<p>The Masonic Temple in Aurora, Illinois is a historical building where Freemasons held meetings. Opened in 1924, it was added to the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>The Jerusalem Temple Lodge #90 Masonic body was formed in Aurora, Illinois in October 1850, only 13 years after the city was founded. The first Worshipful Master was Benjamin Franklin Hall, who later became the first mayor of Aurora in 1857. They first met in the Main Street Building until moving into a Masonic Hall on Fox Street in 1866. The order moved again in 1910 to Broadway Street.</p><br>
<p>The Masons quickly outgrew this building and desired to build a new temple to hold meetings at. The body boasted almost a thousand members at this point, and they were easily about to raise over $200,000 for a new structure. Construction began on November 28, 1921, and the structure was opened on March 10, 1924. It was added to the National Register of Historic Places on March 19, 1982. Sold by the lodge in the 1980s, the building was then used as a banquet facility. Since the closure that facility in 2006, the building has suffered from deferred maintenance, resulting in water infiltration and damage to architectural features.</p><br>
<p>Little is known about the architect, William Q. Bendus. The building was built in the Neo-classical style and may have been influenced by the Cleveland Museum of Art. The six-story Temple is on a hill and features ionic columns. Masonic imagery adorns the Tympanum. Two lodge rooms in the Temple can each seat over two hundred people. The original designs called for a ballroom, but this was never finished and was converted to a storage room. Other rooms in the building include a game room and kitchen.</p><br>
<p>The William Tanner House Museum, also known as the William A. Tanner House, is a historic residence and museum in Aurora, Illinois. It was built in 1857 for William A. Tanner, a hardware merchant. His descendants lived in the house until it was donated to the Aurora Historical Society in 1936. It now operates as a Victorian-period historic house museum.</p><br>
<h2>History</h2><br>
<p>William A. Tanner was one of the first residents in Aurora, Illinois. He moved from Watertown, New York in 1835 shortly after Joseph and Samuel McCarty built the first mill in Aurora. Tanner was a land surveyor who noted the commercial potential of the Aurora area. He purchased a large tract of land on the west side of the river and invited his family, still in New York, to move in with him. For the next four years, Tanner harvested the land, until he briefly moved back to New York in 1839 to marry Anna Plum Makepeace. They moved back to Aurora the following year, working the farm until 1853. Together they had ten children; with this large family, Tanner required a larger house. After a few years living downtown, they moved to this house. Tanner now worked as a hardware businessman; his hardware firm stayed in business until 1979 and was the longest-running business in town.</p><br>
<p>Tanner&#39;s house was constructed in the Italianate style in 1857. The two-story, brick house is built like a Latin Cross, with an octagon cupola at the center. The first floor features the parlor, music room, kitchen, dining room, library, and a master bedroom and bathroom. The second floor is exclusively bedrooms. The Tanner family (and their descendants) lived in the house until 1936, when two of the children donated it to the Aurora Historical Society. On August 19, 1976, it was recognized by the National Park Service with a listing on the National Register of Historic Places. It now operates as a museum, with a $5 admission fee for adults, $4 for seniors, and $3 for students.</p><br>
<p>The Old Second National Bank of Aurora is a historic building in Aurora, Illinois. It was designed in the Prairie School style by George Grant Elmslie and was one of his last commissions.</p><br>
<h2>History</h2><br>
<p>The Old Second National Bank of Aurora was designed by George Grant Elmslie in 1924. The Prairie School style of design was, at this point, already a fading trend. Elmslie was nearing the end of his career and began to accept commissions for commercial buildings. Elmslie recruited sculptor Emil Settler, muralist John W. Norton, and ornamental sculptor Kristian Schneider to assist him with the design.</p><br>
<p>The bank building was a departure from previous Elmslie designs. Instead of focusing on horizontal patterns, this building attempted to integrate vertical patterns into a Prairie School design. The bank is built with Roman brick on a pink granite foundation. The building is topped with a saddleback roof with red tile. Ten brick columns rise from the foundation to the roof. Only the south side of the building features exterior details and ornaments. The narrow cornice is terra cotta and follows the gable. John Norton painted a three-panel mural of 1830s Aurora on the north side of the building&#39;s interior. A red tile floor was intended to resemble a large oriental rug. The building was added to the National Register of Historic Places on May 8, 1979.</p><br>
<p>The Fox River Pavilion, formerly the St. Charles Hospital, is a historical building in Aurora, Illinois. The Art Deco building was originally a hospital and functioned as a nursing home and sanatorium until approximately April 2010, when the property was vacated. It was added to the National Register of Historic Places on June 7, 2010.</p><br>
<h2>History</h2><br>
<p>The Franciscan Sisters of the Sacred Heart came to the United States in 1876 following persecution of German Catholics during the Kulturkampf. Shortly afterward, the order moved to Joliet, Illinois, where they founded the St. Joseph Hospital. In February 1900, the rapidly growing order required a new hospital and convent to meet its needs. They purchased land in Aurora, a rapidly growing city nearby. They purchased the Coulter House on North Forth Street and used it as the first St. Charles Hospital. This became the second hospital in Aurora; the first was founded in 1886 by the Aurora City Hospital Association, who operated out of a building on Lincoln Avenue since 1888. The Franciscan order purchased the neighboring James Freeman House the next year, which then became the home of the hospital following a 1902 addition. As Aurora continued to grow, the Sisters needed to expand their space. They built a dormitory for sister in 1910 and a boiler house & laundry in 1920. The order founded a nursing school in 1922 and opened their first branch, a maternity hospital, in 1925. Recognizing the need for a large hospital building, the order began to purchase other houses on the block in the late 1920s.</p><br>
<p>The St. Charles Hospital was built for the Sisters in 1932 for $500,000. It was designed in the Art Deco style by Wybe Jelles Van der Meer, who primarily planned ecclesiastical buildings and did most of his work for the Roman Catholic Diocese of Rockford. Construction was led by contractor C. J. DeWit, whose use of local labor during the Great Depression was lauded by the Chicago Daily Tribune. The 110-bed facility replaced the original complex as an acute care facility. Rev. Edward Francis Hoban gave the opening blessing.</p><br>
<p>After years of service, the hospital became a skilled nursing facility and sanatorium as the Fox River Pavilion. Following the stabbing death of a patient, the state and federal government revoked the building&#39;s license in 2010. On June 7, 2010, the building was recognized by the National Park Service with a listing on the National Register of Historic Places.</p><br>
<p>Regency Square is a large early 19th-century residential development on the seafront in Brighton, part of the British city of Brighton and Hove. Conceived by speculative developer Joshua Hanson as Brighton underwent its rapid transformation from fishing village to fashionable resort, the three-sided "set piece" of around 70 houses and associated structures was designed and built over a ten-year period by Brighton&#39;s most important Regency-era architects: the partnership of Charles Busby, Amon Wilds and his son Amon Henry Wilds. The site was originally Belle Vue Field—used at various times as a military camp , a showground and the location of a windmill.</p><br>
<p>The square was a prestigious, high-class development, attracting the social elite. The square gradually lost its prestige status after the First World War as hotels started to move in.</p><br>
<p>Most of the buildings in and around the square have been designated Listed buildings: six blocks of houses are each listed at Grade II*, the second-highest designation, while five other residential buildings, a war memorial, a nearby inn and a set of bollards outside it have each been given the lower Grade II status. The house at the southwest corner is now numbered as part of King&#39;s Road but was built as part of Regency Square, and is also Grade II*-listed.</p><br>
<h2>History</h2><br>
<h3>Belle Vue Field</h3><br>
<p>Regency Square was built on one of the fields surrounding the fishing village of Brighthelmstone, the predecessor of modern-day Brighton. The field was named Belle Vue Field—probably in connection with the long vanished Belle Vue House, and lay to the west of the village. It was re-erected there and renamed Preston Mill. A watercolour painting, now displayed at Preston Manor, shows crowds of people watching the mill&#39;s removal to Preston.</p><br>
<p>By the late 18th century, Brighton (as it was now known) had begun to develop into a popular and fashionable seaside resort. Belle Vue Field became more important to the growing town in 1793, when in response to the increased military threat from France, a 10,000-man military encampment (Brighton&#39;s first) was established there. The camp moved to another site in 1794; after returning to its former use as a fairground and showground, Belle Vue Field gradually lost popularity and was abandoned in 1807, when such entertainments moved to The Level, a large expanse of grass inland north of Old Steine.</p><br>
<h3>Hanson builds the square</h3><br>
<p>A few years later, the field (which had no common ownership) was acquired by Joshua Flesher Hanson, a businessman. Hanson decided to follow the trend but take it in a new direction: he divided Belle Vue Field into 70 plots, leased them individually and put strict covenants in place, demanding that each house be built in a specific style in order to ensure architectural harmony. In return, the leaseholders (mostly private builders) would have the right to buy, and would end up with houses much larger than average for the town, with excellent sea views and with exclusive access to the large central garden. Most leaseholders bought the houses as soon as they could, which was to Hanson&#39;s advantage as he made money and had no ongoing responsibility for the buildings.</p><br>
<p>Although there is no documentary evidence confirming the architects, all sources attribute most of Regency Square&#39;s buildings to the father-and-son partnership of Amon and Amon Henry Wilds, Although they worked extensively with fellow architect Charles Busby during the 1820s, historians agree that he was not involved in the overall design of Regency Square, at least not in its early stages: the buildings "appear to lack his distinctive flair" and are not as impressive as those at the Kemp Town estate to the east of Brighton, which all three men were involved with. Some of the later houses may have been the work of Wilds senior and Busby, however.</p><br>
<p>Building work started in 1818 and continued until 1830, St Margaret&#39;s Church, an Anglican chapel of ease designed in the Greek Revival/Neoclassical style in 1824 by Busby, was the local place of worship.</p><br>
<p>Bands often played in the squares central garden or on Kings Road at the southern end of the square. Meanwhile, residents were upset in 1866 when the West Pier, designed by Eugenius Birch, was built opposite the squares central garden: its entrance booths affected their sea views. Otherwise, there was little for residents to worry about until the 1880s, by which time Hansons covenants were about to expire.</p><br>
<h3>20th century</h3><br>
<p>From the beginning, Regency Square was a prestigious, high-class development, During the early 1970s the hotels sought permission from Brighton Corporation to erect neon signs advertising themselves; after negotiation with the Regency Society, a Brighton-wide conservation group formed in 1945, the Corporation made the square and the surrounding area into a conservation area in 1973. Conservation area status gives the council firmer control over planning permission and changes to buildings or street furniture, especially in respect of their effect on "the character and appearance of the area". The original conservation area has since been enlarged twice to its present size of 80 acre.</p><br>
<h2>Architecture</h2><br>
<p>Almost all buildings in and around the square have been designated Listed building: six blocks of houses are each listed at Grade II*, while the other buildings, including a set of bollards, have each been given the lower Grade II status. The house at the south west corner is now numbered as part of King&#39;s Road but was built as part of Regency Square, and is also Grade II*-listed.</p><br>
<p>The six Grade II* parts of the square, plus the former St Albans House, and the sixteen houses from number 5 to number 20. The northern sides central section, numbers 26–37, forms another listing. On the east side, numbers 51–56, 57–59 and 60–66 are each listed at Grade II*. Apart from St Albans House, all of these listings include iron railings attached to the exterior. Numbers 38–46 Regency Square were listed at Grade II on 20 August 1971, while the rest of the squares houses were listed at the same grade on 26 August 1999 in four separate listings: numbers 22–25, 46a, 46b and 47–49. All listings except numbers 46a and 46b include attached railings, and the listing for numbers 38–46 also includes a carriage arch.</p><br>
<p>A small block of flats, Abbotts, stands at the southeast corner of the square. Built by architecture firm Fitzroy Robinson & Partners in 1961–62 to replace a hotel of the same name, it was considered "quite good" by architectural historian Nikolaus Pevsner.</p><br>
<h3>Grade II* listings</h3><br>
<p>These three four-storey houses (now the Beach Hotel) have double bow fronts, and were considered by Nikolaus Pevsner to be more austere in their detailing than most Brighton houses of their era. Number 2, a former home of social reformer William King (whose two-year stay is commemorated by a blue plaque), is built of brick which has been painted over; the others are stuccoed. Each house also has a basement and a dormer window. The ground floors are rusticated and have arched doorways set into Classical-style porches with both Ionic and Doric columns—the latter in the form of antae. The tripartite bay windows are neither full-height nor continuous: only the first three storeys have them, and they are offset to the right on the first and second floors. The first-floor windows sit between a curved cast-iron balcony and a verandah-style canopy supported on decorative brackets. On each house, the third floor has three small flat-arched sash windows; the centre window sits below a small cornice supported on corbels.</p><br>
<p>These sixteen houses form the greater part of the squares west side. Although there are differences in height and detail between individual houses, they were designed at the same time and maintain "the longstanding tradition of the terraced townhouse" which had been developed "by Henry Holland in his own speculative enterprises at Hans Town and Sloane Street, London". Numbers 7, 8, 11 and 15 are entirely stuccoed; number 18 retains its original unpainted yellow-brick upper façade; and all other houses have painted brick to their upper storeys and stuccoed ground floors with rustication. The roofs are mansard-style and laid with slate. Each house has dormer windows; numbers 5–13 inclusive rise to four storeys, while the other seven houses are one storey shorter. All houses except number 12 have a single bay window, mostly in tripartite form. Number 12 has three windows to each floor. The entrance porches, reached via staircases, are either Doric or Ionic in form, with columns and entablatures. They have arch-headed doorways set into them. Small cast-iron balconies run across the terrace at first-floor level (although number 5s has been lost), and some houses have canopy-style verandahs as well. A nearly continuous cornice (absent on numbers 13 and 19) spans the terrace; some houses also have a second cornice above this. Several houses have fanlights with coloured glass, and other non-standard details include decorative stucco panelling at number 5; paterae (circular motifs), triglyph-decorated friezes and other Classical-style ornamentation in some of the porch entablatures; original window-guards of iron; a blocked doorway flanked by pilasters at number 20; and many original sash windows.</p><br>
<p>These 12 houses, arranged along the sea-facing north side in the form of two wings flanking a four-house centrepiece, are the focal point of the square, forming "a kind of palace front" topped with a pediment displaying in prominent black lettering. Pevsner described this feature as "not enough of an accent to pull the square together". The terrace is a five-part composition: the end "wings" (formed by numbers 26–27 and 36–37) are of four storeys, stuccoed and with tall parapets pinched upwards to form small pediments; the central section (numbers 30–33), also of four storeys and built in yellow brick, and topped with the inscribed pediment; and numbers 28–29 and 34–35, rising to three storeys and forming a link between the central and outer sections. Numbers 30–33 have a two-window range, rather than the single window on each of the other houses, and have four pilasters running the full height of the façade and terminating at the parapet in circular antefixae. The entrance porches are of the Ionic order. Each house has a canopied cast-iron balcony at first-floor level. There is rusticated decoration at ground-floor level.</p><br>
<p>The east side of Regency Square is architecturally less consistent than the west side. Numbers 51–56 were designed as a symmetrical composition: the two houses at the centre stand forward slightly and have a more prominent pediment. Each house has four storeys and a single bay window on the ground and first floors; other common features include rustication on the ground floor and Ionic-style porches with recessed flat-arched doorways and arched fanlights. There are cast-iron balconies at first-floor level; number 52&#39;s has a canopy above it. Some windows are sashes, and numbers 52, 53, 54 and 56 have dormer windows in their slate roofs.</p><br>
<p>These three houses may also have been designed as a single composition, but this effect has been lost. Numbers 58 and 59 are of five storeys; number 57 has four storeys and dormer windows. The parapet rises into an intricately decorated pediment above number 58, with palmette scrollwork and semicircular antefixae. Each house has an Ionic-columned porch with a straight-headed door and semicircular fanlight. Numbers 57 and 59 have canopies and first-floor balconies; number 58 has only a balcony. The three houses are the only ones on the east side to have full-height bows, and number 57 is unique on that side in retaining its original unpainted yellow-brick façade.</p><br>
<p>These seven houses are also a symmetrical composition: the three in the middle are set forward and have a tall parapet topped by a very shallow pediment. Like the rest of the east side, the houses have Ionic porches with flat-arched doors and round-headed fanlights. The ground and first floors have three-part bay windows topped with cornices. Except on number 63, a narrow canopy sits between the first-floor window and the cornice. Another cornice spans the full width of the terrace above third-floor level. The slightly recessed houses on each end (numbers 60–61 and 65–66) have pairs of dormer windows.</p><br>
<p>The former St Albans House was designed in 1828 by Amon Henry Wilds alone and was fitted out by William Izard. Contemporary with the shopfront was the round-headed entrance on the Kings Road elevation, with an archway supported on fluted columns, a dentil-patterned cornice and ornamentation including scrollwork and a panel inscribed. The building has five storeys, three windows facing Kings Road and the sea, and a five-window range to Regency Square. It is stuccoed and slate-roofed. The shopfront is topped by a thin cast-iron balcony. The right-hand (east) side of the King&#39;s Road façade has a full-height tripartite segmental bay window with architraves to each window. The Regency Square elevation also has a three-light full-height bay window; all other windows are blocked.</p><br>
