<p>Puget Sound Naval Shipyard, officially Puget Sound Naval Shipyard and Intermediate Maintenance Facility , is a United States Navy shipyard covering 179 acres  on Puget Sound at Bremerton, Washington in uninterrupted use since its establishment in 1891; it has also been known as Navy Yard Puget Sound, Bremerton Navy Yard, and the Bremerton Naval Complex.</p><br>
<p>It is bordered on the south by Sinclair Inlet, on the west by the Bremerton Annex of Naval Base Kitsap, and on the north and east by the city of Bremerton, Washington. It is the Pacific Northwests largest naval shore facility and one of Washington states largest industrial installations. PSNS & IMF provides the Navy with maintenance, modernization, and technical and logistics support, and employs 15,000 people which makes it the largest public shipyard in terms of personnel assigned.</p><br>
<h2>History</h2><br>
<p>Puget Sound Naval Shipyard was established in 1891 as a Naval Station and was designated Navy Yard Puget Sound in 1901. During World War I, the Navy Yard constructed ships, including 25 subchasers, seven submarines, two minesweepers, seven seagoing tugs, and two ammunition ships, as well as 1,700 small boats. During World War II, the shipyard&#39;s primary effort was the repair of battle damage to ships of the USA fleet and those of its allies.</p><br>
<p>Following World War II, Navy Yard Puget Sound was designated Puget Sound Naval Shipyard. It engaged in an extensive program of modernizing carriers, including converting conventional flight decks to angle decks. During the Korean War, the shipyard was engaged in the activation of ships. In the late 1950s, it entered an era of new construction with the building of a new class of guided missile frigates. In 1965, USS Sculpin (SSN 590) became the first nuclear-powered submarine to be maintained at PSNS. The shipyard was designated a National Historic Landmark in 1992. The historic district includes 22 contributing buildings and 42 contributing structures, as well as 49 non-contributing buildings, structures, and objects.</p><br>
<h2>Installations</h2><br>
<p>Perhaps the most visible feature of the shipyard is its green hammerhead crane, built in 1933. The PSNS hammerhead crane is 250 ft tall and 80 ft wide with a lifting capacity of 250 tons.</p><br>
<h2>Historic districts</h2><br>
<p>The Puget Sound Naval Shipyard contains five historic districts:</p><br>
<p>Officers&#39; Row Historic District</p><br>
<p>Puget Sound Radio Station Historic District</p><br>
<p>Hospital Reservation Historic District</p><br>
<p>Puget Sound Naval Shipyard Historic District; and</p><br>
<p>Marine Reservation Historic District.</p><br>
<p>These five units are a comprehensive representation of the historic features of the naval shipyard.</p><br>
<h2>Dry Docks and Slipways</h2><br>
<h2>Operations</h2><br>
<h3>Shipbuilding</h3><br>
<p>Heavy cruisers</p><br>
<p>1 of 6 (built July 1928 - September 1930)</p><br>
<p>1 of 7 (September 1930 - December 1933)</p><br>
<p>Destroyers</p><br>
<p>1 of 8 (built December 1932 - October 1934)</p><br>
<p>2 of 18 (August 1934 - December 1935)</p><br>
<p>2 of 8 (July 1935 - May 1937)</p><br>
<p>1 of 8 (March 1937 - April 1939)</p><br>
<p>1 of 30 (January 1939 - May 1940)</p><br>
<p>1 of 66 (July 1939 - May 1940)</p><br>
<p>8 of 175 (June 1941 - September 1944)</p><br>
<p>8 of 65 s (September 1942 - August 1943)</p><br>
<h3>Ship-Submarine Recycling Program</h3><br>
<p>In 1990 the Navy authorized the Ship-Submarine Recycling Program (SRP) to recycle nuclear-powered ships at PSNS. Approximately 25% of the shipyards workload involves inactivation, reactor compartment disposal, and recycling of ships. It has pioneered an environmentally safe method of deactivating and recycling nuclear-powered ships. This process places the USA Navy in the role of being the worlds only organization to design, build, operate, and recycle nuclear-powered ships. On 15 May 2003 PSNS and IMF were consolidated into what is now known as PSNS & IMF.</p><br>
<p>PSNS is the only USA facility certified to recycle nuclear ships. During all this period Puget Sound Naval Shipyard has scrapped more than 125 submarines and some cruisers.</p><br>
<h3>Reserve fleet</h3><br>
<p>The shipyard contains a portion of the United States Navy reserve fleet, a large collection of inactive USA Navy vessels. The aircraft carrier was mothballed there until May 2022 when it was removed for scrapping.</p><br>
<h2>Environmental issues</h2><br>
<p>Gorst Creek Ravine near Port Orchard, Washington was a hazardous waste dump for the Navys shipyard waste between 1969 and 1970, when the site was not permitted by local authorities to take waste. After several collapses since 1997 the landfill could blow out Highway 3. The landfill is an "ongoing source of pesticides, polychlorinated biphenyls and metals flowing downstream with the potential to affect groundwater wells, sport fisheries and the Suquamish Tribes fish hatchery. In October 2014, the US EPA ordered the Navy to fix the problems.</p><br>
<p>Spindletop is an oil field located in the southern portion of Beaumont, Texas, in the United States. The Spindletop dome was derived from the Louann Salt evaporite layer of the Jurassic geologic period. On January 10, 1901, a well at Spindletop struck oil . The Spindletop gusher blew for 9 days at a rate estimated at 100,000 barrels of oil per day. Gulf Oil and Texaco, now part of Chevron Corporation, were formed to develop production at Spindletop. The Spindletop discovery led the United States into the oil age. Prior to Spindletop, oil was primarily used for lighting and as a lubricant. Because of the quantity of oil discovered, burning petroleum as a fuel for mass consumption suddenly became economically feasible.</p><br>
<p>The frenzy of oil exploration and the economic development it generated in the state became known as the Texas oil boom. The United States soon became the world&#39;s leading oil producer.</p><br>
<p>__TOC__</p><br>
<h2>History</h2><br>
<p>Pattillo Higgins sought a source of natural gas for his brickyard and envisioned producing oil and gas from Sour Spring Mound, convinced it was an anticline. The eventual oil field would be called Spindletop, after a hill one mile to the east, and four miles south of Beaumont. The hill had the appearance of a spindle due to trees on its hilltop (cimas de boneteros, "tops of spindle-trees"). The mound was famous for its gas seeps, which Higgins lit for his Baptist Sunday school class. In August 1892, George W. O&#39;Brien, George W. Carroll, Pattillo Higgins, and J.F. Lanier formed the Gladys City Oil, Gas, and Manufacturing Company to do exploratory drilling. The company tried drilling two test wells, but ran into trouble trying to penetrate below 300 ft, encountering a quicksand-like formation. Higgins quit the venture in 1896.</p><br>
<p>Pattillo Higgins then teamed with Captain Anthony F. Lucas, the leading expert in the USA on salt-dome formations. Lucas made a lease agreement in 1899 with the Gladys City Company and a subsequent agreement with Higgins. Lucas drilled to 575 ft before running out of money. He secured additional funding from John H. Galey, James M. Guffey, and Andrew Mellon of Pittsburgh, and the Guffey Petroleum Company was formed. Yet, the deal left Lucas with only an eighth share, and Higgins with nothing.</p><br>
<p>Lucas and Galey employed the Hamill brothers for the drilling, while Galey picked the well site on land leased from the Beaumont Pasture Company. This tract of land was near the top of Sour Spring Mound. The well was spudded on 27 October 1900. At 160 ft, they hit the quicksands that had stopped earlier efforts. A solution consisted of driving an eight-inch casing pipe through the sand over the next 20 days, with a four-inch "wash pipe" to flush out the sand from the bottom of the hole with water. At around 250 ft, Lucas improvised a check valve to prevent the increased gas pressure from forcing sand into the casing, enabling them to reach a depth of 445 ft, and past the 285 ft thick quicksand formation. At a depth of 645 ft, they adopted eighteen-hour shifts for continuous operations, drilling during the day, and keeping circulation going at night, to prevent a gas blowout. In early December, they hit a pocket of coarse water sand, when they adopted another innovation, mixing mud into the water which prevented the "heavier" water from dissipating into the sand. This drilling mud stabilized the hole, and soon they were drilling into a clay formation called gumbo. At 800 ft they reached limestone, and on 9 December, oil started showing up in the slush pit. The oil was coming from a 35 ft thick oil sand at a depth of 870 ft. Yet, that oil sand was too soft and fine to develop at that time, and Caroline Lucas convinced Galey to continue drilling to 1,200 ft, per contract. On Christmas Eve, they landed six-inch pipe below the sand at 880 ft, then enjoyed the holiday, returning New Year&#39;s Day. They hit another gas pocket, which forced water and mud out of the hole for ten minutes. Then, at 960 ft, they reached a sulphur layer, followed by more layers of limestone. On 10 January, they needed to replace the dull fishtail drill bit. While lowering the pipe down the hole, they only got to about 35 joints of pipe, or about 700 ft, before a low rumble sent mud, and then drill stem out of the hole. This was followed by silence, an explosion of more mud and gas, more silence, a flow of oil, and then a loud roar. On January 10, 1901, at a depth of 1,139 ft (347 m), what is known as the Lucas Gusher or the Lucas Geyser blew oil over 150 ft in the air at a rate of 100,000 barrels (4,200,000 gallons). Nine days passed before the well was brought under control using a Christmas Tree devised by the Hamills.</p><br>
<p>By late June, there were 13 gushers on Spindletop. These included those by David R. Beatty on 26 March, the Heywood Brothers Oil Company, two more from the J.M. Guffey Company, and the Higgins Oil and Fuel Company on 18 April. Then in July 1901, the Hogg-Swayne Syndicate leased 15 acres from J.M. Guffey.</p><br>
<p>Spindletop was the largest gusher the world had seen and catapulted Beaumont into an oil-fueled boomtown. Beaumont&#39;s population of 10,000 tripled in 3 months and eventually rose to 50,000. Speculation led land prices to increase rapidly. By the end of 1902, more than 500 companies had been formed and 285 wells were in operation.</p><br>
<p>Spindletop produced 17,420,949 barrels of oil in 1902, but only half that much in 1903 as production declined. Yet Spindletop inspired wildcatting along the Gulf Coastal Plain. Significant salt dome oil fields included Sour Lake and Saratoga in 1902, Batson Prairie in 1903, the Humble oil field in 1905, and the Goose Creek Oil Field in 1908.</p><br>
<p>Standard Oil, which then had a monopoly or near-monopoly on the petroleum industry in the eastern states, was prevented from moving aggressively into the new oilfield by state antitrust laws. Populist sentiment against Standard Oil was particularly strong at the time of the Spindletop discovery. In 1900, an oil-products marketing company affiliated with Standard Oil had been banned from the state for its cutthroat business practices. Although Standard built refineries in the area, it was unable to dominate the new Gulf Coast oil fields the way it had in the eastern states. As a result, a number of startup oil companies at Spindletop, such as Texaco and Gulf Oil, grew into formidable competitors to Standard Oil.</p><br>
