials were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East.</p><br>
<p>For their war memorial, the Chinchilla residents chose a monument to be supplied by the leading monumental masonry firm of AL Petrie of Toowong, Brisbane. The firm was responsible for many of Queenslands war memorials, distributing them via the railways and a network of country agents. Petries offered a range of memorial types, but the most common being a digger (soldier) statue standing on a sandstone pedestal which bore a series of marble plates with leaded inscriptions and names; this in turn resting on a granite base. This common type was commissioned for Chinchilla. The cost of such a memorial averaged about £300.</p><br>
<p>Originally the Chinchilla War Memorial occupied a prominent position in the townscape, in a small memorial park in Chinchilla Street, near the footbridge over the railway line. In the early 1920s the Chinchilla branch of the Queensland Country Women&#39;s Association (established 1922), became involved in the landscaping of the park. A 1935 photograph shows a garden with four paths bordered by low bushes, leading to the war memorial, which provided the central focus to the park. Palm trees, trellises and a white picket fence and gate contributed to the park aesthetics. In 1952 nearly half of the memorial park was resumed for road purposes.</p><br>
<p>By the 1970s the town centre had shifted from Chinchilla Street to Heeney Street, south of the railway line; hence in 1977 the war memorial was also relocated. The pedestal, refurbished by the Toowoomba firm of Zeiglers and incorporating the original marble plates but not its four urns, was erected at Fuller Place in Heeney Street, in front of the Chinchilla Civic Centre where it was re-dedicated on 17 March 1979. The new structure was crowned by an aluminium obelisk while the soldier statue, which had been vandalised, was stored at the local museum. In 1992 the Womens Auxiliary of the Chinchilla Sub-Branch of the Returned Services League of Australia raised funds for the restoration of the statue and its relocation to the front grounds of the RSL Sub Branch Hall in Heeney Street, on the opposite side of the road and about a block south from Fuller Place and the official Chinchilla War Memorial.</p><br>
<p>The Chinchilla statue remains one of an important group of 55 surviving soldier statues, of the 61 erected throughout Queensland during or soon after World War I.</p><br>
<h2>Description</h2><br>
<p>The Chinchilla soldier statue is located in the front grounds of the Chinchilla RSL Hall in Heeney Street, close to the building, and facing the street. It is a slightly smaller than life-sized (1.54 m) sandstone statue of an Australian infantryman with slouch hat, standing at ease and resting the butt of his rifle on the ground, supported at the base by a tree stump (as were most soldier statues). The statue stands on a sandstone block, a remnant of the original pedestal, ornamented on the front face with crossed flags carved in relief. The flags, a British Union Jack and the Australian flag, symbolise the dual nature of Australian patriotism at the time and old photographs show that they were originally painted in red, white and blue. This block in turn rests on another, larger and more recent sandstone block, which has a brass plaque on the front face, with the inscription: "Renovated & Relocated by the RSL Women&#39;s Auxiliary 1992". The whole rests on a ground-level concrete foundation, and is surrounded by a modern metal fence (not considered of cultural heritage significance). A shade structure has been erected over it, which also is not of cultural heritage significance. Two metal flag poles are bolted to the outer rear corners of the concrete foundation. Unfortunately, the statue has been painted in semi-realistic colours, which was not the original intention, and the hands and rifle have been replaced following earlier vandalism.</p><br>
<p>The Chinchilla statue is typical of the soldier statues supplied by the firm of AL Petrie throughout Queensland, which depict ordinary Australian infantrymen standing either at ease or attention, or in mourning with arms reversed. The former, as chosen by Chinchilla, was generally used if the memorial bore the names of all who served from a community whereas a figure in mourning was preferred if the memorial bore only the names of the dead. The original pedestal, the "Coomera" type, was crowned by urns (a symbol of death) on all four corners and had corner pilasters with acanthus leaf capitals. It was similar to the pedestals supplied by Petrie&#39;s for the war memorials at Upper Coomera (the earliest, in 1918, Gold Coast City Council Local Heritage Register 0073), Cordalba, Moggill, Tingalpa, Kandanga, Gin Gin, Tewantin, Cooroy and Herberton.</p><br>
<h2>Heritage listing</h2><br>
<p>The Chinchilla Digger Statue was listed on the Queensland Heritage Register on 1 August 1999 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 Chinchilla Digger Statue, erected in 1919 as part of the local community&#39;s memorial to World War I and funded by public subscription, no longer retains its physical association with the official memorial, however it still serves as a reminder of the contribution of the Chinchilla district to the war effort. It has acquired, in its relocation, a more recent association with the local branch of the Returned Services League of Australia.</p><br>
<p>The statue, now located just outside the local RSL Hall, surrounded by a metal fence, lacking its original pedestal and base - and consequently its associated inscriptions and name plates - and repaired and painted, has lost its landmark and documentary value, and also much of its aesthetic and symbolic value. However, it is one of an important group of soldier statues erected throughout Queensland during or soon after World War I, these being the state&#39;s most popular type of war monument.</p><br>
<p>St Monica&#39;s War Memorial Cathedral is a heritage-listed Roman Catholic cathedral at 183 Abbott Street, Cairns, Cairns Region, Queensland, Australia. It was designed by Ian Ferrier and built from 1967 to 1968. It was added to the Queensland Heritage Register on 31 August 1998.</p><br>
<h2>History</h2><br>
<p>St Monicas War Memorial Cathedral, dedicated as a memorial to the Battle of the Coral Sea, was constructed in 1967-68. The Cathedral is surrounded by the Old Cathedral, Bishops House, St Josephs Convent and St Monicas High School Administration Building, which together form a highly intact ecclesiastical group. St Monica&#39;s War Memorial Cathedral is the only Cathedral in Cairns, as the seat of the Anglican Bishops in the region was Thursday Island, for the Diocese of Carpentaria, until it was incorporated into the Diocese of North Queensland centred in Townsville.</p><br>
<p>Cairns was established in October 1876, as a port to service the Hodgkinson goldfields. In the same year the area from Cardwell to Cape York was separated from the Roman Catholic Diocese of Brisbane as the Pro-Vicariate of North Queensland. In 1884 three Irish Augustinian fathers took charge of the Pro-Vicariate, establishing a priory at Cooktown, and in 1885 they founded the parish of St Monicas at Cairns. An acre of land bounded by Abbott, Minnie and Lake Streets was acquired and the first St Monicas Church, a timber building at the corner of Abbott and Minnie Streets, was opened on 10 January 1886. A school fronting Minnie Street opened at the beginning of the 1890 school year - staffed initially by lay teachers, but from October 1892 by Sisters of Mercy from St Marys Convent in Cooktown, who established a foundation in Cairns. In 1906 the Vicar Apostolic of Cooktown moved his residence to Cairns, which had eclipsed Cooktown as the principal port of Far North Queensland, and at this time St Monicas Church acquired the status of Pro-Cathedral.</p><br>
<p>The first St Monicas church and school were destroyed in the cyclone of 9 February 1927. Plans for a Cathedral had to be abandoned as appeals were launched locally and in southern Dioceses for reconstruction funds. Lawrence and Lordan, architects of Cairns, designed a building to function as both church and school. In the interim, mass was held at the Palace Picture Theatre, and the convent school was conducted at the Irish Associations Hibernian Hall.</p><br>
<p>Tenders for the new church-school at the corner of Minnie and Lake Streets were called in March 1927. The large reinforced concrete building, which seated 900, was officially opened on 16 October 1927 and cost nearly £9,000 to erect. The ground floor contained the school, and the upper storey housed the church, including the altar from the first St Monica&#39;s Church.</p><br>
<p>The construction of this church-school illustrated the strength of the Catholic Church in the Cairns district in the 1920s. The effects of the February 1927 cyclone, followed almost immediately by flood damage, a severe trade depression, and waterfront disputes affecting the city&#39;s building industry, did not deter the predominantly working- class Catholic community of Cairns from raising within 8 months nearly £5,000 toward the re-construction.</p><br>
<p>On 8 July 1941 the Vicariate Apostolic of Cooktown was raised to the status of Diocese of Cairns with Fr John Heavey (Vicar Apostolic since 1914) as the first Bishop of Cairns. At this time St Monicas Church became St Monicas Cathedral, and imposing front stairs were added to the Minnie Street facade.</p><br>
<p>Bishop Heavey, the last Bishop of the Augustinian Order in the Cairns Diocese, died in June 1948 and was succeeded by the Most Rev. Thomas Cahill. Bishop Cahill began the changeover to an administration conducted by the Diocesan Clergy, and from this point the number of Augustinian priests in the area declined. The majority of new priests who arrived were Queenslanders who had studied for the Priesthood at Banyo Seminary, Brisbane. Bishop Cahill began extending functions and procedures in the area now that it was a Diocese and no longer "missionary territory". In 1951 he welcomed the Sisters of the Little Company of Mary to Cairns, who later opened Calvary Hospital, and the Bethlehem Home for the Aged was opened by the Sisters of Mercy in 1967.</p><br>
<p>In 1958, the means of fund raising for St Monica&#39;s parish passed from the voluntary work of organisations and offerings in the Sunday collection, to the more organised scheme of "planned giving". This enabled the parish to plan ahead financially and borrow funds accordingly for particular projects. The scheme of "planned giving" was adopted throughout Queensland, and was an important contributing factor which enabled the construction and adaptation of a large number of churches during the 1950-60s to accommodate the post Second World War increase in population, and later to reflect changes mandated by the Second Vatican Council decree on the liturgy.</p><br>
<p>The construction of St Monicas War Memorial Cathedral was one of the major achievements of Bishop Cahills episcopate. Bishop Cahill however never presided in the new Cathedral as Bishop of Cairns. He was appointed Archbishop of Canberra-Goulburn Arch-Diocese, prior to the completion of St Monica&#39;s War Memorial Cathedral, where he remained until his death in 1976. He was also appointed to the Chair of the Episcopal Liturgical Commission. The Most Rev. John Torpie became Bishop of Cairns in 1967.</p><br>
<p>Brisbane architect Ian Ferrier was commissioned in 1965 to design the new Cathedral, having also designed Cathedrals in Darwin and Port Moresby, both of which have strong references to the indigenous culture of their particular regions.</p><br>
<p>Ian Ferrier designed many projects for the Catholic Church throughout Queensland during his career. He graduated in architecture from McGill University, Canada in 1952 and came to Australia in 1953 where he spent two years working in Sydney. He moved to Brisbane in 1955 to work for architect Jack Donoghue. In 1957 he received substantial commissions which enabled him to establish his own practice. Early commissions were mainly in the fields of education, health and ecclesiastical architecture, and throughout his career Ian Ferrier designed some 25 churches and chapels, as well as the Cathedrals of Cairns, Darwin and Port Moresby. Ian Ferrier also played an active role in the affairs of his profession, and in 1980 became National President of the Royal Australian Institute of Architects. He was awarded the Board of Architects of Queensland inaugural Architect of the Year award in 1995, and retired from practice in 1996. Ian Ferrier also designs the Coat of Arms for Catholic Bishops in Queensland, including the Bishop of Cairns, as well as interstate Bishops, universities and municipalities.</p><br>
<p>Bishop Cahill attended the Second Vatican Council, 1961–65, at which the public worship of the Catholic Church was subject to substantial revision after a period of approximately 450 years of rigidity. St Monicas War Memorial Cathedral was designed to reflect materially the changes mandated by the Second Vatican Councils decree on the liturgy, and it is thought that it may be one of the earliest Cathedrals designed in an attempt to reflect these changes. Of particular note are the following:</p><br>
<p>the altar is free standing so that the celebrant may face the people</p><br>
<p>in place of the High Altar is the Bishop&#39;s Chair</p><br>
<p>the Blessed Sacrament is reserved in a small private prayer chapel to the side</p><br>
<p>The baptistery is a separate structure with a circular plan attached to the northern side of the narthex, and symbolises baptism as the sacrament of entry to the church in the tradition of the Italian Cathedrals such as Pisa, Florence and Sienna. The baptistery does not reflect the changes mandated by the Second Vatican Council as the Baptismal Rites Latin edition was not produced until 1969, and the English edition in 1971. Similarly, a choir loft was constructed above the narthex, which pre-dated the changes mandated concerning the role of the choir and music in the celebration of the mass.</p><br>
<p>St Monicas War Memorial Cathedral follows the basic form of the original basilica model of the early churches of the Roman Latin Rite. Bishop Cahill requested the architect to design the Cathedral with arches as a major design element; however Ian Ferrier has said that he found it a challenge to reconcile the use of arches whilst designing in the modernist idiom. He developed a system of reinforced concrete arches along either side of the Cathedral, which house leadlight windows surmounting doors to side verandahs. The side arches were designed in concert with a vaulted ceiling; however due to cost constraints, the vaulted ceiling was eliminated and a flat soffit erected in its place which internally obscures the top of the arch. The Cathedral was constructed with a reinforced concrete frame, with inner and outer skins of brickwork, and the side verandahs were designed to allow the side doors to be left open, particularly during the wet season, to allow cross ventilation. The original design included transepts, which were deleted due to cost constraints; however a section of the southern transept was retained as a side chapel. The original design of the Cathedral also called for more extensive use of marble, particularly to the floors of the nave and sanctuary. The architects original intention for the leadlight windows was to eventually house stained glass when funds permitted, but in the interim to use gold and light blue glass as per his design for the Sisters of Mercy St Bernard&#39;s College, Herberton. However Bishop Cahill did not like the colour blue and requested that the windows be constructed with a field of burgundy red glass with an amber border. It was not until the glass was being installed that the enormous impact of the vast areas of burgundy red glass began to be felt. However, as the glass had been paid for and delivered to site there was no option but to install it.</p><br>
<p>The foundation stone was laid on 28 May 1967, and the Cathedral was consecrated on 8 July 1968 by the Most Rev. Cahill Archbishop of Canberra-Goulburn, and opened on 14 July 1968 by Cardinal Gilroy Archbishop of Sydney. The Cathedral was dedicated as a memorial to the Battle of the Coral Sea which was fought due east of Cairns from 4–8 May 1942. The baptistery was dedicated to the memory of Patrick and Elizabeth Cahill. On completion of the new Cathedral, the former St Monicas Cathedral ceased functioning as a church, and the Bishops chair was removed to the new Cathedral. The decision to dedicate the Cathedral as a war memorial was partly to access the provision of tax deductibility for donations to the building fund. The final cost of the Cathedral was approximately $300,000.</p><br>
<p>Bishop Torpie retired in August 1985, and was succeeded by Bishop John Bathersby. The Most Rev. Dr James Foley became Bishop of Cairns in August 1992.</p><br>
<p>St Monicas bell was commissioned from M Byrne, bell-founder in Dublin, Ireland. A bell tower was constructed adjacent to the front of the original St Monicas church (demolished in the cyclone of 1927) and the bell was installed, consecrated and blessed in November 1902. Later the tower and bell were moved to the rear of the Bishop&#39;s House until the tower was demolished in 1982. The bell has now been installed at ground level in the grounds of the Cathedral.</p><br>
<p>The Bishops chair is located behind the altar in the Cathedral. The "Bishops Throne" as it was known in ecclesiastical terms prior to September 1968 was presented to St Marys Church, Cooktown by Mr Ambrose J Madden, a Cooktown merchant and businessman. The Vicar Apostolic of Cooktown moved his residence to Cairns in 1906, but it was not until 1940 that the Very Rev. Thomas Hunt suggested to Bishop John Heavey that the throne should be brought down to Cairns. At the end of that year, by the favour of Mr Charles Hayles Snr, the throne was shipped to Cairns. When the Diocese of Cairns was declared on 8 July 1941, and St Monicas became a Cathedral, the throne was already installed. The chair was transferred to its current location in the new Cathedral in 1968.</p><br>