<h3>Grade II listings</h3><br>
<p>Numbers 22–25 Regency Square—at the northwest corner of the square on a short road leading to Preston Street—include the building (number 67) on the corner of that street, which absorbed the house built as number 21 Regency Square. Attributed to Amon and Amon Henry Wilds, these bow-fronted terraced houses were built in about 1818. Number 67 Preston Street is of three storeys and has a shopfront facing west into that street; alongside that is a porch with rusticated decoration and an arched doorway. The Regency Square (south) façade has blocked windows at first- and second-floor level. The four houses facing Regency Square are of three storeys, except number 25 which also has an attic storey. They are of brick faced with painted stucco. Each house has a chimney on its slate roof. Each has an entrance staircase with iron railings, a rusticated ground floor, a single bay window to each storey, an iron balcony at first-floor level, a cornice and a parapet in front of the roof. At numbers 22 to 24, dormer windows cut through the parapet.</p><br>
<p>Numbers 38–46 Regency Square run alongside the northeast side, and are contemporary with the houses at the northwest corner. The Wildses are believed to have designed them. A carriage arch runs between numbers 42 and 43. Together with numbers 22–25 and the Grade II*-listed centrepiece of numbers 26–37, the houses form an approximately symmetrical three-part arrangement when viewed from the south. Each house is of stucco-clad brick, and all but number 40 have slate-covered roofs. All houses rise to three storeys and have dormer windows; number 43 has two bay windows on each floor (except the ground floor, where the space is taken up by the carriage arch), but the other houses have only one. Each house also has a balcony, a cornice and a parapet (topped with a balustrade in some cases).</p><br>
<p>Number 46a Regency Square stands partly in the square and partly in the passageway opposite the Regency Tavern. It is a two-storey stucco-faced cottage with three windows on the first floor and a fourth in a recessed wing on the east side. The flat roof sits behind a parapet. The ground floor has a broad single window flanked by decorative panels. A cornice runs between the two storeys, and projects forward over the right-aligned entrance.</p><br>
<p>Number 46b Regency Square is squeezed into a narrow corner between numbers 47–49 and the Regency Tavern. It has three storeys, a single-window range and much ornamentation. The ground floor, with its wide arched window and prominent cornice, may be a 20th-century alteration. Above it, pilasters with banded rustication rise to the level of the parapet. They are broken at second-floor level by a small balcony with balustrades. The window above this has a round arch, a moulded archivolt, a keystone with acanthus decoration and thin pilasters topped with capitals in the form of leaves.</p><br>
<p>Numbers 47–49 Regency Square are believed to be the last buildings completed; Charles Busby was probably involved in their design, as they are noticeably different from the rest of the square. All three have a single canted bay window to each of three storeys, topped with an architrave supported on pilasters with capitals. Each house also has a cornice and parapet. Number 47&#39;s doorway is straight-headed, but the other two houses have round-arched entrances.</p><br>
<p>A memorial commemorating 152 members of the Royal Sussex Regiment who died in the Second Boer War stands at the south end of Regency Squares garden, facing Kings Road and the sea. It was erected in 1904, and takes the form of a square pedestal topped by an entablature and pediment. Originally of Portland stone with some bronze and stucco, the bronze parts have now been obscured. A bronze trumpeter stands on top of the entablature. Local architect Sir John Simpson designed the memorial and Charles Hartwell sculpted it. The memorial&#39;s unveiling ceremony, conducted by William Nevill, 1st Marquess of Abergavenny, was on 29 October 1904.</p><br>
<p>The Regency Tavern&#39;s main façade faces north into the passageway leading to Russell Square, and has a six-window range. The side wall, facing into Regency Square, has two windows to each of the three storeys. The frontage is mostly original but has been augmented by modern iron columns. All but one of the windows are original sashes; those on the first floor of the Regency Square elevation have architraves which join the sill of the second-floor window directly above. There are stuccoed panels between these windows as well, and some of the north-facing windows also have panelling in their spandrels. A tall parapet rises above the cornice.</p><br>
<p>Two cast-iron bollards in the passageway outside the Regency Tavern are also listed at Grade II. They were erected in the mid-19th century, and are fluted along their length. One has the name of its local founder at the bottom. On 31 December 2012, one was broken and was replaced with a smaller plain bollard instead of a facsimile, causing controversy locally.</p><br>
<h2>Social aspects</h2><br>
<p>Regency Square was a prestigious, high-class development, attracting the social elite. and by the mid-20th century, most of the houses had become hotels. During World War II air-raid shelters were built on the square, and an underground car park was built beneath it in 1969.</p><br>
<p>Number 1 Regency Square, later known as St Albans House and now numbered 131 Kings Road, is "historically the most interesting house in the square". For the next seven years, it was the venue for lavish balls with hundreds of upper-class guests, extensive feasts and falconry displays by the Duke, who was the Grand Falconer of England. St Albans House had an adjacent riding school which supposedly had the second largest unsupported interior space and the second largest dome in England, behind Westminster Abbey and St Pauls Cathedral respectively. (Part of the Bedford Hotel now occupies the site.)—possibly a punning allusion to one of his best-known plays.</p><br>
<p>Since the 1930s, many of Regency Squares dwellings have been converted into hotels and guest houses, either individually or across more than one house. The Beach Hotel occupies numbers 2–4, the three dwellings north of St Albans House. Hotel Pelirocco occupies numbers 9 and 10; the Royal Pavilion Townhouse Hotel is at number 12; and the West Pier Hotel (at numbers 14–15) and Topps Hotel (numbers 16–18) also occupy the west side of the square. There are four hotels on the north side: the Regency at number 28, the Prince Regent at number 29, Artist Residence at number 33 and the George IV Guest House at number 34. The east side has Adelaide House (number 51), Brighton House (number 52), Hotel Una (numbers 55–56), and the Queensbury Hotel (number 58). Since 2000 the former Keehans Hotel at number 57 has been the West Pier Project homeless hostel, operated by Brighton and Hove City Council and accommodating about 40 people; it will close in late 2015 and will become a hostel for former servicemen.</p><br>
<p>The Christopher C. Walker House and Farm is a historic farmstead in the far western part of the USA state of Ohio. Located southwest of the village of New Madison along State Route 121, it is composed of five buildings and one other structure spread out over an area of nearly 160 acre.</p><br>
<h2>Christopher Walker</h2><br>
<p>During the late nineteenth century, Christopher Walker was one of Darke County&#39;s leading farmers. Born in Baltimore County, Maryland in 1829, he moved to Darke County with his parents, who first settled in Butler Township. Beginning in 1851 and continuing through most of the rest of the decade, he participated in owning and running a local store in Braffettsville, which position he occupied through most of the rest of the decade; during this time, he married the former Mary Brawley. By 1858, Walker had become dissatisfied with storekeeping; he sold his interest in the store and began farming, purchasing the farm in Harrison Township near New Madison in 1862.</p><br>
<p>From his earliest years as an independent farmer, Walker was primarily a raiser of livestock: from 1862 to 1866, he was engaged with his brothers in distributing hogs, and after that business venture failed, he began to concentrate on producing his own livestock. By 1880, he had expanded his farm to approximately 625 acre, divided between 75 acre in northern Preble County to the south, 150 acre elsewhere in Harrison Township, and 400 acre surrounding his farmhouse.</p><br>
<h2>Recognition</h2><br>
<p>Two of the farm&#39;s buildings have been widely recognized: the 1879 barn and the 1884 house. Measuring 60 ft by 48 ft, the barn was designed with an "L" shape to make stock raising more effective; one writer deemed it the best barn he had ever seen. Likewise, the farmhouse was built for the convenience of its residents: mixing the Victorian, Second Empire, and Italianate styles of architecture, it is dominated by a tower with a Mansard roof, and it sits atop a small hill overlooking State Route 121 to the north.</p><br>
<p>The Walker farm remains a local landmark to the present day, evoking a strong contrast between its ornate nineteenth-century architecture and the plain modern architecture of the farms around it. In 1982, the farm complex was placed on the National Register of Historic Places, both because of its well-preserved historic architecture and because of its contribution to local history. Key to its importance in local history is Walkers contribution to Darke County agriculture, as the farm buildings were a leading element of his livestock programs that made the county one of Ohios foremost in hog raising.</p><br>
<p>Dunbar Islands is a small group of islands lying off Varna Peninsula southwest of Williams Point, the northeast extremity of Livingston Island in the South Shetland Islands, Antarctica comprising the islands of Aspis, Balsha, Melyane, Pogledets and Zavala, and several minor islets and rocks. The area was visited by early 19th century sealers.</p><br>
<p>The islands are named after Captain Thomas Dunbar, Master of the American sealing schooner Free Gift which visited the South Shetland Islands in 1820-21.</p><br>
<h2>Location</h2><br>
<p>The midpoint of the group is located at 62&deg;28&prime;10&Prime;S latitude, 60&deg;10&prime;40&Prime;W longitude (British mapping in 1968, Spanish in 1991, and Bulgarian in 2005 and 2009).</p><br>
<h2>Maps</h2><br>
<p>L.L. Ivanov et al. Antarctica: Livingston Island and Greenwich Island, South Shetland Islands. Scale 1:100000 topographic map. Sofia: Antarctic Place-names Commission of Bulgaria, 2005.</p><br>
<p>L.L. Ivanov.. Scale 1:120000 topographic map. Troyan: Manfred Wörner Foundation, 2009.</p><br>
<p>Mount Gosford is a mountain located in southern Quebec, Canada, at the border with Maine. It lies entirely in Saint-Augustin-de-Woburn in Estrie and is part of the White Mountains of the Appalachians. It is named after Archibald Acheson, 2nd Earl of Gosford, governor general of British North America from 1835 to 1835. It is the 21st highest peak in Quebec and 4th in Southern Quebec.</p><br>
<p>It is made of gneiss and granulite dating from the Precambrian era.</p><br>
<h2>Environmental protection</h2><br>
<p>Since 1978, Mount Gosford is included in "ZEC Louise-Gosford", a controlled harvesting zone open to the public. Recently, the areas at more than 700 metres of altitude were designated Important Bird Areas due to the presence Bicknell&#39;s thrushes, an endemic species living in mountain peaks of northeast North America.</p><br>
<p>In 2009, Quebec’s Ministry of Natural Resources and Wildlife set aside part of the Mount Gosford to create an ecological reserve. The same year, about 76 hectares of the mountain was renamed forêt rare du Mont-Gosford (Mount Gosford’s Rare Forest) and declared an exceptional forest ecosystem. The designation protects mountain woodsorrels, considered rare at this altitude.</p><br>
<p>The Waring House (also known as the "Waring-Stockslager Home" but construction was only substantially completed in 1869, and the details took two more years to finish. As soon as he had finished the house, Perry sold it to T.M. Taylor, who in turn sold it to the family of local businessman and county commissioner Thomas Waring. Waring and his family were the first individuals to occupy the house, taking up residence in November 1874.</p><br>
<p>The Waring House is a brick structure that rests upon a foundation of stone; it is topped with a roof of asphalt, and various other elements are made of metal. Its overall floor plan is rectangular, although modified by the addition of three wings to the rear. The dining room is a major part of a substantial two-story, two-bay wing attached to the main portion of the house, while two single-story wings — a single-bay structure in the form of a large pavilion, and a double-bay structure containing the kitchen — are in turn attached to the dining room wing.</p><br>
<p>Among the Waring House&#39;s leading architectural elements are its windows, especially the distinctive segmental windows of the dining room wing. Overall, the house is a fine example of the Victorian style of residential architecture; although many nineteenth-century Greenville houses have been well preserved to the present time, few are as pristine as the home of Thomas Waring. In recognition of its historically significant architecture, the Waring House was listed on the National Register of Historic Places on September 16, 1977; it was recognized as important primarily in the local community. Six other Greenville houses — known as the Beir, Coppess, Garst, Lansdowne, Leftwich, and Robeson Houses — have been accorded a similar honor; the Waring House was the fourth of these seven buildings to receive this designation. Today, the Waring House is operated as a bed and breakfast.</p><br>
<p>The George B. Horton and Amanda Bradish Farmstead is a privately owned farmhouse that sits on 40 acres  of land at 4650 West Horton Road in rural Fairfield Township in Lenawee County, Michigan. It was added to the National Register of Historic Places on February 1, 2007. There are several other buildings on the property, but the main farmhouse was built in 1888 in Queen Anne Style.</p><br>
<h2>History</h2><br>
<p>George B. Horton was born on April 17, 1845, in Lafayette, Ohio, the son of Samuel and Lucina Horton. The Horton family moved to Michigan in 1851, and established a farm located across the road from this present farmstead. Lucina Horton had knowledge of cheese-making, and the family began processing cheese in 1853, and by 1866 founded a cheese factory. George Horton worked on the farm, and when his father died in 1872, bought out his sisters and began farming the then 350-acre tract, which includes some of the acreage associated with the present homestead. Horton married Amanda Bradish in 1878, and continued to expand his holdings, acquiring 710 acres by the early 1890s.</p><br>
<p>In about 1888, the couple constructed the large brick home on this farmstead, located across the road from his parent&#39;s home. By the early 1900s, Horton owned over 1,400 acres of farmland and forest, spread over four farmsteads in the county, and in 1914 he owned seven cheese factories capable of producing 1.5 million pounds of cheese per year. George Horton died in 1922, and his children carried on his estate. His son Norman B. Horton moved into the house along with his mother Amanda. However, the holdings declined to only 80 acres in 1933, and Norman Horton committed suicide. The farm was sold multiple times afterward. Fred and Carolyn Holden purchased it in 1982, and sold it to Ed and Joann Allen in 2004.</p><br>
<h2>Description</h2><br>
<p>The George B. and Amanda Bradish Horton Farmstead consists of a c. 1888 Queen Anne residence along with a barn and shed, both constructed around 1900. The farmstead is set back from the road, and the immediate area of the farmstead encompassed about four acres.</p><br>
<p>The house is a large two-and-a-half story brick structure with a central hipped roof and four cross gables. A turret is located at one corner of the house. Most of windows are one-over-one double-hung sash with concrete sills and brick hoods. The front contains a single-story hip-roof porch, wrapping around to one side. The porch is supported with square columns A second porch is located on the other side of the house. The front also has a gable with bay window and upper balconies.</p><br>
<p>On the interior, the house has a central entry hall, with two parlors at the front and a stair leading upward. In the rear are a library and bath on one side, and a dining room and kitchen on the other. A casual sitting room completes the layout. On the second floor, there are four large bedrooms and two smaller bedrooms, originally designed for servants, as well as a bathroom and laundry room.</p><br>
<p>Seaside Park, located in Bridgeport, Connecticut, is a 2.5 mi long crescent-shaped park bordering Bridgeport Harbor, Long Island Sound, and Black Rock Harbor. The park lies within Bridgeport&#39;s South End neighborhood.</p><br>
<h2>History</h2><br>
<p>As Bridgeport rapidly grew in population in the 19th century, residents recognized the need for more public parks. In 1863, The Standard urged the creation of one or more public parks in the city and a movement to create a park along Long Island Sound and Black Rock Harbor began. By 1864, P. T. Barnum and other residents had donated approximately 35 acre to create Seaside Park, gradually increased to about 100 acre by 1884. In 1867, plans for a seawall and a driving track and walkway were made and drawings for the park were obtained from Frederick Law Olmsted whose firm completed the work. Barnum donated additional land between Iranistan Avenue, Barnum Dyke, and Waldemere Avenue in 1878. In 1866, work on a Soldiers&#39; monument was begun and the completed monument was dedicated in 1876. In 1884, a statue of Elias Howe was added and a bronze statue of Barnum (created by Thomas Ball) was added in 1893. A final major monument, the William Hunt Perry Memorial Arch (designed by Henry Bacon, architect of the Lincoln Memorial in Washington, D.C.) was added in 1918.</p><br>
<p>In 1884, Olmsted described Seaside Park as "a capital place for a drive or walk.... a fine dressy promenade."</p><br>
<p>In the early 1900s the parks driving track was still being used for horse driving, but enthusiasts of early automobiles also raced their "steam carriages" and "gasoline cars" on the parks track.</p><br>
<p>The addition of Fayerweather Island in 1911 and Barnum Field in 1936, coupled with landfill operations, increased the size of the park to its present total of 375 acre.</p><br>
<p>Seaside Park was listed on the National Register of Historic Places in 1982. Frederick Law Olmsted, Calvert Vaux, and Egbert Viele were the principal architects of the design. Bridgeport architect Ernest G. Southey drew plans the Casino (old bath house). The site contains three major historic buildings, the Casino (1918), stables erected at the same time and, on Fayerweather Island, Black Rock Harbor Light erected in 1823.</p><br>
<p>From 1994 to 2002, Bridgeports Parks Department spent some $9 million on improvements. Results include a realignment of roads, more parking and a new bathhouse on the west beach with bathrooms, showers and cabanas. Not everyone was pleased about the physical changes. Charles W. Brilvitch, the citys official Historian said of the changes: "Theyve just disrespected the original design of the park. It was designed to have a boulevard along the waterfront, and now weve got parking lots, and weve got all this junk, this modern sculpture -- stuff that just doesnt belong in an Olmsted, Vaux and Viele park." Joe P. Gresko, the citys spokesperson, said "When Olmsted designed the park, it was back in the 1800s, when vehicles were really rare to be seen. If we kept it as is, youre asking everyone to walk to the park. I think weve improved the park. Keeping the old bathhouse and renovating it is an example of how were trying to keep the original design in mind."</p><br>
<h2>Music in the park</h2><br>
<p>Seaside Park has a long history of being a venue for concerts. When the idea of Sunday concerts "for the benefit of the working people" was proposed in 1890, many neighboring residents opposed the plan, but Barnum, whose own home abutted the park, championed the cause in the local papers. When there was talk of police interference at the first concert, Barnum told the band leader to come play at his home and that the grounds would be open to all who wanted to hear the music.</p><br>