<p>Production at Spindletop began to decline rapidly after 1902, and the wells produced only 10,000 barrels by 1904. Unfortunately the developers had signed a 20-year contract to sell 25,000 barrels per day at $0.25 per barrel to Shell Oil. When the price climbed above $0.35 per barrel, the operation was stressed and Mellon who had lent money for Spindle Tops development took control of the company, won a lawsuit allowing Mellon to renege on the contract, and in 1907, created Gulf Oil. On November 14, 1925, the Yount-Lee Oil Company brought in its McFaddin No. 2 at a depth around 2,500 ft, sparking a second boom, which culminated in the fields peak production year of 1927, during which 21 million barrels (3.3 GL) were produced. Spindletop continued as a productive source of oil until about 1936. Stripper wells continue producing to this day. It was then mined for sulfur from the 1950s to about 1975.</p><br>
<h2>Spindletop-Gladys City Boomtown Museum</h2><br>
<p>In 1976, Lamar University dedicated the Spindletop-Gladys City Boomtown Museum to preserve the history of the Spindletop oil gusher era in Beaumont. The museum features an oil derrick and many reconstructed Gladys City building interiors furnished with authentic artifacts from the Spindletop boomtown period.</p><br>
<p>The Lucas Gusher Monument is located at the museum. The monument, erected at the wellhead in July, 1941, was moved to the Spindletop-Gladys City Museum after it became unstable due to ground subsidence. According to an article by Nedra Foster, LS in the July/August, 2000 issue of the Professional Surveyor Magazine, the monument was originally located within 4 ft of the site of the Spindletop well.</p><br>
<p>Today, the wellhead is marked at Spindletop Park by a flagpole flying the Texas flag. It is located about 1.5 miles south of the museum, off West Port Arthur Road/Spur 93. The site includes a viewing platform with information placards, about a quarter-mile from the flagpole. The wellhead site is in the middle of swampland on private land and is not accessible. Directions to the park and viewing platform are available at the museum.</p><br>
<p>Sutter&#39;s Fort was a 19th-century agricultural and trade colony in the Mexican Alta California province. Established in 1839, the site of the fort was originally part of a utopian colonial project called New Helvetia  by its builder John Sutter, though construction of the fort proper would not begin until 1841. The fort was the first non-Indigenous community in the California Central Valley, and saw grave mistreatment of Indigenous laborers in plantation or feudal style conditions. The fort is famous for its association with the Donner Party, the California Gold Rush, and the formation of the city of Sacramento, surrounding the fort. It is notable for its proximity to the end of the California and Siskiyou Trails, which it served as a waystation.</p><br>
<p>In modern times, the adobe structure has been restored to its original condition (38.5723&deg; latitude, -121.4712&deg; longitude) and is now administered by California Department of Parks and Recreation. It was designated a National Historic Landmark in 1961.</p><br>
<h2>History</h2><br>
<p>To build his colony, John Sutter secured a 50,000 acre land grant in the Central Valley from the Mexican governor. The main building of the fort is a two-story adobe structure built between 1841 and 1843 using Indigenous forced labor. This building is the only original surviving structure at the reconstructed Sutters Fort State Historic Park. It was in here on January 28, 1848, that James Marshall met privately with John Sutter in order to show him the gold that Marshall had found during the construction of Sutters sawmill along the American River only four days earlier. Sutter built the original fort with walls 2.5 ft thick and 15 to 18 ft high. Pioneers took residence at Sutter&#39;s Fort around 1841. Following word of the California gold rush, the fort was largely deserted by the 1850s and fell into disrepair.</p><br>
<h3>Construction</h3><br>
<p>The party led by John Sutter landed on the bank of the American River in August 1839. The group included three Europeans and a Native American boy, probably to serve as interpreter. Some of the first people brought to the colony were Native Hawaiian workers, called Kanakas. Sutter had entered a contract with the governor of Hawaii to import and use the labor of these eight men and two women for three years. Once the first camp was set up, Sutter used local Miwok, Nisenan, and "missionized" Native Californians to build the first building, a three-room adobe.</p><br>
<h3>Agricultural colony</h3><br>
<p>Once the fort was built, Sutter established an agricultural colony with labor structures similar to Southern plantations and European feudalism.</p><br>
<h3>Decline</h3><br>
<p>After gold was discovered at Sutter&#39;s Mill (also owned by John Sutter) in Coloma on January 24, 1848, the fort was abandoned.</p><br>
<h3>Preservation</h3><br>
<p>In 1891, the Native Sons of the Golden West, who sought to safeguard many of the landmarks of Californias pioneer days, purchased and rehabilitated Sutters Fort when the City of Sacramento sought to demolish it. Repair efforts were completed in 1893 and the fort was given by the Native Sons of the Golden West to the State of California. In 1947, the fort was transferred to the authority of California State Parks as Sutter&#39;s Fort State Historic Park.</p><br>
<p>Most of the original neighborhood structures were initially built in the late 1930s as residences, many of which have been converted to commercial uses such as private medical practices. The history of the neighborhood is largely residential.</p><br>
<h2>Geography and hydrology</h2><br>
<p>Sutter&#39;s Fort is located on level ground at an elevation of approximately 20 ft above mean sea datum. The slope elevation decreases northward toward the American River and westward toward the Sacramento River. Slope elevation gradually increases to the south and east, away from the rivers. All surface drainage flows toward the Sacramento River. Groundwater in the vicinity flows south-southwest toward the Sacramento Delta. However, after peak rainfall, the Sacramento River swells and the groundwater flow can actually reverse away from the river.</p><br>
<h3>Sutter&#39;s Landing</h3><br>
<p>Sutters Landing is the spot the Captain John A. Sutter landed in August 1839 at the American River after coming up the Sacramento River from Yerba Buena at 38.5816&deg; latitude, -121.4660&deg; longitude. After landing, Sutter built a base camp, then Sutters Fort. The site of the landing is California Historical Landmark #591 that was listed on May 22, 1957.</p><br>
<h3>Coloma Road</h3><br>
<p>The old Coloma Road opened in 1847, it ran from Sutters Fort to the city of Coloma. Marshall traveled the road to tell of his gold find to Captain John A. Sutter. During the 49ers gold rush thousands of miners traveled the road heading out to look for gold and claims. Coloma Road at Sutters Fort is a California Historical Landmark No. 745. There are two other Coloma Road California Historical Landmarks: Coloma Road, Rescue California Historical Landmark, No. 748, in Coloma and California Historical Landmark No. 747 at Marshall Gold Discovery State Historic Park. California&#39;s first stage line, California Stage Company, traveled the road starting in 1849, the line was founded by James E. Birch.</p><br>
<p>Buckingham Fountain is a Chicago Landmark in the center of Grant Park, between Queen&#39;s Landing and the end of Ida B. Wells Drive. Dedicated in 1927 and donated to the city by philanthropist Kate S. Buckingham, it is one of the largest fountains in the world. Built in a rococo wedding cake style and inspired by the Latona Fountain at the Palace of Versailles, its design allegorically represents nearby Lake Michigan. The fountain operates generally from mid-April to mid-October, with regular water-jet displays and evening colored-light shows. During the winter, the fountain is decorated with festival lights.</p><br>
<h2>History</h2><br>
<p>The fountain area has been called Chicagos front door, since it is located in the center of Grant Park, the citys front yard near the intersection of Columbus Drive and Ida B. Wells Drive. The fountain itself represents Lake Michigan, with four sets of sea horses (two per set) symbolizing the four states—Illinois, Wisconsin, Michigan and Indiana—that border the lake. The fountain was designed by beaux arts architect Edward H. Bennett. The statues were created by the French sculptor Marcel F. Loyau. The design of the fountain was inspired by the Bassin de Latone and modeled after Latona Fountain at Versailles.</p><br>
<p>The fountain was donated to the city by Kate Sturges Buckingham in memory of her brother, Clarence Buckingham, and was constructed at a cost of $750,000. The fountain&#39;s official name is the Clarence Buckingham Memorial Fountain. Kate Buckingham also established the Buckingham Fountain Endowment Fund with an initial investment of $300,000 to pay for maintenance. Buckingham Fountain was dedicated on August 26, 1927.</p><br>
<p>In August 2016, in a partnership with the City of Chicago, the Chicago Parks District and Everywhere Wireless, the Buckingham Fountain viewing area joined many Chicago beaches and the Museum Campus in providing free Wi-Fi to visitors.</p><br>
<h2>Operation</h2><br>
<p>Many tourists and Chicagoans visit the fountain each year. The fountain operates from 8:00 a.m. to 11:00 p.m. daily, typically from early May through mid-October, depending on weather. Water shows occur every hour on-the-hour and last 20 minutes. During shows, the center jet shoots up vertically to 150 ft, and after dusk shows are choreographed with lights and music. The last show begins at 10:00 p.m. nightly.</p><br>
<p>The fountain is constructed of Georgia pink marble and contains 1.5 e6USAgal of water. During a display, more than 14,000 USAgal/min are pushed through its 193 jets. The bottom pool of the fountain is 280 ft in diameter, the lower basin is 103 ft, the middle basin is 60 ft and the upper basin is 24 ft. The lip of the upper basin is 25 ft above the water in the lower basin.</p><br>
<p>The fountains pumps are controlled by a Honeywell computer which was previously located in Atlanta, Georgia, until the 1994 renovation when it was moved to the pump house of the fountain. The fountains security system is monitored from Arlington Heights (a Chicago suburb).</p><br>
<h2>Renovations</h2><br>
<p>In 1994, the fountain received a $2.8 million restoration to its three smallest basins which developed leaks due to Chicago&#39;s harsh winters.</p><br>
<p>The latest renovation project on Buckingham Fountain began in September 2008. This three-phase project modernized aging internal systems in the fountain and restored deteriorated features. Funding was a combination from the Buckingham endowment, city and park district funds and a grant from the Lollapalooza music festival which is held annually near the fountain.</p><br>
<p>Phase I was dedicated April 3, 2009. This phase included permeable pavers to surround the fountain. This replaced the crushed stone that was used since the fountain was constructed. The pavers make a safer and smoother surface and complies with the Americans with Disabilities Act of 1990.</p><br>