<p>On Sunday 30 November 1969 the Colours of the 51st Infantry Battalion, the Far North Queensland Regiment, were put "to rest" on the wall in the sanctuary of the Cathedral.</p><br>
<p>The "Peace Window", a triple arch window at the eastern entrance to the Cathedral, was installed to coincide with the Victory in the Pacific celebrations in Far North Queensland, celebrating 50 years of peace in the Pacific, on 2 September 1995.</p><br>
<p>In 1998, the replacement of the burgundy red and amber glass in the 24 nave windows commenced. The glass is being replaced with stained/painted glass in a continuous design depicting the whole of Creation as written in the first chapters of Genesis. The artists for both the "Peace Window" and the Creation series are Gerry Cummins and Jill Stehn of Eumundi, Queensland.</p><br>
<h2>Description</h2><br>
<p>St Monicas War Memorial Cathedral is located fronting Abbott Street to the northeast, between the Bishops House to the north and St Joseph&#39;s Convent to the south, within a highly intact ecclesiastical group.</p><br>
<p>In form, the Cathedral consists of one large rectangular space of equal height which houses the narthex, choir gallery, nave and sanctuary. Single-storeyed side verandahs are partially enclosed in places to house a side chapel, confessionals, and entrance to the baptistery, with a single-storeyed vestry and sacristy structure at the rear of the sanctuary. The baptistery is a separate structure with a circular plan which is attached to the northern side of the narthex.</p><br>
<p>The Cathedral has a reinforced concrete frame clad externally with red brickwork and internally with cream brickwork. The dominant external expression is of a large rectangular box articulated by regularly spaced reinforced concrete arched window units surmounted by reinforced concrete spandrel panels and separated by brick piers to parapet height concealing a shallow pitched hipped roof. A single-storeyed verandah with a deep fascia to a horizontal awning supported by concrete columns is located along either side of the Cathedral.</p><br>
<p>The Abbott Street elevation comprises a wide central reinforced concrete arched window surmounting paired timber panelled entrance doors on which are housed the Coat of Arms of the previous Bishops of Cairns. A cantilevered horizontal awning is located above the entrance doors covering a driveway, and the central window has a large reinforced concrete cross clad in ceramic tiles. The central window is flanked by brick piers with a narrower reinforced concrete arched window to either side. The three windows have been reglazed with stained/painted glass forming the commemorative "Peace Window". The Abbott Street elevation is framed by wide panels of brickwork to parapet height, which are flanked by the enclosed ends of the single- storeyed side verandahs each of which have a brickwork panel separated from the main body of the Cathedral by a vertical strip of glazing. The enclosed end of the northern verandah forms the entrance to the baptistery.</p><br>
<p>The baptistery has a circular plan, and in elevation comprises narrow reinforced concrete arched window units surmounted by reinforced concrete spandrel panels and separated by brick piers. The baptistery has a shallow pitched roof with a central aluminium fleche which has a curved base and is surmounted by a cross.</p><br>
<p>Both sides of the Cathedral comprise twelve reinforced concrete arched window units surmounted by reinforced concrete spandrel panels and separated by brick piers, with wider panels of brickwork at either end. Paired timber panelled doors surmounted by pivoting fanlights are located below each arched window and open from the nave and sanctuary onto the side verandahs. The fanlights are glazed to match the arched windows above. Three bays of the southern verandah are enclosed to form a side chapel adjacent to the sanctuary. This side chapel has five narrow reinforced concrete arched window units which are separated by brick piers. All windows in the Cathedral were originally glazed with a burgundy red field and an amber border; however the eastern windows and a number of the northern windows to the nave and sanctuary have been reglazed with stained/painted glass. Two sets of paired confessionals, which are the same height as the side doors and are surmounted by fanlights, are located on both side verandahs.</p><br>
<p>The rear of the Cathedral has a single-storeyed structure which house the vestry and sacristy. It is designed to the same proportions as the side verandahs, and has narrow reinforced concrete arched windows at either end, and the rear wall has small regularly spaced rectangular windows. The rear wall of the sanctuary is face brick to parapet height.</p><br>
<p>Internally, the Cathedral has an overwhelming red glow from the vast expanse of burgundy red glass in the windows. However, this is gradually being diminished with the replacement of the glass with stained/painted glass. The Cathedral has a flat plywood sheeted ceiling which obscures the arched top of the side windows. The nave and sanctuary are within the one large space, with either side characterised by the regular rhythm of vertical windows surmounting paired doors (designed to be open for cross ventilation) separated by solid brick piers. A choir gallery is located above the narthex and is accessed via a narrow stair concealed behind a brick wall to either side of the entrance doors. The choir gallery has a brick balustrade with timber handrail, and stepped timber speakers/screens to either side. The gallery is supported by brick columns with low brick walls attached which separate the narthex from the nave and provide the entrance to the baptistery. The doors to the confessionals to either side of the nave are detailed to match the paired doors opening onto the side verandahs; however these doors have a single leaf to each confessional and open inward.</p><br>
<p>The baptistery houses a central marble baptismal font, and is accessed via ornamental metal gates. The wall sections between the arched windows are clad with cream marbled vinyl tile.</p><br>
<p>The sanctuary comprises almost the same area as the nave and consists of a raised platform accessed via steps with marble treads and risers. A raised platform in the centre houses the altar, and another raised platform against the rear wall houses the Bishops chair and crosier which are set in a marble framed recess which is clad with marbled vinyl tiles and also has the Bishops Coat of Arms. Above this a large crucifix is fixed to the rear wall of the sanctuary. The vestry is accessed from the rear of the sanctuary either side of the Bishop&#39;s chair, and also via paired timber panelled doors either side of the sanctuary. The side chapel is located to the south of the sanctuary, and has a marble framed recess clad with marbled vinyl tiles behind the side altar.</p><br>
<p>Cream Italian marble has been used for the altar, lectern, side altar, baptismal font, consecration stones, holy water fonts, treads and risers in the sanctuary and side chapel, and framing to the recess behind the Bishops chair and side chapel altar. The Bishops chair, crosier and Coat of Arms are of carved timber. Blonde timber has been used for the pews and handrail to the choir gallery.</p><br>
<p>The floors are finished with a pale green vinyl tile, however much of the nave floor has been covered with a dark blue carpet. The floor of the sanctuary was finished with a cream marbled tile, which has also been covered with a cream carpet.</p><br>
<p>The bell from the original St Monica&#39;s church is located to the north of the Cathedral. The bell is set in a low metal frame surmounting a memorial plaque.</p><br>
<h2>Heritage listing</h2><br>
<p>St Monica&#39;s War Memorial Cathedral was listed on the Queensland Heritage Register on 31 August 1998 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>St Monicas War Memorial Cathedral, constructed 1967-68, is significant as one of the earliest Cathedrals designed in an attempt to materially reflect the changes mandated by the Second Vatican Councils decree on the liturgy. After attending the Second Vatican Council, 1961–65, at which the public worship of the Catholic Church was subject to substantial revision after a period of approximately 450 years of rigidity, the Most Rev. Thomas Cahill Bishop of Cairns commissioned Brisbane architect Ian Ferrier to design the Cathedral to reflect these changes. Bishop Cahill was appointed Archbishop of Canberra-Goulburn Arch-Diocese, prior to the completion of St Monica&#39;s War Memorial Cathedral, and was later appointed the Chair of the Australian Episcopal Liturgical Commission.</p><br>
<p>St Monica&#39;s War Memorial Cathedral follows the basic form of the original basilica model of the early churches of the Roman Latin Rite. When commissioned to design the Cairns Cathedral, architect Ian Ferrier had designed the Cathedrals of Darwin and Port Moresby, and during his career designed many projects for the Catholic Church throughout Queensland, including some 25 churches and chapels, as well as the Coat of Arms of the Bishops of Queensland.</p><br>
<p>St Monicas War Memorial Cathedral is an integral member of a highly intact ecclesiastical group which includes the Old Cathedral, Bishops House, St Josephs Convent and St Monicas High School Administration Building, located on a site which has had a strong association with the Catholic community of the region since the Irish Augustinian fathers founded the parish of St Monica in 1885. The Cathedral has had a close association with Catholic worship since its construction, and as the only Cathedral in Cairns (as the seat of the Anglican Bishops is the Diocese of North Queensland centred in Townsville) St Monica&#39;s War Memorial Cathedral has performed an important role as a venue for major religious and civic functions.</p><br>
<p>The dedication of the Cathedral as a war memorial enabled donations to the building fund to be tax deductible. The introduction of the scheme of "planned giving" in St Monica&#39;s parish in 1958 enabled the parish to plan ahead financially and borrow funds accordingly for particular projects. This scheme was adopted throughout Queensland and was an important contributing factor which enabled the construction and adaptation of a large number of churches during the 1950-60s to accommodate post Second World War increases in population, and later to reflect changes mandated by the Second Vatican Council decree on the liturgy.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It is significant as one of the earliest Cathedrals designed in an attempt to materially reflect the changes mandated by the Second Vatican Council&#39;s decree on the liturgy.</p><br>
<p>The Cathedral reflects materially the changes mandated by the Second Vatican Council&#39;s decree on the liturgy, and also demonstrates a considered response to the tropical climate of Cairns.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>St Monica&#39;s War Memorial Cathedral is a landmark which, through its form, scale and materials, makes a strong contribution to the Abbott Street streetscape and Cairns townscape. The Cathedral presents a robust and austere aesthetic which attempts to reconcile the basic form of the original basilica model of the early churches of the Roman Latin Rite whilst being designed in the modernist idiom.</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 memorial, the Cathedral has a strong association with the Cairns community and the community of Far North Queensland. The Cathedral was dedicated as a memorial to the Battle of the Coral Sea which was fought due east of Cairns from 4–8 May 1942. In November 1969 the Colours of the 51st Infantry Battalion, the Far North Queensland Regiment, were put "to rest" on the wall in the sanctuary of the Cathedral. In September 1995 the "Peace Window" was installed to coincide with the Victory in the Pacific celebrations in Far North Queensland, celebrating 50 years of peace in the Pacific.</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>St Monicas War Memorial Cathedral is also an integral member of a highly intact ecclesiastical group which contributes markedly to the citys sense of identity and history, as well as illustrating the evolution of the Catholic Church and Catholic education in Cairns and the surrounding region.</p><br>
<p>Evelyn Scrub War Memorial is a heritage-listed memorial at Jonsson Road, Evelyn, Tablelands Region, Queensland, Australia. It was built. It was added to the Queensland Heritage Register on 28 February 2003.</p><br>
<h2>History</h2><br>
<p>The Evelyn Scrub War Memorial was erected after the First World War (1914-18) on land set aside for the purpose by Edward Daniel. It lists the names of all the men from the Evelyn district who had served in the war. Forty-one names are recorded on the memorial.</p><br>
<p>In 1882 land on the Evelyn Tableland was surveyed into blocks between 160 and 640 acres. Selections were taken up as dairy and agricultural farms. Evelyn township was established on the edge of the rainforest "scrub" in the 1890s as a commercial centre for the Evelyn Tableland farming district. Evelyn Scrub State School was established in 1895. The town had two timber mills, a town hall where congregations for the Salvation Army, Presbyterians and Methodists were held, shops including a general store and butchers shop and some small houses. The railway connecting Ravenshoe with Cairns was completed in 1910 and a horse drawn timber tramway named the Evelyn Scrub Tramline Co was built from Evelyn to connect with the railway line at Turulka about 10 kilometres away and operated until 1921. The railway was used to transport timber from the sawmills to the port of Cairns. In 1918 a wide variety of crops were grown in the region, including English and sweet potato, maize, bananas, pineapples, grapes, oranges, apples, strawberries, peaches, plums, lemons, pawpaw and honey.</p><br>
<p>Following the outbreak of war in Europe in 1914, approximately 90% of the young men from the Evelyn Scrub eventually enlisted for overseas service. Some never returned, and of those who did, very few went back on the land. Community send-offs were held for the volunteers of the Evelyn district at the Pioneer Hotel in Tumoulin. On their return the soldiers were accorded a public welcome.</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>Memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as the 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>The Evelyn Tablelands was severely affected by the prolonged drought of 1915. It was the worst drought on record and cattle were sent away to the newly opened pastures of Millaa Millaa. In 1918 a cyclone again devastated the area, causing extensive damage to crops through flooding and heavy rains. Another drought in 1923 contributed to the economic decline of the Evelyn Tableland. The depression of the early 1930s had a major impact on the towns of the Atherton Tablelands. The three sawmills that had operated on Evelyn Tableland, between them producing £7,705 worth of timber in 1917, were dismantled and removed. Shops and houses from the township were also moved as people sought greater opportunities elsewhere. The school was closed in 1946.</p><br>
<p>The Evelyn War Memorial is now all that now remains of the town. It serves as a reminder of those who served in far away battles and is also an illustration of the once bustling farming and timber getting community in an area that is now sparsely populated. A dawn service is held at the Memorial each ANZAC Day in commemoration of those who served.</p><br>
<h2>Description</h2><br>
<p>The area of the old township of Evelyn is comprised today of grassy paddocks and tall eucalyptus trees, and is used as grazing land for cattle. Timber cattle yards are constructed immediately behind the memorial.</p><br>
<p>The Memorial stands on private property on the Jonsson Road, off the Tumoulin to Ravenshoe Road in the southern Atherton Tablelands.</p><br>
<p>The Memorial is in the form of a substantial pedestal supporting a narrow pointed obelisk topped with a spherical object. The entire monument is concrete. Forty-one names and fates of the men from Evelyn Scrub who served in the Great War are attached to a brass plaque secured to one side of the pedestal behind a glass screen. Of particular interest is the inclusion of the name of an aboriginal person (designated as such) listed among those who died in service. A second plaque is fixed below the first, dedicated to the pioneers of the Evelyn Scrub by the Evelyn Social and Sports Club in 1983.</p><br>
<p>A single flagstaff stands five metres from the memorial on the southern side. There are no associated gardens or plantings remaining at the Memorial.</p><br>
<h2>Heritage listing</h2><br>
<p>Evelyn Scrub War Memorial was listed on the Queensland Heritage Register on 28 February 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>Evelyn Scrub War Memorial, erected, is significant historically as a record of community and district participation in the First World War and as an embodiment of the prevailing sentiments and attitudes at the time.</p><br>
<p>As the last standing structure at what was once the town of Evelyn it illustrates the growth and decline of farming communities in the evolution of the history of the Atherton Tablelands.</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 focus for ANZAC Day ceremonies it is highly valued by the community for its spiritual, symbolic, cultural and social associations.</p><br>
<p>Tieri War Memorial is a heritage-listed memorial at Talagai Avenue, Tieri, Central Highlands Region, Queensland, Australia. It was built in 1984. It was added to the Queensland Heritage Register on 29 June 2001.</p><br>
<h2>History</h2><br>
<p>The Tieri War Memorial was constructed in 1984 in memory of those servicemen and women from the Peak Downs area who served in a number of conflicts, but especially as a memorial to those who served in the Vietnam War.</p><br>
<p>The construction of the memorial came about when two Vietnam Veterans met in Capella on ANZAC Day in 1983. Each one was not aware that the other had served in Vietnam as they were not wearing their medals. This was due to the public feeling connected with the Vietnam War at the time. By the end of that day, however, the two had decided to hold the next ANZAC Day celebrations in Tieri.</p><br>