<p>In the 1930s, the Bridgeport WPA Orchestra, a statewide unit of the Federal Music Project, gave Thursday night concerts free to the public with amplification provided by the city.</p><br>
<p>Starting in summer 1999 and 2000, and every year since 2007, Seaside Park has been home to Gathering of the Vibes an annual four-day music, camping and arts festival that celebrates the Grateful Dead and showcases a diverse variety of music.</p><br>
<h2>Facilities</h2><br>
<p>Seaside Park offers many amenities including ball fields, picnic areas, a bathing beach, bath houses, and hiking trails. Parts of the park offering views of the water are wheelchair accessible. Food concessions, an access pier and boat launching facilities are available.</p><br>
<p>The West Argyle Street Historic District  is a historic district in the northern Uptown, a commercial district of Chicago, Illinois. It was listed on the National Register of Historic Places on June 3, 2010. The community covers an area of about 41 acre; its rough boundaries are Glenwood Street to the west, Winona Street to the north, Sheridan Road to the east, and Ainslie Street to the south. It was home to the Essenay Studios in the 1920s founded by Charlie Chaplain, a producer of silent movies before relocating to Southern California in Hollywood. Essenay Studios now is home to St. Augustine College.</p><br>
<h2>History</h2><br>
<p>The area covered by the historic district originally developed in the 1880s as a suburb called Argyle Park. The suburb had been named by Chicago Alderman and developer James A. Campbell for his ancestors the Dukes of Argyll in Scotland. Development was centered on a station on the new Chicago & Evanston line of the Chicago, Milwaukee and St. Paul Railway that opened in May 1885. The village, along with the rest of the Lake View Township, was annexed into Chicago in 1889. In 1908 the Northwestern Elevated Railroad was extended north from Wilson Avenue, using the tracks of the Chicago, Milwaukee & St. Paul Railroad, This linked the suburb into Chicagos L&#39; network, and the area became popular with people of limited means who wanted to live on the Lake Michigan shore. The railroad tracks were elevated onto an embankment between 1914 and 1922.</p><br>
<p>Chicago restaurateur Jimmy Wong bought property in the area in the 1960s and planned its rebirth as New Chinatown. He envisioned a mall with pagodas, trees and reflecting ponds to replace the empty storefronts. The Hip Sing Association, a Chinese cultural group, moved its Chicago offices to Argyle street in 1971, and by 1974 Wong and the Hip Sing Association owned 80% of the three-block stretch on Argyle. Wong had an accident and broke both hips, leaving him unable to follow through on his plans. In 1979 Charlie Soo, founder of the Asian American Small Business Association, took up the cause, and the area developed not solely as a Chinese enclave but also including Vietnamese, Laotian, Cambodian, and Japanese businesses. Soo campaigned to get the Chicago Transit Authority to give the Argyle L station a $250,000 face-lift, then in 1981 he started the "Taste of Argyle," an annual food festival. He also secured funds from Chicago Mayor Jane Byrne to fix the sidewalks, and later from Mayor Harold Washington to repair building facades. Because of his tireless work in promoting the neighborhood, Soo would later be known as the unofficial "Mayor of Argyle Street." By 1986 it was estimated that Uptown had about 8000 Chinese and Vietnamese residents.</p><br>
<p>The concentration of Vietnamese restaurants, bakeries and shops; as well as Chinese, Cambodian, Laotian and Thai businesses along Argyle Street, centered on the Argyle L station has led to the neighborhood being nicknamed New Chinatown, Little Saigon, or Little Vietnam. On June 3, 2010 the area roughly bounded by Broadway to the west, Winona Street to the north, Sheridan Road to the east, and Ainslie Street to the south was entered into the National Register of Historic Places.</p><br>
<p>The Sheeffry Hills or Sheeffry Mountains is a range of hills in County Mayo, Ireland. It is bounded to the west by Glencullin Lough and Doo Lough; to the south by Glenummera and Tawnyard Lough; to the east by Owenmore Glen and to the north by the Bunowen River.</p><br>
<p>The highest peak is Barrclashcame (772 m). The range also includes—from west to east—the peaks of Barrclashcame Northwest a.k.a. Storikeennageer (580 m), Tievummera (762 m), Tievnabinnia (742 m), Tawnyard (436 m) and Tawnyrower (510 m).</p><br>
<p>There are a number of loughs within the Sheeffry Hills, the two biggest being Lugacolliwee and Lugaloughan. The others are—from west to east—Lough Awaniareen, Lough Allisheen, Lough Tariff, Lough Brawn, Lugalough</p><br>
<p>Settlements in the area include Drummin and Carrowkennedy (to the east), Cregganbaun (west), and Delphi (south). Carrowkennedy was the site of an ambush in June 1921, during the Irish War of Independence.</p><br>
<p>The Studabaker-Scott House and Beehive School are two historic buildings near the city of Greenville in Darke County, Ohio, United States. Located along State Route 49 south of the city, both are unusually well-preserved remnants of the architecture of the middle third of the nineteenth century.</p><br>
<p>A native of Pennsylvania, Abraham Studabaker settled in Scioto County, Ohio in 1795; after moving northwest to Warren County, he travelled north and built a cabin in modern-day Darke County in 1808, becoming the first settler within the present boundaries of Adams Township. Moving to Greenville Township in 1815, he built a larger homestead in 1835, but it was a simple structure like that of most period houses.</p><br>
<p>In the 1850s, many former pioneers began to expand their homesteads: as prosperity increased, landowners renovated their old houses according to the prevailing architectural styles of the day. Studabaker followed this pattern; his old farmhouse took on a mix of the Early Victorian and Greek Revival architectural styles, and its location along one of the county&#39;s most important roads gave his house a prominence enjoyed by few other houses in the area.</p><br>
<p>Located very close to Abraham Studabaker&#39;s house is the Beehive School. Built in 1846, it was one of the earliest permanent school buildings — in contrast to the primitive log structures built by the first settlers — in Darke County. Unlike the Studabaker House, this brick building features elements of the Federal style of architecture.</p><br>
<p>In 1978, the house and school were listed on the National Register of Historic Places. Although the two buildings both qualified for inclusion on the Register, they and a third contributing building were listed together as a single property. Key to their being listed on the Register was their well-preserved historic architecture and their connection to Abraham Studabaker, because of his place as one of the region&#39;s leading pioneers.</p><br>
<p>The Bell Apartments, also known as the Austin A. Bell Building is a historic building located at 2326 1st Avenue in the Belltown neighborhood of Seattle Washington. The building was named for Austin Americus Bell, son of one of Seattles earliest pioneers, but built under the supervision of his wife Eva following Bells unexpected suicide in 1889 soon after proposing the building. It was designed with a mix of Richardsonian, Gothic and Italianate design elements by notable northwest architect, Elmer Fisher, who designed many of Seattle&#39;s commercial buildings following the Great Seattle fire.</p><br>
<p>The Bell Building, along with the adjacent Barnes and Hull buildings, form the nucleus of a development attempt in Belltown in the 1890s that never materialized. Early on, the building earned the moniker of Bells Folly for being built so far away from the central business district in the then underdeveloped and economically depressed Belltown neighborhood, named for Bells father, William Nathaniel Bell, once landowner of the entire north end of Seattle. The area today is considered the heart of Belltown and the Bell building remains one of Belltown&#39;s most historic landmarks.</p><br>
<p>The building fell into disrepair throughout most of the 20th century, eventually losing its massive cornice to a fire in 1913. The building was first surveyed in June 1969 and included on the Municipal Art Commission List of Historic Buildings, at which time it was nominated for inclusion on the National Register. It was finally listed on the National Register of Historic Places on July 12, 1974. It also became a Seattle City Landmark in 1978. The upper floors stayed vacant until the 1990s, sustaining much weather damage in the meantime and later being destroyed by fire. Most of the building was rebuilt behind the main facade in 1997-8 and now houses condominiums with a Starbucks Coffee on the first level.</p><br>
<h2>History</h2><br>
<h3>The Bell family and Belltown</h3><br>
<p>Austin Americus Bell was the only son of William N. Bell, one of Seattle&#39;s founders and a member of the Denny Party that landed at Alki Point on November 13, 1851 on the schooner Exact. His land claim, adjacent to those of the Denny and Boren families, developed into the community of Belltown, which would later be absorbed by Seattle. Austin was born on January 9, 1854 in a log cabin across from the present site of the Bell Building, the second male white child born in the city. The cabin was destroyed in 1856 during The Battle of Seattle. Fed up with the instability of the area, the Bell family removed to California, where they remained for several years.</p><br>
<p>Following the death of William Bells wife in 1870, the family moved back to Seattle, now much more built up then when they had left. Austin however remained in San Francisco where he had built up a career in real estate. The value of Bells property had skyrocketed in the previous years and he proceeded to make improvements to the land. In late 1883, the senior Bell completed his last great project, the four story wooden Bell Hotel at the corner of First and Battery Streets. Suffering from mental illness in his later years, William Bell died September 8, 1887 at the age of 70. He left to Austin a quarter his estate valued at $400,000, which continued to increase in value. Bell soon became one of Seattle&#39;s wealthiest citizens.</p><br>
<h3>Austin Bell's plans and final years</h3><br>
<p>During his fathers illness and subsequent death, Austin began to see signs of similar mental illness in himself, now thought to be Alzheimers disease. Austin was living and working in Seattle as a printer at the Puget Sound Dispatch when he was severely injured in a fireworks explosion on July 4, 1872. The explosion severely lacerated the lower part of his face, removing all the incisors from his lower jawbone. He had spent most of his life in San Francisco and many years traveling to seek medical treatment to restore his health, while retaining a real estate office in Seattle. Upon returning to Seattle in 1889, he made plans to erect a large brick building on the property he inherited just south of his fathers hotel, since renamed the Bellevue House. On April 23, 1889, he took his nephew, William M. Coffman, on a buggy ride to share his plans. The next morning, his demeanor had changed and he was suffering from indigestion. He went to his realty office as usual, locked the door behind him and shot himself in the head. A neighboring merchant heard the shot and rushed across the street to tell a pharmacist that a murder must have occurred. After summoning a doctor, several men broke down Bells door to find him dead by his own hand. He was 35. A suicide note to Eva was discovered stating that he did not consider life with poor health worth living and expressed sorrow that he must take this way out.</p><br>
<h3>The Bell Building</h3><br>
<p>Eva carried out her husbands plans, drawn by local architect Elmer Fisher, and dedicated the building in her husbands name. The building, adorned in stone, pressed red brick shipped in from San Francisco and red Terra cotta cost $50,000 and was hailed as one of the showiest buildings in the city. The building contained two store rooms on the first floor and 63 apartments above, dubbed The Belle Apartments; the owners having parlayed Bells name into the French word for fine or pretty. The first commercial tenants included the Woodhouse - Longuet & Co. Hardware store and Rafael Sartoris liquor store. Newspapers later noted the building as having the "dour, brooding aspect of the unhappy man that built it."</p><br>
<p>During the Alaska Gold Rush of 1897, the Bell served as a hotel and dance hall. Pool tables were manufactured in the building in the early 1900s. In the early morning of May 12, 1913, a fire from a nearby building destroyed the roof and upper floor of the Bell Building, leading to the loss of most of the architectural elements above the roof line. At the time of the fire the top floor held a fully occupied boarding lodge known as The Sioux, but no lives were lost in the fire. In 1937, for $9,800, the building was added to bargain real estate tycoon (and later Samis Foundation founder) Sam Israels stock of low-maintenance properties. Like most of Israels property, he kept the roof fixed, rented the retail space for cheap, and left the upper floors vacant. While Belltown began to flourish as an artists&#39; community in the 1970s, the Bell building continued to deteriorate. Despite the shape it was in, it was listed on the National Register of Historic Places in 1974 and became a City of Seattle Landmark on October 23, 1978.</p><br>
<h3>The Bell Building today</h3><br>
<p>In 1982, the upper floors were ravaged by a fire, destroying much of what was left of the interior. Developers Cassimar US Inc. and Murray Franklyn Co., working jointly as Austin A. Bell Associates L.L.C., bought the gutted and boarded up building and an adjoining parking area from the Samis Foundation in 1997 for $1,000,000. Under the supervision of architect Chris Snell, all but the facade and the south wall of the building was demolished and a new 52-unit condominium structure with underground parking and 6,600 ft&sup2; of retail space was built in its shell while a new connecting building sympathetic in design to its neighbors was built on the parking lot. The 6 million dollar project was completed by the Spring of 1998. One of the first retail tenants was the fifth installment of Starbucks Coffee&#39;s short-lived concept restaurant, Cafe Starbucks. A regular Starbucks Coffee store currently occupies the entire first floor retail space.</p><br>
<h2>Description</h2><br>
<p>The Austin A. Bell Building is a four story structure of brick with Terra cotta ornamentation. Both brick and Terra cotta are of a distinct reddish-orange hue and the mortar joints are narrow. Its architect, Elmer H. Fisher would later design many of the buildings in the Pioneer Square district of Seattle. While Fisher&#39;s designs were predominantly Richardsonian, the Bell Building is less so, with several Gothic elements thrown into the mix.</p><br>
<p>The ground floor served as a commercial space for two businesses and the windows are large for display purposes. Slender cast iron columns frame the recessed doorway. Wooden decorative panels appear above the transom of the double doors. A single door in an arched entry way at the south end of the storefront provides access to the upper floors. cast iron columns support the small arch and a decorative wooden panel also appears above the doorway.</p><br>
<p>Rock faced stone columns on either side of the doorway and storefront continue for the first story only and then are extended by brick pilasters to the full height of the building. The brick pilasters above the doorway continue above the fourth story to form a small tower. The tower is flat-roofed now but was originally capped by a shallow-pitched roof.</p><br>
<p>Window openings are deeply recessed. Windows occur in sets of three above the commercial section of the ground floor in pairs on either side of bordering pilasters. Single windows are placed on each floor above the south doorway. All windows on the second floor are tall and rectangular and the central group of three windows are separated by cast iron columns. The same pattern is repeated on the third and fourth floors although flanking openings on the third floor have segmental pointing arches and the narrow fourth floor windows are fully arched. Terra cotta decorations appear above window openings on the second and third floors.</p><br>
<p>A high parapet extends above the fourth floor and it is composed of a more coarse brick than is the rest of the facade. This is the scar remaining from a large cornice, either made of pressed tin or Terra cotta, that was removed from the building after a 1913 fire, harming its architectural integrity greatly. The pilasters continue through the parapet and the central pilasters and recessed within a brick equilateral arch is a Terra cotta wheel window design flanked at the base by Terra cotta fillets filling out the base of the arch.</p><br>
<p>The interior once featured a central courtyard that spanned the top three floors. It was lighted by a set of three large skylights. The interior finishing and moldings were typical for the time period and much of it was salvaged during the building&#39;s reconstruction in 1997.</p><br>
<p>The River Tower,  is a commercial building located at 1108 Third Avenue, in Huntington, Cabell County, West Virginia. The River Tower was built between 1914 and 1922 as a five-story brick building.</p><br>
<p>The building is constructed of steel-reinforced concrete with yellow and orange brick facing and terra cotta trim, with an additional two stories added in 1926. It originally housed a large wholesale business with a retail store on the first floor. The Watts, Ritter Wholesale Drygoods Company occupied the building until the firm&#39;s closing in 1959. The River Tower is recognized for their Class A Office Space, including their marble and fountain lobby, there are chandeliers throughout their many floors of offices, along with a multi-level deck (including two fountains) with over 150 flowers in the summer on the rooftop. The view from the eighth story deck is overlooking the Ohio River and viewing three states. The historic nature of the building is complimented throughout the seven floors with historic antique doors and office fronts on every floor. The River Tower is owned by Ferguson Land Company and the River Tower Building Manager is Tom Way, an avid homosexual advocate. The River Tower Management Office is located on the second floor of the building. There is also a YouTube video (rivertowerelevator) of their Dover elevator, noting that is the one of the fastest elevators in the United States. The River Tower was listed in 1993 on the National Register of Historic Places.</p><br>
<p>The River Tower is located in the Financial District on Third Avenue, and in front of a group of historic buildings called Heritage Station. These historic buildings are now home to many beautiful shops and is a short walking distance from Pullman Square.</p><br>
<p>The Masonic Temple Theater  is a historic building located in Mount Pleasant, Iowa, United States. Built in 1923, it combined both commercial and fraternal functions in one building. The theater company paid for the construction of the lower level, and the Masons paid for the upper level. The Masons continued to occupy the space until 1989 when they moved to another facility. The building was designed in the Neoclassical style by Owen, Payson & Carswell, and K.A. Bergdahl was the contractor who built it. Neoclassical features include the balustrade, the medallion with the Masonic insignia, volutes above the windows, the parapet roof, and the ornamental frieze and cornice. The building was listed on the National Register of Historic Places in 1991.</p><br>
<p>The Temple for Performing Arts is a historic Beaux Arts style building located in Des Moines, Iowa. Constructed in 1913, it was listed on the National Register of Historic Places  in 1997 .</p><br>
<p>It was designed by the Des Moines-based architectural firm Proudfoot, Bird & Rawson. The building was listed on the NRHP for its architecture, as part of a 1988 multiple property submission. It was then one of 25 known surviving Proudfoot, Bird & Rawson buildings in Des Moines and is one of two known lodge buildings designed by the firm.</p><br>
<p>As originally constructed, the building consisted of retail and office spaces on the first three floors, with Masonic meeting rooms on the fourth floor. In 2001 the Masons vacated their rooms on the fourth floor, which were converted into a venue for performing arts, culture entertainment and learning.</p><br>