<p>Phase II began in the winter of 2009. This phase included the demolition of the fountain table, installation of extensive underdrainage system, new landscaping, site lighting, signs, site furnishings, sewer system, selective demolition within or adjacent to the fountain&#39;s outer basin, repairs of some existing cast-in-place concrete elements and installation of new cast-in-place elements. Work was not completed due to lack of funds and the Chicago Park District has not announced when it expects to finish this phase.</p><br>
<p>Phase III updates have not been scheduled until Phase II projects are completed. This phase will include the restoration of Buckingham Fountain and fountain table, the construction of a new equipment room with selective demolition, structural construction and repair, masonry restoration and repair, mechanical and electrical work, bronze restoration and repair and installation of site improvements and amenities.</p><br>
<h2>In popular culture</h2><br>
<h3>Entertainment</h3><br>
<p>Buckingham Fountain was featured in the title sequences of TV shows Married... with Children and Crime Story.</p><br>
<p>The fountain was the starting point for the television show The Amazing Race 6 in 2004 and was featured in a task 13 years later on The Amazing Race 29.</p><br>
<p>Buckingham Fountain features in the 1949 film noir film Undertow, as the protagonist&#39;s meeting place.</p><br>
<h3>Confusion with Route 66</h3><br>
<p>Buckingham Fountain is often incorrectly identified as the eastern terminus of historic USA Route 66 (the road west to Southern California), but, although near, it was not the end point of that historic route. The original eastern terminus was nearby at the intersection of Jackson Boulevard and Michigan Avenue in downtown Chicago. In a later alignment, the terminus was moved east several blocks through Grant Park to the intersection with Lake Shore Drive after the latter was designated as USA Route 41. It remained there until the eastern terminus of Interstate 55 was completed at Lake Shore Drive, and then that also became the eastern terminus of Route 66 until I-55 completely replaced the route in Illinois and USA 66 was decommissioned (in 1985). Nevertheless, many people still associate Buckingham Fountain with the start of Route 66, even though it had not been built yet when the route opened on November 11, 1926 — whereas the Fountain of the Great Lakes in the South Garden of the Art Institute of Chicago, which has been near the intersection of Jackson and Michigan since 1913, actually preceded Route 66 by 13 years and Buckingham Fountain by 14 years. Because Jackson is now a one way street going east, the historic commemorative signs for Route 66 now show "End" at Jackson near Michigan, but "Begin" is moved one block north to Adams Street (in front of the Art Institute), which is a one-way going west.</p><br>
<p>The Kolomoki Mounds is one of the largest and earliest Woodland period earthwork mound complexes in the Southeastern United States and is the largest in Georgia. Constructed from 350 to 600, the mound complex is located in southwest Georgia, in present-day Early County near the Chattahoochee River.</p><br>
<p>The mounds were designated as a National Historic Landmark in 1964. Seven of the eight mounds are protected as part of Kolomoki Mounds State Historic Park.</p><br>
<h2>Site characteristics</h2><br>
<p>Kolomoki Mounds State Park is an important archaeological site as well as a scenic recreational area. Kolomoki, covering some three hundred acres, is one of the larger preserved mound sites in the USA.</p><br>
<p>In the early millennium of the Common Era, Kolomoki, with its surrounding villages, Native American burial mounds, and ceremonial plaza, was a center of population and activity in North America. The eight visible mounds of earth in the park were built between 250-950 CE by peoples of the Swift Creek and Weeden Island cultures. These mounds include Georgia&#39;s oldest great temple mound, built on a flat platform top; two burial mounds, and four smaller ceremonial mounds.</p><br>
<p>As with other mound complexes, the people sited and built the earthworks according to a complex cosmology. Researchers have noted that several mounds are aligned according to astronomical events. For example, mounds A, D, and E, which form the central axis of the site, align with the sun at the spring equinox. Mounds F and D form an alignment with the sun at the summer solstice.</p><br>
<p>Soils at the Park are mostly dark red sandy loams or loamy sands of the Americus, Greenville, and Red Bay series. Some pale brown sands of the Troup series occur on the western shores of Kolomoki Lake, and at the northern end of the lake is brown or dark gray alluvial loam of the Herod-Muckalee soil association.</p><br>
<h2>Archaeological features</h2><br>
<h3>Temple Mound</h3><br>
<p>The Temple Mound is 56 ft high and measures 325 by 200 ft at the base. Research indicates that it would have taken over two million basket loads carried by individual workers, each holding one cubic foot of earth, to build this mound. The southern half of the mound is three feet higher and was probably the temple platform. From the top of the steps, most of the Kolomoki Archaeological Area can be viewed. Approximately 1,500 - 2,000 residents lived in a village of thatched houses that were built around the large plaza in the center of the complex. It was a place for public ceremonial activities and rituals, including games.</p><br>
<h3>Mound D</h3><br>
<p>Mound D is one of the eight visible mounds at the Kolomoki site. It is a conical mound that is 20 ft high from the ground. It is centrally located at Kolomoki. Archeologists discovered the remains of 77 burials and ceremonial pottery here. The effigy pottery discovered was shaped in various animal and bird shapes, such as deer, quail and owls.</p><br>
<p>Mound D was constructed in several stages, each time increasing in size. It began as a square-platform mound that was about 6 ft tall. This original platform mound was built from yellow clay. Sixty pottery vessels were placed on the east wall including the above effigy pottery.</p><br>
<p>After many subsequent burials and the addition of more yellow clay in layers, the mound was shaped as a larger circular mound about 10 ft tall. These burials took place on the eastern side of the mound, and the skulls face eastward, the direction of the rising sun, apparently for religious reasons. Burial objects made from iron and copper and pearl beads were included as ceremonial objects with the burials. Finally, the entire mound was covered with red clay.</p><br>
<h2>Museum</h2><br>
<p>The park&#39;s museum was built to incorporate part of an excavated mound; it provides an authentic setting for viewing artifacts. The museum features a film about how this mound was built and excavated.</p><br>
<p>In March 1974, a thief entered the museum at the park and stole more than 129 ancient pots and effigies, numerous arrowheads, and other treasures. Every artifact on display was stolen. Several years later, many of the pieces were recovered by police and dealers in Miami and St. Augustine, Florida. But, with more than 70 relics still missing, the Georgia Department of Natural Resources (DNR) has sought public help in recovering these artifacts. Archeologists believe the pots are somewhere in Georgia or Florida, perhaps held by dealers or private collectors.</p><br>
<p>Park Manager Matt Bruner said,</p><br>
<p>These pieces are an important part of North American history and should be properly protected for future generations to study. They have significant meaning to the Native American people because many were used during burial ceremonies, plus they represent some of the finest craftsmanship of the Kolomoki culture.</p><br>
<p>He emphasized that the state is more interested in recovering the pots than prosecuting the people who have them.</p><br>
<p>The Lookout Mountain Incline Railway is a inclined plane funicular railway leading to the top of Lookout Mountain from the historic St. Elmo neighborhood of Chattanooga, Tennessee. Passengers are transported from St. Elmos Station at the base, to Point Park at the mountain summit, which overlooks the city and the Tennessee River. It is just a short drive to three of Chattanoogas main tourist attractions, Ruby Falls, Cavern Castle, and Rock City. The railway is approximately 1 mi in length . It has a maximum grade of 72.7%, making it one of the world&#39;s steepest passenger railways. It obtained Historic Mechanical Engineering Landmark status in 1991. The cable system for the cars was made by the Otis Elevator Company.</p><br>
<h2>History</h2><br>
<p>The Lookout Mountain Incline Railway (Incline No. 2) was opened on November 16, 1895, by the Chattanooga Incline and Lula Lake Railway and functions as a major mode of transportation to the top of the mountain. It was the second of two inclines constructed on Lookout Mountain; the first was the Chattanooga and Lookout Mountain Railway (Incline No. 1), which operated from 1886 to 1895 and dismantled in 1900. Service was disrupted twice by fires that destroyed the powerhouse, upper station and cars stored there overnight (the first fire occurring on December 13, 1896, and the second on March 24, 1919). Both fires put the railway temporarily out of service, substitute service being provided by the Chattanooga Railway and Light Companys Lookout Mountain route. The railway was sold in the 1940s to Southern Coach Lines and is now operated by the Chattanooga Area Regional Transportation Authority, the areas public transit agency.</p><br>
<p>The Incline Railway is a well-known and beloved Chattanooga landmark; the railway has been depicted in numerous regional and national publications, including being on TV, most prominently on Larry the Cable Guy&#39;s Only in America with Larry the Cable Guy in February 2011. The railway is one of the main tourist attractions in the Chattanooga area, totaling over 100,000 visits annually. The top station features an observation deck and a gift shop.</p><br>
<p>On December 7th, 2024, a rockslide from the east face of Lookout Mountain (just south of the incline) caused a wildfire, temporarily suspending all funicular traffic. There is no current timeline for re-opening, as the railway&#39;s cables are severed. The rail system and cross timbers were damaged, but the extent of the damage is currently unknown.</p><br>
<p>The Milwaukee County Courthouse is a high-rise municipal building located in downtown Milwaukee, Wisconsin. Completed in 1931, it is the third county courthouse to be built in the city and is listed on the National Register of Historic Places. The first two courthouses were built at what is now Cathedral Square Park on the east side of the Milwaukee River.</p><br>
<h2>Description</h2><br>
<p>Situated on the crown of a hill, the eleven-story courthouse is 174 feet (54m) tall. The neoclassical style building was designed by New York architect Albert Randolph Ross, with the New York firm of McKim, Mead & White, chosen by a jury over 32 other architects from across the nation in a 1927 design competition. The building was clad in Bedford limestone and embellished with Beaux-Arts influenced details and sculpture such as owls and lion heads. The masonry work was provided by Andres Stone and Marble Company, owner Edgar Andres, whose family also helped construct the library and a local bank which is now the home for the Milwaukee Historical Society.</p><br>