<p>It took several months to decide on an appropriate memorial which could be placed in the town. During the year, one of the Veterans located a large petrified tree and a piece of this was brought into the town and set up in the shopping centre. Following ANZAC Day celebrations in 1984 it was decided that the shopping centre was not an suitable location for the memorial.</p><br>
<p>With assistance from Mount Isa Mines Limited, who provided the site and paid for the construction, the Tieri War Memorial was completed. Since its construction, many returned servicemen and women have visited the memorial, particularly to commemorate ANZAC Day (25 April) and Long Tan Day (18 August).</p><br>
<h2>Description</h2><br>
<p>The Tieri War Memorial comprises two large pieces of petrified wood. One piece is dedicated as a memorial to those who fought in World War I and World War II and the second piece is dedicated as a memorial to those who served in the Vietnam War, including a brass plaque dedicated to the memory of Cliff (Cliffy) Bond, who served in Vietnam, Malaya and Borneo.</p><br>
<p>The petrified pieces are partly enclosed on one side by a low brick wall. A number of plaques are located on the wall. One plaque commemorates those from the Peak Downs area who served in World Wars One and Two. A second plaque commemorates the tracker dogs of the Vietnam War, (including the names of the eleven dogs) and a third plaque commemorates VJ Day.</p><br>
<p>A group of pencil pines create an avenue toward the memorial and a number of Gallipoli pines are located to the rear of the structure. Flag poles are also located to the rear of the memorial.</p><br>
<h2>Heritage listing</h2><br>
<p>Tieri War Memorial was listed on the Queensland Heritage Register on 29 June 2001 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.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The memorial at Tieri demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the appropriate use of various elements, particularly commemorative plaques and trees, as well as the more unusual use of petrified wood.</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 Tieri War Memorial is especially significant for its strong and continuing association with the community as evidence of the impact of major historic events and as the focal point for the remembrance of those events, particularly as a memorial to those who served in the Vietnam War.</p><br>
<p>St Andrews Presbyterian Memorial Church is a heritage-listed former church at 114 Rankin Street, Innisfail, Cassowary Coast Region, Queensland, Australia. It was designed by Eddie Oribin and built in 1961 by Andrew George Pepper. It is also known as St Andrews Presbyterian Church. It was added to the Queensland Heritage Register on 12 December 2003.</p><br>
<p>The church has been described as "the isoscelean masterpiece of an ever-resourceful maverick architect".</p><br>
<h2>History</h2><br>
<p>St Andrew&#39;s Memorial Church is a striking, A-frame building erected on Rankin Street to the design of far North Queensland architect, Eddie H Oribin. It was constructed for the Presbyterian community of Innisfail in 1961 on the site of, and incorporating part of, an earlier church building. Its innovative design makes a significant contribution to the townscape of Innisfail.</p><br>
<p>Prior to the first regular Presbyterian Church service conducted in the old Court House in October 1913, Innisfail&#39;s monthly services were conducted in the Oddfellows Hall in Owen Street by Mr Charles Fixter, who travelled from Miriwinni.</p><br>
<p>The first committee meeting was held January 1914 and during 1916 the present church site was purchased from Mary Graham. After a £500 bequest was left by Peter Margach for the building fund it was decided that a church should be built. The church construction was commenced early in 1918 but the framework was flattened during a cyclone in March. The building contractor, Frank Robson, replaced the framework and the church was completed and officially opened in November 1918. In 1925, the ground under the church was excavated and a concrete hall built by Peter Van Leeuwen, made possible from another bequest of £499 from Mary Kate Margach. This hall 36x 26was later enlarged by an additional 24&#39; and formed the foundation of the new building.</p><br>
<p>In 1959, a successful stewardship campaign was conducted in which the people pledged to support the church, and as a result, it was decided to proceed with the erection of a church to the Glory of God and as a memorial to those who had paid the supreme sacrifice in World War I, World War II and the Korean War.</p><br>
<p>The church was designed in 1959 by Eddie H Oribin while in association with Sidney George Barnes. Eddie Oribin was born in Cairns in 1927. In 1953 he became a registered architect and formed a partnership with SG Barnes in Cairns, where they undertook residential and commercial work and church commissions. After Barnes death in 1959, Oribin continued his work until 1973 when the office was closed down. Other churches designed by Oribin include the Gordonvale Church of England, St Pauls Anglican Church in Proserpine and the Mareeba Methodist Church.</p><br>
<p>St Andrews Presbyterian Memorial Church at Innisfail was designed to incorporate part of the concrete floor and walls of the old church erected in 1918, which housed the Sunday School kindergarten. Plans for the new church were submitted to the Presbytery by Rev Andrew Leslie McKay of St Andrews Presbyterian Church, Cairns, following approval by the Innisfail congregation. The cost estimate was £18,000 with furnishings to cost £2,000.</p><br>
<p>Tendering for the new church opened on 2 November 1959, closing on 29 January 1960. The successful contractor was local builder AG Pepper. On the 18 May 1960 a new addenda was issued altering the design of the rear wall. Originally Oribin had intended a full length laminated cross extending from the apex to the ground within a glazed diamond gridded frame. Particular grids were to be infilled with hexagonally shaped sashes and small triangular panels of coloured glass. The replacement of the rear wall design was intended to be temporary to alleviate costs and was to be eventually rebuilt as designed - a priority subordinated by the damages requiring repair following Cyclone Winifred.</p><br>
<p>The building was opened and the memorial tablet unveiled on 4 November 1961 by Rev AL McKay as Moderator of the newly formed Presbytery of Carpentaria (separated from the Presbytery of Townsville in August that year). The building as reported in the local press at the time was in the form of a traditional tent, constructed of fabricated steel "A" frames with the main church floor being supported on the cross arm of the "A" with the hall below. The exterior of the building was completely roofed from apex to ground with ribbed aluminium sheeting with three dormer windows on each side for light and ventilation. The seating capacity of the church was 200 with additional choir seating of 30 and the new hall was almost doubled in size.</p><br>
<p>All materials used in the building were purchased locally or through local agents and all work carried out was by the local tradesmen. The church furnishings comprised 24 silky oak polished pews, maple communion table and chairs, polished lectern, marble baptismal font and a polished maple, plate glass sliding door hymn book press. Installed on the choir floor was a double manual Hammond electric organ with tone cabinet and book rests for the choir. Internally the building was lined with diagonally sheeted tulip oaks walls in a natural finish, polished Johnstone River hardwood floor in the church with blue carpeting the full length of the center aisle, and blue rubber flooring to all staircases.</p><br>
<p>The chancel end of the church featured a patterned screen wall with green glass inserts and a softly illuminated gold finished cross surmounting a polished copper flower bowl. Natural light was provided by triangular side dormer windows positioned between the main trusses, triangular front windows surrounding a triangular brickwork panel and three triangular tinted fibreglass rooflights. By night it was lit by indirect fluorescent lights housed in pelmets along the side wall and spot lights in the lighting baffles at the apex.</p><br>
<p>The hall was furnished with laminate covered kitchen cabinets and lit with fluorescent lighting. The minister&#39;s vestry was located at the north-west corner with polished table, chairs and telephone. An open side vestibule located below the three dormer windows to the northern side of the nave completes the ground floor and is suitable for entrance to the building in wet weather.</p><br>
<p>In 1976-1977, the Congregational, Methodist and Presbyterian Churches amalgamated as the Uniting Church in Australia. This formally changed the title of the church from Presbyterian to Uniting Church. On 1 February 1986, cyclone Winifred crossed the Queensland coast causing damage to the church and forcing the congregation to attend services at the East Innisfail State Primary School while the proceeds from fundraising were put towards church repairs. However, rather than repair the church, the cost of which was estimated as extremely high, the Uniting Church gave the building to the Johnstone Shire Council in exchange for a block of land in Scullen Avenue. Using the insurance money collected as a result of the cyclone damage, the congregation erected a new church on this site.</p><br>
<p>When the Uniting Church finally moved to their newly constructed church in Scullen Avenue, mobile items including the pews, cross and altar were moved also. The Oribin-designed church remained unused until 1988, when a separate Presbyterian congregation, which had separated from the Uniting Church, approached the Council to purchase it. Repairs to the church were undertaken by the new congregation through fund raising and voluntary labour, utilizing many sources from Cairns to Innisfail. The largest challenge was repairing the damage to the roof and internal ceiling sheeting incurred during cyclone Winifred. At this period the illuminated cross which had been located on the roof ridge almost 20 metres above the ground, was removed due to maintenance difficulties. Its whereabouts is unknown.</p><br>
<p>In 2016, the building was occupied by a real estate agent.</p><br>
<h2>Description</h2><br>
<p>St Andrew&#39;s Presbyterian church is located on a cut and fill platform on a sloping site on the western side of Rankin Street overlooking the Johnstone River. Rankin Street contains several important civic buildings including the Town Hall and the Catholic Church and the Hospital. With the exception of some minor changes to the ground floor and the removal of furniture, the church is very much as described in the local press at its opening ceremony.</p><br>
<p>St Andrew&#39;s Presbyterian Memorial Church is of A-frame design with a rectangular plan form and is located well above street level, accessed by stairs punctuated by large diamond shaped planter boxes. Pairs of doors under large suspended, tiered awnings provide entry to the church either side of the eastern wall. The eastern wall is of a folded triangular form with bricks laid on the diagonal, housed within a triangulated band of perimeter windows and decorated with a diamond shaped leadlight window with a burning tree motif. The western wall houses sash windows to the kitchen and sanctuary and is clad in timber cabin mould chamfer boards.</p><br>
<p>The steeply pitched roof of the building is clad in ribbed aluminium sheeting with three dormer windows on the north and south sides between the trusses. Where the roof meets the ground, large concrete footings or stormwater drains and planter boxes form the transition. Three triangular roof lights are positioned above the dormer windows at the apex.</p><br>
<p>The lobby occupies the eastern end of the building where a pair of symmetrical staircases against the side walls lead to the church above and the mezzanine floor for the choir above that. At ground level, access to the hall is via a single, central door opening. The hall is a single volume with an open kitchen at its western end. It has high level windows on the southern boundary and pairs of French doors opening onto the open vestibule along its northern side. The stairs to the chancel and the former vestry (converted to toilet facilities) are located at the northwestern corner of this floor. The eastern end of the open vestibule has been more recently enclosed to form a new vestry. The hall floor is a painted concrete slab; the ceiling is lined with battened fibrous cement sheeting, revealing the timber floor structure for the church above.</p><br>
<p>The church walls are lined with vertically-jointed tongue and groove tulip oak boards laid diagonally, radiating out from the apex with center infill panels at the intersection in a dark stained sheet material. Lighting pelmets lining the side walls are decorated with a triangular motif and have triangular cut outs in the base to allow light to wash both up and down the walls. Suspended lighting baffles at the apex filter light from the roof lights above. The chancel has a screen, altar, lectern and planter that also incorporate triangular forms. Behind the screen is a single flight of stairs to the ground floor.</p><br>
<p>The original furniture (including pews and communion table) has been removed to the present Innisfail Uniting Church and the original royal blue carpet and rubber matting (representing the corporate colour of the former Presbyterian Church) has been replaced.</p><br>
<p>A manse is located at the rear of the site and is accessed from a driveway along the northern boundary of the property. It has a rectangular plan form and is highset on stumps and framed, clad and lined in timber. It has a hipped corrugated iron roof and enclosed, encircling verandahs. The manse is leased as a private residence and was not inspected in detail. It is not considered to contribute to the cultural heritage significance of the place.</p><br>
<h2>Heritage listing</h2><br>
<p>St Andrew&#39;s Presbyterian Memorial Church was listed on the Queensland Heritage Register on 12 December 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>Located on the site of and incorporating the first Presbyterian Church in Innisfail, St Andrew&#39;s Presbyterian Memorial Church demonstrates the pattern of development of the Presbyterian community in the region and the commitment to memorialize war dead.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>St Andrews Presbyterian Memorial Church at Innisfail has aesthetic significance as an outstanding and distinctive example of the use of local timbers and craftsmanship in a design reflecting the world-wide influence of the work of American architect Frank Lloyd Wrights ideas on organic architecture. As a tall, A-frame building located on the crest of a ridge overlooking the Johnstone River, St Andrew&#39;s Presbyterian Church is a landmark in Innisfail.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>It also has special association with far north Queensland architect Eddie H Oribin as an outstanding and intact example of his innovative and highly inventive work.</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>St Andrew&#39;s Presbyterian Memorial Church is valued by the community for its townscape and memorial significance.</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 far north Queensland architect Eddie H Oribin as an outstanding and intact example of his innovative and highly inventive work.</p><br>
<p>Shepherd Memorial Church of St Peter is a heritage-listed Anglican church at the corner of Drake Street and Wondai Road, Proston, South Burnett Region, Queensland, Australia. It was designed by Fowell, McConnel and Mansfield and built from 1937 to 1939 by Lesleigh George Windmell Smith. It was added to the Queensland Heritage Register on 9 November 2012.</p><br>
<h2>History</h2><br>
<p>The Shepherd Memorial Church of St Peter (St Peter&#39;s Church), on the corner of Drake Street and Wondai Road, Proston was designed by architects, Fowell, McConnel and Mansfield, supervised by Brisbane architects Lucas and Cummings, and built between December 1937 and July 1939 by LGW Smith, using local bricks. This Scandinavian-influenced church was funded by a bequest from grazier Charles Shepherd of "Aston" near Proston.</p><br>
<p>The town of Proston is sited on land that was originally part of the pastoral lease Wigton, which dated from 1850. In 1910 the Queensland Government opened the land for closer settlement and offered agricultural blocks by ballot. Those who were successful and settled on the land struggled against prickly pear, little reliable water and small returns.</p><br>
<p>Growth of the township of Proston was therefore slow until a branch railway line from Murgon opened in 1923 facilitating growth. A public hall, school, general store, bulk store, hotel, shop and banks were erected thereafter. Eradication of prickly pear in the late 1920s and the opening of a butter factory by the South Burnett Dairy Cooperative in June 1934 and its pre-war expansion again boosted Prostons development. As part of the Wide Bay district, Proston dairy farmers contributed to the districts standing as the second largest milk producer in Queensland during the interwar period. By 1939 Proston possessed many services including a railway station complex with cattle yards, police station, postal department and a school with 102 pupils. A small private hospital, the Boondooma Private Hospital, operated in the region from 1934 to 1940. Numerous small businesses had been established, such as garages, billiard rooms, hairdressers, bakers, plumbers, a restaurant, the Proston Electric Light Company and the CG Baldwin and Sons&#39; sawmill. A telephone service had been installed and main roads construction was progressing.</p><br>