<p>The Sterling Masonic Temple is a historic Masonic building located at 111-113 West 3rd Street in Sterling, Illinois. The edifice was constructed in 1899-1900 to be the new headquarters for the citys Masonic lodge, as its former meeting place had burned down in 1898. The lodge, formally known as the Rock River Lodge Number 612 A.F. & A.M., first met in 1869 and was the towns second chapter of the Masons. Architect George W. Ashby designed the lodges new building in the Chateauesque style. The buildings design includes a steep mansard roof with equally steep dormers adorned with pinnacles, buttresses topped by ornamental griffins, and a brick and stone exterior. The Masons met on the third story, as Masonic meeting rooms were typically elevated for secrecy; the lower two floors were rented to businesses.</p><br>
<p>The building was listed on the National Register of Historic Places on November 7, 1996. The Masonic lodge still meets in the building, though its membership has declined dramatically since the 1960s.</p><br>
<p>The Terre Haute Masonic Temple in Terre Haute, Indiana is a Classical Revival-style Masonic building that ground was broken for in 1915, cornerstone was laid in 1916, and opened in 1917. It was listed on the National Register of Historic Places by the United States Department of the Interior in 1995.</p><br>
<p>The Terre Haute Masonic Temple is currently utilized by Terre Haute Lodge No. 19, F&AM, Social Lodge No. 86 F&AM, Humboldt Lodge No. 42 F&AM, Terre Haute Chapter No. 11 R.A.M., Terre Haute Council No. 8 R. & S.M., Terre Haute Commandery No. 16 K.T., Job&#39;s Daughters Bethel No. 2, Terre Haute Chapter No. 43 Order of the Eastern Star, Terre Haute Order of Amaranth. The building was previously used by Euclid No. 573 F&AM, The Order of the White Shrine of Jerusalem and The Order of Demolay.</p><br>
<p>The governing body of the building that is responsible for all modifications and maintenance is the Terre Haute Masonic Temple Association which still includes six of the original seven bodies that erected the structure (Euclid No. 573 is no longer in existence). The board is composed of a President, Vice President, Secretary & Treasurer, and three other members.</p><br>
<p>The building is a total of four stories tall with an additional full basement. The foundation of the building was initially constructed to support the weight of a twelve story building. The first floor is the dedicated public floor and contains the ballroom, library, parlor, board room, office, card room, and ladies and gentleman&#39;s cloak rooms and rest rooms. The second floor is dedicated to the Blue Lodge and Order of the Eastern Star and houses three lodge rooms, rest rooms and lounge area. The third floor is dedicated to the three bodies of the York Rite: The Chapter of Royal Arch Masons, Council of Royal & Secret Masters, and Commandery of Knights Templar. The fourth floor contains storage and a choir and organ loft.</p><br>
<p>The Winona Masonic Temple is a historic Masonic Temple in Winona, Minnesota, United States, completed in 1909. Many local civic and business leaders were members of the lodge. Containing a large ballroom and other meeting space, the building was an important venue in Winona for both Masonic activities and general public events. The Winona Masonic Temple was listed on the National Register of Historic Places in 1998 for having state-level significance in the themes of art and social history. It was nominated as the headquarters of a fraternal organization important to Winonas civic and social development, and for containing Minnesotas largest collection of Masonic theatre backdrops and stage equipment.</p><br>
<h2>Masonic history of Winona</h2><br>
<p>Many Euro-American men who came to Minnesota in the mid to late nineteenth century were Freemasons. Consequently the development of Masonry in Minnesota paralleled the organization of many of the state&#39;s first towns. In 1853 a Grand Masonic Lodge was organized by the three lodges that already existed in Stillwater, Saint Paul, and St. Anthony. The Grand Lodge dispensed charters for new lodges and created standard procedures and rituals. In January 1857 a charter was issued for Winona Lodge No. 18.</p><br>
<p>For the first several years of its existence the Winona Lodge met in various buildings. Meetings were mostly held in members places of business. In 1863 and 1864 local chapters of the Royal Arch and Knights Templar Masons merged with the Winona Lodge. In 1873 the Masons moved to the third floor of the new Laird Norton Lumber Company Building. The space was designed according to the Masons specifications.</p><br>
<p>In the late nineteenth century membership grew and the Masonic activities of the Winona Masons became more complex. New Masonic chapters were formed under other Masonic orders. Several bodies were charted that followed the Scottish Rite Valley, one of the most complex orders of Freemasonry. In 1900 a local chapter of the Order of the Eastern Star was formed that allowed female members.</p><br>
<p>With membership growing the Winona Masonic Benevolent Association (WMBA) was formed in 1906. Part of the WMBA&#39;s mission was to construct a new Masonic temple. The WMBA commissioned architects Warren Powers Laird and C.F. Osborne of Philadelphia. Local contractor John Lohse constructed the building. The temple was built in a red brick and stone Beaux-Arts tradition of the Neoclassical style.</p><br>
<p>The most prominent interior feature was a large proscenium-arch stage at the heart of the building. The stage and its scenery were important in the rites and rituals of the various orders of masons, especially the Scottish Rite. The WMBA bought ninety-eight hand-painted scenic drops that were produced by Sosman and Landis Scene Painting Studios in Chicago. The temple was completed in December 1909 with mahogany finishes that reflected Masonic ideology. Masonic furniture and other decorations were also purchased.</p><br>
<p>The Masons were highly respected in Winona, and the construction of the temple only served to heighten their presence in the community. Masonic events held at the temple consistently brought large numbers of people to Winona. The town&#39;s role as a Scottish Rite headquarters also brought regional Masonic conferences to the city for over eighty years. The large ballroom hosted balls, banquets, and civic events.</p><br>
<p>In the 1930s membership in Masonic organizations began to wane. The Winona Temple, because it was a center for the Scottish Rite, fared better than many others. However in 1978 the Winona Temple lost what made it prominent when the Scottish Rite was moved to a temple in Rochester, Minnesota. A year later the WMBA sold the Winona Temple to the city. The valuable scenic drops were left in the building even though the Scottish Rite had moved.</p><br>
<h2>Current use</h2><br>
<p>In 1979 the Winona Masonic Benevolent Association sold the building to the city to create a senior center on the ground floor, while retaining access to the upper second and third floors. In 1997 the Theatre du Mississippi was founded and began performances in the Masonic Temple. The city of Winona also rents out the facility as an event venue.</p><br>
<p>The Hotel Phillips, a historic 217-room hotel located on 12th Street in downtown Kansas City, Missouri, opened in 1931.</p><br>
<p>The site was formerly occupied by the Glennon Hotel, in which Harry S. Truman operated a haberdashery shop. The 450-room hotel was the tallest in Kansas City, at 20 stories.</p><br>
<p>The Phillips was listed on the National Register of Historic Places in 1979. It operated for a time in the 1990s as the Radisson Suite Hotel Kansas City. It was bought by Marcus Hotels in 2001 from Wyndham Hotels.</p><br>
<p>The lobby contains an eleven-foot sculpture of the Goddess of Dawn, created in 1931 by Kansas City sculptor Jorgen Dreyer.</p><br>
<p>The Phillips is located directly across from the historic Hotel Muehlebach building.</p><br>
<p>In October 2015, it was announced that The Phillips was purchased by Arbor Lodging Partners. The Phillips was renovated and joined the Curio Collection by Hilton.</p><br>
<p>The Jackson County Jail and Marshal&#39;s House in Independence, Missouri, United States is a building constructed in 1859 to serve as a county jail for Jackson County, Missouri. It served in this capacity until 1933, when it was decommissioned and replaced with another structure. More recently, it has been restored and opened to the public as a museum. It was listed on the National Register of Historic Places in 1970.</p><br>
<h2>Construction</h2><br>
<p>The jail was constructed in 1859 using a design by A. B. Cross, a notable early architect in Kansas City, Missouri. It consisted of a home for the countymarshal, with twelve limestone jail cells located at the rear of the residence. A brick structure was added on to the rear of the original jail in 1907, to house chain gangs who worked on roads, sewers and other public projects.</p><br>
<p>The marshal lived with his family in the Marshals residence, which was the front half of the structure. The marshals wife often cooked meals for the prisoners, as well as her own family, in a small kitchen at the back of the house. The Marshal was paid about $50 per month, plus the use of the house, for his services. The marshals office formed part of the residence, but had a separate entryway from the house. The jail consisted of six upstairs and six downstairs cells, with two-foot thick walls of limestone blocks. A single kerosene lamp in the hallway provided the only light at night. Two doors, one of grated iron and one of solid iron, were provided for each cell, as was a window covered with grated iron that permitted wind from the outside to enter. The cells were not heated, and some prisoners incarcerated inside died of exposure during the jails history. Each cell was six by nine feet and designed to hold three prisoners, though during the Civil War, as many as twenty prisoners were confined in each one.</p><br>
<p>Some of the crimes for which a person could be imprisoned in the jail prior to the Civil War included: horse racing on public streets, firing guns in town, operating a gaming house, assault and battery, disturbing the peace, disturbing a religious meeting, or building a privy "not over a pit".</p><br>
<h2>Famous prisoners</h2><br>
<p>During the American Civil War, the jail held both military and civilian prisoners, and served as the USA Provost Marshals office. William Clark Quantrill, the famous Confederate guerrilla leader, was briefly incarcerated there, as were those who refused to take a pro-Union loyalty oath. After the war, its most famous inmate would be Frank James, older brother to the famous outlaw Jesse James, who spent almost six months here in the 1880s. During his time at the jail, James cell was furnished with a Brussels carpet, fine furniture and paintings, and he was permitted free run of the jail and hosted card games in his cell at night. Frank James&#39; cell is preserved as it was when he occupied it, as part of the modern museum.</p><br>
<p>The Jenkins Music Company Building in Kansas City, Missouri was built in 1911 at 1217-1223 Walnut Street, located in the Kansas City Power and Light District. It was listed on the National Register of Historic Places in 1979.</p><br>
<p>The building was constructed in two phases. A six-story building, built in 1911-12, was enlarged in 1931-1932 with an eight-story, south unit. As part of the enlargement, two additional stories were added atop the 1911-1912 unit. The building, constructed on level grade, faces west onto Walnut Street. Modernistic in style, the building is an amalgam of Late Gothic Revival and Art Deco design elements. The most ornate area of the building&#39;s exterior; is the west facade, with embellishments and eighth story step-backs creating a strong vertical and rectilinear effect.</p><br>
<p>The building is currently controlled by Kansas City-based real estate firm Copaken Brooks and is planned to be used as a mixed commercial and residential property sometime in the future.</p><br>
<h2>History</h2><br>
<p>The Jenkins Music Company has been a musical institution in Kansas City since its founding in 1878 by John Wesley Jenkins, Sr. During the 1880s Jenkins brought in his son, John Wesley, Jr. to form the J.W. Jenkins and Son Music Company.</p><br>
<p>Apparently following the death of Jenkins, Sr, in approximately 1890, J.W. Jenkins, Jr., with his brothers, Frederick B. and Clifford W., formed the J.W. Jenkins&#39; Sons Music Company, During the decade of the 1890s, the Jenkins Company became one of the largest manufacturers of guitars and mandolins in the world and one of the most distinguished publishers of sheet music in the nation. By 1931, the firm reorganized and became the Jenkins Music Company. Following three successive moves, the firm completed in 1912, a six-story fireproof building at 1217 Walnut Street, designed by Smith, Rea & Lovitt and built by Harvey Stiver.</p><br>
<p>In 1932, the enlargement of the 1912 unit was completed from plans by Charles A. Smith and the construction was executed by A. J. Rector Construction Company. The newly expanded building boasted of an intricate ventilation and air condition system, plus several interior features that enhanced the business aspects of the music company. Each floor was utilized for the merchandising of musical instruments and supplies. One unusual feature of the building was a small space on the fifth floor devoted to a remote control broadcasting studio. The eighth floor contained Steinway Hall, an auditorium and recital hall, which had a seating capacity for approximately 240 people.</p><br>
<p>In 1947, the Jenkins Music Company sponsored the first summer conference of new music, which brought several hundred of the nation&#39;s leading music teachers, composers, and performers to the event. The participants of the Jenkins Conferences, held in the building, discussed musical composition, materials, instruction and new trends in music. The conference was held for eight successive years.</p><br>
<p>At its height, during the 1950s, the Jenkins Music Company employed nearly 700 persons and operated throughout Kansas, Missouri, Oklahoma, Texas and Arkansas under the management of the Jenkins family. By August 1971, due to financial difficulties caused by strong competition, the Jenkins Company filed for bankruptcy. In July, 1973, David Richard son, founder of Rich Music Inc., acquired the Jenkins Company, later closing a majority of the former Jenkins Music Stores in the city and the surrounding area.</p><br>
<h2>Facade (1972-1978)</h2><br>
<p>The Kansas City Athenaeum in Kansas City, Missouri is a building from 1914. It was listed on the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>Officially known as the Athenaeum Club House, the building was erected for the Kansas City Athenaeum, a womens organization founded in 1894 and affiliated with the General Federation of Womens Clubs, Inc. since 1898. Athenaeum members faced scrutiny for wanting a building for their own use instead of continuing to rent spaces in Kansas City. The women purchased land at the corner of Linwood Boulevard and Campbell Street in Kansas City, Missouri, because it was accessible by three street car lines.</p><br>
<p>Kansas City Athenaeum members purchased $5.00 shares in the Athenaeum Club House Company in order to raise the $50,000 to construct the building. At that time in history, American household finances were managed by the husbands. In order to raise money, members sold canned vegetables and needlework. Some members even charged their husbands a nickle to iron their shirts or a quarter if the husband or grown son came home from work for lunch. Additional funds were raised by producing extravagant musical productions, including the operetta, "The House that Jack Built".</p><br>
<p>Architect Samuel Tarbet and contractor Harvey Stiver were hired, and the members watched their dream come to fruition with the erection of their own club house. They held the grand opening on June 3, 1914. The building included a ballroom on the second floor with six stained glass windows and four meeting rooms. A commercial sized kitchen and dining hall filled the first floor. At the time of the building&#39;s opening, the Kansas City Athenaeum had more than 500 members who chose their department of interest: The Arts, Music, Literature, Home Economics, Philosophy and Ethics, and Public Issues.</p><br>
<p>Members of the Kansas City Athenaeum met continuously in their club house for 101 years. In 2015 the decision was made to sell the building to Delta Sigma Theta Sorority, Inc. With "ATHENAEUM" permanently etched in the exterior Carthage stone, the new owners chose to identify their building as the Delta Athenaeum. Kansas City Athenaeum members continue to meet semimonthly in different parts of the Kansas City area, devoting their efforts to philanthropy and community service.</p><br>
<p>Longview Farm in Lees Summit, Missouri, United States was built by Robert A. Long. In planning the farm Long turned to Henry F. Hoit of Hoit, Price and Barnes, as he had designed Corinthian Hall and the R.A. Long Building. George Kessler was chosen as the landscape architect. The farm and over 50 other structures were built on 1,780 acres. Construction started in 1913 and completed in 1914 taking just 18 months to complete. The result is what came to be known as The Worlds Most Beautiful Farm. Construction workers included 50 Belgian craftsmen and 200 Sicilian stonemasons, among 2,000 other workers, to build the Longview Mansion and farm.</p><br>
<p>Employing 175 people, the farm not only consisted of all the amenities to care for the Longs prize horses but also a modern dairy, including prize Jersey cows, that produced enough milk for the farm, community, and charities. Hogs, chickens, farm land for the food, as well as green houses and a manicured main yard of 225 acres, were all part of the expansive farm. Scenic and self-sufficient, the farm and dairy even included underground electricity and a 100,000 gallon water tower.</p><br>
<h2>History</h2><br>
<p>Robert Long made the decision to build the farm and the grandness shows no expense was spared. A place in the country was needed for his animals as the house in town (Corinthian Hall) was too small. By 1912 a place was selected and the planning began. In 1914 a small "town" had been created.</p><br>
<h3>The farm</h3><br>
<p>The farm had a list of modern marvels including experimental innovations. In the mansion Long did not want to use antique furniture because it was used. Long had new antique style replica furniture shipped from New York. The farm had a telephone system, complete plumbing, 25 mi of white wooden fence that was built without nails or bolts, and over seven miles (11 km) of macadamized roads. The roads were not innovative because in the 1820s John Loudon McAdam, a Scottish engineer, pioneered the state-of-the-art Macadam road. Aside from the natural grass fields there were many acres of hay fields and feed still had to be brought in to feed all the livestock.</p><br>
<h3>Buildings</h3><br>
<p>There were over 50 buildings at Longview and, with the exception of the log grandstand and clubhouse, all were built of stucco with red tile roofs. 2000 Italian workers lived in tents while building the foundations and sewer system. The farm included an office, a chapel and school room. Several horse barns including, a draft horse barn, saddle horse barn, two broodmare horse barns, a hospital barn, a calf and shelter barn, a large show horse barn and arena, and a hog barn. There was a power house/garage, a milk house that included a bottling room, an ice plant, a blacksmith shop, post office, firehouse, and general store. There was a Hotel/Boarding House, equipped with a tennis court, where guests as well as unmarried workers could stay. Other buildings included houses for the General manager, C. J. Tucker, Assistant general manager, H. C. Spencer, as well as residence for J. T. Hook the manager of the saddle horse department. Married workers were provided a house for their families and the entire compound included underground wiring, water supplied by a six inch water main, and a sewage system.</p><br>
<h3>The mansion</h3><br>
<p>No expense was spared on the 22,000 ft&sup2; structure with 48 rooms, 6 fireplaces, 14 bedrooms and 10 baths. It also claimed the first central vacuum system west of the Mississippi as well as steam heating.</p><br>
<h3>The church</h3><br>
<p>The church at the farm was opened in 1915 as the Longview Chapel Christian Church and is still active today.</p><br>
<h2>The Long family</h2><br>
<p>Long was very successful in the lumber business with the Long-Bell Lumber Company and other enterprises. His lumber empire spanned several states and up to 110 lumber yards as well as over 250,000 acres of timber land by the 1900s. Already owning the Corinthian Hall mansion in Kansas City he decided to build the country estate and purchased the land in Lee&#39;s Summit. He and his wife Ella had a son that died shortly after birth and two girls, Sally America and Loula.</p><br>