<p>The NRHP nomination observes, "the most monumental of all Neoclassical courthouses in the state, the Milwaukee County Courthouse is perhaps the apogee of the Neoclassical movement in twentieth century civic architecture in Wisconsin."</p><br>
<p>While heralded as one of the grandest courthouses in the United States, it was once called a "million dollar rockpile" by famous American architect Frank Lloyd Wright.</p><br>
<h2>Civic space</h2><br>
<p>The Milwaukee County Courthouse is part of a greater civic space that includes not only the immediate area, but also the neighboring Milwaukee Public Museum, Central Library, and a swath of government buildings running east along Wells Street to the Milwaukee City Hall.</p><br>
<p>Along the east side of the County Courthouse is a terraced commons area called MacArthur Square. It was dedicated on September 17, 1945, to General Douglas MacArthur, who attended West Division High School - now Milwaukee High School of the Arts. A parking garage was built underneath in 1967, which cuts in to the side of the hill. At the base of the building is the India-America Friendship Park and a statue in memory of Mahatma Gandhi. North 9th Street continues through as a tunnel between the building and parking structure.</p><br>
<p>The MacArthur Square area has been criticized for its uninspired architecture and for noise pollution from the high capacity ventilation of the parking levels beneath it, which overpowers the water feature that was supposed to drown it out.</p><br>
<p>Just to the north is the Milwaukee County Safety Building and Jail buildings. On the southern side of the courthouse is Clas Park, named for local architect and city planner Alfred Clas. The Kilbourn Tunnel, a connecting corridor to and from northbound I-43 at the Courthouse Annex on the west side of the building to Kilbourn Avenue (named for the founder of the Kilbourntown portion of Milwaukee, Byron Kilbourn), runs underneath the courthouse and surrounding civic area.</p><br>
<h2>Courthouse Annex</h2><br>
<p>The Milwaukee County Courthouse Annex was a five-story 447-space concrete parking facility that also housed limited office space. Built in the 1960s, it extended over the three northbound lanes of Interstate 43 (I-43) just north of the Marquette Interchange. On the north façade was a four-story, 76 x mural titled "Whale Commuters". It was donated by artist Robert Wyland, who is known for painting large outdoor murals of whales called Whaling Walls, and dedicated on September 15, 1997.</p><br>
<p>Following some political controversy between then-Milwaukee County Executive Scott Walker and the Board of Supervisors, along with an unsuccessful offer by the Wisconsin Film Office to allow an implosion of the structure for any production interested in filming it for a demolition scene, the Annex was demolished as part of the interchange reconstruction. The last section came down on May 23, 2006, after a permit was obtained from the Federal Government to proceed in spite of some nesting seagulls and their eggs.</p><br>
<p>Upon learning of the impending destruction of his mural, Wyland threatened legal action, citing the Visual Artists Rights Act which gives artists the right to protect their work. According to the contract he signed these rights were waived and Milwaukee County "reserves the right to remodel or demolish the building and/or remove the mural at any time." Since then, Wyland has offered to paint the Wells Street side of the Milwaukee Public Museum, the building he had originally wanted to do. However, as was the original problem, the museum has refused the offer due to the lack of any connection between Milwaukee and the ocean and therefore whales as well.</p><br>
<p>A small section of the Whaling Wall containing an adult and baby dolphin was removed on May 2, 2006, prior to demolition. The dolphin section and a piece with the "Wyland" signature were installed at the northern portal of the Kilbourn Tunnel at I-43 northbound in February 2007, near the location of the former mural.</p><br>
<p>The 16th Street Baptist Church is a Baptist church in Birmingham, Alabama, United States. In 1963, the church was bombed by Ku Klux Klan members. The bombing killed four young girls in the midst of the Civil Rights Movement. The church is still in operation and is a central landmark in the Birmingham Civil Rights District. It was designated as a National Historic Landmark in 2006. Since 2008, it has also been on the UNESCO list of tentative World Heritage Sites.</p><br>
<h2>Beginnings</h2><br>
<p>The 16th Street Baptist Church was organized as the First Colored Baptist Church of Birmingham in 1873. It was the first black church to organize in Birmingham, which was founded just two years before. The first meetings were held in a small building at 12th Street and Fourth Avenue North. A site was soon acquired on 3rd Avenue North between 19th and 20th Street for a dedicated building. In 1880, the church sold that property and built a new church on the present site on 16th Street and 6th Avenue North. The new brick building was completed in 1884 under the supervision of its pastor, William R. Pettiford, but in 1908, the city condemned the structure and ordered it to be demolished. Pettiford was pastor from 1883 to 1904.</p><br>
<p>The present building, a "modified Romanesque and Byzantine design" by the prominent black architect Wallace Rayfield, was constructed in 1911 by the local black contractor T.C. Windham. The cost of construction was $26,000. In addition to the main sanctuary, the building houses a basement auditorium, used for meetings and lectures, and several ancillary rooms used for Sunday school and smaller groups.</p><br>
<p>As one of the primary institutions in the black community, the 16th Street Baptist Church has hosted prominent visitors throughout its history. W. E. B. Du Bois, Mary McLeod Bethune, Paul Robeson and Ralph Bunche all spoke at the church during the first part of the 20th century.</p><br>
<h2>Civil rights era and the 1963 bombing</h2><br>
<p>During the civil rights movement of the 1960s, the 16th Street Baptist Church served as an organizational headquarters, site of mass meetings and rallying point for African Americans protesting widespread institutionalized racism in Birmingham, Alabama, and the South. The ministers Fred Shuttlesworth, who was the chief local organizer, Southern Christian Leadership Conference (SCLC) leader Martin Luther King Jr., and SCLC leader James Bevel, who initiated the Children&#39;s Crusade and taught the students nonviolence, were frequent speakers at the church and led the movement.</p><br>
<p>On Sunday, September 15, 1963, Thomas Blanton, Bobby Frank Cherry and Robert Edward Chambliss, members of the Ku Klux Klan, planted 19 sticks of dynamite outside the basement of the church. At 10:22 a.m., they exploded, killing four young girlsAddie Mae Collins, Carole Robertson, Cynthia Wesley and Denise McNair. Twenty-two other victims suffered injuries. They were there preparing for the church&#39;s "Youth Day". A funeral for three of the four victims was attended by more than 8,000 mourners, white and black, but no city officials.</p><br>
<p>This was one of a string of more than 45 bombings within the decade. The neighborhood of Dynamite Hill was the most-frequently targeted area during this time. The bombing of the 16th Street Baptist Church increased Federal involvement in Alabama. President Johnson signed the 1964 Civil Rights Act into law the following year; and in 1965 the Voting Rights Act was passed, making literacy tests and poll taxes illegal.</p><br>
<p>Following the bombing, more than $300,000 in unsolicited gifts were received by the church and repairs were begun immediately. The church reopened on June 7, 1964. A stained glass window depicting a black Jesus, designed by John Petts, was donated by citizens of Wales and installed in the front window, facing south.</p><br>
<h2>Current status</h2><br>
<p>The church was added to the Alabama Register of Landmarks and Heritage on June 16, 1976. On September 17, 1980, it was added to the National Register of Historic Places. In 1993, a team of surveyors for the Historic American Buildings Survey executed archival quality measured drawings of the church for the Library of Congress. Because of its historic value on a national level in the moral crusade of civil rights, the church was officially designated a National Historic Landmark on February 20, 2006, by the United States Department of the Interior. On January 1, 2008, the US Government submitted it to UNESCO as part of an envisaged future World Heritage nomination and as such it is on UNESCO&#39;s tentative list of World Heritage Sites. In 2017, the church became part of the newly created Birmingham Civil Rights National Monument.</p><br>
<p>As part of the Birmingham Civil Rights District, the 16th Street Baptist Church receives more than 200,000 visitors annually. Though the current membership is only around 500, it has an average weekly attendance of nearly 2,000. The church also operates a large drug counseling program. The current pastor is the Reverend Arthur Price. Across from the church at Kelly Ingram Park is the Birmingham Civil Rights Institute, which plans events that teach and promote the history of human rights.</p><br>
<p>The 16th Street Baptist Church engaged in a $3 million restoration of the building in the first decade of the 21st century. Persistent water damage problems and exterior brick facing failure were addressed. The first phase of restoration, mainly below-grade waterproofing, was completed in 2007, followed by work on the exterior masonry. Additional funds were sought to handle unexpected problems uncovered during the work and to provide for ongoing physical maintenance.</p><br>
<p>Fort Douglas  was established in October 1862, during the American Civil War, as a small military garrison about three miles east of Salt Lake City, Utah. Its purpose was to protect the overland mail route and telegraph lines along the Central Overland Route. It was officially closed in 1991 pursuant to BRAC action. A small portion of the fort remains in active military use as the Stephen A. Douglas Armed Forces Reserve Center, although it is expected the reserve center will be relocated in the next few years, after the state of Utah provided funds for the purpose in 2023.</p><br>
<p>Most of the fort&#39;s former property has been turned over to the University of Utah and many of its buildings are preserved and used by the university for a variety of purposes. The Fort Douglas Military Museum is housed in two former barracks buildings. The fort was designated a National Historic Landmark in 1975, for its role in the Civil War and in furthering the settlement of Utah.</p><br>
<h2>History</h2><br>
<h3>Establishment</h3><br>
<p>Early in the Civil War, the threat of violence increased with the withdrawal of Federal troops from the West for use against the Confederate States of America. Colonel Patrick Connor was ordered to reestablish a military presence with volunteer soldiers in the Utah Territory. He selected a site east of Salt Lake City, and Camp Douglas, named after Senator Stephen A. Douglas, was officially established there on October 26, 1862. Connor&#39;s men were Union volunteers from both California and Nevada. The post served as headquarters for the District of Utah in the Department of the Pacific.</p><br>