<p>It was during this period of Prostons growth (in 1934) that survey for subdivision of the land on which the Shepherd Memorial Church of St Peters is sited took place. The foundation stone of the St Peter&#39;s Church was laid by the Archbishop of Brisbane, Dr William Wand, on 30 May 1937. Transfer by Deed of Grant of allotments 1, 17 and 18 to the Corporation of the Synod of the Diocese of Brisbane occurred in October 1938. In the meantime, the church was constructed on allotment 1.</p><br>
<p>Funding for the church was provided by the will of Charles Shepherd, who died at the Boondooma Private Hospital in Proston on 7 June 1935, aged 70 years. Leaving neither wife nor offspring, he appointed his bank manager as his executor when making his will two months prior to his death. Charles Shepherds will made two bequests of £50 each to his doctor and the matron of the Boondooma Private Hospital. The remainder of his estate, which totalled £8,687 4s 4d was left to the Corporation of the Synod of the Diocese of Brisbane of the Branch of the Church of England in Queensland; to be held in trust for the Proston and Wondai District (at the time in Kingaroy parish) to be applied in or towards such religious, charitable or educational purposes in the district as the Corporation should think fit. Furthermore, he directed that £3,000 must be used for the erection and furnishing of a church in Proston by the Church of England. Later, his body was exhumed from the Proston Cemetery and placed under St Peters Church in a mortuary chamber shown on the architects&#39; foundation plan. A plaque on the front right-hand-side pew states that his body lies opposite and beneath the aisle.</p><br>
<p>St Peters Church was built using locally-made cream-coloured Wondai bricks. The Wondai Brick and Tile Company made several thousand specially moulded bricks for the door and window reveals and the arched heads. In the words of the architects, "the building is "a symphony in brick"". The Shepherd Memorial Church of St Peter was the first major tender won by the Wondai Brickworks, a business commenced by seven local shareholders with a capital of £350. Their successful tender for St Peters Church led them to discover a suitable clay deposit opposite the Wondai Hospital in Bramston Street, Wondai and establish a factory nearby. After interruption during World War II when the brickworks were taken over by the Australian Army, the business went on to supply bricks throughout southern Queensland, including the former Princess Alexandra Hospital (demolished), Kingaroy Hospital and Wondai Town Hall, as well as houses in the region.</p><br>
<p>St Peters Church has been recognised as an important 20th century building. The churchs design was influenced by European and Scandinavian styles with high walls and a low-pitched tile roof and wide moulded eaves. Of particular note is the ventilation system which uses exceptionally high walls to give a large air space in proportion to the seating capacity of 100. There are both windows and ventilators but the windows do not open. The ventilators are designed to be opened at night to store cool night air in the roof space. The air heated by the congregation rises through grilles into the roof space and out through the gable ends allowing the cooler air to flow downwards.</p><br>
<p>An article in Architecture magazine in 1943 described the building as:"of locally made cream bricks with a tile roof. The plan is a long rectangle with an apse at the east end and a vestry off one side. The entrance is on the south, towards the west end; it is marked by a square tower with a colonnaded lantern at the top surmounted by a weathervane carrying the symbol of St Peter. The organ gallery is above the entrance, whence it is approached by a stair, and opens on to a gallery overlooking the nave. The font is placed immediately opposite the entrance in a gap in the seating, which leaves a few seats between it and the west wall for use at christenings. The pulpit is in brick, and is placed in the south-east corner... The windows have steel frames, and are glazed with heat-resisting glass with a slightly greenish tinge, which helps to give a cool appearance to the interior. The ceiling is of wall board, set out in panels, the sides of the recesses being brilliantly coloured to tone with the windows and the ceiling of the eastern apse."The furnishings, altar, pews and other fittings, designed by the architects, were made from local hardwood. The cost of building was £2,755 19s 5d.</p><br>
<p>The Archbishop of Brisbane, William Wand, stated in his opening and consecration of the church that it "is a distinct departure from the usual design of churches in the diocese". The Archbishop had stated that more churches were required to serve the needs of the congregation, as the church building programme had stagnated because of severe financial problems caused by the Depression of the 1930s. Archbishop Wand urged that churches be constructed in stone and brick and compare favourably with the better class of public buildings being erected in the state. Concerned about the standards of ecclesiastical architecture he insisted that he approve the plans before building projects were undertaken. He reminded the clergy of the factors that should be kept in mind when planning churches and urged the desirability of moving away from the old Gothic styles. His primary motive for this, however, was to avoid obscuring the view of the altar by pillars, not concern for climatic conditions. Despite Archbishop Wand&#39;s comments, the majority of church buildings erected in the 1930s were small wooden structures - pseudo-Gothic with steep roof and high lancet windows - but frequently they were designed to become parish halls when permanent churches could be erected. It was not until the 1950s that church buildings in Queensland, and indeed Australia, moved away from traditional church building types that employed historical revival styles such as Gothic or Romanesque. The Shepherd Memorial Church of St Peter was a notable exception.</p><br>
<p>St Peter&#39;s execution also reflected the "low church" or more Protestant form of Anglican worship rather than the "high church" (Anglo-Catholic) form that became discernible in the Anglican church from the mid-19th century. Generally, Queensland was more "high church". In this form the sanctuary, associated with the chancel was the most important and therefore most decorated part of any high church. Balconies were not permitted and a south porch, a humble entry, was desirable. "Low church" forms have always existed in Queensland, particularly in the south of the state. Churches following this form of Anglicanism were generally plainer in form and additional rituals such as the use of incense were not practised in them. "Low church" forms of Anglican worship demonstrate more reliance on Biblical teaching.</p><br>
<p>In 1940 the firm Fowell, McConnel and Mansfield were awarded the Queensland Meritorious Architecture - Country Division - Award: 1940 in the Ecclesiastical and Institutional (including Educational Buildings and Hospitals) Class by the Queensland Chapter of the Royal Australian Institute of Architects. War conditions prevented the presentation being made until 1943.</p><br>
<p>Both the South Burnett Times, in 1937, and Architecture magazine, in 1943, attributed the churchs design mainly to Kenneth Hamlyn McConnel of Fowell and McConnel Architects (1927-1938). McConnel was a member of the well-known family of Queensland graziers associated with "Cressbrook" in the Brisbane Valley. After his World War I service he was an early graduate of Professor Leslie Wilkinsons School of Architecture at Sydney University where he was awarded a University Medal. Fowell and McConnel formed a partnership in 1927 to enter a competition for the design of Tamworth War Memorial Town Hall, for which they were awarded second place. In the following year they were successful in winning the competition for the British Medical Associations building in Sydneys Macquarie Street, for which they won the first Royal Institute of British Architects (RIBA) medal to be awarded in Australia. In 1935 Fowell and MConnel received the Royal Australian Institute of Architects Sulman Award for St Annes Church at Bondi, which is in the New South Wales State Heritage Register. It also features a ventilation system using stored cool air to circulate throughout. The partnership went on to design many Catholic churches in Sydney and some New South Wales country towns. McConnel left the partnership of Fowell, McConnel and Mansfield (1939), due to ill health in 1939. After World War II he formed McConnel and Smith, later becoming McConnel, Smith and Johnson. This firm was responsible for the Sydney Law Courts, Queens Square, Sydney Water Board headquarters, and the University of Sydney&#39;s law school and faculty of architecture buildings.</p><br>
<p>In 1969 a church building was transferred from Tingoora to the Proston site to serve as the St Peter&#39;s Church Hall. This is located behind the church on a different allotment.</p><br>
<p>On 3 July 1988 St Peter&#39;s celebrated its 50th anniversary with the Bishop of the Western Region, Adrian Charles, a former Wondai minister, leading the commemorative service and planting a memorial tree to mark the occasion.</p><br>
<p>Few changes have been made to St Peters Church. The ceiling of the nave and the sides of the recesses are no longer brilliantly coloured. The naves ceiling is painted a brick red and the ceiling above the chancel is blue. Originally the church was intentionally set amongst eucalyptus trees; however, in the intervening years these have been removed and the site is planted with exotic species.</p><br>
<p>St Peter&#39;s Anglican Church was closed and deconsecrated in November 2015 due to declining congregation numbers. As part of the deconsecration process, any human remains need to be located and reinterred. However, the remains of Charles Shepherd were not found.</p><br>
<h2>Description</h2><br>
<p>The Shepherd Memorial Church of St Peter is located on the corner of Drake Street and Wondai Road, Proston. The church occupies a parcel of land which falls gently toward Drake Street and includes a number of established trees to the street frontages and a concrete pathway, none of which are considered to be of cultural heritage significance.</p><br>
<p>An architectural anomaly in an otherwise rural townscape, the church stands as a very austere composition of four simple architectural forms, each accommodating one of the principal interior areas of the church: the entry/bell tower; nave; chancel and vestry. The cavity brick wall construction is exceptional and features pale, sandy coloured cavity face bricks, with flush vertical and recessed horizontal mustard coloured mortar joints, skilfully laid in a combination of English bond and Flemish garden wall bond with brick- on-edge and soldier course detailing. All openings feature stepped reveals externally and stepped mitred reveals internally.</p><br>
<p>The double height nave of the church is essentially rectangular in plan and runs in an east-west direction under a low pitched gable roof clad with red concrete roof tiles. The eaves are lined with timber boards above exposed decorative rafters that carry half round gutters. A series of long, narrow, high level, arched windows punctuate its northern and southern elevations and contain fixed, nine pane, steel framed windows glazed with randomly set yellow, blue, green and uncoloured obscure glass. Located beneath these windows and of equal width are a series of square, recessed, hit-and-miss brick ventilation panels that reveal the symbol of the cross in their patterning. These baffled ventilation panels, similarly expressed on the interior in metal, are part of the church&#39;s passive cooling system, allowing air to be drawn into the church. The western elevation includes a circular timber vent above a single centrally positioned high level window with arched head housing a fixed, thirty two pane, steel framed window glazed with the same palette of coloured glass. Located below the window is the marble foundation stone of the church commemorating benefactor Charles Shepherd.</p><br>
<p>The square-planned bell tower on the southern elevation contains the entry to the church reached by a set of brick stairs with integrated brick planter boxes. The belltower has a flat concrete roof concealed by parapet walls and is surmounted by a bell enclosure comprising a circular colonnade of eight columns which support a faceted metal clad lantern roof and a weather vane in the likeness of a rooster, the symbol of St Peter. The soffit of this lantern roof is lined with timber boards and the door and window openings are detailed similarly to the nave.</p><br>
<p>The semi-circular planned chancel with truncated low pitched metal clad roof adjoins the eastern end of the nave of the church and is similarly detailed with narrow windows on the north and south elevations. The sub floor area of the altar accommodates a mortuary chamber in which the late Charles Shepherd, benefactor of the church, is entombed. Enclosing the chamber at the eastern end of the chancel, is a dressed timber panel decorated with a timber cross.</p><br>
<p>The vestry is expressed as a simple single storey cubic volume with parapet wall adjoining the north elevation of the nave. Centrally positioned steel-framed casement windows punctuate its northern and western elevations. Concrete stairs enclosed by a low level wall lead to a timber-panelled door located in the eastern elevation of the vestry where it adjoins the nave of the church.</p><br>
<p>Internally the simple plan that gives rise to the austere exterior form of the church is clearly evident.</p><br>
<p>The bell tower accommodates the entry to the church as well as a first level choir loft above and a second level platform accessed by a timber stair and ladder respectively. The choir loft is expressed directly above the main entry as a small balcony with curved solid balustrade overlooking the nave. Opposite the entry, adjacent to the northern wall of the nave, is a cast concrete baptismal font located between the rows of pews which line each side of the central aisle and are crafted from local hardwood. A brass plaque on the front northern pew states that benefactor, Charles Shepherd, is buried opposite that pew, under the aisle, however, he is entombed under the sanctuary of the chancel. The aisles are covered with carpet, the timber floor under the seating, exposed. The ceiling is coffered and lined with Cane-ite sheets painted dark red with expressed joints and perforated ventilation panels. A system of wall lights on decorative metal brackets, mounted between the windows may be a more recent addition.</p><br>
<p>The chancel contains two platforms covered with carpet, stepping up to the sanctuary and altar. A large opening in the eastern end of the nave frames the sanctuary beyond and a curved brick wall with centrally suspended curtain creates the backdrop to the sanctuary and altar. Low level, angled brick walls create the altar rail and the elevated pulpit is located in the south-east corner of the chancel behind a curved face brick wall. Both walls are finished with a dressed timber capping. The sanctuary ceiling is lined with Cane-ite and painted light blue.</p><br>
<p>Notable chancel furnishings crafted from local hardwood include the priests chair and kneeler, the sanctuary altar piece, secondary chair and kneeler, lectern and wall mounted hymnal boards. The figure of a rooster, symbol of St Peter, is carved into the timber facing panel of the priests kneeler. Integrated brick shelving in the walls of the chancel accommodate a timber cross and other ceremonial vessels.</p><br>
<p>A timber panel door on the northern side of the lower altar provides access to the vestry which contains a storage cupboard and a sink area. The timber floor is covered with vinyl and the ceiling is sheeted with masonite finished with cover battens.</p><br>
<h2>Heritage listing</h2><br>
<p>Shepherd Memorial Church of St Peter was listed on the Queensland Heritage Register on 9 November 2012 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 church is important in illustrating closer settlement of Queensland through the development of agricultural settlements and establishment of their service towns in rural Queensland until World War II. These towns were the result of the Queensland government&#39;s policy of closer settlement of the land and its use of branch railway lines to facilitate this objective.</p><br>
<p>St Peters Church demonstrates the establishment phase of town development during which permanent places of worship were built. The church was designed and built during a boom period in Prostons development when the town and region were significant producers of dairy products in Queensland.</p><br>
<p>St Peter&#39;s Church, is important as an early example of modernism in Queensland church architecture, an architectural style which did not become popular for this application until after World War II.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Shepherd Memorial Church of St Peter is important in demonstrating the principal characteristics of an Anglican church in its form and liturgical furniture, while its simplicity and interior treatment represent the "low church" form of Anglican worship.</p><br>
<p>The church is rectangular in form and comprises a nave which seats a congregation of 100, an east chancel, square tower with a colonnaded lantern, an entrance and an organ gallery above, and on the north side, a vestry.</p><br>
<p>Both externally and internally St Peter&#39;s Church remains substantially unchanged since completion of construction in July 1939.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>St Peter&#39;s Church has strong aesthetic value. Its scale and austere fabric and form have been influenced by Romanesque massing principles and twentieth century Scandinavian architectural detailing. The modernist aesthetic of the church juxtaposed with the rural townscape of Proston evokes extreme surprise.</p><br>
<p>It is significant for its high quality workmanship in particular the face brickwork, which shows the influence of the Modern Movement popular in the 1930s.</p><br>