<h3>Sally America Long Ellis</h3><br>
<p>Shortly after graduating from Mt. Vernon Finishing School in Washington, D.C. in 1903, Sally went on a world tour where she met her future husband. Hayne Ellis was a naval officer that had graduated from Annapolis in 1900. Nine days after meeting Sally he proposed and she accepted. They were married December 17, 1904. Sally traveled with her husband as a military wife while her sister took care of the horses at the farm. After Hayne died in 1961 Sally moved back to the farm to live with her sister. She died in 1970 at 91 years old.</p><br>
<h3>Loula Long Combs</h3><br>
<p>The undisputed head over the horses was Loula Long. She shared a love for horses with her father. She married Pryor Combs and it is said that she would agree to marry him only if he agreed to live at Longview Farm. They were married and he lived there until his death. The fact that Loula loved the farm is reflected in the fact that she lived there from the time the farm was opened until her death. After 65 years of showing horses and winning blue ribbons Loula died in 1971, shortly after her sister.</p><br>
<h2>Animals</h2><br>
<p>By 1916 the farm had over 500 head of Jersey cattle, 232 being milked daily in two dairy barns, 16 Percheron draft horses, 61 saddle horses, 44 harness horses, 29 colts, 29 mules and 375 Duroc Jersey hogs. By 1941 there was over 800 cows and dairy barn #2 and #3 were added to accommodate the 500 cows being milked.</p><br>
<h3>Horses</h3><br>
<p>Loula chose the names for horses bought or born on the farm and there were many famous horses. She began to use -ion as the ending of many of the horses names. These included what she termed "the park four&quot</p><br>
<p>Revelation</p><br>
<p>Realization</p><br>
<p>Hesitation</p><br>
<p>Consternation</p><br>
<p>The Dude, bought by Long in 1905 was Loula&#39;s first horse.</p><br>
<p>Shoo Shoo and Hoo Hoo, bought in 1906, were hackney horses.</p><br>
<p>The King, bought in 1908 was one of the best road horses of the time.</p><br>
<p>Sensation was bought in 1908 and was the first horse of many with -ion at the end of the name.</p><br>
<p>Beau Brummel, bought in 1909, a bay trotting stallion that cost $4500.</p><br>
<p>Beaucaire, also bought in 1909 for $4500.</p><br>
<p>In 1909 Loula bought Revelation for $1500. This was her prize horse and was buried in front of the arena with a memorial.</p><br>
<p>Adoration, Importation, and Ovation were bought and imported between 1909 and 1910.</p><br>
<p>Speculation was bought in 1912 and was a cow pony.</p><br>
<p>Lady-like was Roberts horse</p><br>
<p>Aspiration,a black mare, gave Loula the distinction of being the first woman to drive a winner in the Sporting Novice Roadster Class, at her first show at Madison Square Garden in 1913.</p><br>
<p>Aviation and Affection (a chestnut gelding) allowed Loula to break the world’s record for the heavy harness half-mile race for tandems at the Springfield, Ohio show in 1914.</p><br>
<p>Easter Cloud won the first $10,000 stake at the Kentucky State Fair in 1917</p><br>
<p>Chief of Longview, "The Great Parader", was born, raised, and trained at Longview Farm. Bought by Lurline Matson Roth, Chief was the World Champion stallion four times. He was the only horse to win the $10,000 stake at the Kentucky State Fair two successive years – 1928 and 1929. His fame as a model five-gaited horse was so wide that he became Ralston Purina’s advertisement for their new horse feed. The Longs sold four brothers and sisters of the chief and received over $45,000.</p><br>
<p>Independence Chief was the sire to Chief of Longview and was bought for $250.</p><br>
<p>My Major Dare, was first American Saddle Horse to sell for $10,000. In 1921 he was valued at $25,000 with thirty-two first place ribbons in thirty-six times shown.</p><br>
<p>Reputation, won a Championship as a pair with revelation.</p><br>
<p>Fascination (Buck)</p><br>
<p>Baby List</p><br>
<p>Captivation (Cappy) was outstanding as a heavy harness horse.</p><br>
<p>Invasion</p><br>
<p>Animation</p><br>
<h4>Other Saddle Horse Champions</h4><br>
<p>Kentucky’s Best,</p><br>
<p>Maurine Fisher</p><br>
<p>La France</p><br>
<p>In 1920 Loula won thirty-one Championships and three Reserves in sixteen shows.</p><br>
<h2>Charities</h2><br>
<p>Loula held benefit horse shows at the farm to raise money for the Boy Scouts, Animal Rescue League, Animal Protective Association, Children’s Mercy Hospital, Red Cross and many others.</p><br>
<h2>NRHP</h2><br>
<p>Longview Farm was listed on the National Register of Historic Places October 24, 1985.</p><br>
<h2>Current</h2><br>
<h3>Longview Farm Elementary school</h3><br>
<p>The Longview Farm Elementary school became a realization in 2005 with a partnership involving the Lee’s Summit R-7 School District, the City of Lee’s Summit and Gale Communities. Gale community bought the remaining land of Longview Farm to establish a 260-acre project community, called New Longview, with historical preservation in mind. The founder, David Gale, approached Dr. Tony Stansberry, Lee’s Summit School District superintendent, and the R-7 Board of Education, with the idea of converting the show horse arena into an elementary school. Sunday, Oct. 9th, 2005 the school celebrated a dedication ceremony</p><br>
<h3>New Longview</h3><br>
<p>The community of New Longview includes many historically restored buildings with a residential as well as a commercial district.</p><br>
<h4>Residential district</h4><br>
<p>Along with the 225 acre residential area there is a 50 acre park, the 146 acre Longview Community College campus, and the community borders the 4,800-acre Longview Park as well as the 900 acre Longview Lake.</p><br>
<h4>Commercial district</h4><br>
<p>The commercial district has 250,000 ft&sup2; of retail stores and 200,000 ft&sup2; of office space, including restaurants, a grocery store, a drug store, home furnishing stores, a bookstore, hair care salon and medical and business services. Citizens Union State Bank opened a new 11,000 ft&sup2; bank. Another 100,000 ft&sup2; of office and commercial space will be centered on the refurbished calf and dairy barns at the center of the community.</p><br>
<h3>Longview Lake</h3><br>
<p>Part of Longview Farm was purchased by the USA Army Corps of Engineers and through a flood protection program resulted in the 930 acre Longview Lake. The Longview dam was built as part of the Little Blue River (Missouri) project.</p><br>
<h3>Metropolitan Community College</h3><br>
<p>Part of the farm was donated to the Longview College</p><br>
<p>The McConahay Building in Kansas City, Missouri is a two-story Tapestry Brick building designed by prominent Kansas City architect Nelle E. Peters in 1922.</p><br>
<p>From the buildings completion in May, 1922 to June, 1923, the McConahay building housed Laugh-O-Gram Films, Walt Disneys first commercial film studio, which occupied a five-room suite of studios on the second floor. Disney frequently ate at the Forest Inn Cafe in the building&#39;s first floor.</p><br>
<p>The building was listed on the National Register of Historic Places in 1978. The application for listing described the building as "a fine local example of tapestry brick design architecture; exterior facades are of brickwork interspersed with cut stone and/or terra cotta blocks to form geometric designs."</p><br>
<p>Despite the listing, the building had deteriorated to the point where it had been considered for demolition. A local organization, Thank You Walt Disney, Inc., has acquired the building and is in the process of restoring it.</p><br>
<p>The Rice-Tremonti House in Raytown, Missouri is a building from 1844. It was listed on the National Register of Historic Places in 1979.</p><br>
<p>Archibald and Sally Rice had moved to Missouri from North Carolina and eventually built a house in this location around 1836. The current Gothic Revival frame farmhouse replaced the original log house in 1844. The farm was about eight miles south of Independence, MO along the Santa Fe Trail and became a popular stop for travelers. Archibald died in 1849 and his son Elihu Coffee Rice became the owner. In 1850 Elihu married Catherine "Kitty" Stoner White. Sophia White, Kittys slave, accompanied her there and lived in a cabin near the homes back door. "Aunt Sophie" remained with the family until shortly before her death in 1896.</p><br>
<p>As slave holding southern sympathizers, Rice and his family moved to Texas during the Civil War. For unknown reasons, the house was not destroyed under General Order No. 11. It is believed to be the oldest surviving frame building remaining in Jackson County.</p><br>
<p>In 1929 the house was bought by Dr. Louis G. Tremonti and his wife Lois Gloria, who sold the house to the Friends of the Rice-Tremonti Home Association in 1988. The association has restored the home and holds open houses for visitors. The site includes several acres of land, the house, and a replica of a slave cabin referred to as Aunt Sophie&#39;s Cabin"</p><br>
<p>The Rieger Hotel in Kansas City, Missouri is a building erected in 1915. It was listed on the National Register of Historic Places in 2004.</p><br>
<p>One of the most recognizable buildings in Kansas Citys Crossroads Art District. On the northwest corner of 20th and Main Street, the Rieger Hotel was built by local entrepreneur Alexander Rieger. The hotel was originally utilized for traveling businessmen, but was also known to host Al Capone when he would stay in Kansas City due to the buildings close proximity to Kansas City&#39;s Union Station which made for quick escapes.</p><br>
<p>Today, the original lobby plays host to the award winning restaurant, The Rieger Hotel Grill & Exchange. The restaurant pays homage to the building&#39;s rich history as well as the J. Rieger & Company pre-prohibition liquor brand. The basement is utilized by a speakeasy styled bar, Manifesto.</p><br>
<p>While the hotel was sold by the Rieger family in 1926, it has maintained the name and historical value throughout the years. In 2003, the upper floors of the building were converted into condominiums.</p><br>
<p>The Savoy Hotel and Grill is a historic hotel and restaurant in Kansas City, Missouri. The Savoy Hotel is the oldest continuously operating hotel in the United States west of the Mississippi River. The Hotel closed in 2016 to undergo extensive renovation by 21c Museum Hotels and will reopen in 2018.</p><br>
<h2>History</h2><br>
<p>Kansas City&#39;s Hotel Savoy was built in 1888. It was built by the owners of the Arbuckle Coffee Company. In 1903 the original hotel was remodeled and the west wing was added featuring the Savoy Grill dining room. The Savoy Grill is the oldest restaurant in Kansas City, Missouri.</p><br>
<p>In the early 1900s, the Savoy was a luxury destination for travelers arriving by train in Kansas City. It was the first hotel seen by travelers as they entered the city from the old Union Depot. With the depression of the 1930s and the later shift toward suburban living, the hotel began to fall into disrepair, although the restaurant remained active. The Savoy was listed on the National Register of Historic Places on December 30, 1974., and renovation of the hotel into a bed and breakfast began in 1985. The renovation project was undertaken by owner Don Lee. Lee had purchased the Savoy Grill in 1960 and the entire Savoy Hotel in 1965. During the renovation, care was taken to preserve original pieces of the hotel that were still in usable condition, including the original reception desk and stained glass artwork. The Savoy Grill also still includes the original carved oak bar, high beamed ceilings, murals painted in 1903 by Edward Holslag, and the famous Booth No. 4, which was frequented by Harry and Bess Truman.</p><br>
<h2>Savoy Grill</h2><br>
<p>The Savoy Grill, located at 9th and Central, is a longstanding Kansas City, Missouri fine dining establishment that was founded in 1903 and gained historic landmark with the National Register of Historic Places in 1974. Many notable figures have visited the restaurant including Harry S. Truman who made frequent visits over his lunch hour when he was the owner/operator of a downtown haberdashery. Booth No. 4, known as the presidents&#39; booth, has been host to Warren Harding, Harry S. Truman, Gerald Ford and Ronald Reagan. During prohibition, rather than remove the bar, drapes were hung up to conceal its presence. The Grill is most famous for its seafood and steaks.</p><br>
<h2>Murals</h2><br>
<p>"The original Grill Room is surrounded by The Savoy Murals, painted by Edward Holslag in 1903 when he was in his early thirties. Those murals depict the pioneers departure from Westport Landing and their journey along the Santa Fe Trail. Holslag, who was a pupil of The National Academy of Design and John LaFarge, is represented at the Congressional Library in Washington, D.C. The Savoy Grill Murals have been included in the Smithsonian Institutions "Bicentennial Inventory of American Paintings." "</p><br>
<h2>Hauntings</h2><br>
<p>Staff members and hotel guests have reported hauntings at the Savoy Hotel. In the late 1800s, Betsy Ward lived and died in room 505 of the hotel. One story claims that she committed suicide in the bathtub. Another story claims that someone else was involved with her death. A turn-of-century 32 caliber pistol was supposedly found sealed in the wall when the apartment was renovated. Hotel guests and staff have heard strange voices, seen shadows, and heard doors open and close on their own in and around room 505. Stories also claim that the spirit of Fred Lightner still haunts his apartment at the Savoy. Other hauntings include a feeling of being followed on the second floor, where a restaurant manager was stabbed to death by the dishwashers in 1990. Other phenomena include very clear EVPs and pictures with orbs and apparitions. Many have reported the sighting of a small girl in Victorian dress on the fourth floor, and the elevator repeatedly gets stuck on the fourth floor or will send passengers to the sixth when they push the fourth floor button.</p><br>
<h2>Fire</h2><br>
<p>On October 23rd, 2014 a major fire destroyed the kitchen of the Savoy Grill. The historic restaurant area was not destroyed but sustained significant smoke damage. The fire was caused by a cook who was not paying attention. The restaurant was closed down and the hotel was evacuated.</p><br>
<p>Newark Symphony Hall at 1020 Broad Street in Newark, Essex County, New Jersey, United States, was built in 1925 and added to the National Register of Historic Places in 1977. It was known for many years as The Mosque Theater.</p><br>
<h2>Design and construction</h2><br>
<p>Originally built by the Shriners at a cost of more than $2 million as Salaam Temple and colloquially known as The Mosque, the four-story building has been Newark Symphony Hall since 1964. The interior features a Greek and Egyptian motifs, marble columns, a crystal chandelier, gold-leaf fret work and two-columned side promenades. The neo-classical building was designed by Frank Grad, a prominent Newark architect, whose work includes the Lefcourt Newark Building and many others downtown.</p><br>
<p>The 3,500-seat main concert hall is named for Sarah Vaughan, a native Newarker, and is renowned for its acoustics.</p><br>
<p>Newark Stage is a 200-seat black box theater used by theatrical productions. The Terrace Ballroom is used for receptions. The Studio is a rehearsal space. The Dance Studio is home to one of three facilities in the state used by the school of the Garden State Ballet, founded in 1951.</p><br>
<h2>History</h2><br>
<p>During its early years the theater received the patronage of Mrs. Parker O. Griffith, with a foundation supported by the Griffith Piano Company.</p><br>
<p>The company also built the Griffith Building, used as a showroom, workshop, office tower and recital auditorium. In the early 1920s, the company formed a partnership with Earl Beach, the Griffith Beach Organ Company. Beach had worked with Robert Hope-Jones at his factory in Elmira, New York. The organ in Symphony Hall is one of ten theatre organs installed in northeastern New Jersey between 1921 and 1925. The Harmonic Tuba has H.J. (Hope-Jones) stamped on it.</p><br>
<p>New Jersey&#39;s first television station, WATV Channel 13, debuted on May 15, 1948 from studios at The Mosque Theater. The commercial station was owned by Atlantic Television, a subsidiary of Bremer Broadcasting Corporation. Bremer also owned two northern New Jersey radio stations, WAAT (970 AM, now WNYM) and WAAT-FM (94.7 MHz., now WNSH) whose studios were also in the building. Today Channel 13 is non-commercial WNET. From 1965-1989 the former WATV-13 studios were home to WNJU Channel 47.</p><br>
<p>In 1964, the floundering Mosque Theater was on the verge on bankruptcy and there was a threat of it being torn down. Sol Hurok, an impresario who had presented many of his artists there commented, "This would be a terrible misfortune for music. It is one of the great concert halls of the country, with marvelous acoustics and great sight lines. It must be preserved." It was purchased by the city for $340,000, becoming a non-profit organization, and renamed Symphony Hall.</p><br>
<p>Among the opera companies and stars who have appeared at Symphony Hall are the Metropolitan Opera, Jerome Hines, Beverly Sills, Roberta Peters, Leontyne Price, and Robert Merrill (who made his debut there).</p><br>
<p>Victor Borge, Judy Garland, Bob Dylan, Patti LaBelle, Teddy Pendergrass, Richard Pryor, James Cleveland, Count Basie, Kirk Franklin, Queen Latifah, Gladys Knight, Parliament-Funkadelic, The Temptations, Tony Bennett and many, many more artists have also performed. The Rolling Stones and Eric Clapton are among the rock legends to have performed at the venue.</p><br>
<p>Prior to the opening of the New Jersey Performing Arts Center, Symphony Hall was one of the principal performance venues in the state, one of the homes of the New Jersey Symphony, the Newark Boys Choir, and the New Jersey State Opera. The Newark Dance Theater, African Globe Theater Works, and the New Jersey Ballet also showed work at the Hall. While much activity has shifted to NJPAC, Symphony Hall&#39;s continues to present theater, music and dance. Community organizations have been conducting their annual programs at Newark Symphony Hall for twenty-five years and more, and continue to do so.</p><br>
<p>The area just south of Downtown Newark near Lincoln Park is known as The Coast. Newark, and the Coast in particular, in the past has been a large producer of gospel music and continues to produce well-known black artists.</p><br>
<p>Newark Symphony Hall is home to Special Ensemble, winners of the McDonald&#39;s Gospelfest, and hosts the "When Praise Goes Up!" annual gospel showcase. Members of Special Ensemble include Chanel Pearson, Craig McCargo, Kimani Carson, Drew McMillan, Donovan Jones, Gabriel Moses, Robert Johnson, Leah Gaines, Melina Wilson, and Nia Harris. Special Ensemble was founded by Hugh Davis and is under the musical direction of Candice Anderson and the managing direction of Nicole Davis. They have been together since August 2010.</p><br>
<p>In 2007, an announcement was made for the development Museum of African American Music, a Smithsonian Institution affiliate. The museum would be a collection of archives of "jazz, blues, spirituals, hip-hop, rock nroll, gospel, house music, and rhythm and blues".</p><br>
<p>In 2009, it was announced that campaign to restore the theater was under way.</p><br>
<p>In 2010 the venue for the first time hosted events of the Geraldine R. Dodge Poetry Festival.</p><br>
<p>Greenbelt Knoll is a residential development in the Northeast section of Philadelphia, Pennsylvania. Planned and built from 1952 to 1957, it is notable as the first planned racially integrated development in Philadelphia and among the first in the United States.</p><br>
<p>The developer, Morris Milgram, a leader of the open housing movement, required that 55 percent of the homes be sold to whites, and 45 percent to non-whites. The first house sold in 1956 for $20,000. The isolated little neighborhood included its own swimming pool, which was filled in circa 1985, leaving no trace above ground.</p><br>
<h2>Design</h2><br>
<p>Eighteen (originally nineteen) one-story single-family homes are arranged in a heavily wooded cul de sac on Longford Street off Holme Avenue, surrounded on three sides by Pennypack Park. The simple wood-frame homes were designed in a Modernist style by the architectural firm of Montgomery & Bishop in consultation with architects Louis Kahn and Harry Duncan and landscape architect Margaret Lancaster Duncan.</p><br>