<h3>Regular Army arrives, 1866–1874</h3><br>
<p>Following the end of the Civil War, between 1866 and 1898, the fort was part of the Department of the Platte. Its importance increased when the Union Pacific and Central Pacific railroads joined rails at Promontory Summit, Utah, on May 10, 1869, completing the Transcontinental Railroad.</p><br>
<h3>1878–1902</h3><br>
<p>Through the efforts of Utah&#39;s USA Sen. Thomas Kearns, the camp became a regimental post and was renamed "Fort Douglas."</p><br>
<h3>World War I</h3><br>
<p>During World War I, the fort was used as an camp during German American internment, and as a camp for Imperial German Navy POWs. One of the crews kept there was from the SMS Cormoran, which had left the German colony of Qingdao, China, at the beginning of the war and stopped at Guam in December 1914 to refuel and take on provisions. Denied the coal needed for their boilers, the German captain reluctantly submitted to detention. When the United States entered the war on the Allied side in 1917, the crew were made prisoners of war and were sent to Fort Douglas.</p><br>
<h3>Interwar period</h3><br>
<p>In 1922, the fort became the base of the 38th Infantry, which remained there until August 1940.</p><br>
<h3>World War II</h3><br>
<p>Following Japan&#39;s attack on Pearl Harbor, Fort Douglas became an Army Air Field in conjunction with Salt Lake City Municipal Airport and housed the 7th Bombardment Group operating B-17 Flying Fortresses. However, Fort Douglas proper was taken over by the Army ground forces when fears of a Japanese attack of the USA mainland caused the 9th Service Command Headquarters to move from Utah to the Presidio of San Francisco.</p><br>
<h3>Final years, 1945–1991</h3><br>
<p>After World War II, the Army began disposing of its land, transferring it to the University of Utah, located adjacent to it. However, it maintained Army Reserve functions there for decades, notably with the 96th Army Reserve Command under the command of Maj. Gen. Michael B. Kauffman, who had spent much of his Army career at the fort and was instrumental in keeping it alive well past its announced closing in the 1970s. The Fort Douglas Military Museum is housed in a building named after Maj. Gen. Kauffman, who founded the museum and built it into one of the United States&#39; premier military museums featuring exhibits from all branches of the Armed Services.</p><br>
<p>Between 1962 and 1973, Fort Douglas was the site of the Deseret Test Center (Buildings 103 and 105) with the responsibility of evaluating chemical and biological weapons, although no tests were actually performed on the base.</p><br>
<p>On October 26, 1991, the fort closed officially, though the Utah National Guard maintained control of the museum, and the 96th ARCOM received the parts of the fort that were not deeded to the university.</p><br>
<h3>1991–Present</h3><br>
<h4>Armed Forces Reserve Center</h4><br>
<p>A small portion of the southwestern section of the original fort remains in use by the USA Army Reserve (USAR). This portion of the fort is designated the Stephen A. Douglas Armed Forces Reserve Center. The reserve center consists of 51 acres, and includes the historic Soldier&#39;s Circle, along with several sub-installation buildings.</p><br>
<p>The center hosts offices, along with training and support space for headquarters staff for two Army Reserve commands, and staff from other Army, Navy and Marine Reserve units. There have been some attempts to relocate the center to allow the University of Utah to grow its campus. A law requires the property be given to the University of Utah, without charge, once the military declares it surplus.</p><br>
<p>In 2023, the Utah State Legislature allocated $100 million, via Senate Bill 2, to facilitate the relocation of the reserve center from Fort Douglas to land near the Utah National Guard’s Camp Williams in Bluffdale. The appropriated funds were to be used to acquire property, and for the design and construction of facilities at the new site. A groundbreaking ceremony for the new reserve center at Camp Williams was held in August 2024, which, at the time, was expected to be completed in 2026. After the relocation is complete, the historic reserve property will be transferred to the university for continued development of their campus.</p><br>
<h4>=Commands hosted=</h4><br>
<p>As of 2023, the commands hosted at the reserve center include:</p><br>
<p>76th Operational Response Command</p><br>
<p>807th Medical Command (Deployment Support)</p><br>
<h4>University of Utah Campus</h4><br>
<p>In 1991, the University of Utah received a significant portion of the forts remaining property. During the 2002 Winter Olympics held in Salt Lake City, much of the universitys campus was used to host events. The Olympic Organizing Committee and university built the Olympic Village to house participating athletes on former fort property; the village housing now serves as on-campus housing for university students. Stilwell Field is used as a parking lot during special events, such as football games. The Officers Club building is used as a conference center by the university, and several of the officers quarters house university departments (such as the American Indian Resource Center).</p><br>
<p>There has been some controversy surrounding the universitys stewardship of the historic fort property. In 2015 it was revealed that during construction work to upgrade the universitys electrical system, buried period artifacts had been removed and discarded at a landfill.</p><br>
<h2>Cemetery</h2><br>
<p>A cemetery was established in 1862 about a mile south of the original parade grounds. In 1864, the soldiers at the post improved the cemetery significantly. They erected a monument in the center dedicated to the memory of the soldiers killed during the Bear River Massacre. They also constructed a red sandstone wall around the cemetery, with a steel gate located at the north end. The following year, a smaller monument was added for Utah Gov. James D. Doty following his death and burial in the cemetery. Later, the cemetery was expanded to accommodate a larger number of burials, not only from the fort, but also from Fort Cameron following its closure. A special section of the cemetery was also added for the German prisoners of war who died here during World War II.</p><br>
<p>The Fort Douglas Cemetery continues to be an active federal military cemetery, actively maintained. A list of cemetery burials is available through the Utah History Research Center&#39;s. The cemetery was damaged during the 2020 Utah windstorm, during which hurricane-force winds knocked down large trees, damaging headstones and other historic features of the cemetery.</p><br>
<p>The Palace of the Governors  is an adobe structure built in the Territorial Style of Pueblo architecture on Palace Avenue in Santa Fe, New Mexico. Located within the Santa Fe Historic District along the Santa Fe Plaza between Lincoln and Washington avenues, it served as the seat of government for New Mexico for centuries, having been established as the capitol building of Nuevo México in 1610. It was New Mexico&#39;s seat of government until 1901.</p><br>
<h2>History</h2><br>
<p>In 1610, Pedro de Peralta, the newly appointed governor of Santa Fe de Nuevo México covering most of the modern American Southwest, began construction on the Palace of the Governors, though some recent historical research has suggested that construction began midway through his term in 1618. In the following years, the Palace changed hands as the territory of New Mexico did, seeing the Pueblo Revolt of 1680, the Spanish return from 1693 to 1694, Mexican independence in 1821, American territorial status in 1848, and US statehood in 1912.</p><br>
<p>The Palace originally served as the seat of government of the Spanish colony of Nuevo Mexico, which at one time comprised the present-day states of Texas, Arizona, Utah, Colorado, Nevada, and New Mexico. After the Mexican War of Independence, the Mexican province of Santa Fe de Nuevo México was administered from the Palace of the Governors. When New Mexico was annexed as a USA territory, the Palace became New Mexico&#39;s first territorial capitol.</p><br>
<p>Lew Wallace wrote the final parts of his book Ben-Hur: A Tale of the Christ in this building while serving as territorial governor in the late 1870s. He remembered later in life that it was at night, during a severe thunderstorm in the spring of 1879, after returning from a tense meeting with Billy the Kid in Lincoln County, when he wrote the climactic Crucifixion scenes of the novel. Wallace worked by the light of a shaded lamp in the shuttered governor&#39;s study, fearing a bullet from outside over the tensions surrounding the Lincoln County War.</p><br>
<p>In 1909 anthropologist Dr. Edgar Lee Hewett invited the young archeologist Jesse L. Nusbaum to oversee the restoration of the Palace of the Governors that had fallen into disrepair. For this assignment, which was completed in the Fall of 1913, Jesse L. Nusbaum was hired as the first employee of the Dr. Edgar Lee Hewett led School of American Archaeology, later the School of American Research, and Museum of New Mexico in Santa Fe, New Mexico. In his journal, Nusbaum stressed the importance of melding the Palace architecture with the environment, noting that "the Palace was begun with an adaptation to climate and atmosphere and had been fitted into the color of earth and sky.", a view he later applied again as Superintendent of Mesa Verde National Park.</p><br>
<p>Between 1909, when the New Mexico territorial legislature established the Museum of New Mexico, and Summer 2009 the Palace of the Governors served as the site of the state history museum.</p><br>
<p>In 2009 the New Mexico History Museum was opened adjacent to the Palace, which is now one of eight museums overseen by the New Mexico Department of Cultural Affairs.</p><br>
<p>It was declared a National Historic Landmark in 1960.</p><br>
<p>The United States Postal Service issued a turquoise -cent stamp on June 17, 1960, featuring an image of the Palace. According to Steven J. Rod, "This was in coincidence with the opening day of Santa Fes 350th anniversary celebration. The Palace is shown on the stamp from a front angle, a design which was taken from a photograph by Tyler Dingee of Santa Fe. The Governors Palace stamp was the eighth national shrine honored by this series."</p><br>
<p>The Malcolm Willey House is located in Minneapolis, Minnesota, United States. It was designed by the American architect Frank Lloyd Wright, and built in 1934. Wright named the house "Gardenwall".</p><br>
<p>Malcolm Willey was an administrator at the University of Minnesota. In June 1932, his wife Nancy Willey sent a letter to Wright asking if he would be able to provide them a "creation of art" for a budget of "about $8,000". The current design is the second design that Wright conceived for the Willeys, since the first design proved too costly for the family.</p><br>
<p>The home ended up a modest 1,200 ft&sup2; at a cost of $10,000. The Willeys sold the home in 1963 to a family that later sold it to a Wright aficionado who only sporadically occupied the home; when the current owners purchased the home in 2002 it was in need of major restoration which is now complete.</p><br>