<p>The Shepherd Memorial Church of St Peter is an outstanding example of church design for its period and location. Its massing and high quality brickwork are features of the design which show European and Scandinavian influences. The church is also significant for the way it was designed for the climate, through the use of an unusual ventilation system.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>St Peter&#39;s Church demonstrates a high level of creative achievement. Its architectural excellence and exceptionality is illustrated by its winning the 1940 RAIA Queensland Chapter Award for Ecclesiastical and Institutional Buildings including Educational Buildings and Hospitals - Country Division, which was awarded every five years.</p><br>
<p>The Old Highway 16 Bridge is a historic closed-spandrel arch bridge near Edgemont, Arkansas. It carries an unused old alignment of Arkansas Highway 16 across the manmade "Edgemont Cut", an excavation made in 1908 during construction of the now-abandoned Missouri and North Arkansas Railroad. The bridge was built in 1936 with funding from the Works Progress Administration, and remained in regular service until 1963, when Highway 16 was realigned. In that year, the United States Army Corps of Engineers moved the road north to its present alignment, filling in part of the old railway cut. The bridge is subject to flooding during exceptionally high water events in Greers Ferry Lake.</p><br>
<p>The bridge was listed on the National Register of Historic Places in 2011.</p><br>
<p>Bric del Dente is a 1107 metres high mountain of the Apennines located in the Italian region of Liguria.</p><br>
<h2>Etymology</h2><br>
<p>Bric in Ligurian means hill or mountain, while dente in Itailan means tooth.</p><br>
<h2>Geography</h2><br>
<p>The mountain stands on the Adriatic / Ligurian drainage divide between Passo del Faiallo and Passo del Turchino. It belongs to the province of Genoa, in Liguria. Its summit is a tripoint at which the valleys of Cerusa, Orba and Stura di Ovada meet. Sella Bernè (894 m) divides Bric del Dente from the neighbouring Monte Giallo (at East, 969 m), while a saddle at 931 m divides it from Monte Reixa (westwards, 1183 m). The top of the mountain is marked by a memorial pillar ovelooked by a small summit cross.</p><br>
<h3>Environment</h3><br>
<p>Bric del Dente sides are generally rocky and steep save the south-western one, gentler and grassier.</p><br>
<p>Since 1985 the mountain belongs to the Parco naturale regionale del Beigua.</p><br>
<h2>Access to the summit</h2><br>
<p>The mountain is easily accessible by signposed traks departing from Sella Bernè, Passo del Faiallo or Masone.</p><br>
<p>The Alta Via dei Monti Liguri, a long-distance trail from Ventimiglia (province of Imperia) to Bolano (province of La Spezia), passes very close to the mountain&#39;s summit.</p><br>
<h2>Mountain huts</h2><br>
<p>Cascina Tröa (651 m, in Masone Valley - a tributary of Stura di Ovada)</p><br>
<p>Judge Jonathan Hasbrouck House, also known as the Sherman-Elwyn-Jonathan Hasbrouck House, is a historic home located at Woodstock, Ulster County, New York. It was built circa 1800, and is a two-story, three bay by four bay, Federal style, bluestone dwelling constructed with load-bearing walls upon a raised basement. It has a gable roof and front porch that was added around 1900. Adjoining the eastern elevation of the house is a wooden frame addition also on a bluestone foundation that was built about 1875. The addition exhibits modern construction techniques since its renovation after a fire that had damaged both sections of the house. The original roof pitch of the addition has since been reconfigured.</p><br>
<p>The main house was built on a 500-acre parcel for Jonathan Hasbrouck (1763-1846), a large landowner and Ulster County judge. Note: This includes</p><br>
<p>The house currently stands on an approximate one-acre parcel with a contributing timber frame shed on the west side. Included within the NRHP nomination boundary of the site is a historically relevant barn complex (built circa 1875) that is located on the abutting property to the east, along with a non-contributing small-frame dwelling.</p><br>
<p>It was listed on the National Register of Historic Places in 2013.</p><br>
<p>Appeldoorn Farm is a historic home and farm and national historic district located at Accord, Ulster County, New York. The farmstead was established in 1722, and restored and redeveloped as a Colonial Revival country retreat in 1930-1937. It includes a 1 1/2-story, Dutch Colonial period stone house built about 1758, and expanded in the 19th century and restored in 1930. It has a side gable roof and interior gable end chimneys. Also on the property are the contributing barn , poultry house, farm worker cottage , garage and workhouse , game house , 1 1/2-story tenant house , gate posts , Henry DeWitt cellar hole, and an airport .</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2013.</p><br>
<p>Joachim Schoonmaker Farm, also known as Saunderskill Farm, is a historic home and farm and national historic district located at Accord, Ulster County, New York. The farmstead was established about 300 years ago and owned by the same family since then. It includes a two-story, five bay, brick fronted stone house built in 1787, and with two rear frame wings. It has a side gable roof and interior gable end chimneys. Also on the property are the contributing stone smokehouse, 1 1/2-story wagon house, wood frame smokehouse, granary, barn , power house , two poultry houses, a section of the Delaware and Hudson Canal , a two-story wood frame house , and a 1 1/2-story tenant house.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2013.</p><br>
<p>Congregation Tifereth Yehuda Veyisroel, also known as the Kerhonkson Synagogue, is a historic synagogue located at Kerhonkson, Ulster County, New York. It was built in 1924, and is a one-story, rectangular, wood frame building with a gable roof with overhanging eaves. It sits on a concrete covered stone basement and is clad in stucco on three sides. The front facade has a false front that extends above the roof with three curves surmounted by a Star of David. Also on the property is the contributing Community House . It was built to serve Jewish merchants and farmers in the Kerhonkson area and is one of 20 intact early 20th-century Catskill synagogues.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2013.</p><br>
<p>Alligerville Historic District is a national historic district located at Alligerville, Ulster County, New York. It encompasses 81 contributing buildings, 5 contributing sites, and 8 contributing structures in the hamlet of Alligerville. It developed after 1828 around Lock 21  on the Delaware and Hudson Canal and includes notable examples of Greek Revival, Gothic Revival, and Italian Villa architecture. Notable contributing resources include the John & Catrina Alliger House , Reformed Dutch Church of the Clove Chapel , Ira Brodhead House , John Forbes Hotel , Alligerville Post Office , Thomas S. Schoonmaker Farm , Union Free District No. 1 School , Canal Outbuilding , Hall-Latinville Summer Cottages , and Hall-Barrett Summer Cottage .</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2015.</p><br>
<p>Ellenville Downtown Historic District is a national historic district located at Ellenville, Ulster County, New York. It encompasses 52 contributing buildings and 3 contributing sites in the central business district of Ellenville. It developed after 1823, with the construction of the Delaware and Hudson Canal, and includes notable examples of Greek Revival, Italianate, Late Victorian, and Art Deco architecture. Located in the district are the separately listed Christ Lutheran Church and Parsonage, George and John R. Hunt Memorial Building, and United States Post Office. Other notable contributing resources include the Ellenville United Methodist Church , First National Bank Building , Wawarsing Town Hall , Norbury Hall, Scoresby Hook and Ladder, Cohen&#39;s Bakery, Ellenville Electric Co. Building , Home National Bank , H. Rosenstock and Sons clothing factory , the Miller Building , and the Village Motel .</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2012.</p><br>
<p>Pine Hill Historic District is a national historic district located at Pine Hill, Ulster County, New York. It encompasses 125 contributing buildings, 3 contributing sites, 2 contributing structures, and 1 contributing object in the hamlet of Pine Hill. It developed between about 1800 and 1962 and includes notable examples of Greek Revival, Carpenter Gothic , Italianate, Stick Style, Second Empire, Queen Anne, Colonial Revival, Classical Revival, and Bungalow / American Craftsman architecture. Located in the district are the separately listed District School No. 14, Elm Street Stone Arch Bridge, Mill Street Stone Arch Bridge, Morton Memorial Library, and Ulster House Hotel. Other notable contributing resources include the John C. Loomis House , Methodist Episcopal Church , Benjamin Franklin Cornish House , Elizabeth Smith House , Orchard Park House , and "The Zepher" .</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 2012.</p><br>
<p>Chimney Farm is a historic farm property at 617 East Neck Road in Nobleboro, Maine. The heart of the farm is an early 19th-century farmhouse, which was from 1931 to their respective deaths home to the writers Henry Beston  and Elizabeth Coatsworth . Both were prominent regional award-winning writers, and the farm property played a prominent role on some of their writings. It was listed on the National Register of Historic Places in 2007.</p><br>
<h2>Description and history</h2><br>
<p>Chimney Farm stands on a peninsula called East Neck, one of two that separate two lobes of Damariscotta Lake. Between the two peninsulas is a cove of the lake; the Chimney Farm property originally extended entirely across East Neck between the eastern lobe of the lake and the cove, but is now reduced to 20 acre fronting the lake. The property includes a farmhouse and barn, a small writing cabin, and a small family cemetery that includes the graves of both Henry Beston and Elizabeth Coatsworth. The farmhouse is a rambling 1-1/2 story wood frame structure, with a Cape style main block, a tall ell to the east, and a long single-story ell running north from the north west corner of the main block. The original portion of the house dates to the early 19th century, but has a later 19th-century turret-like projection built above its front door. The west-facing side door is sheltered by an elaborately carved hood, exhibiting floral motifs and intricate carvings of animals.</p><br>
<p>The farm was purchased in 1931 by Henry Beston and Elizabeth Coatsworth, who had married in 1929. Coatsworth was noted for her childrens books, winning the Newbery Medal in 1931 for The Cat Who Went to Heaven, and Beston was also known as a writer of childrens books. His most famous book, The Outermost House, was a work of nature writing said to have had a major influence on Rachel Carson. Aspects of Chimney Farm are discernable in the writings of both authors.</p><br>
<p>School House at Townsville Grammar School is a heritage-listed school building at Paxton Street, North Ward, City of Townsville, Queensland, Australia. It was designed by Tunbridge & Tunbridge and built from 1903 to 1904. It was added to the Queensland Heritage Register on 31 December 2002.</p><br>
<h2>History</h2><br>
<p>The present School House building at Townsville Grammar School was built from 1903 to 1904 to a design by Townsville architects Tunbridge and Tunbridge. It replaced an 1888 FDG Stanley-designed building which was severely damaged by Cyclone Leonta on 9 March 1903. While sympathetic to the Stanley design, the Tunbridge and Tunbridge building was strengthened to resist future cyclones.</p><br>
<p>The Townsville Grammar School had opened in 1888, founded on the subscriptions of a number of influential members of North Queensland society including Robert Philp, Isaac Tyson, and Thankful Willmett. It was the last and most northerly of Queensland&#39;s grammar schools and gathered students from the vast area of North Queensland and overseas, providing the closest access to secondary education for children gaining grammar school scholarships in North Queensland.</p><br>
<p>The Grammar Schools Act 1860, under which the Townsville Grammar School was established, was modelled on the Sydney Grammar Schools Act 1854, and provided government support for the establishment of grammar schools in the colony of Queensland. Schools established under this Act provided the only government-subsidised secondary education available in Queensland until the introduction of free high school education in 1912. The 1860 Act provided that where local communities raised £1,000 the government would contribute another £2,000 toward the establishment of a grammar school, with a further £250 endowment annually when school fees of £250 per annum were guaranteed for 3 years. An amendment to this Act in 1864 increased the amount to be raised to £2,000, the guaranteed fees to £500 and the endowment to £1,000. Their curriculum and philosophy was based on the English tradition of liberal education and included sport, as well as classical and modern studies. In contrast to the southern colonies, Queensland&#39;s grammar schools were established along secular lines, providing secondary education for all classes and denomination without any distinction. In support of this principle, grammar school scholarships were awarded on academic merit to eligible students in their final year of primary education.</p><br>
<p>Townsville Grammar School opened in 1888 as a boys school, but the school has accepted female students since 1893 when Mary Foley applied for admission. There was much debate over the admission of girls, some parents considering them to be a disruptive influence on the boys academic studies and that their admission would require expenditure on building modifications. However others saw the financial benefit of their admission in a time of economic depression, when declining student numbers threatened the loss of their annual Queensland Government endowment.</p><br>
<p>As the establishment of co-education was not specifically covered by the 1860 Act or 1864 Amendment there was no legal basis for refusing the admission of girls and the Under Secretary for Public Instruction advised that it was a matter for the trustees to consider. Mr Hodges, the headmaster, stated he was willing to admit girls to the school citing the success of such schools in America as evidence for his decision. After consultation with parents, it was resolved that girls holding grammar scholarships would be admitted to the school as day students until such time as a Girls Grammar School was established. However by 1905 the idea of establishing a Girls Grammar School had been abandoned due to financial constraints and co-education at Townsville Grammar School was adopted as a matter of principle.</p><br>
<p>Townsville Grammar Schools adoption of co-education from 1893, distinguished it from other grammar schools in Queensland where separate boys and girls&#39; schools were established. Over the years a number of girls who have attended Townsville Grammar have achieved distinction: Agnes McWhinney who attended the school in 1906 became the first female solicitor in Queensland in 1915, and in 1944 Shirley Richards won the Byrnes medal for the best Junior pass in Queensland.</p><br>
<p>When the 1888 Townsville Grammar School building was damaged in 1903, the Trustees borrowed £3,000 from the government to rebuild. Lieut.-Colonel WH Tunbridge, a leading North Queensland architect and civil engineer, was responsible for the rebuilding of the School House building, as well as the reconstruction of other Townsville buildings. In the restoration and rebuilding of these buildings the effects of cyclonic winds were taken into account. Evidence suggests that the School House building was completely dismantled and rebuilt using some of the same bricks. To strengthen the building Tunbridge, who was a pioneer of the use of concrete in Australia, used cement based mortar, instead of the more common lime, to lay the bricks in the new building. He also increased the thickness of the main walls to 18 inches below the surface and the 14 inches above. The roof appeared less steeply pitched and is said to have been braced with steel which created greater strength against future cyclones. His design was sympathetic to the original Stanley design and copied the T-shaped layout; however the new building was more tropical in appearance. It was considered a cooler better-planned school building and featured wide verandahs on both levels which were used for sleeping in hot weather. This potential was advertised in the 1922 Illustrated Prospectus. Until 1940 all lessons, except for science, were conducted on the lower level of the School House building while the upper level provided dormitories for some of the boarders.</p><br>
<p>Like other schools in Townsville, Townsville Grammar was commandeered during the Second World War. The RAAF took over the buildings and grounds in February 1942 and its No.3 Fighter Sector HQ, which monitored and identified aircraft in the region and initiated air-raid warnings, were stationed at the school. Aerials and wires were visible on the roofs of the buildings, and huts were set up on the ovals to house members of the WAAAF. Meanwhile, the School moved into premises at Rosslea until January 1945, and did not regain full use of the whole grounds until later that year.</p><br>
<p>Since the 1950s the school has expanded dramatically both in student numbers and physically, with the School House building now virtually surrounded by other buildings. Classes are no longer taught in School House, which currently comprises two floors of accommodation for boarders and boarding masters. Modern bathrooms were added in 1955.</p><br>
<p>Over the years Townsville Grammar School has achieved academic distinction, with two past students awarded Rhodes Scholarships: GFE Hall in 1910 and Chester Parker in 1938.</p><br>
<h2>Description</h2><br>