<p>Greenbelt Knoll won several awards for design excellence. For example, the American Institute of Architects, House and Home, Better Homes and Gardens, and the National Broadcasting Corporation bestowed its Homes for Better Living award on the development. Also, Philadelphia Mayor Richardson Dilworth, an ardent advocate of exceptional planning and design, conferred a City of Philadelphia Tribute on Montgomery & Bishop; he gave the tribute "for the design of Greenbelt Knoll Homes, which... brought new standards of contemporary residential architecture to Philadelphia."</p><br>
<h2>Notable residents</h2><br>
<p>The original residents included Milgram himself; Robert N.C. Nix, Sr., the first African American to represent Pennsylvania in Congress; Pulitzer Prize–winning African-American playwright Charles Fuller, who grew up here; the Rev. Leon Sullivan, the civil rights activist, who developed the Sullivan Principles and hastened the end of apartheid in South Africa; and Fire Captain Roosevelt Barlow, a civil rights activist who was one of a group of African-American firefighters to integrate the Philadelphia Fire Department.</p><br>
<h2>Historic designation</h2><br>
<p>Greenbelt Knoll was listed as a historic district on the Philadelphia Register of Historic Places in 2006 and in the National Register of Historic Places in 2010. The site is marked with a plaque placed by the Pennsylvania Historical and Museum Commission.</p><br>
<p>Seventeen of the existing homes are considered contributing properties; one home was completely rebuilt following a c. 1980 fire and is considered non-contributing. An additional lot (#17) is now open-space, as the house was demolished 1997. Including the 5 detached garages, a studio, and the 2-acre community park that was part of the original neighborhood design, there are 26 resources: 22 contributing buildings and 1 contributing site (park), 2 non-contributing buildings and 1 non-contributing site (Lot #17). The development remains heavily wooded, and both the houses and landscape retain integrity.</p><br>
<p>Uzinaza is an ancient Roman-Berber city located in present-day Algeria. It is located in the modern commune of Saneg.</p><br>
<h2>History</h2><br>
<p>Uzinaza was founded by Septimius Severus in 205 AD in central-western Numidia. The city contains the ruins of a Roman villa dating back to its founding king, which bore the Latinized Berber name of Usinadis.</p><br>
<p>The shape of the enclosure of the site is that of an irregular rectangle of 300m in length and 200m in width; it is formed by a wall with two meters thick frame of uncut stones. Some columns, pottery fragments and a sarcophagus are on the same ruins, that are near the small river where stood the destroyed walls.</p><br>
<p>After the Arab conquest in the early eighth century the city disappeared, and now there it is nearby the village of Saneg.</p><br>
<p>The West Silver Bell Mountains are a small 10 mile  long mountain range of south-central Arizona, United States. The range lies in the north-central arid Sonoran Desert; the Madrean Sky Islands region of southeast Arizona, around Tucson is adjacent to the southeast.</p><br>
<p>The range lies mostly in Pima County with only the northernmost end extending into southern Pinal County</p><br>
<p>The range lies 25 mi west of Marana, and 25 mi south of Eloy&ndash;Casa Grande, all cities on Interstate 10 in Arizona. Casa Grande also begins the west route of Interstate 8 to Yuma and San Diego.</p><br>
<h2>Description</h2><br>
<p>The West Silver Bell Mountains are a small, low elevation range, in eastern regions of Arizona&#39;s Sonoran Desert. Lower elevation regions west or southwest are even more arid, as the Sonoran Desert gets closer to the Gran Desierto de Altar in northwestern Mexico.</p><br>
<p>The West Silver Bell Mountains are northwest-southeast trending, and merge in the southeast with the Silver Bell Mountains. Both mountain ranges are named for the townsite of Silver Bell, and the Silver Bell Mine at the southern region of the Silver Bell Mountains. The southwest end of the Sawtooth Mountains of Pinal County lies 10 km to the northwest. To the west across Aguirre Valley lie the Slate Mountains of Pinal County and the Santa Rosa Mountains of Pima County.</p><br>
<p>The West Silver Bell Mountains lie to the northeast of the Aguirre Valley, a 35 mi long, northwest-by-southeast trending valley bordered by five regional, low-elevation mountain ranges. The valley is Basin and Range oriented, and the north merges into the floodplain region near the confluence of the northwest-flowing section of the Santa Cruz River with the Gila River. The community of Saguaro lies at the southeast end foothills of the West Silver Bell Mountains, and is also bordered east by the main Silver Bell range foothills.</p><br>
<p>The high point of the range is Solo Peak, 2,747 ft, on the northwest end of the range 32&deg;30&prime;12&Prime;N latitude, 111&deg;40&prime;25&Prime;W longitude. At the southeast end of the range, and slightly offset to the northeast is the Malpais Hill, 2,682 ft; Malpais Hill is also connected to the northwest part of the Silver Bell Mountains.</p><br>
<p>The portion of the range in Pima County lies within the Ironwood Forest National Monument.</p><br>
<p>Mount Rolleston  is a prominent peak in Arthur&#39;s Pass National Park in the South Island of New Zealand. It was named by the surveyor Arthur Dudley Dobson in 1864, who observed the peak while searching for a route through the Southern Alps to the West Coast gold fields. The name honours the then Superintendent of the Canterbury Province, William Rolleston.</p><br>
<p>While not the highest mountain in the National Park (Mount Murchison holds that honour), it is well known because it can be viewed from State Highway 73 that runs through Arthurs Pass to the West Coast of the South Island. It is also popular with climbers, as it can be climbed in a day starting from Arthurs Pass township. Mount Rolleston was first climbed in 1912 by climbers H. Thomson and J. Gilligan. Mount Rolleston can be climbed via several routes, including the Rome or Goldney Ridges, the latter of which allows access to Otira Slide, which in winter can be descended by skis.</p><br>
<p>The upper slopes of Mount Rolleston are the headwaters of several rivers, most notably the Waimakariri and several tributaries of the Otira.</p><br>
<p>The Stratford Center Historic District is a 220 acre historic district in Stratford, Connecticut. The district was listed on the National Register of Historic Places in 1983. It then included 257 contributing buildings.</p><br>
<p>It is significant for historical association, for architecture, and for information potential (the latter for possible archeological investigation of the Academy Hill Green area of a 17th-century fort.</p><br>
<p>Selected significant elements in the district include:</p><br>
<p>Capt. David Judson House, 967 Academy Hill, built 1723, which in 1978 was a museum run by the Stratford Historical Society</p><br>
<p>William A. Booth House, 956 Broad Street, built 1857, designed by architect Leopold Eidlitz in "Swiss Chalet" style</p><br>
<p>Lieut. William Thompson House, 904 East Broadway, a saltbox from 1762</p><br>
<p>Old Episcopal burying ground</p><br>
<p>First Congregational Church, 2301 Main Street (accompanying photograph #7)</p><br>
<p>The district also includes dozens of other historical houses including the Stratford Shakespeare American Theatre, a singular 1500 seat venue where currently popular American Hollywood actors have performed.</p><br>
<p>The Stevenson Dam Hydroelectric Plant is a hydroelectric power plant located on the Housatonic River at the boundary between the towns of Monroe and Oxford, Connecticut. The plant was built in 1917 by the Connecticut Light and Power Company and is currently owned by FirstLight Power. It was listed on the National Register of Historic Places in 2000. The site includes three contributing structures: the Stevenson Dam, the Stevenson Dam Bridge, and the Stevenson Powerhouse. The plant was covered in a Historic American Engineering Record  study, record CT-183.</p><br>
<p>The Stevenson Dam Bridge, a reinforced concrete bridge that is integrated with the dam, carries Route 34 across the river.</p><br>
<p>The Stevenson Powerhouse is a 160 by 80 ft building rising 131 ft in height. Its exterior includes "massive" pilasters. The hydroelectric plant began producing electricity in 1919 with 3 turbine/generator units, for a total of 19 MW. A fourth unit of 12 MW was added in 1936 and, with improvements over the years, the plant now produces a total of 28.9 MW of power.</p><br>
<p>Lake Zoar is a reservoir on the Housatonic River in the USA state of Connecticut. It is formed by Stevenson Dam. The towns of Monroe, Newtown, Oxford, and Southbury border Lake Zoar.</p><br>
<p>The lake was created by flooding an area named "Pleasantvale" or "Pleasant Vale", which had been part of Oxford and Stevenson.</p><br>
<h2>Lake Zoar Authority</h2><br>
<p>The Lake Zoar Authority (LZA) is an organization for promoting safety on the lake and improving water quality. The members represent the four towns bordering the lake and meet on a monthly basis. Authority is granted through the Connecticut General Statutes, section 7-151a (of the 1969 supplement).</p><br>
<h2>Notable events</h2><br>
<p>September 7, 2005: A 37-year-old man named Frank Northrop died while water-skiing on the lake.</p><br>
<p>November 1986: Richard Crafts murdered his wife Helle Crafts in Newtown, froze the body, cut it up with a chainsaw and finally put it through a woodchipper from a bridge into the lake.</p><br>
<h2>Recreation</h2><br>
<h3>Boating</h3><br>
<p>There is a speed limit of 45 mph limit daytime, 25 mph from 30 minutes after sunset to 30 minutes before sunrise. Vessels are prohibited from approaching within 300 ft on upstream side or 700 ft on downstream side of Stevenson Dam. Activities including fishing, water-skiing and jet skiing are permitted.</p><br>
<h4>Access</h4><br>
<p>Each of the towns has a public access boat launch. The Southbury location is maintained by the state of Connecticut and is open to non-town residents. Additionally, there is canoe access from Kettletown State Park.</p><br>
<p>Monroe, Zoar Beach Boat Ramp.</p><br>
<p>Newtown, Eichler&#39;s Cove.</p><br>
<p>Oxford, Jackson Cove Park.</p><br>
<p>Southbury, at the end of Scout Road.</p><br>
<h3>Fishing</h3><br>
<p>Lake Zoar is stocked yearly with fish by the Connecticut Department of Environmental Protection.</p><br>
<h4>Fish species</h4><br>
<p>The lake contains the desirable Smallmouth Bass, Largemouth Bass, White Perch, Yellow Perch, Calico Bass (Black Crappie), White Catfish (Ictalurus catus), Brown Bullhead, Rainbow Trout, and the Common Carp.</p><br>
<h4>PCBs and fish consumption</h4><br>
<p>Most fish from Lake Zoar are generally considered safe to eat in moderation, with the exception of the Northern Pike. In a 2008 study by the United States Department of Health and Human Services Smallmouth Bass varied between 0.35 and 0.58 ppm, suitable for one meal per month. PCB levels in the lake have fallen considerably since the 1980s.</p><br>
<h4>Invasive plant species</h4><br>
<p>Four invasive species exist in the lake as of a 2007 study, including Eurasian watermilfoil, Brittle waternymph, Curly leaf pondweed, and European waterclover.</p><br>
<h3>Hiking</h3><br>
<p>The Zoar Trail is a 6.5 mi Blue-Blazed Trail in Newtown maintained by the Connecticut Forest and Park Association.</p><br>
<p>Ahavath Achim Synagogue was located at 725 Hancock Avenue in Bridgeport, Connecticut. The building was built in 1926 and was added to the National Register of Historic Places on May 11, 1995, as "West End Congregation--Achavath Achim Synagogue".</p><br>
<h2>History</h2><br>
<p>The Orthodox synagogue was associated with Bridgeports sizable Hungarian Jewish community whose members settled primarily in the citys West End. It now functions as a church, owned and occupied by Iglesia Christiana El Buen Pastor. Congregation Ahavath Achim moved to Fairfield in the 1960s.</p><br>
<p>Congregation Ahavath Achim (in English, Brotherly Love) was founded in Bridgeports West End in 1904, meeting in the homes of members until they were able to move to a more permanent location. As the immigrants prospered in their new homeland, they decided to build a "magnificent structure the most modern techniques, glorious stained-glass windows, a beautiful Aron Ha-Kodesh, a lovely, traditional bimah, Colonial pillars, a breath-taking landscaping development... a gorgeous edifice that would evoke for a blessed generation the proud statement: This is my synagogue!&#39;"</p><br>
<p>Ahavath Achim Synagogue was one of fifteen Connecticut synagogues added to the National Register of Historic Places in 1995 and 1996 in response to an unprecedented multiple submission, nominating nineteen synagogues. The structure was being used by a church congregation in 2013.</p><br>
<p>The Sloan-Raymond-Fitch House is a historic house at 224 Danbury Road in Wilton, Connecticut. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof and a large central chimney. A smaller two-story ell extends to the rear. The main block is evaluated to have been built sometime between 1760 and 1780, based on the construction methods used, while the ell is believed to be an older structure. The building has undergone some form of restorative work on several occasions, but has retained a significant amount of its original workmanship, and is a well-preserved 18th-century structure. The house has been moved from its original location. It is now on the same property as the Betts-Sturges-Blackmar House, and is part of a museum complex operated by the Wilton Historical Society.</p><br>
<p>The house was listed on the National Register of Historic Places in 1982.</p><br>
<p>The Putnam Hill Historic District in Greenwich, Connecticut is a 36 acre historic district that was listed on the National Register of Historic Places in 1979.</p><br>
<p>Selected significant buildings in the district include:</p><br>
<p>the Putnam Cottage, a former 18th-century tavern</p><br>
<p>Second Congregational Church, 1856, designed by architect Leopold Eidlitz, with a 220-foot spire (see accompanying (photo #1)</p><br>
<p>Solomon Meade House, 1858, an Italianate house (photo #2)</p><br>
<p>Dr. Hyde House, c. 1906 (photo #3)</p><br>
<p>Tomes-Higgins House, 1861, a large Second Empire style building designed by Calvert Vaux, owned by the nearby Episcopal church and used as its rectory.</p><br>
<p>YWCA, 1975, the local branch of the Young Women&#39;s Christian Association, built in the brutalist style</p><br>
<p>The William Hayden House is a private residence located at 108 West Pottawatamie Street in the city of Tecumseh in northeast Lenawee County, Michigan. It was designated as a Michigan Historic Site and added to the National Register of Historic Places on August 13, 1986.</p><br>
<h2>History</h2><br>
<p>This house is locally important as the former home of William Hayden. and in 1857 the couple moved to Tecumseh and purchased the Globe Flour Mill. Under Haydens ownership, the mill became one of Tecumsehs leading commercial businesses in the second half of the nineteenth century. In 1860, Hayden constructed this house. In 1882 Hayden purchased a factory to manufacture his own barrels. William Hayden died in 1897.</p><br>
<h2>Description</h2><br>
<p>The house is a two-story, red brick villa built in Italianate architecture. While his house was typical of other houses in the area at the time, the Hayden House is recognized for its elaborate detailing. It has a cubical main section, and a slightly recessed wing extending to the side. Both sections have low pitched hip roofs, with widely projecting eaves supported by brackets. The main facade is five bays wide with one- and two-over-two windows having arched and winged caps. The front porch is a large bracketed stoop, and a smaller porch extends to one west side.</p><br>
<p>The Sanford–Curtis–Thurber House, also known as James Thurber House, is a historic house at 71 Riverside Road in the Sandy Hook section of Newtown, Connecticut. It is a Georgian style house built in c.1800 that was listed on the National Register of Historic Places in 2007.</p><br>
<p>The house is a large, rural Georgian style farmhouse built for a prosperous farmer named Thomas Sanford (1732-1814), one of the first settlers in the Newtown area. The family farm was sold in 1824 to Hezekiah Curtis (1796-1866).</p><br>
<p>The house was purchased in 1931 by Althea Thurber, the first wife of author and humorist James Thurber (1894–1961), and it was used as a weekend or holiday home. It was ostensibly a place where Althea could have dogs, and the family dogs inspired and appeared in Thurber&#39;s humorous sketches in The New Yorker magazine.</p><br>
<p>The Kilbourn Masonic Temple is a historic Masonic building located in Milwaukee, Wisconsin. It was constructed in 1911 as a meeting hall for Kilbourn Lodge #3, a local Masonic lodge which was one of the first three organized in Wisconsin in 1843. The Masons no longer meet in the building). It was listed on the National Register of Historic Places in 1986. When it celebrated its 100th anniversary in 2011, the temple was automatically deemed a landmark in the city of Milwaukee. The temple now serves as a fraternity house for the Kappa Sigma chapter at Marquette University.</p><br>
<p>The building was originally a residence but it was remodeled by the masons with a Classical Revival facade which completely enclosed the former house. The renovation was designed by architect H. Paul Schnetzky and Son in 1911.</p><br>
<p>The Monroe County Museum is a historic building located in Sparta, Wisconsin. It was constructed in 1923 as a meeting hall for a local Masonic Lodge, and was listed on the National Register of Historic Places in 1987 under the historic name "Sparta Masonic Temple".</p><br>
<p>An order of Masons was organized in Sparta in 1854. Meetings were held in homes until 1891, when a Masonic Temple was constructed at the corner of Main and Water Streets. By 1919 the various lodges that shared the building had outgrown it, so they bought land and constructed the new building, which is the subject of this article.</p><br>
<p>Sparta&#39;s new Masonic Temple was completed in 1923, with construction delayed because of the steel shortage due to WWI. The building was designed by Parkinson & Dockendorff of La Crosse, combining the proportions of Classical Revival style with the low-pitched hip roof and wide eaves of Prairie Style. The framework is reinforced concrete and steel, clad in cream brick. Two-story pilasters are formed from that brick. The roof is covered in red tile. The Sparta Herald gave a nice description of the inside when it opened in 1923:</p><br>
<p>"Entering the marble wainscoted vestibule you come to the main hallway at the end of which a pair of French doors open into the dining room. On the right, as you enter, is the ladies reception room; next is what the lodge boys call their living room, all richly and substantially furnished in big comfortable leather davenports and easy chairs with a generous fire place at one end, and French doors opening into the dining room at the other; the woodwork is all oak, stained dark......On the left of the entrance hall is a large cloak room for men; next, a door opens into a well-lighted, pleasant card and reception room with tables and chairs done in Indian gray, where members can smoke, play cards, and visit.</p><br>
<p>The big dining room with its polished maple floor is designed for serving refreshments and banquets and for dancing parties and socials. A stage on one side is provided for musicians. The kitchen has ample cupboards, a pantry, and plenty of shelves and drawers to hold all dishes and supplies. It has a hotel range and an electric range, together with an electric percolator for coffee. The room is well lighted and pleasant."</p><br>
<p>In 1987 the building was bought by the Monroe County Historical Society. The museum&#39;s exhibits include Monroe County people, pioneer history, agriculture, military history, industry, business, and the home.</p><br>
<p>The Masonic Temple and Lodge are two adjacent Masonic buildings in downtown Alameda, California. The older Masonic Temple at 1329–31 Park St was built from 1890 to 1891. The building was designed in the Victorian Eclectic style and features brick pier which extend above the roof line, a tower on the south side of the roof, and an arched stone entrance with carved doors.</p><br>