<p>The Willey House is primarily built of red brick and cypress. Except for the red linoleum in the kitchen, the rooms on the main floor are floored with mortared brick pavers. A major design feature is the 30-60-90 triangle which shapes the terrace, the skylights, and two clerestory windows in the living room. The house is arranged so that the living room and dining room form a single space: the kitchen was separated from them by plate glass and a group of shelves. This gave a clear view from the kitchen to the living and dining area, allowing Mrs. Willey to watch the rest of the house while in the kitchen. This was an important step away from the historic precedent of compartmentalizing the functions of the house into separate rooms. The house can be considered a bridge between Wright&#39;s earlier Prairie School style houses, and his later Usonian style houses, since it incorporates certain elements from both styles.</p><br>
<p>Located at 255 Bedford Street Southeast in the Minneapolis neighborhood of Prospect Park, the home remains private and is only partially visible from public roads. It sits adjacent to a freeway wall blocking it from the sight and sound of nearby Interstate 94; the home originally had a panoramic view of the Mississippi River gorge before the freeway&#39;s construction obstructed it in the 1960s. The house hosted the dedication ceremony for Interstate 94 on December 9, 1968.</p><br>
<p>The Battle Creek Sanitarium was a world-renowned health resort in Battle Creek, Michigan, United States. It started in 1866 on health principles advocated by the Seventh-day Adventist Church and from 1876 to 1943 was managed by Dr. John Harvey Kellogg.</p><br>
<p>The "San," as it was called, flourished under Dr. Kellogg&#39;s direction and became one of the "premier wellness destinations" in the United States. After a devastating fire in 1902 the Sanitarium was not only rebuilt, but also enlarged. At its zenith, the sprawling health and wellness complex of more than 30 buildings situated on 30 acres accommodated near thirteen hundred guests. It housed a hospital with research facilities and a nursing school, as well as the Sanitarium Food Company, among others. Following the disfellowshipping of Dr. Kellogg in 1907, the physician stated that he and his employees were "independents" who "did not belong to any church" and that the Sanitarium promoted his theory of "biologic living" based on Adventist principles. In 1928, a distinct 14-story addition to the main building, the "Towers," was constructed.</p><br>
<p>The Great Depression forced the institution to constrict and sell assets to serve its debt. In 1942, the signature main building was purchased by the USA Army and converted into the Percy Jones Army Hospital, and the sanatorium moved to the former Phelps Sanitarium building. The hospital was disbanded in the 1950s and the facility was managed by the General Services Administration. In 2003, it was re-dedicated as the Hart–Dole–Inouye Federal Center.</p><br>
<p>In 1957, the floundering wellness institution was taken over by the Seventh-day Adventist Church, which operated it under a different name until 1993, when it was sold.</p><br>
<h2>History</h2><br>
<p>In May 1866, Ellen G. White presented the idea to create a health institution based on the newly developing health philosophy of the Seventh Day Adventist Church at the fourth session of the Churchs General Conference in Battle Creek. The leaders of the church, including Ellens husband James S. White agreed, and construction began on the Western Health Reform Institute, which would later become the Battle Creek Sanitarium. On September 5, 1866, the Institute opened and began accepting patients, at first under Dr. Horatio S. Lay. In 1876, Dr. John Harvey Kellogg became the medical superintendent, and his brother, W. K. Kellogg, worked as the bookkeeper. As John H. Kellogg put it, they took the word "sanatorium," which was defined back then as a health resort for invalid soldiers. In his words, "A change of two letters transformed sanatorium to sanitarium, and a new word was added to the English language." Kellogg stated the number of patients grew from 106 in 1866 to 7,006 patrons in 1906.</p><br>
<p>In 1878, a new wooden structure known as the "Old Main" was built on the site, going through major redevelopments in 1884 and 1891. The Old Main burned down in 1902 and was rebuilt in stone, 5-story high and enlarged.</p><br>
<p>In 1928, Battle Creek Sanitarium expanded with a 14-story high-rise with 265 guest rooms, called the "Towers," facing Champion Street. The institution went into receivership in 1933, and the Sanitarium started to vacate its main facility. In 1942, the U. S. Army purchased the main building and established the Percy Jones General Hospital; the hospital closed permanently in 1953 and one year later became the Battle Creek Federal Center. Owned by the Seventh-day Adventists, the Battle Creek Sanitarium continued to operate as a psychiatric facility through the 1970s but closed its doors by the end of the decade. In 1986, the radial wings of the main building (the solarium, gymnasium and swimming pool) were razed, and the Sanitarium entered into the final chapter of its history, which formally ended in 1993. Medical records have since been microfiched and are now kept by the nearby Fieldstone Center.</p><br>
<h2>The sanitarium system</h2><br>
<h3>Guests, staff, and buildings</h3><br>
<p>Along with high numbers of patrons, there was a large number of staff at Battle Creek. Kellogg stated that "at the Battle Creek Sanitarium, the number of persons employed is never less than eight hundred, and often rises in the busiest season to more than one thousand." They comprised "physicians, nurses, helpers etc." There were 30 physicians on staff. The main buildings comprised four large buildings, chief of which was the central structure, "which affords rooming accommodations for about 400 guests...(and)...treatment rooms capable of handling more than 1,000 patients."</p><br>
<p>The sanitarium became a destination for both prominent and middle-class American citizens. Celebrated American figures who visited the sanitarium (including Mary Todd Lincoln and Sojourner Truth) would influence and encourage enthusiasm for health and wellness among the general population. "Battle Creek Sanitarium was world renowned and became the in place for the rich and famous to seek their lost health, to listen to health lectures and to learn and practice the principles of a healthy lifestyle."</p><br>
<h3>Therapeutic system</h3><br>
<p>At the sanitarium, Kellogg explored various treatments for his patients, including diet reform and frequent enemas. He encouraged a low-fat, low-protein vegetarian diet with an emphasis on whole grains, fiber-rich foods, and most importantly, nuts. Kellogg also recommended a daily intake of fresh air, exercise, and the importance of hygiene. Many of the theories of John Harvey Kellogg were later published in his book The Road to Wellness. C. W. Post also worked with Dr. John Harvey Kellogg.</p><br>
<p>Kellogg described the Sanitarium system as "a composite physiologic method comprising hydrotherapy, phototherapy, thermotherapy, electrotherapy, mechanotherapy, dietetics, physical culture, cold-air cure, and health training." To assist with diagnostics and evaluation of therapeutic efficacy, various measures of physiological integrity were utilised to obtain numerous vital coefficients, "especially in relation to the integrity and efficiency of the blood, the heart, the lungs, the liver, the kidneys, stomach, intestines, brain, nerves and muscles."</p><br>
<h4>Hydrotherapy</h4><br>
<p>Hydrotherapy was widely utilized. Two three-story buildings, for men and women respectively, were devoted to hydrotherapy. Each building had a basement "devoted to rectal and bowel applications and classrooms." Both buildings were connected to the main building and the great gymnasium. Kellogg, the facility&#39;s founder and owner, stated "that hydrotherapy has won a definite and permanent place in modern rational therapeutics can no longer be questioned, and the Battle Creek Sanitarium claims recognition as the pioneer in scientific hydrotherapy" in America.</p><br>
<p>Kellogg&#39;s use of hydrotherapy was a more sophisticated development of the system that was utilized in the early 19th century by Vincent Priessnitz, which, when introduced to America, was essentially a "cold water cure," although "as a tonic, cold water has no superior." The Battle Creek system utilized both hot and cold water, and correlated the use of hydrotherapy with other therapeutic modalities. Among the methods used were douches, sitz baths, cold mitten frictions, salt glows, towel rubs, wet sheet rubs, wet and dry packings, compresses, "full baths of various sorts, including Nauheim baths, electro-hydric baths, shallow and neutral baths." Kellogg stated his belief that use of hot and cold applications would "profound reflex effects," including vasodilation and vasoconstriction.</p><br>
<h4>Phototherapy, thermotherapy, and electrotherapy</h4><br>
<p>This department employed both solar and electric light, with the latter used chiefly during winter. Phototherapy held a prominent place at Battle Creek, where the first electric light bath was constructed. Regarding the application of electricity, Kellogg stated that "electricity is not capable of accomplishing half the marvels that are claimed for it by many enthusiastic electrotherapists." Nevertheless, he stated that it was valuable when used in conjunction with hydrotherapy, thermotherapy, and other methods.</p><br>
<h4>Physical training</h4><br>
<p>Physical exercise was an important part of the Battle Creek system, facilitating not just the improvement of muscle tone, but also of posture, respiration, and of circulation and the facilitation of anabolic and catabolic functions enabled by circulatory processes. Exercise included such components as postural, calisthetics, gymnastics, swimming, and passive methods such as mechanotherapy, vibrotherapy, mechanical massage.</p><br>
<h4>Open-air and cold-air methods</h4><br>
<p>Kellogg stated that exposure to the sun and open air was fundamentally important for health, including stimulation of the skin. Battle Creek had a large outdoor gymnasium. Again, the use of temperature differentials facilitated by water was a component, with exercise followed by a plunge into a fresh water swimming pool "just cool enough to be refreshing and invigorating," according to Kelloggs description of his own facility. Patients were encouraged to sleep in the open air, and a range of outdoor activities were facilitated, from wood-chopping to basketball and other games, walking, trotting, and swimming lessons. Also available were skating, tobogganing, skiing, and other outdoor sports (p. 111). "Thus all the best advantages of the seashore, camping out, going fishing,&#39; and other forms of recreation are secured, while the patient is protected from excess by the careful guidance of his physician, and has the advantages of medical care, dietetic regulation, etc," stated Kellogg in reference to the resort he owned and operated.</p><br>
<h4>Dietetics</h4><br>