<p>The T-shaped building is a two storeyed brick and timber structure with the majority of the brickwork painted dark brown except for a small section of the front verandah of the upper storey. The front of the School House faces NNE towards the Strand with a wing projecting at right angles towards Castle Hill from behind the centre front. A dominant feature of the internal architecture of the building is an archway in the centre of the back wing on both levels. The archway on the upper level is smaller and the supporting walls extend into the room further than the one on the lower level. There is also evidence in a filled in wall in the boarding masters&#39; room on the lower level of another small archway. The rooms on both levels have tongue and groove ceilings with the ceiling on the lower level much higher than the upper one.</p><br>
<p>The building features partly enclosed verandahs on both levels. The WNW end of the verandah at the front of the upper storey of the building has been enclosed with tongue and groove boards to create a bathroom. Also on the upper level the WNW/SSW corner section of the verandah has been enclosed to form a room. Glass louvres feature prominently in this section. The balustrading of the remaining verandah on the SSW and WNW sides of the upper level have been enclosed using fibrolite. Verandah ceilings on the upper storey are lined with wide tongue and groove boards and the floors are of hardwood. The verandah posts have been stop chamfered on the edges with two mouldings, a smaller neck mould and a larger capping mould, placed around the post above the stop chamfering, so that the finished verandah post reflected classical influence. A frieze of timber battens defines the lower verandahs on the NNE, SSW and WNW sides of the building extending from under the upper storey. The WNW verandah on the lower level has been partly enclosed using cement breeze blocks which adjoin a two storey rendered block building that abuts the School House and houses bathrooms for the boarders. The upper level bathroom is at the level of the staircase landing. The balustrading on the upper storey of the front of the building is vertical dowel elaborated by the addition of a second horizontal rail just below the top handrail with dowels finishing at either top or lower rail to create a regular pattern.</p><br>
<p>The roof is of corrugated iron. The roof of the front wing is a hipped roof with a small gable introduced into the centre edge of each end and on the centre front edge. A finial projects through each of these. This gable and finial also exists in the centre edge of the roof on the SSW side of the building. The verandah roofs are stepped down from the main roof structure.</p><br>
<p>The steps on the NNE and WNW sides of the building appear to be cement rendered. The School House building features solid timber french doors however the ones on the upper level opening onto the verandah are glass and timber. Most french doors have fanlight windows above them. There are also a couple of heavy timber panelled doors. The original front entrance door has been replaced by a glass sliding door, however a panel of the original etched glass that would have surrounded the front door is still visible. Glass and metal louvres have replaced the original windows in the building however an original sash window still exists at the front of the building on the upper storey. Two window openings on the WNW side of the building have been bricked up however the flat arches of these window openings are still visible in the brickwork. The building and an older metal ladder at the ESE end of the front verandah. For comfort some modern features have been added to the building.</p><br>
<h2>Heritage listing</h2><br>
<p>School House was listed on the Queensland Heritage Register on 31 December 2002 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 School House, erected 1903-4 as the Townsville Grammar School and as a replacement for the cyclone-damaged 1888 grammar school building on the same site, is important in demonstrating the history of education and the development of grammar schools in Queensland. Townsville Grammar School, opened in 1888, was the only grammar school established in North Queensland, and played an important role in the provision of subsidised secondary education to the North Queensland community, prior to the establishment of state secondary schools. It is also the longest surviving co-educational grammar school in Queensland. The place is also important to the history of Queensland because of its role as an aircraft monitoring and air raid warning centre during the Second World War.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>School House is important in demonstrating the principal characteristics of an early 20th century grammar school building, including provision for boarders.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building is important also in demonstrating the aesthetic achievements of early 20th century tropical architecture.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The building is important also in demonstrating the technical achievements of early 20th century tropical architecture.</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>School House has a special association with the Townsville community and the community of the Townsville Grammar School for social and cultural reasons.</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 place also has a special association with the work of WH Tunbridge, one of North Queensland&#39;s leading architects and engineers in the late19th and early 20th centuries.</p><br>
<p>Coldwater Lake is a barrier lake on the border of Cowlitz County and Skamania County, Washington in the United States. The lake was created during the 1980 eruption of Mount St. Helens, which blocked its natural outlet, Coldwater Creek, with volcanic debris. It is one of several lakes in the area that were created or otherwise enlarged by the eruption.</p><br>
<h2>Geography</h2><br>
<p>The lake runs from northeast to southwest, with the west end in Cowlitz County and the east end in Skamania County. The portion of the lake in Skamania County is part of Gifford Pinchot National Forest. Coldwater Creek drains the lake on its southwest end and flows into the North Fork of the Toutle River, a tributary of the Cowlitz River, in turn a tributary of the Columbia River. As the crow flies, Coldwater Lake is located 8 mi north of Mount St. Helens, 5 mi west of Spirit Lake. Castle Lake, formed in the same manner as Coldwater Lake during the 1980 eruption, is located about 3 mi to the south. The area is about 50 mi northeast of Longview and 100 mi north of Portland, Oregon.</p><br>
<p>Coldwater is a ribbon lake, occupying the trough of a glacial valley. The surrounding ridges rise dramatically to heights of more than 1,000 ft above the water. The length of the lake is about 5 mi while the maximum width is no more than half a mile (0.8 km). The water surface is 2,503 ft above sea level and the surface area is 773 acre. The total watershed of Coldwater Lake is about 16.6 square miles. Coldwater Creek drains 5.4 square miles or 33% of the total, South Fork Coldwater Creek drains 6.3 square miles or 38%, and another 4.9 square miles or 30% drains directly into the lake. Several smaller lakes or glacial tarns are part of the watershed; the named ones are Heart Lake and Snow Lake, which both flow into Coldwater Creek before entering Coldwater Lake. Mount Whittier, the highest point in the basin at 5,883 ft, sits at the head of the Coldwater Creek valley.</p><br>
<h2>History</h2><br>
<p>The eruption of Mount St. Helens on May 18, 1980, created a lahar or debris avalanche that rushed down the North Fork of the Toutle River, burying the whole valley up to 600 ft deep. The lahar backed up Coldwater Creek for more than a mile (1.6 km), damming the creek and its tributary South Fork Coldwater Creek to a height of 180 ft. Over the next few months, almost 100,000 acrefeet of water collected to form a lake 5 mi in length. At the rate the lake was filling, it was anticipated to overtop the landslide dam by late 1981 or 1982. Because the material forming the dam consisted of soft volcanic debris and ash, it would erode quickly if overtopped, causing serious flooding downstream.</p><br>
<p>In early 1981, the USA Army Corps of Engineers excavated a spillway and outlet channel for the lake, stabilizing it at 2,503 ft above sea level with a volume of 67,300 acrefeet. In May 1985 a tunnel was excavated to connect Spirit Lake to South Coldwater Creek, which had drained Spirit Lake prior to 1980. The eruption had blocked the outlet of Spirit Lake causing it to rise to dangerous levels. The tunnel allowed excess water from Spirit Lake to drain into Coldwater Lake, and from there into the Toutle River. The landslide dam forming Coldwater Lake was closely monitored until 1998, when its stability was no longer deemed a serious concern.</p><br>
<p>The lake has since been shrinking slowly due to erosion of the approximately 17 square miles watershed, which was largely stripped of vegetation during the 1980 eruption. However, the area has recovered significantly in the intervening decades with second-growth forest returning. Several deltas have formed around the lake, the largest formed at South Coldwater Creek, whose valley sits closest to the blast zone.</p><br>
<h2>Recreation</h2><br>
<p>The lake is now part of Mount St. Helens National Volcanic Monument, designated in 1982. Washington State Route 504 (the Spirit Lake Highway) provides access from Interstate 5 at Castle Rock. Coldwater Ridge Visitor Center, located on the cliffs west of the lake, provides a panoramic view of the valley; on weekends a Science and Learning Center is open to the public here. The Coldwater Lake Recreation Area, located on the south end of the lake, is available for day use only as the area is located within the restricted zone of the National Monument. The recreation area includes a picnic area, restrooms and boat ramp (non-motorized watercraft only). The 0.6 mi Birth of a Lake Trail is a boardwalk trail accessible from the recreation area, and includes interpretive displays discussing the formation of the lake by the eruption. The Lakes Trail runs along the western shore and allows access to the Mount Margaret Backcountry beyond the lake.</p><br>
<p>The lake has had resident rainbow trout and cutthroat trout since the Washington State Department of Fish and Wildlife (DFW) stocked it in the 1980s. Pre-1980 fish populations in Coldwater Creek and the Toutle River were wiped out by the eruption of Mount St. Helens. The DFW no longer stocks the lake but continues to manage it as a trout fishery. The daily catch limit is one fish, minimum length 16 in.</p><br>
<p>The Nathan Allen House is a historic house on Vermont Route 30 in Pawlet, Vermont. Built about 1834, it is an excellent local example of a late Federal period farmhouse built in brick. It was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Nathan Allen House stands on the west side of Vermont Route 30, a few miles north of Pawlet&#39;s central village, in the fertile plains on the east side of the Mettawee River. It is a 2-1/2 story brick structure, with single-story wood frame ells attached to the right and rear. It rests on a rubblestone foundation, and has trim elements of dressed marble and wood. The main block is five bays wide, with a center entrance flanked by sidelight windows. The left side wall is a reconstruction, the original having collapsed due to deteriorating condition in 1983. The house has four side chimneys, and follows a center-hall plan inside. The interior has seen a number of alterations and stylistic changes, but retains some of its original features, including a carved arch in the center hall, and a marble fireplace surround in one of the parlors.</p><br>
<p>The house was built about 1834 for Nathan Allen, a farmer who owned and worked the surrounding land (now in separate ownership). It is one of two nearly identical houses built in this area; the other was built for Nathan&#39;s brother Elisha. They are the only significant example of late Federal period architecture in the area.</p><br>
<p>Stewart&#39;s Creek Gaol is a heritage-listed prison at Centenary Drive, off Dwyer Street, Stuart, City of Townsville, Queensland, Australia. It was designed by the Office of the Queensland Colonial Architect and built from 1890 to 1893 by Thomas Matthews. It is the predecessor of the modern Townsville Correctional Centre on the same site. It was added to the Queensland Heritage Register on 31 July 2008.</p><br>
<h2>History</h2><br>
<p>The original Stewart&#39;s Creek Gaol, of which the Gatehouse and Central Observation Tower are now the principal surviving elements, was constructed in 1890-1893, to plans prepared in the office of the Queensland Colonial Architect, George St Paul Connolly. Charles McLay was the principal designer in the office at this time. The gaol was erected by contractor Thomas Matthews at a cost of £31,600.</p><br>
<p>The gaol was intended to function as the principal prison in north Queensland. It was the only maximum-security prison established in North Queensland in the nineteenth century, ranking alongside St Helena Gaol (opened in 1866), the Rockhampton Gaol at North Street (1876-1878), and the South Brisbane Mens Prison at Boggo Road (opened 1883). As well as providing a maximum-security gaol in the north, the Stewarts Creek Gaol helped relieve overcrowding at Boggo Road and St Helena and also reduced the expensive and dangerous necessity of escorting convicted north Queensland felons to these southern establishments.</p><br>
<p>The decision to erect a major gaol facility at Stewarts Creek (later Stuart Creek) on the outskirts of Townsville reflected the rapid rise of Townsville as a regional administrative and commercial centre and port. The town was founded in 1864 at the beginning of a period of rapid expansion in north Queensland, fuelled largely by pastoral activity, gold mining and sugar industry. Between 1867 and 1910, Townsville grew rapidly to become the norths main commercial centre and port.</p><br>
<p>The Stewarts Creek Gaol replaced an earlier Townsville Gaol, completed at North Ward. By the second half of the 1880s the North Ward gaol was proving unsuitable in terms of its location and design. With the expansion of suburban Townsville, local residents began to complain that the prison was located too close to the centre of town. The gaol was also chronically overcrowded, making it difficult to maintain adequate separation and classification of prisoners. In 1889 the Prisons Department took up 150 acres of ground near Stewarts Creek and the Colonial Architect&#39;s office was requested to prepare plans for a new prison.</p><br>
<p>The site chosen for the construction of the new gaol was a former sheep quarantine ground, located approximately eight kilometres from town. The new gaol buildings were sited conveniently near the Great Northern Railway, which made possible the rapid and easy transit of prisoners and supplies to and from Townsville.</p><br>
<p>The contract for construction of the gaol was let on 8 April 1890 to Thomas Matthews, and the buildings were occupied in 1893. The gatehouse (extant) comprised Governors quarters and Chief Turnkeys quarters flanking a main front gate. This gave access to a central circulation space and muster ground bounded on the north and south sides by two administration buildings (no longer extant). Beyond these buildings were the three main cell blocks (no longer extant). These were configured in a semi-radial pattern, to allow for the construction of additional wings if required. Earlier Queensland prison designs, such as Boggo Road (completed 1883), had utilized a more restrictive cruciform arrangement of cell blocks. An underground tank of 66,000 gallons (300kl) capacity was constructed for rainwater, which was pumped to high level tanks for the supply of the various buildings. The buildings were constructed of brick on concrete foundations, and the whole of the complex was enclosed by a six metre high concrete wall (no longer extant).</p><br>
<p>Stewarts Creek Gaol was occupied in 1893 by male prisoners previously confined at the Townsville Gaol at North Ward. The majority of prisoners confined at Mackay Gaol were also transferred to Stewarts Creek, and the Mackay Gaol was then closed. Female prisoners at the North Ward were transferred a few years later, when associated infrastructure was in place.</p><br>
<p>The prominent Central Observation Tower was designed in 1897 by John Smith Murdoch, employed in the Queensland Colonial Architect&#39;s Office. Murdoch later had a prominent career in the Commonwealth Works Department, where he was appointed Chief Architect by 1919 and was involved with the planning of Canberra and the design of its provisional Parliament House (now Old Parliament House). The structure is known locally as the "Trig Tower" because trigonometrical survey readings are taken from it.</p><br>
<p>In the late 1960s a new medium security block, the first of its type in north Queensland, was constructed south of the existing prison on the site of the former prison piggery. When completed in 1967 the new prison provided accommodation for up to 192 prisoners.</p><br>
<p>The original maximum-security prison was redeveloped in the 1990s as the Townsville Correctional Centre. When works were completed in 1996 much of the original prison was demolished, including the cell blocks and the perimeter wall, the latter replaced by a state-of-the-art razor wire fence. The original Administration Buildings were also demolished.</p><br>
<p>The early 1890s Gatehouse and the 1897 Observation Tower were refurbished in 1995-1996. The interior of the Gatehouse was renovated with the provision of office space and administrative areas. The exterior was reconstructed to its original design with open verandahs and latticework, and non-original fixtures and accretions were removed.</p><br>
<h2>Description</h2><br>
<p>The Townsville Correctional Centre is a walled facility situated on a much larger prison reserve of 677 hectares on Centenary Drive, off Dwyer Street, Stuart. The structures associated with the former Stewart&#39;s Creek Gaol, which include the former Gatehouse and the Central Observation Tower, are located within the Townsville Correctional Centre, adjacent to more recently erected gaol buildings.</p><br>