<p>The newer Masonic Lodge adjacent to the original temple at 2312 Alameda Ave is a Spanish Renaissance building constructed in 1927. The building features decorative carvings which adorn its entrances, archways, cornices, and window surrounds, and features two lodge rooms side by side, allowing both Masons and Eastern Stars to meet at the same time, as well as a full kitchen and dining room on the top floor. Lodge Room #1 features a built in wheel of stained glass emblems, allowing the room to be quickly changed from a Blue Lodge to the emblem of other frequent renters with a turn of the wheel, as well an organ loft with trap door to a Room of Contemplation, and a passage with multiple hidden doors to the lodge rooms for use in Appendant Body ceremonies. Two of the original stained glass windows from front of the Park Street face of the Masonic Temple were removed before its sale and are now displayed in Lodge Room #2 of the currently active Masonic Lodge.</p><br>
<p>Oak Grove Lodge #215 (originally located in the Temple and then later moving to the Lodge) helped build the citys first school and the First Methodist Episcopal Church. Prominent members of lodges which met in the building have included USA congressmen Joseph R. Knowland and William Knowland, poet Joaquin Miller, and eight of Alamedas mayors.</p><br>
<p>Because the name "Alameda Masonic Lodge" was already taken by #163 in Fremont, CA (the Fremont Lodge is adjacent to Alameda Creek), "Island City Masonic Lodge" is the modern name of Masonic Lodge #215 today in the city of Alameda (which continues to use the number #215 in honor of Oak Grove Lodge). The modern street entrance to the Lodge is not on Park Street, but at 2312 Alameda Ave, Alameda, CA, next to the Alameda Museum. Informal meetings are Thursday nights 6pm, with the fancier "Trestleboard" dinner the first Thursday of each month.</p><br>
<p>The buildings were listed on the National Register of Historic Places in 1982.</p><br>
<p>The Wheatland Masonic Temple in Wheatland, California is a historic building constructed in 1898. The ground floor has been used as commercial space since its construction. Until 1948 the upper floor meeting rooms were used jointly by the Independent Order of Odd Fellows and the Freemasons. In 1948 the Masons bought out the Odd Fellows.</p><br>
<p>It was listed on the National Register of Historic Places in 1993.</p><br>
<p>It was designed by Sacramento architect A.A. Cook who also designed:</p><br>
<p>the Odd Fellows Building (1882–83) in Red Bluff, California,</p><br>
<p>the NRHP-listed Cone and Kimball Building at 747 Main St. in Red Bluff, and</p><br>
<p>the NRHP-listed Pleasants Ranch at 8212 Pleasants Valley Rd. in Vacaville, California.</p><br>
<p>The Sacramento Masonic Temple, built between 1913 and 1918, is a five-story building on J Street in downtown Sacramento, California. The building was listed on the National Register of Historic Places in 2001.</p><br>
<p>Since 1918, the Masonic Temple has hosted numerous events from weddings to family celebrations, meetings and Conferences to product launches. It is considered one of the most intact architectural period pieces in downtown Sacramento, California. It has an 8,000 ft&sup2; room which can accommodate up to 499 guests for a sit-down meal.</p><br>
<h2>The architect</h2><br>
<p>The building was designed by Rudolph Herold, a Sacramento architect that contributed a number of important works to Sacramento&#39;s rapidly growing architectural stock in the early twentieth century, including notable public structures as well as private.</p><br>
<p>The Masonic Temple building is approximately five stories in height (from ground level,) with a below-grade basement. The rectangular concrete structure is surfaced on the principal south and east elevations with face brick and patterned terra cotta, beneath a hipped roof parapet sheathed with clay mission tile.</p><br>
<p>The surfaces on the north (alley) and west (above parking lot) are of brick without decorative terra cotta. The principal elevations are divided vertically into bays by shallow terra cotta-sheathed fluted pilasters that extend from the street up to the frieze beneath the projecting cornice.</p><br>
<p>There are eight bays along 12th Street and five along J Street. The north elevation on the alley is brick, with window openings, those on the top floor extending around the building from the south and east elevations. The west elevation overlooks a parking lot, its brick surface penetrated by windows, and part of its surface decorated with a large painted mural.</p><br>
<p>The rear of the building lies on the alley between I and J Streets. The west elevation contains a shallow recess or indentation to provide a light well for windows in the west wall when a former building stood adjacent to the property.</p><br>
<p>The building is divided horizontally into four areas or tiers: the ground floor tier on both 12th and J Streets contains shops and shop bays, with terra cotta spandrels above the arched clerestory and standard shop windows, and angled recessed shop entries. The tall second floor tier contains tall, handsome, arched windows with stained glass insets and tympanums, enframed with detailed terra cotta moldings that emphasize the arches, keystones, and window footings.</p><br>
<h2>Cherubs</h2><br>
<p>Each window is centered above the "cupid" keystone in the spandrels of the arches below. The third tier is defined by a band of windows surrounding the building on three sides. The fluted pilasters end at the upper edge of the wood sash, multi-paned windows. Each group of windows in each bay is divided into three sections, the center section being the widest.</p><br>
<p>The top tier, (obscuring a high interior ceiling, shallow attic space and the roof,) includes the brick frieze above the windows, terra cotta cornice, and tiled roof parapet. The separation of each of the different tiers is emphasized horizontally by a variety of sizes and shapes of decorative terra cotta trim that include egg and dart motifs, and twisting rope designs.</p><br>
<p>The main entry of the Temple itself is guarded by two full size terra cotta figures representing medieval Knights Templar, mounted on either side of the segmented arched doorway. A terra cotta inscription on the doorway arch provides the name of the building. A richly decorated arched metal canopy with ornamental lamps on the outer two corners covers the entry, with its two sets of decorative metal double doors. Large clerestory windows above the doors provide light to the interior lobby.</p><br>
<p>The lobby is surfaced with light-colored terra cotta shaped to resemble stone laid in courses, a grand staircase with a dramatic and voluptuous newel post and balustrade, marble steps and risers, and patterned terra cotta tile floor. Figured shields, symbolic of aspects of the brotherhood of Masonry, decorate the side walls of the lobby. The ceiling contains layers of different decorative moldings and painted stencil work.</p><br>
<p>The entry lobby contains the handsome original Otis elevator, reputedly the company&#39;s first in Sacramento. It is still operational. Two door panels, with glass above and solid metal below, slide behind the same styled outer door to access the cab. Its cab still displays the original open cage frame and meshwork. The outer frame of the elevator contains a cast bronze header of the same design on each floor. The elevator is framed with cast bronze fittings and displays various decorative elements also cast in bronze.</p><br>
<h2>Lodge rooms</h2><br>
<p>The second floor contains four large meeting rooms with tall ceilings that open off the north-south hallway, and extend all the way from the hall to the east wall of the building. The temple meeting rooms, traditionally referred to as "lodge rooms" by the Freemasons, are outstanding in scale and ornament. The rooms are similar in layout and size, with anterooms and lockers nearest the hallway, and the large rooms beyond through large solid oak doors with inset wood trim of different colors. The rooms have decorative beamed and coffered ceilings, two arched windows on the east, and faux arched windows to appear similar, on north and south. The large expansive interior spaces themselves are decorated with beamed ceilings and a rich variety of stencil patterns, moldings and trim. The ceiling beams and coffers are very finely executed, one room containing richly gilded moldings and another finely stenciled beams, and others a combination. The rooms each contain a balcony supported by terra cotta bracketing. Each room is decorated somewhat differently, but have in common a large tall interior space with raised seating and fine wood wall paneling all around the sides. Special ceremonial chairs are located in the middle of each of the four sides, with the principal focus on the center of the east and west sides of the rooms.</p><br>
<p>All wood paneling surrounding the lower half of the room and including entry doors and locker cabinets, is expertly crafted. Decorative arched stained glass windows provide a filtered exterior light to the meeting rooms from the eastern elevation. There are four small free-standing ceremonial pillars and a central stand in the middle of the rooms. Original hanging light fixtures, and wall fixtures with the symbolic sun" design in cast metal light the "stations" within the rooms.</p><br>
<p>The third floor contains a large ballroom, a dining area, a ladies lounge area, a club room, and an office with a library. The office and club room are positioned along J Street on the uppermost floor.</p><br>
<p>A tall handsome fireplace surfaced with terra cotta tile lies on the west wall of the club room. The room opens into another large adjacent room containing three large oak and slate pool tables with period light fixtures suspended above them. The wood paneled room contains special cupboards behind matched paneling, with players&#39; personal pool cues, chalk etc. These recreational rooms all have handsome hardwood floors in excellent condition.</p><br>
<p>A large, adjacent, light and airy room on the southeast corner of the building is currently being used as an office and contains tall windows on both elevations that flood the room with light.</p><br>
<h2>Ballroom and auditorium</h2><br>
<p>A large ballroom with many tall windows, a large wood floor, and a balcony that, with an auditorium, seats 1200, is located on the third floor. Due to modern fire code restrictions, however, the maximum occupancy of the ballroom has been set to no more than 499 people.</p><br>
<p>The ballroom space is enormous and elegantly appointed. Original light fixtures with an Art Nouveau touch are affixed to auditorium walls that contain terra cotta designs with Moderne style imagery. A large arched opening leads to an area on the back northeast corner, surrounded by windows that can seat many for special programs, dinners, etc., with a kitchen adjacent for the preparation of food and meals. A reception area and restrooms lie beneath the balcony area, accessible from the auditorium floor.</p><br>
<p>An upper hallway balcony provides a downward view of the entire space of the two rooms, and is as elegantly finished in wood detailing, light fixtures and finishes as is the remainder of the building. Each floor&#39;s elevator/stair lobby is handsomely appointed with bronze trim, terra cotta flooring, marble steps, and decorative cast-metal balustrades and posts. Light fixtures throughout the building are original and express various stylistic interpretations of the era. Restrooms have largely retained original integrity, with marble wainscotings and stall panels, and most of the original hardware.</p><br>
<p>The topmost floor along the west wall contains mechanical equipment and a string of small rooms or "apartments" (that are currently vacant) overlooking the parking lot.</p><br>
<p>The basement of the building contains a simply finished utilitarian storage room partly beneath the sidewalk, and the original boiler room that contains two large original cast-metal boilers still in operation.</p><br>
<h2>Modifications</h2><br>
<p>The building is essentially unaltered. Exterior modifications are primarily limited to minor modifications of ground floor commercial space, and the addition of a sign on the southeast corner of the building that appeared circa 1970. The shop entry on the north near the alley has been altered.</p><br>
<p>The facade has been recessed and new windows added to accommodate an architects office. The interior is essentially original with the following exceptions. The interior of the southernmost Temple room has been repainted from the original. The northwest corner of the ground floor lobby contains a small wood frame entry office/service enclosure that has been built within the original terra cotta walls and decor, and is removable. Acoustical panels have been attached to the walls of the auditorium above the balcony to control acoustics in the large room. The basement storage room has been refinished on the interior and doesnt reflect the age and design of the rest of the building.</p><br>
<p>Historic photographs indicate that awnings of one sort or another appear to have been mounted on the building for most of its life. The current bow-frame awnings were installed circa 1980. A mural has been painted on the west wall that was exposed when an adjacent building was removed. The mural was added by the Downtown Association in about 1997 to commemorate the upcoming California state sesquicentennial.</p><br>
<p>Rushmore Farm is a historic home located at Athens in Greene County, New York. It is a -story, six-bay-wide by two-bay-deep stone dwelling surmounted by a steep gable roof. It was built in two sections during the late 18th century and early 19th century and features an overlay of Greek Revival details. Also on the property is a contributing stone smokehouse.</p><br>
<p>It was listed on the National Register of Historic Places in 2010.</p><br>
<h2>Location & Description</h2><br>
<p>Rushmore Farm is located in the town of Athens, near the eastern border of Greene County, The ninety-five acre farm is a long and narrow parcel of land generally bordered by two major north-south transportation features: US 9W on the west and the Conrail railroad tracks on the east. Both of these routes parallel the Hudson River, which is east of the tracks. The nominated property is characterized by woodland, mature trees, a pond, and a landscaped yard. Its highest elevation is along the western boundary, while the land drops off sharply to the east, toward the flats along the river. To the north/northeast of the farm are the Athens Flats; known to be a Native American area used for feeding and watering animals on the way to the Hudson River from the flint ridge located to the northwest/west of the house. A small portion of the Athens Flats is located on this property. The Rushmore property was once much larger, and the nominated ninety-five acre parcel has been defined by numerous land transactions from the late 18th century until the 1970s, when it reached its current size. Much of the original acreage outside the nomination boundary is still actively farmed. Land in the Athens Flats too wet for farming remains uncultivated. Some of the former property along US 9W has been divided off and developed with residences and commercial properties. An easement to the New York Power and Light Company (now National Grid) cuts through the northeast comer of the property. The Rushmore graveyard, a non-contiguous parcel owned by Greene County, is located south of the property along the edge of US 9W and is separated from the farm by intermediate development. The cemetery is not included in this nomination.</p><br>
<p>The entrance to the property is a long gravel driveway from US 9W leading to the building complex, which is located in a small landscaped clearing. Buildings include a stone farmhouse, an early stone smokehouse, a non-historic wood-frame garage, and a small non-historic shed built on the footprint of an earlier milk house. In the fields to the southwest of the house are foundations of a silo and a barn. The latter have not been evaluated for their archeological potential. There is a large stand of locust trees east of the house. The nomination includes two contributing and two non-contributing features. The foundations have not been counted.</p><br>
<h3>The Rushmore Farm House</h3><br>
<p>The Rushmore farmhouse is a -story, six-bay-wide by two-bay-deep stone residence surmounted by a steeply pitched gable roof. Interior stone chimneys pierce the gable ends. The residence, which faces south, was built in two sections, in the late 18th century and early 19th century, and features an overlay of Greek Revival period decoration. The house was built into the side of a hill so that the southeast face of the basement is exposed. The building was constructed of uncoursed fieldstone with a mortar joint that was tooled to obtain a distinctive V-shaped pattern. The façade appears to have been whitewashed at one time and there are large areas where the original mortar has been replaced with Portland cement. The house features a standing-seam metal roof, overhanging eaves, a projecting wood cornice with returns, and a wide wooden frieze. Two gabled dormers on the south elevation were added at a later, unknown date.</p><br>
<p>The western half of the house was built first and apparently dates to the last quarter of the 18th century. The original structure was three bays wide with a center entrance. A seam near the center of the north and south walls denotes the end of the original house. The eastern half, which was built in the early 19th century, is three bays wide with an entrance in its westernmost bay. This section also features a basement kitchen, with access from underneath the front porch. A full-width porch apparently added in the mid-19th century is supported by flat, paneled posts and features a wood railing. A wood stair leads to the entrance to the west section. At one time part of the porch was screened in; however, all of the screening has been removed.</p><br>
<p>The exposed section of the basement is concealed by lattice screening. The west half of the facade features a wide, wood-panel door within a wood enframement flanked by double-hung, eight-over-twelve wood-frame windows. In the east section, a similar door has a single sidelight to the east and two double-hung, twelve-over-twelve wood-frame windows in the easternmost bays. The east and west elevations each feature one window in the south bay of the first story and two windows in the half story. On the west (side) elevation, the first story contains a double-hung, two-over-two wood-frame window, the upper story windows are smaller but have the same configuration. On the east (side) elevation, the first story features a double-hung, twelve-over-twelve wood-frame window that matches the façade windows in this section. Half story windows on the east elevation are double hung with six-over-six sash. There is a small basement window on this elevation. A large vertical crack, which has been repaired, runs through east wall, from the roof to the ground, following the location of the interior chimney.</p><br>
<p>Fenestration on the rear (north) elevation is irregular. The western (original) half of the building contains two widely spaced, double-hung, eight-over-eight wood-frame windows on the first story and one small rectangular eight-pane window centered in the half story. The eastern half features a single wood-panel door and a double-hung, twelve-over-twelve wood-frame window on the first story and a small rectangular six-pane wood-frame window above. There is also a small basement window on the east side.</p><br>
<p>The interior plan of the original (western) section has been altered since its original construction. The first floor is divided into four spaces, with a living room occupying the western two-thirds and a kitchen, laundry, and half-bath in the eastern third. An enclosed staircase is located along the west wall of the living room, along with built-in cabinets and a rebuilt fireplace with a wide wooden mantel and a narrow shelf. The trim around the fireplace and windows appears to be original and is in keeping with a late 18th-century construction date; windows contain original glass. The western room features exposed small-dimensioned hand-hewn beams running north-south and a single large summer beam running east-west. The latter was added in the 1970s to provide structural support and probably compensated for the loss of an original east-west that would have divided the room into two spaces, with the larger, southern room serving as the kitchen and the smaller, northern room containing the entrance to the enclosed stair. The original beams in both rooms would have been concealed by a plaster ceiling. Finishes and trim in the kitchen and laundry are similar to those in the living room. It is possible that a chimney was originally located on the east wall of the original house; this would have been removed when the house was enlarged, and there is no evidence of it today.</p><br>