<p>Battle Creek utilized information as known at that time to provide nutritional requirements for health and well-being relative to each person&#39;s requirements. Food required careful prescriptive preparation, with care also taken to ensure appetiveness and palatability were recognized. The diet lists included "scores of special dishes and hundreds of special food preparations, each of which has been carefully studied in relation to its nutritive and therapeutic properties," with the diet lists used "by the physicians in arranging the diet prescriptions of individual patients." Also, "all the so-called Sanitarium health foods" were "regularly found on the Sanitarium bill of fare, having been originally devised solely for this use."</p><br>
<h2>Decline of the Battle Creek Sanitarium</h2><br>
<p>After the Wall Street Crash of 1929, few previously well-to-do patients came to the sanitarium. Finances became very difficult for the "San" and the complex was put under receivership in 1933. The sanitarium stayed in business until after the beginning of WWII.</p><br>
<p>The USA Army, needing a hospital, paid $2,341,000 and moved in creating Percy Jones Army Hospital. The complex was later converted into a federal center and is currently named the Hart–Dole–Inouye Federal Center.</p><br>
<h2>National Register</h2><br>
<p>The Battle Creek Sanitarium was listed on the National Register of Historic Places in 1976. The original listing included only the main building, a long six-story building in the Italian Renaissance Revival style, situated parallel to North Washington Avenue. The listing was expanded in 2012 to include the 1928 tower, other buildings built prior to 1953, and the site itself.</p><br>
<h2>Notable patients</h2><br>
<p>Thomas A. Edison, inventor.</p><br>
<p>Amelia Earhart, first female aviator to fly across the Atlantic Ocean</p><br>
<p>Irving Fisher, celebrity economist and a later fellow of J. H. Kellogg&#39;s Race Betterment Foundation (eugenics)</p><br>
<p>Henry Ford, founder of the Ford Motor Company and high-volume user of the assembly line</p><br>
<p>James Cash Penney, founder of J.C. Penney Department Stores</p><br>
<p>C. W. Post, founder of what is now Post Consumer Brands.</p><br>
<h2>In popular culture</h2><br>
<p>Battle Creek Sanitarium is depicted in the American 1994 film The Road to Wellville by Alan Parker, with British actor Anthony Hopkins playing a highly fictionalized Dr. J.H. Kellogg in one of the leading roles. This movie ends with the fire of the sanitarium building complex.</p><br>
<p>The Smithville Seminary was a Freewill Baptist institution established in 1839 at the location of the modern Institute Lane in Smithville-North Scituate, Rhode Island. Renamed the Lapham Institute in 1863, it closed in 1876. The site was then used as the campus of the Pentecostal Collegiate Institute, later the Watchman Institute, and then became the Scituate Commons apartments. It was placed on the National Register of Historic Places in 1978.</p><br>
<h2>Campus</h2><br>
<p>The buildings on the knoll were built in 1839 and comprised a large three-story central building with columns and two wings. The wings, with 33 rooms each, were separated by 20 feet from the main building and connected to it via two-story covered passageways. The central building housed classrooms, offices, staff apartments, and dining facilities, a library and reading room on the second floor, and a large room on the third floor which might serve as a chapel, while the other two buildings served as separate male and female dormitories. The two-mile-long Lake Moswansicut could be seen from the third-floor chapel. The buildings were designed by Russell Warren, the leading Greek Revival architect in New England in the 20th century,</p><br>
<p>After the close of the renamed Lapham Institute, the campus became the site of the Pentecostal Collegiate Institute from 1902 to 1919 and, eventually, the Watchman Institute in 1923.</p><br>
<p>The site became part of the National Register of Historic Places in 1978.</p><br>
<h2>History</h2><br>
<p>Smithville Seminary was founded in 1839 by the Rhode Island Association of Free Baptists. At the time, the Free Baptists already had two academies, one in New Hampshire (the New Hampton Institute), the other in Maine (Parsonsfield Seminary), and the Rhode Island Baptists desired to have one of their own. Reverend Hiram Brooks was asked to start the school, and raised $20,000, all of which he put toward buildings. The entire commitment of these monies to brick and mortar rather than an endowment fund may have caused financial difficulties for the institution, as it was unable to support itself through tuition revenue.</p><br>
<p>The first principal was Rev. Hosea Quimby, who had come from the Maine academy to serve at Smithville. Quimby worked for the school, even buying the property when financial trouble struck, until in closed temporarily in 1854 with only 20 students (in 1845, it had an enrollment of over 300 representing 7 USA states). It was revived the next year when Quimby rented the property to a Samuel P. Coburn, who became principal, and enrollment again reached over 100 that year. The property was sold to Reverend W. Colgrove in 1857, who operated it for another two years before it closed again, this time for three years.</p><br>
<p>The site of Henry Barnard’s first Rhode Island Teachers Institute in 1845, the school began giving normal instruction for teachers with public funding in 1867, but ceased in 1871 when the state&#39;s Education Commissioner re-established the Rhode Island Normal School and cut program funding for other institutions.</p><br>
<p>In 1863 the school changed hands and changed its name after a minister and former professor at the school, returned in 1861 to find much of the campus dilapidated and in disrepair. With the Free Baptist Association unwilling or unable to help, William Winsor recruited Congressman Benedict Lapham, after whom the new Lapham Institute was named.</p><br>
<p>In addition to its connections to what would later become Rhode Island College, the school had connections to Bates College in Maine, another Free Baptist institution. Its first principal, Benjamin F. Hayes, was called to a professorship at Bates, and his successor, Thomas L. Angell, was also called to a professorship there after two years as principal in North Scituate. George H. Ricker then took over as principal for seven years before being called to Hillsdale College in Michigan in 1874. His successor was Arthur G. Moulton, a trustee of Bates, who died just over a year after taking the position. He was followed as principal by W.S. Stockbridge, under whom the school finally closed in 1876. William Winsor was the last benefactor of the institute, and when no one replaced him, the school went bankrupt without an endowment to support it. In 1883 Winsor donated the library of the Lapham Institute to the Greenville Public Library.</p><br>
<h2>Notable alumni</h2><br>
<p>James Burrill Angell, President of the University of Michigan, University of Vermont</p><br>
<p>Thomas L. Angell, Professor at Bates College</p><br>
<p>Lewis Boss, astronomer, director of Dudley Observatory</p><br>
<p>George T. Day, pastor, writer, professor</p><br>
<p>Henry Howard, Governor of Rhode Island 1873-1875</p><br>
<p>Oscar Lapham, USA Congressman</p><br>
<p>The First Reformed Church, historically known as the Dutch Reformed Church, is located in New Brunswick, New Jersey on 160 Neilson Street. It is adjacent to the First Reformed Church Cemetery in the churchyard. The education building is located next to the sanctuary building with the street address being 9 Bayard Street. It was added to the National Register of Historic Places on September 27, 1988, for its significance in architecture and religion.</p><br>
<h2>History</h2><br>
<p>The congregation was formed in 1717. The church building was constructed in 1812. In 1971 the church was set on fire.</p><br>
<h2>Notable burials</h2><br>
<p>Jacob Rutsen Hardenbergh, first President of Queen&#39;s College (now Rutgers University)</p><br>
<p>Ira Condict, third President of Queen&#39;s College (now Rutgers University)</p><br>
<p>Theodore Frelinghuysen, United States Senator from New Jersey, seventh President of Queen&#39;s College (now Rutgers University)</p><br>
<p>Coindre Hall, originally called West Neck Farm, is a 40-room, 80,000 ft&sup2; mansion in the style of a medieval French château completed in 1912 for pharmaceutical magnate George McKesson Brown. Coindre Hall sits on 33 acre of rolling land overlooking Huntington Harbor, near the Long Island Sound.</p><br>
<p>On the property there is also a boathouse, greenhouse, pump house, and other auxiliary sheds in building all in varying states of disrepair.</p><br>
<h2>History</h2><br>
<h3>George McKesson Brown</h3><br>
<p>The house was designed by New York architect Clarence Sumner Luce and completed in 1912 for George McKesson Brown of the McKesson pharmaceutical family. Brown, a Huntington Fire Commissioner for 29 years before his retirement in 1960, was the elder half-brother of race car driver David Bruce-Brown. In 1930, Brown donated a private road to the Town of Huntington, named Browns Road in his honor. Brown sold the house in 1939. (He died at Huntington on October 3, 1964, age 86 years.)</p><br>
<h3>Brothers of the Sacred Heart</h3><br>
<p>In 1939, at the request of Bishop Monsignor Thomas Edmund Molloy, the Brothers of the Sacred Heart (active in Christian education since 1847) bought the property, intending to establish a boarding school and summer retreat. It was founded by Brother Martinian, S.C., Provincial Superior and named in memory of Father André Coindre, the founder of the order. The school was intended to generate funds for the formation and education of young members of the order. It closed on June 30, 1971, due to a lack of teachers. At the time of its closing there were 116 students.</p><br>
<h3>Suffolk County Ownership</h3><br>
<p>The Suffolk County Legislature voted to purchase Coindre Hall for $750,000 in July 1972 and spent $4,000 to map the area. The plan was to use it as a harborfront park and lease the manor to the Town of Huntington to be used as a cultural center.</p><br>
<p>At the end of 1976, Suffolk County decided to close Coindre Hall due to budget cutbacks. It was costing the county about $90,000 to keep it open. Since the county&#39;s purchase of the property it had been used by the Huntington Militia, the Suffolk County Highway Patrol Bureau and the Huntington Art League.</p><br>
<p>The property was leased from Suffolk County in 1981 by Eagle Hill School, a private coeducational boarding school for students with learning disabilities. The school signed a 25year lease but run into financial difficulties and broke the lease in 1989. The school had declining enrollment and could not afford the rent or make needed repairs to the building.</p><br>
<h3>Today</h3><br>
<p>Since 1973, Coindre Hall Park has been administered by the Suffolk County Department of Parks, Recreation & Conservation. Currently there is a gym that hosts soccer and basketball, and has art studio space upstairs through a work-exchange program with the county.</p><br>
<p>The mansion is often used for hosting weddings and unique catered events exclusively through Lessings Caterers. The Town of Huntington Department of Parks & Recreation used Coindre Hall for its adult exercise classes in Fall 2018.</p><br>
<p>The land around the mansion is used as a dog park and extends all the way down to Huntington Harbor connecting the mansions&#39; property and Gold Star Battalion beach.</p><br>