<p>The former Gatehouse is a two-storeyed, symmetrically designed, red brick structure in the classical tradition comprising a central gate with wings (now used for offices) on either side. It is built in red brick with rendered pilasters at the corners of each wing. The wings are divided by cream coloured brick string courses above the lower windows and below the first floor windows. The steel-barred windows are surmounted by corrugated iron and timber window hoods. Arched vents in cream coloured brick are set into the eaves of the gabled roof above each wing. Verandahs at both storeys extend from the sides. Short lengths of the original prison wall extend from each wing.</p><br>
<p>The main gate is located in the centre of a recessed bay between the two outer wings of the building. The steel gate is surmounted by large fanlight with wrought iron infill. The gate and fanlight are surrounded by cream brick moulding. The whole bay is surmounted by an ornate concrete pediment decorated with scrolls and the date of construction of the building. The gate opens into a concourse, the full two storeys in height, which runs through to the rear of the building. The concourse ends at a large rear gate. This opening is very similar to the one at the front except that a barred steel gate is used instead of solid steel.</p><br>
<p>Much of the interior of the Gatehouse has been altered to accommodate offices, however a number of original features remain. These include fireplaces, internal security doors and vent covers.</p><br>
<p>The Central Observation Tower is located some distance behind the Gate House. It is a tall cylindrical structure surmounted by an octagonal cabin. The cabin is surrounded by a covered walkway and three covered walkways project from it at right angles to each other. Wrought iron balustrades enclose all of the walkways. They are roofed with corrugated iron. The walkway that surrounds the cabin is supported by wrought iron brackets. Those that extend from the cabin are supported by one pillar each. These are square in cross-section and taper slightly towards the top.</p><br>
<p>Access is gained into the tower via a narrow door at the base. A spiral staircase ascends the interior of the tower to the cabin. The cabin is clad with weatherboard. Doors open onto each of the three projecting walkways. A set of three windows open from each of the other five sides. The interior is furnished with a lavatory and wash basin.</p><br>
<p>The tower extends upwards out of the roof of the cabin. This section of tower is square in cross-section. A projecting molding surrounds it at about two-thirds of its height. Tall narrow vents open into each side below this molding. A molded circle reminiscent of a clock decorates each side of the tower near the top. A small pyramid roof of corrugated iron covers the top of the tower.</p><br>
<h2>Heritage listing</h2><br>
<p>The remnants of the Stewart&#39;s Creek Gaol were listed on the Queensland Heritage Register on 31 July 2008 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 early surviving structures associated with the former Stewart&#39;s Creek Gaol (including Gatehouse and Central Observation Tower), erected during the 1890s, are important in demonstrating the evolution of nineteenth century prison design and operation in Queensland. They also demonstrate the pattern of settlement in Queensland, in particular, the important role Townsville played as a regional administration centre at the time.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>The former Stewarts Creek Gaol Gatehouse (1890-1893) and the Central Observation Tower (or Trig Tower) (1897), are the oldest surviving intact prison buildings in Queensland. The Gatehouse pre-dates the former Womens Prison at Boggo Road in Brisbane (Boggo Road Gaol), by about a decade. They provide rare surviving physical evidence of late nineteenth century approaches to prison design and administration in Queensland.</p><br>
<p>Queensland&#39;s other main surviving nineteenth century prison, St Helena in Moreton Bay, survives in a ruinous condition and illustrates earlier attitudes to prison design and administration.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The place remains important in illustrating some of the principal characteristics of late nineteenth century prison design, including construction of a forbidding entrance (gatehouse) and central observation tower.</p><br>
<p>The Central Observation Tower is a fine example of the design skills of architect John Smith Murdoch, who later had a distinguished career in the Commonwealth Department of Works.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Gatehouse is a well composed design in the classical tradition displaying a pleasing symmetry and a high degree of legibility. The imposing, steel main gate is highly evocative of the penal function of the building.</p><br>
<p>First AMP Building is a heritage-listed office building at 143-149 Flinders Street East, Townsville, City of Townsville, Queensland, Australia. It was designed by C H E Blackmann & John Sulman and built from 1886 to 1888 by Dennis Kelleher. It was later known as Magnetic House. It was added to the Queensland Heritage Register on 21 August 1992.</p><br>
<h2>History</h2><br>
<p>This two-storeyed masonry building was erected in 1886-88 at a cost of nearly £6,500, as the Townsville office of the Sydney-based Australian Mutual Provident Society. The site was acquired by the Society in 1885.</p><br>
<p>The AMP Society had been established in Sydney in 1848/49 under the NSW Friendly Society&#39;s Act of 1843, and was one of a number of benefit and friendly societies established in the Australian colonies in the mid and late 19th century. Founded by a group of prominent Sydney philanthropists, the AMP Society initially offered life assurance policies, endowments and annuities, aimed principally at ensuring that women and children were not left destitute on the death of the principal income earner.</p><br>
<p>Growth in the early 1850s was slow, but in 1857 the Society was incorporated by act of parliament, and by the 1890s it was the most prominent of the Australian benefit and insurance societies, with a world-wide reputation. The first Queensland office was opened in Brisbane in 1875, followed by Townsville in 1883, Maryborough in 1884, and Rockhampton in 1886.</p><br>
<p>The first Townsville office opened in a small timber building. It serviced North and Central Queensland centres as far afield as Cooktown, Mossman, Ravenswood, Winton, Mackay, Blackall and Tambo, and loans and mortgages from the Society could be raised against policy or property. By the mid-1880s the Townsville branch had proved so successful that substantial new accommodation for the Society was proposed, on a site fronting Flinders Street East, then Townsville&#39;s principal business address.</p><br>
<p>The new building was designed by prominent Sydney architects CHE Blackmann and John Sulman (later Sir John). It appears that the design was initiated by Blackmann in late 1885 or early 1886, prior to Sulman joining him in partnership sometime in 1886. Within a few months of the partnership being established, Blackmann fled the country, leaving Sulman to pay his debts, and Sulman probably supervised the final drawings and interior fittings for the Townsville building during 1886-1887.</p><br>
<p>The contract was let to Townsville builder Dennis Kelleher in 1886, and the Society moved into their new premises in January 1888, occupying two rooms on the ground floor: a spacious, cedar-fitted public office at the front, and the district secretary&#39;s office, with strongroom, at the rear. The remainder of the ground floor contained two shops, which were let to tenants. The upper floor comprised office accommodation, with strongrooms, let to business and professional persons. At the time, the building was considered a handsome addition to Flinders Street.</p><br>
<p>Above the pediment was a marble tableau illustrating the Society&#39;s motto Amicus certus in re incerta (a certain friend in uncertain times). The tableau depicted an erect female figure, with a cornucopia by her right side, holding the palm of victory above a seated woman and child to her left. To her right was a seated male figure, alienated from the family grouping. Until the logo was changed in 1988, an Amicus tableau was erected on every AMP building, and usually was removed when the Society no longer occupied the premises. AMP occupied the Flinders Street East building until 1938, when their new premises, a three-storeyed building at the corner of Stanley and Flinders Streets, was completed. The Amicus tableau appears to have been removed to the new building.</p><br>
<p>The Flinders Street East building was sold in 1940, renamed Magnetic House prior to 1978, and has remained principally as shop and office accommodation. Between 1978 and 1982 the building was renovated, and the upper floor housed Tonnoirs Fine Arts Gallery from 1978 to 1990.</p><br>
<h2>Description</h2><br>
<p>The first Townsville AMP Building is a two-storeyed rendered masonry building, with a corrugated iron gable roof behind a parapeted facade, located on the north side of Flinders Street at the base of Melton Hill. The building houses three shops to the ground floor and offices to the first floor, with the symmetrical facade being composed of three sections.</p><br>
<p>The protruding central section has a triple arched sash window with arched doorways, with recessed double timber doors, to either side. The eastern door enters the centre shop, and the western door leads into a through corridor and stairs to the first floor. The first floor features a central double arch sash window framed by pilasters supporting a pediment, with a decorative relief and quoining to either side and a balustrade and laurelled plinth above on which the AMP statue originally stood. The street awning has paired cast iron columns, a central sign with the words MAGNETIC HOUSE, and an arched cast iron valance to either side.</p><br>
<p>The two end sections have a timber framed glass shop window bay with recessed door. The first floor has a double sash window surmounted by a decorative pediment and a cornice to the roofline. The street awning is supported by single cast iron columns and has a deep cast iron valance.</p><br>
<p>The rear of the building has an open first floor verandah, with a toilet enclosure to either end, with timber posts and cast iron balustrade. The ground floor verandah has been enclosed to form kitchens and has metal flues which extend to above the roofline.</p><br>
<p>Internally, the central shop features a ceiling rose, plaster cornices, a strong room at the rear and sash windows into the enclosed rear verandah. The two end shops have been recently fitted out as fast food outlets with drop ceilings and modern fixtures, with the eastern shop&#39;s strongroom being converted to a coldroom. The corridor leads to a timber stair with turned balustrade.</p><br>
<p>The first floor consists of a central corridor with offices either side, three of which have strongrooms. All joinery has been painted, doors have been rehung and amber bottle glass panels inserted in fanlights and some doors.</p><br>
<p>The rear of the site has a large concrete area with a brick retaining wall and a small toilet structure.</p><br>
<h2>Heritage listing</h2><br>
<p>Magnetic House was listed on the Queensland Heritage Register on 21 August 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>Magnetic House is important in demonstrating the evolution of Townsville as the principal town and port of North Queensland in the late 19th century.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&apos;s cultural heritage.</p><br>
<p>Magnetic House demonstrates two rare aspects of Queensland&#39;s cultural heritage, being one of the few known examples of the Queensland work of important Sydney architects CHE Blackmann and J Sulman. Magnetic House is one of the few substantially intact examples of its type surviving in Townsville.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Magnetic House is important in demonstrating the principal characteristics of a compact, two-storeyed, masonry Queensland regional office building of the late 19th century.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Magnetic House is important in exhibiting a range of aesthetic characteristics valued by the Townsville community, in particular its quality of design and composition of classical elements, its contribution to the Flinders Street streetscape and Townsville townscape and the quality of its cast iron 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>Magnetic House has a special association with the important AMP Society and their contribution to the development of North Queensland in the late 19th/early 20th centuries.</p><br>
<p>Limbones Island is an island located at the southern entrance of Manila Bay. It is also the farthest island from Metro Manila. It is under the jurisdiction of Maragondon, Cavite.</p><br>
<h2>Geography</h2><br>
<p>Limbones Island and the other islands of Manila Bay fall under the jurisdiction of the Cavite province. It has a rocky landscape with the highest elevation located roughly at the island&#39;s center. It has an estimated area of 22.4 hectare.</p><br>
<p>Due to the fact that it is the farthest island from Metro Manila, it is the only island at the bay that was not turned into a fort by the Americans. Instead of fortifying the island, they built fire control stations, docking areas, concrete staircases, and a cable system.</p><br>
<h2>History</h2><br>
<h3>World War II</h3><br>
<p>During World War II, the island served as the “eye” of the Filipino and American forces guarding Manila Bay so it can see 3.9 km further out into the mouth of Manila Bay from Fort Frank. This is because it is situated at the bay&#39;s very entrance, making any ship coming from the South China Sea visible from anyone standing on the island. The island endured multiple bombings by the Japanese forces during the height of the war. However, no one was permanently stationed on the island during the time of the bombings.</p><br>
<h2>Ecosystems</h2><br>
<h3>Biology</h3><br>
<p>The sea floor 15 feet below is dotted with live and healthy corals. It has many coral varieties, fish species, and amazing crustaceans, including the mantis shrimp, a type of shrimp that possesses a set of multi-colored exoskeleton.</p><br>
<p>The Chestnut Street Historic District encompasses a predominantly residential part of Camden, Maine, which represents a cross-section of the town&#39;s architectural history, and of its transition from a shipping center to a summer resort community. The district extends south from the town common, along Chestnut Street, and then east to Dillingham Point. It was listed on the National Register of Historic Places in 1991.</p><br>
<h2>Description and history</h2><br>
<p>The town of Camden is centered on the mouth of the Megunticook River on the west side of Penobscot Bay in the Mid Coast region of coastal Maine. It was first settled in the 1760s, but did not experience significant early development until the 1780s, after the American Revolutionary War. Its early industry was shipbuilding, which was augmented in the mid-19th century by lime quarrying. Both industries declined in the late 19th century, and were eventually replaced by the summer tourist trade.</p><br>
<p>Chestnut Street extends roughly southeast from the town common, which is located just south of the river, and roughly parallels the western bank of the river, above Bay View Road, which provides direct access to the waterfront. Originally farmland in the early days of the town, the area is now home to some of Camdens oldest surviving buildings, especially along Wood and Pleasant Streets, which were laid out as a subdivision just south of the common. As the town grew, residential development took place along Chestnut Street, resulting in a number of fine mid-19th century Greek Revival and Italianate houses. Camdens earliest summer houses were built at Dillingham Point, marking the southern point of the rivers mouth, in the 1880s, and the area now sports several fine Shingle style houses. The point is also where the fine brick 1830s Cape style Ogier house stands; it was built by one of the areas early settlers, and was later transformed into a summer house.</p><br>
<p>The Rutland Jewish Center is a synagogue and religious community center at 96 Grove Street in Rutland, Vermont. It is located in the former H. H. Baxter Memorial Library building, a Richardsonian Romanesque structure that is listed on the National Register of Historic Places.</p><br>
<h2>Programs and services</h2><br>
<p>The Rutland Jewish Center (RJC) provides a variety of cultural and educational services to the Jewish community of the Rutland area. It offers both adult and children&#39;s classes, the latter including Bar Mitzvah and Bat Mitzvah training. Its rabbi is a member of the Conservative Rabbinical Assembly.</p><br>
<h2>Architecture and building history</h2><br>
<p>The RJC building is a cruciform structure, built out of grey marble quarried in West Rutland and laid in irregular courses. Prominent features include the arched entrance portico at the corner of Grove and Library Streets, and the multi-stage square tower that has an open top stage, each side featuring a pair of round-arched openings separated by a round column. The building was constructed as a library in 1889 by Mary E. Roberts Baxter in honor of her husband, Horace Henry Baxter, a New York City financier and part-owner of the Rutland Marble Company. The building was designed by Brunner & Tryon, and was opened to the public in 1895.</p><br>
<p>In 1927, the building was purchased by Congregation Adath Israel, which had been formed in Rutland in 1911. The domed section of the library was repurposed for use as the main synagogue. The building has since been sympathetically enlarged.</p><br>