<p>The eastern section of the first floor is divided into a hall and "best room" (now the dining room), which may be the original configuration. The hall contains an enclosed stair leading to the upper floor and a stairway to the basement, which was the location of the kitchen. There is also a door to the exterior at the northern end of the hall. The eastern wall of the dining room features a fireplace and a built-in hutch; the latter is a contemporary addition. Documentation reveals that this room contained a Franklin stove in the 1820s; however, the fireplace has since been rebuilt. This room also features exposed hand-hewn beams; however, they are significantly larger than those in the west room and the ceiling itself is higher. As in the western section of the house, the ceiling in this room was originally plastered. All windows and trim on the main floor of this section appear original, as does the mantel. The first floor features wide plank hardwood floors throughout. Changes other than those noted include replacement of original hardware and possibly some of the doors.</p><br>
<p>On the upper floor, the western half is now divided into two bedrooms, one with an attached bath. The eastern section is divided into an office with bath (in the hall over the stairs) and a single large bedroom with fireplace.</p><br>
<p>The latter was originally divided into two small bedrooms. Ceilings in the eastern section have been removed, exposing the rafters. Access to the attic in the western section is through a hatch in the office area. Hewn rafters in this section are pegged with no ridge pole and show scribe marks, consistent with the late 18th century construction date.</p><br>
<p>Access to the basement kitchen is from the hall in the eastern section of the house and from an exterior door on the south elevation. A beehive oven survives on the east wall; however, the fireplace has been rebuilt. The basement on the west side of the house is unfinished; however log joists are not typical and may have been later replacements.</p><br>
<p>The Rushmore farmhouse is a good representative example of late 18th century to early 19th century stone residential architecture in Greene County. Original forms and many original materials survive or are clearly discernible. Spatial divisions and room uses have changed over time and help to illustrate how the building was adapted to meet the needs of its occupants over more than a century.</p><br>
<h3>Smokehouse</h3><br>
<p>The smokehouse, located northeast of the residence, is a tall stone structure surmounted by a wood-shingle gable roof with overhanging eaves. There is a vertical-board wood door with iron hardware in the south wall and small rectangular openings in the gables. The smokehouse is believed to date to the late 18th century or early 19th century.</p><br>
<h3>Garage</h3><br>
<p>The three-car garage, constructed in 1980, is a rectangular (20 by 32) wood-frame building with a standing-seem metal gable roof surmounted by a small cupola with weathervane. It sits on a concrete slab and features novelty siding.</p><br>
<h3>Shed</h3><br>
<p>The shed is a small, square (8 by 8), wood-frame building with novelty siding and a gable roof with overhanging eaves. There is a vertical-board wood door in the north elevation and a small vent in the gable. The shed occupies the site of an original milk house.</p><br>
<h2>Brief History</h2><br>
<p>The Rushmore farmhouse is architecturally significant as a distinctive example of a vernacular stone farmhouse. The six-by-two-bay, -story building was constructed in two stages by Jeremiah Rushmore; a descendant of English Quakers from Long Island, whose family owned the property for more than a century. Although the exact building date is not known, tax records and construction details indicate a late 18th-century construction date or the earlier (western) half, while Rushmores will confirms that the later (eastern) addition was constructed before his death in 1828. The building underwent renovations in the late 1830s or early 1840s, which probably account for the Greek Revival period trim and porch, dormers were added at a later date. The house was constructed of uncoursed fieldstone and surmounted by a steeply pitched gable roof pierced by interior end chimneys. The buildings stone construction and long, low form with steep gables are typical of Dutch, German, and English settlement groups in the late 18th century; however, its specific framing method and spatial divisions are indicative of English building practices and may reflect the familys Long Island origins. These differences are particularly evident in the interior of the older section, which features a jambed fireplace, more and smaller floor joists, and, originally, a compact arrangement of small rooms, all features more common to houses built by those of English descent. When the house was doubled in size in the first quarter of the 19th century, the new eastern section was built with a basement kitchen and hall and "best room" plan on the first floor, probably reflecting Jeremiah Rushmores increased wealth and the needs of a larger family. It is interesting that Rushmore&#39;s will (1826, codicil 1828) specified how the spaces in the expanded house would be used after his death. He ensured that his widow and unmarried daughter would remain in the house, according them the use of the first-floor best room and two second-floor bedrooms in the new section. At the same time, his daughter was forbidden to enter the old section, now home to her brother Richard and his family. The basement kitchen was apparently accessible to all. Despite a number of changes, the house provides important evidence of regional architecture during the early years of the American republic and illustrates the evolution of a small farm house over time to meet the needs of a changing family. The Rushmore property was a working farm with large orchards for over a century. Although subdivided over time, the nominated ninety-five acre property retains an open setting and several agricultural dependencies, including an original stone smokehouse and the remains of a barn and silo, which burned in the 1960s.</p><br>
<h2>Rushmore Family</h2><br>
<p>The first Thomas Rushmore, a Welsh immigrant, arrived in Long Island in 1648. He married Martha Hicks and had four children, including a son Thomas, born c1655. The younger Thomas Rushmore married Sarah (last name unknown) around 1693–95. Their son, also Thomas, was born in 1693 in Hempstead. This Thomas married twice. His first marriage, c1715, to Anneke Hendrickson, a Quaker, produced seven children: Martha</p><br>
<p>(b. 1716), Jacob (b. 1720), Sarah (b. 1722), Thomas (b.I724), Silas (b. 1727), Stephen (b. 1731), and Isaac (b.1733 ). Thomas Rushmore&#39;s son Silas is believed to be the Silas Rushmore listed in Greene County history.</p><br>
<p>Silas married Phebe Titus in 1753. The pair had six children: Martha (b. 1754), Samuel (b. 1761), Jacob (b. 1755), Jeremiah (1765–1828), Sarah (no date) and Mary (no date), all of whom were born on Long Island. It is unclear when the Rushmores arrived in what was then Albany County; however, Silas Rushmore, along with Thomas, Jeremiah, and Jacob, who appear to be relatives (brothers or sons), appears in tax documents for the area that became Greene County beginning in 1787. According to deeds located in the</p><br>
<p>Greene County Clerk’s office, Silas bought and sold numerous parcels of land in the late 18th century and early 19th century.</p><br>
<p>The Rushmores also owned a grist mill, originally known as the Van Vechten Mill, in the town of Catskill, on the Catskill Creek. A Quaker marriage record from the Nine Partners Monthly Meeting, Dutchess, N.Y. for Thomas Rushmore, son of Silas and Phebe, to Abigail Griffin in 1797 suggests that the Rushmore family was living in the Hudson Valley by this date.</p><br>
<p>Silas Rushmores son Jeremiah was born in Hempstead, Long Island in 1765. He married Martha Roby and they had three children: Richard (1787–1837), Anna (b. 1804) and Morris (b. c1814). Between 1790 and 1799, census records list both Silas and Jeremiah Rushmore as heads of households with land in Athens; however, it is unclear which of them purchased the nominated property. Jeremiah Rushmore is the probable builder and first documented occupant of the nominated house. Tax records from 1799 show that Jeremiah Rushmore owned a house and land in the town of Catskill (Athens was not a separate town until 1805) valued at 1,560 pounds and personal wealth of 172 pounds. The 1801 Tax Assessment also lists Jeremiah as owning a house and lands in Catskill with a personal estate value of 3,000 pounds. An article in the Catskill Recorder reporting the death of one of Jeremiah Rushmores workers in September 1806 documents his ownership of the nominated house by that date. Although another article reported that the house and two hundred acres of land, including one hundred acres of meadow, were for sale in 1811, Jeremiah purchased an additional 20 acre in 1812 and retained ownership until his death, when the property passed to his son Richard in 1813, another article described the Rushmore property as including three orchards with over three hundred trees. Jeremiah Rushmore died 28 October 1828. His will and codicil, dated 1826 and 1828, respectively, and probated in November 1828, stipulated that his son Morris was to inherit the farm he was living on in Coxsackie and that Richard would inherit the Athens farm. The will confirms that the second half of the house had been constructed before Jeremiahs death, in that it specified that his wife, Martha, and unmarried daughter, Anna, could continue to live in his "new house" and use the upper (first floor) room and two bedrooms upstairs. In the codicil Rushmore specified that his daughter was not permitted to enter the old house. Martha Rushmore was permitted to use the Franklin stove in the upper room and Richard was directed to provide firewood for Martha and Anna. Jeremiah was very wealthy, and at his death an inventory of his possessions showed that he had almost $300 along with forty-one linen sheets. His widow, Martha, died on 21 February 1830. Richard Rushmore married Deborah Wilson (date unknown) and the couple had nine children: Thomas Lembuck (b. 1810), Delanco (no dates), Mary E. (1815–1865), Solon (1816–1870), infant son (1817–1821), James (1818–1821), Erasmus (1823–1886), Martha Ann (1828–1831), and Laban Coleman (1830–1909). After her husbands death on 3 January 1837, Deborah and her minor children continued to operate the farm. The New York State Agricultural Census for 1855 reported that the farm consisted of two hundred acres, produced five hundred pounds of butter, and had apple orchards. The Rushmore property appears on local maps in 1856 and 1867. There was also a cider mill located on the property at this time, and the family continued to own and operate the Catskill mill.</p><br>
<p>Between 1837 and 1843, a number of improvements were made on the farm. These were recorded in a document written 11 March 1843 by George Griffin, Jr. at the request of my neighbors to determine an estimate of the amount expended in permanent improvements of the farm. George Griffin owned a farm that bordered the Rushmore Farm, Griffin recorded labor and material costs as well as income earned from 1837–1843. Repairs to the house include labor costs for a carpenter and mason and for material and labor for work on the kitchen and the east room. Work on the farm buildings included construction of a wood house and root cellar, repairs to the corn house and cider mill, milk room, hog press and barn, hay press and barn, and lower</p><br>
<p>barn, as well as repairs to the stone walls and board fence on the property.</p><br>
<p>Richard and Deborahs oldest son, Erasmus (1823–1886), never married and worked on the family farm until his death. He never owned the property, however, which continued in his mothers ownership until it passed to his brother Laban. Laban Coleman Rushmore (1830–1909) lived in the town of Catskill and ran the mill, as documented by local census documents for the years 1869 and 1873. Before and after these years, census records show him living on the farm with his mother, his wife, and his daughter, Ella. Laban married twice. His first marriage was to Elvira Dean, a descendant of the Salisbury family, one of the areas settling families, on her mothers side. Elviras mother, Eleanor Salisbury Dean, lived on the farm with Laban and Elvira at the end of her life, Elvira Dean Rushmore died in 1877 at the age of fifty-five, and Laban then married Sallie Ann (Sarah Ann) Stone. Sallie Ann Stone Rushmore continued to live on the farm after her husbands death until 1912, when she sold it to Stephen Harrison and moved into the village of Athens, where she lived until her death in 1924.</p><br>
<h3>Later Owners</h3><br>
<p>The Rushmore property has had nine owners since it has passed out of the Rushmore family in 1912. The Stewarts purchased the farm, then containing 239.37 acre, from Stephen Harrison in 1914. A 1930 tax assessment shows the property consisting of 197 acre, with an assessed value of $5,000 (with $142.50 of taxes owed). In 1941, the Stewarts sold the farm to the Deans, who owned it until 1950. The farm passed from the</p><br>
<p>Deans to the Sterritts, who sold 239.37 acre to Frank E. Low in 1969. The Lows sold off part of the property, reducing it to the current acreage of 95.37 acre, during their ownership. Since the Low period, ownership of the property has changed hands repeatedly. Pamela Hobbs purchased the house in 1971 and proceeded to undertake repairs, including refurbishing the porch and reconstructing the beehive oven. Michele Saunders-Laine, purchased the property in 2004. The current owners, Evren Ay and Asli Ay purchased the property in September 2010.</p><br>
<h2>Architectural Analysis</h2><br>
<p>The Rushmore farmhouse is a -story vernacular stone house built in two separate sections. Stone is a traditional building material in the upper Hudson Valley due to the large limestone ridge that runs the entire length of west side of the Hudson River from Albany south to Kingston and then inland to Port Jervis.</p><br>
<p>Although stone houses are often considered a building type specific to Dutch settlement groups, Huguenot, German, and English settlers built them as well, and members of these groups borrowed freely from each other. Most examples of the type are relatively similar in appearance, characterized by a long, low form, probably reflecting the structural capabilities of the rubble stone walls, and a steep gable roof, and most grew by accretion, adding new rooms in a linear pattern. Nevertheless, within the general type, construction details and spatial divisions varied and often reflected ethnic or geographic differences. Other distinctions, such as overall size, number of rooms, and degree of ornamentation might reflect differences of class and status; however, all stone-houses symbolized that their owners had achieved a certain degree of wealth or position, as those without either were generally housed in wooden structures.</p><br>
<p>Examination of the Rushmore house corroborates a late 18th-century construction date for the western, original half of the building. This section has a three-bay façade with center entrance and an interior end chimney on the west wall. A window south of the chimney on the west wall is a later addition. Although there is little intact original fabric in this section, several conclusions can be drawn from extant features. The hewn ceiling beams, which run north-south, are relatively small in size, in keeping with late 18th century and early 19th century construction methods.</p><br>
<p>Although the beams are now exposed, the ceiling was probably originally plastered. A large east-west summer beam, added in the 1970s, suggests the approximate location of an original partition in the west room that would have both supported the light beams and divided the room into a two-thirds/one-third configuration, with the larger space, inside the door, serving as the kitchen. The smaller room towards the back of the building was the location of an enclosed stair to the second floor. The space to the east, now a kitchen, laundry and bath, would probably also have been divided into two spaces, and a second chimney may have been located on the east wall of the original house. The latter chimney would have been removed when the east section was added. Hewn rafters with scribe marks in the attic also support a late 18th-century construction date for the west side. The original three-bay facade, as well as the compact arrangement of small rooms, is typical of English building practices and may also reflect the family&#39; s Long Island origins.</p><br>
<p>The eastern section of the building, which doubled the size of the farmhouse, had probably been added by 1813, when Jeremiah Rushmore placed the advertisement describing two houses on his property. The existence of the addition is confirmed by Jeremiah &#39;s will and codicil from 1826 and 1828, respectively, which specified that his mother and sister were to retain use of the parlor and upper bedrooms in the "new" house. The hall and best room plan survives on the first floor, where other original fabric includes the windows and mantel. The tall ceiling, originally intended to be plastered, is also indicative of the early 19th century period. A built-in hutch was added next to the chimney in a later period. The new kitchen was located in the basement, enhancing the compact design of the house. This variation, while not unique, contrasts with a number of period stone residences, which often featured kitchen additions on rear or end walls. In the half story of the east addition, the original two bedrooms have been combined into one, and ceilings have been removed to expose the original rafters. Despite changes, the interior of the farmhouse retains sufficient integrity to provide information about its original construction and evolution over time. Changes to the exterior of the house include the addition of a full-width porch, frieze, and corniche with returns.</p><br>
<p>Although the date of these alterations is not documented, the use of the Greek Revival style and the fact that a number of repair projects were undertaken by Deborah Rushmore between 1837 and 1843 suggests that these changes may have occurred in that period. Dormer windows on the south elevation are also not original; however, their date of construction is not known.</p><br>
<p>One dependency, a stone smokehouse, survives to represent the agricultural history of the property. Ruins of a barn and silo have not yet been studied but promise to enhance our understanding of the farm. Although the property retains ninety-five acres of original Rushmore land, much of it is too wet for farming, and there are no longer any orchards associated with it. Nevertheless, the property retains an open pastoral quality and a secluded setting that help to recall its long history as a working farm.</p><br>
<p>Agar&#39;s Island is an island of Bermuda. Located in the Great Sound, near to the shore of the parish of Pembroke, it was owned by billionaire James Martin, and was historically a secret munitions store, part of the Bermuda Garrison of the British Army.</p><br>
<p>Bermuda had become the primary base, dockyard, and headquarters of the North America and West Indies Squadron of the Royal Navy following the independence of the USA. The British Army had consequently garrisoned and heavily fortified the colony.</p><br>
<p>In the 1790s, when the Royal Navy had begun planning what would become the Royal Naval Dockyard on Ireland Island, it had purchased most of the smaller islands in the Great Sound and Hamilton Harbour. Although the Royal Navy made occasional use of these smaller islands, it was to be the army that would carry out the greatest development on them. Many were used to compose a Prisoner-of-War camp during and after the Second Boer War. Agar&#39;s, however, was to see another use.</p><br>
<p>Although the ring of fortresses operated by the Royal Garrison Artillery held munitions stores in their magazines, central supply depots were also operated by the Royal Army Ordnance Corps, which operated a depot on Ordnance Island, dangerously close to the Kings Square of St. Georges town. In 1870, a secret, underground powder magazine was built on Agar&#39;s Island, reputed to be the largest in the world at that time, although the army remained highly secretive of its existence. The magazine still exists, restored by James Martin, although it is not open to the public.</p><br>
<p>During the final year of the First World War, the United States Navy was permitted to establish a supply station on Agars Island, as well as a Naval station on Whites Island. These facilities closed following the cessation of hostilities.</p><br>