<p>The Seed Warehouse No. 5 is a historic seed storage facility, now located on the grounds of the Plantation Agriculture Museum, a state park in Scott, Arkansas. It is a long rectangular structure, with walls that slope inward as they rise to a gable roof. The roof is topped by a series of gabled cupolas, each with windows and louvered openings. The main entrance is at one end, in a projecting gabled section. All of the exterior walls are corrugated metal. Built in 1948 by a prominent local cotton farmer, it is a well-preserved example of a modern mid-20th century cotton seed storage facility. It was acquired by the state in 1985 for the museum, underwent restoration in 2008, and now houses museum exhibits.</p><br>
<p>The building was listed on the National Register of Historic Places in 2010.</p><br>
<p>The Sam and Shirley Strauss House is a historic house at 4 Sunset Drive in Cammack Village, Arkansas. It is a single story structure with a broad shallow-pitch sloping roof, built out of a combination of brick and wood. The roof extends on the east side to cover an open carport. At one point in the roof there is a gap, originally made for a tree standing on the property at the time of the house&#39;s construction. The exterior is clad in vertical redwood siding, with a variety of window configurations. The house, designed by Little Rock architect Noland Blass, Jr., and built in 1963-64, is an excellent regional example of Mid-Century Modern architecture.</p><br>
<p>The house was listed on the National Register of Historic Places in 2015.</p><br>
<p>Jildiyyah Mountain  meaning Leather mount  is a mount located in Saudi Arabia, and has a height of 1,107 m. Although the mount is not high by Saudi standards it has come to hold a high profile in Arab culture.</p><br>
<p>The mountain and the hills surrounding it are sites of important archaeological value, containing many ancient petroglyphs and a number of rock carvings with human and animal back to prehistory. The mountain also appears in Arab poetry.</p><br>
<p>Jildiyyah Mountain is reported in the writings ancient Arabs, including the Umayyad period in poetry of Abdulaziz bin Arzazh hamate, and in the writing of some medieval Islamic writers historians and geographers such as Abu Ali Ah, and al - Bakri, and Asamhudy.</p><br>
<p>Jildiyyah Mountain was an important landmark for pilgrims treaversing the range due to its visibility from great distances, and during the rule of Al Rashid, the mountain was an important gathering for the start of his invasion.</p><br>
<p>In the 17th -19th century Orientalists, including: Doughty, and Huber, and Anne Blunt, Moselle described it in their journals and Julius Ouitinj, painted the mountain.</p><br>
<p>Jildiyyah Mountain is composed of igneous rocks which are mostly brown-purple granite and is divided into the main mountain and several hills to the east, west and south, known as the fingers.</p><br>
<p>The Cathance Water Tower is a historic water tower at Cathance Road and Beechwood Drive in Topsham, Maine. Probably built in the late 19th century, it is an extremely rare surviving example of a residential wooden water tower built for a single residence. It was listed on the National Register of Historic Places in 2001. It is now owned by the town.</p><br>
<h2>Description and history</h2><br>
<p>The Cathance Water Tower is located in a rural residential area of eastern Topsham, just east of the junction of Cathance Road and Beechwood Drive. It is a square wooden structure, about 30 ft tall, with a base section that has slightly sloping walls finished in clapboards, and a wider top section finished in wooden shingles. It is topped by a hipped corrugated metal roof. There are two doors in the base and one window. One of the doors provides access to the inside stairwell, while the other provides access to a chamber where equipment for pumping water was housed. The upper section, which hangs over the lower one by 2 -, houses a wooden tank with a capacity of about 5,000 USgal.</p><br>
<p>The towers construction date is uncertain, but has been reported as standing at this site since roughly the turn of the 20th century. It was probably built to supply water to the Rogers family farmstead, a 1770s farm property. The rest of the farm complex was destroyed by fire in 1978, and most of the farm was developed residentially afterward. The towers tank was originally supplied by water from a nearby stream via a hydraulic ram, which was later replaced by an electrical pump. The town, which owns the tower and surrounding land, had hoped to recreate the original working mechanism.</p><br>
<p>The Standish Corner Historic District encompasses a collection of five early farmhouses in the village of Standish Corner in southeastern Standish, Maine. All five houses were built in the late 18th or early 19th century, and the assemblage are all that survive of the town&#39;s original early center. The district was listed on the National Register of Historic Places in 1993.</p><br>
<h2>Description and history</h2><br>
<p>The town of Standish was settled in the 1760s and incorporated in 1785, named in honor of Myles Standish. Its first meeting house was built in the Standish Corner area, then a crossroads on the main route between Portland and Fryeburg, and is thus where the town&#39;s early civic activities were focused. It was also a center of small-scale industrial activity, with several tanneries, lumber mills, and hotels, but this eventually declined in the second half of the 19th century, after the village was bypassed by the Portland and Ogdensburg Railway.</p><br>
<p>The five surviving houses of the village&#39;s early settlement period line both sides of East Ossipee Trail (SR 25/113), just south of its junction with SR 35. The oldest of the five houses is the 1789 Marrett House, named for the family of Rev. Daniel Marrett, which occupied the house into the early 20th century, when it was transformed into a historic house museum, now operated by Historic New England. Across the street from the Marrett House are three early 19th century houses, with Federal and Greek Revival styling. North of the Marrett House, right at the road junction stands a fifth house, dating to 1793.</p><br>
<p>Benson Village is the village center of the rural town of Benson, Vermont. The central portion of the village, stretching along Stage Road from Lake Road to Hulett Hill Road, is a historic district listed on the National Register of Historic Places as a well-preserved 19th-century village center.</p><br>
<h2>Description and history</h2><br>
<p>The town of Benson, located in northwestern Rutland County on the eastern shore of southern Lake Champlain, was chartered in 1780 and settled in 1782. Its principal thoroughfare for many years was the Stage Road, completed in 1790, which was the major north-south route on the east side of the lake. The town was in the 19th century mainly an agricultural area, although there was some industry on the Hubbardton River east of the village, whose goods were delivered to a port on the lake west of the village. The height of its 19th-century economic prosperity was in the 1840s, and is reflected in the number of Greek Revival buildings in the village. Stage Road was eventually eclipsed in importance by Vermont Route 22A to the east. The economic decline effectively reduced the demand for new building in the village.</p><br>
<p>The focal center of the village is the junction of Stage and Lake Roads, where the Benson Village Store, post office, and Wheel Inn are located. The village stretches northward from this junction roughly to Hulett Hill Road. Many of its buildings were built either in the 1840s, or in the period of the 1870s-1880s, and are typically vernacular versions of Greek Revival and Italianate architecture. A notable exception is the Benson Village school, a Colonial Revival elementary school built in 1935.</p><br>
<p>"Lockkeeper&#39;s" House is located south of Eldon along the Des Moines River in Davis County, Iowa, United States. Local legend associates this stone house with the Des Moines River Improvement Project, which was conceived to build a lock and dam system along the Des Moines River to make it navigable from the Mississippi River to the Raccoon River at Des Moines. While this is the general location for lock and dam #10, and construction did begin on the complex, there is no evidence that this house was built for the lockkeeper, or that it was even built as part of the project. The lock and dam were never completed here, and the project itself faltered because of corruption. It is possible that stone quarried for the project could have been used to build the house. While local legend may not be accurate, the 1¾-story structure is a fine example of mid-19th century vernacular architecture. The house is unique in that limestone was rarely used in residential construction in this part of Iowa. It was listed on the National Register of Historic Places in 2009.</p><br>
<p>The William Findley House, also known as the Davis County Historical Society Museum, is a historic residence located in Bloomfield, Iowa, United States. Dr. William M. Findley was the first owner of this house. A native of Dayton, Ohio, he settled in Bloomfield in 1843, where he practiced medicine. He was a surgeon for the 4th Iowa Cavalry during the Civil War. The T-shaped, vernacular structure is one of a very few brick houses in town, as the vast majority are frame construction. While it does not conform to any specific style, the wide, bracketed cornice does suggest the Italianate style. The frame summer kitchen that sat behind the house was torn down when the frame addition was built onto the back of the house in 1917. The addition contained the kitchen of a boarding house that occupied the building at that time. The William Findley House is now part of a museum complex that includes a Mormon log cabin, a livery barn, the Wheeler Ridge School, and the Savannah Christian Church. The other buildings were moved here. It was listed on the National Register of Historic Places in 1978.</p><br>
<p>Bloomfield Square is a historic district in Bloomfield, Iowa, United States. It consists of the Davis County Courthouse, located on a central park, surrounded by 55 commercial buildings. The buildings were all built between the 1850s and the 1890s. Most of the buildings are of brick construction with no early frame buildings on the square. No one architectural style predominates. The block that faces Franklin Street burned to the ground in 1893, and was rebuilt that same year. The use of pressed tin and the many engaged columns on the second floor level are noteworthy on this block. The Second Empire courthouse  is the focal point for the district. The historic district was listed on the National Register of Historic Places in 1976.</p><br>
<p>The former Commercial Hotel is a historic hotel building in Wadena, Minnesota, United States, built circa 1885. It was listed on the National Register of Historic Places in 1988 for having local significance in the theme of commerce. It was nominated for being an excellent example of the lodging facilities built in anticipation of Wadena&#39;s late-19th-century economic growth.</p><br>
<h2>Description</h2><br>
<p>The Commercial Hotel is a three-story brick building on Wadena&#39;s main commercial street. Part of the coursed stone foundation is visible, punctuated by two small basement windows. Pilasters flank the centrally placed entrance and rise the full height of the façade. The slightly recessed entrance has five-panel sidelights and a fanlight. The bays on either side of the door each contain a large window with decorated panels below and a transom topped with a stone lintel above. The second story has four sash windows with stone windowsills and decorative brick arches highlighted by a string course. The windows of the third floor have stone sills like the second floor but flat brick lintels. Above this are panels and pilasters of corbelled brick. At the center of the cornice is a gable projection sporting a stone that is carved with the word "HOTEL".</p><br>
<p>The building originally occupied only half of its long, narrow lot. However a three-story addition around 1925 extended the building to the rear. The addition closely matches the original wing in scale and fenestration.</p><br>
<p>The layout of the ground floor originally consisted of a parlor and office facing the street, beyond which was a large dining room, and a kitchen at the rear.</p><br>
<h2>History</h2><br>
<p>By 1881 Wadena had become a substantial town of about a thousand residents, but possessed only one hotel. Around 1885, though, the Commercial Hotel opened, despite being three and a half blocks from the Wadena Depot while its competitor was directly across the railroad tracks. The new hotel, however, was built of brick rather than the more common—and flammable—wood, lending itself an advantageous reputation as a more modern facility. In fact when Wadena&#39;s worst fire struck in 1888, 18 buildings were destroyed but the Commercial Hotel survived.</p><br>
<p>In 1901 an English immigrant named Joseph Askew purchased the hotel. He also served in local politics but died in an accident ten years later. Askews widow and two daughters continued operating the hotel, doubling it in size around 1925 with the rear addition. This greatly increased the Commercial Hotels popularity, and its distance from the train station was mitigated by its central location in Wadenas main business district and proximity to other transportation corridors. Many of the hotels guests were traveling salesmen.</p><br>
<p>At the time of the building&#39;s nomination to the National Register in 1987 it had been vacant "for many years" but was being acquired by the city of Wadena for adaptive reuse as senior housing. This long period of vacancy, however, was credited with leaving the Commercial Hotel as one of the least altered late-19th/early-20th-century buildings in downtown Wadena.</p><br>
<p>The tomb of Jesse and Ruth  is an ancient structure located in the Tel Rumeida section of Hebron. Since the Middle Ages it has been claimed to be the burial tomb of the Biblical Jesse, father of King David and that of Ruth, great-grandmother of King David and matriarch of converts to Judaism. In Palestinian tradition it is said to be the Al-Arba&#39;een mosque dating back to the times of Saladin.</p><br>
<p>The structure houses a small synagogue and receives visitors throughout the year, especially on the Jewish holiday of Shavuot, in which the Book of Ruth is read. A medieval stone structure next to it has been excavated and is being used as a synagogue and study hall. Archaeologists postulate it could have been a Crusader fortress.</p><br>
<h2>Medieval references</h2><br>
<p>The identity of the location being the Tomb of Jesse is said to have been authenticated by Rabbi Isaac Luria. One of the earliest known references to the tomb comes from an unnamed student of the Ramban who visited the site between 1289 and 1290. He wrote of visiting the "cave of Jesse&#39;s grave" on a hilltop near the Cave of Machpela and the ancient Jewish Cemetery of Hebron." His words were reprinted in a collection of travel diaries of medieval Jewish travelers entitled Maasot Eretz Yisrael edited by bibliographer Abraham Yaari.</p><br>
<p>The Jewish traveler Yaakov HaShaliach mentions visiting the grave of Jesse, father of David in Hebron in the year 1235, but he does not specify the burial place. These comments were reprinted by the historian Julius Eisenstein in his 1927 book Otzar Masa&#39;oth, an anthology of itineraries by Jewish travelers.</p><br>
<p>In 1522 Rabbi Moses ben Mordecai Bassola wrote, "at the summit of the mountain opposite Hebron is the burial place of Jesse, David&#39;s father. It has a handsome building with a small window that looks down on the burial cave. They say that once they threw a cat through the window and it emerged from the hole in the Cave of the Patriarchs. The distance between them is half a mile."Two Karaite travelers wrote of the site: Samuel ben David of Crimea in 1642 and Benjamin Ben-Eliyahu in 1785. Rabbi Ovadia of Bartenura (1445 - 1515) mentions praying there in his travel writings.</p><br>
<p>Yihus HaAvos VNeviim (Lineage of the Patriarch and the Prophets), a book from 1537 refers to the site as "a handsome building up on the mount, where Jesse, the King Davids father is buried." It includes a drawing of the site, and notes an "ancient Israelite burial ground" nearby and Crusader courtyard.</p><br>
<h2>Ottoman period</h2><br>
<p>The first known written reference to the site housing the tomb of both Jesse and Ruth comes from the 1835 book Love of Jerusalem by Haim Horwitz, referencing local oral traditions.</p><br>
<p>Menachem Mendel of Kamenitz wrote in 1839,"Here I write of the graves of the righteous to which I paid my respects. Hebron – Described above is the character and order of behavior of those coming to pray at the Cave of ha-Machpelah. I went there, between the stores, over the grave of Avner ben Ner and was required to pay a Yishmaeli – the grave was in his courtyard – to allow me to enter. Outside of the city I went to the grave of Othniel ben Kenaz and, next to him, are laid to rest 9 students in niches in the wall of a shelter standing in a vineyard. I gave 20 pa’res to the owner of the vineyard. Also in the vineyard was a shelter with 2 graves: one of Jesse, father of David, and one of Ruth, the Moabite. I gave the vineyard owner 20 pa’res. I also went to a grave said to be that of the Righteous Rav, author of “Reshit Hokhma” Rabbi Eliyahu DeVidas – 16th C Kabbalist and disciple of Rabbi Moshe Cordovero who died in Hebron."</p><br>
<h2>British mandate period</h2><br>
<p>In 1935 Zev Vilnay wrote that visitors were required to pay to access the site and that it once connected to the Tomb of Machpela, but was filled in during the First World War and the entrance was now unknown.</p><br>
<p>Israeli archaeologist Jacob Pinkerfield (1897–1956) visited the site and wrote about it in his book The Synagogues in Eretz Yisra&#39;el.</p><br>
<p>Louis-Hugues Vincent (1872 - 1960), a French monk and archaeologist who lived in Jerusalem discusses the site in his two-volume work Hebron in 1923.</p><br>
<h2>Post-1967 period</h2><br>
<p>In the 1970s Prof. Benzion Tavger (1930 - 1983) excavated the site and it was reopened to the public.</p><br>
<p>The site was renovated in 2009.</p><br>