<p>On September 26, 1985, it was listed on the National Register of Historic Places and dedicated to the Suffolk County Historic Trust.</p><br>
<p>The Driskill, a Romanesque-style building completed in 1886, is the oldest operating hotel in Austin, Texas, United States, and one of the best-known hotels in Texas generally. The Driskill was conceived and built by Col. Jesse Driskill, a cattleman who spent his fortune constructing "the finest hotel south of St. Louis".</p><br>
<p>Today, the Driskill remains one of the premier hotels in Austin, featuring lavish bridal suites, two restaurants, and a grand ballroom. The Driskill has been operated by Hyatt Hotels Corporation since 2013. The hotel was listed in the National Register of Historic Places on November 25, 1969.Staff Writer. "."</p><br>
<p>National Register of Historic Places. Accessed January 27, 2006. Retrieved on 2006-01-27.</p><br>
<h2>Architecture and design</h2><br>
<p>The Driskill is composed of two interconnected buildings; the original four-story Romanesque Revival building constructed in 1886, and a 13-story annex constructed in 1930.</p><br>
<p>The original building, designed by local Austin architects J. N. Preston & Son, was constructed with over six million pressed bricks and white limestone accents. The building contains two porticos on the southern and eastern facades, which contain large Richardsonian-style arches that were reputed to be the largest in Texas. The facade contains three limestone busts of Driskill and his sons; J.W. "Bud" Driskill facing Brazos Street, A. W. "Tobe" Driskill facing an alley on the west side, and Jesse Driskill facing Sixth Street, whose bust is surrounded by decorative carvings including longhorns on the gable ends.</p><br>
<p>The hotel opened with 60 rooms including 12 corner rooms with attached baths, a rare feature in hotels of the region at the time. At the center of the hotel was a four-story open rotunda capped by a domed skylight, which functioned as a flue to suck up the hot air and cool the building; the skylight was removed when air conditioning was installed on the roof in 1950.</p><br>
<p>The 13-story annex, designed by the El Paso architecture firm Trost & Trost, opened in 1930. The bungalow contains two bedrooms with private baths, a living room, and a full kitchen. The bungalow was originally used as a private residence by superintendents of the Southern Pacific Railroad, but was later rented to high-profile guests including Jack Dempsey, Bob Hope, and President Lyndon Johnson. In 1979, the hotel manager restored the bungalow to use as his private residence.</p><br>
<h2>History</h2><br>
<p>Jesse Driskill, a successful cattle baron, had moved to Texas from Missouri in 1849. Flush with cash from his service to the Confederate Army, to which he supplied beef throughout the Civil War, he decided to diversify by constructing a grand hotel in Austin. In 1884, Driskill purchased land at the corner of 6th and Brazos for $7,500 and announced his plans for the hotel.</p><br>
<p>The hotel held a grand opening on December 20, 1886, and was featured in a special edition of the Austin Daily Statesman. On January 1, 1887, Governor Sul Ross held his inaugural ball in its ballroom, beginning a tradition for every Texas governor since. In May 1887, less than a year after it opened, Driskill was forced to close the hotel, as he could no longer afford to operate the hotel following a harsh winter and drought that killed his cattle inventory. In addition, S.E. McIlhenny, the hotel&#39;s general manager, and half of the staff were hired by the Beach Hotel in Galveston, which expedited the closure. Driskill sold the hotel in 1888 to his brother-in-law, Jim "Doc" Day, who reopened the hotel in January 1888.</p><br>
<p>Austin magnate George Littlefield, responsible for other Austin landmarks such as the Littlefield House, opened the Austin National Bank on the southeast corner of the building; the old bank vault still remains. Littlefield later purchased the hotel for $106,000 in 1895 and vowed that it would never close again. Littlefield invested over $60,000 in renovations, including ceiling frescoes, electric lighting, steam heating, and 28 additional lavatories, but still sold the hotel at a loss of $25,000 in 1903 to banking competitor, e.l. Wilmot. Under Wilmots ownership, the hotel was managed by hotelier W.L. Stark, who added a barbershop and womens spa featuring Turkish baths, oversaw the construction of the annex, and adorned the former smoking room with eight antique Austrian gold leaf-framed mirrors previously owned by Maximilian and Carlota of Mexico.</p><br>
<p>In 1950, the hotel embarked on a renovation, which closed off the Sixth Street entrance and removed the rotunda&#39;s skylight to make way for air conditioning units on the roof. In 1952, the former Austin National Bank was transformed into a television studio for KTBC, the very first television station in Central Texas.</p><br>
<p>In 1969, The Driskill closed its guest rooms in anticipation of a renovation and new tower containing a modern glass facade, which never materialized. Most of its furnishings were sold, and an American-Statesman article declared, "Driskill Hotels Fate Sealed&#39;." The hotel was saved from the wrecking ball at almost the last minute, however, when a nonprofit organization called the Driskill Hotel Corporation raised $900,000.</p><br>
<p>Braniff International Hotels, Inc., a division of Braniff Airways, Inc., of Dallas, Texas, bought the hotel in 1972 and began a $350,000 restoration of the grand lobby of the historic facility. Braniff reopened the hotel to customers on January 15, 1973, to very strong bookings and conference business. Braniff threw an official grand reopening celebration on February 10, 1973. Over 1000 guests attended the gala event that included a parade of every Texas Governor and/or their descendants, since 1886.</p><br>
<p>In 1995, The Driskill was purchased by Great American Life Insurance, who embarked on a $30 million renovation to restore the hotel to its original appearance, which had been heavily modified over the years. The hotel closed for four years for renovation work and was re-opened in a Millennium celebration on December 31, 1999.</p><br>
<p>In 2013, The Driskill was purchased by Hyatt Hotels Corporation for $85 million, who embarked on an $8 million renovation of the hotel. Hyatt sold the hotel to Dallas-based Woodbine Development in May 2022 for $125 million.</p><br>
<p>In addition to its beautiful architecture and rich history, The Driskill continues to draw attention due to its host of tragedies and rumors of paranormal activity. The hotel is said to be home to more than one ghost, including seven-year-old Samantha, who died after falling down the Grand Staircase chasing a ball.</p><br>
<h2>Noteworthy events at the Driskill Hotel</h2><br>
<p>In 1908, the Daughters of the Republic of Texas met at the Driskill hotel to discuss the fate of the Alamo Mission in San Antonio. At the meeting, a divide between two factions of the group erupted over whether to demolish or preserve the structure.</p><br>
<p>On October 12, 1931, Louis Armstrong opened a three-day performance at the Driskill Hotel. In attendance was Charles Black, a freshman at University of Texas at Austin at the time, who cited the performance as inspiration for his interest in race and civil rights.</p><br>
<p>In 1934, future President Lyndon Johnson met his future wife, Claudia Taylor, for their first date at the Driskill dining room. It became his campaign headquarters during his congressional career, especially during his famous 1948 Senate race, and became a favorite place on return trips to Austin during his presidency. He watched the results of the 1964 Presidential Election from its presidential suite and addressed supporters from its ballroom after his victory.</p><br>
<p>President Bill Clinton stayed in the four-room Cattle Baron&#39;s suite when he visited Austin in 1999.</p><br>
<p>On September 11, 2001, Jenna Bush, daughter of President George W. Bush, was relocated to the hotel by the Secret Service in the wake of the terrorist attacks earlier that day.</p><br>
<p>On March 17, 2018, actor Bill Murray and cellist Jan Vogler recited the poem "Dog" by Lawrence Ferlinghetti from the front steps of the Driskill Hotel to promote the film Isle of Dogs during the 2018 South by Southwest festival.</p><br>
<p>Destrehan Plantation  is an antebellum mansion, in the French Colonial style, modified with Greek Revival architectural elements. It is located in southeast Louisiana, near the town of the same name, Destrehan.</p><br>
<p>During the 19th century, the plantation was a major producer of indigo and then sugarcane. The home is most commonly associated with its second owner, Jean-Noël Destréhan, who served briefly as the first United States Senator from Louisiana in 1812. He was influential in the transition of the Orleans Territory to statehood.</p><br>
<p>The house is a unique example of a plantation home outliving the oil refinery that had been built around it. It is listed on the National Register of Historic Places for its architectural quality and association with important people and events in Louisiana history.</p><br>
<h2>History</h2><br>
<h3>Robert Antoine Robin de Logny ( -1792)</h3><br>
<p>One of the oldest homes in Louisiana, Destrehan Plantation was constructed beginning in 1787 and completed in 1790, during the period of Spanish rule. Robert Antoine Robin de Logny contracted with Charles Pacquet, a mulatto carpenter, to build a raised house in the West Indies or Creole style, with outbuildings to support his indigo plantation. Pacquet was given the use of six slaves to construct the home. When the work was completed, Charles Pacquet received the following remuneration: "one brute negro," a cow and a calf, 100 bushels each of corn and rice, and $100 in cash. The building contract, still on file at the St. Charles Parish courthouse in Hahnville, makes the Destrehan Plantation house the oldest documented house in the lower Mississippi River Valley.</p><br>
<h3>Jean-Noël Destréhan (1754–1823)</h3><br>
<p>Upon Robin de Logny&#39;s death in December 1792, the plantation was purchased at auction by his son-in-law, Jean Noël Destréhan, who had married Marie-Claude Céleste Eléonore Robin de Logny (1770–1824), in 1786. The Destréhans had a total of 14 children, which required the addition of two semi-detached wings, or garçonnières, for their sons and the enclosure of the ground floor.</p><br>
<p>In the 1790s due to crop failures and indigo blight, Destréhan began cultivating sugarcane, after his brother-in-law, Étienne de Boré, perfected the granulation of sugar to make it a profitable cash crop. Destrehan Plantation became the leading sugar producer in St. Charles Parish in 1803.</p><br>
<p>After the Louisiana Purchase, when the former colony had become a USA territory, the Destrehan Plantation was involved in a major slave revolt, the 1811 German Coast Uprising. Jean-Noël Destrehan was appointed to the parish tribunal by Judge Pierre Bauchet St. Martin, as one of five or six men who were to interrogate the accused rebels.</p><br>
<p>Three swift trials were conducted, one in St. John the Baptist Parish, one at Destrehan Plantation (St. Charles Parish), and the third in New Orleans (Orleans Parish). Local justice was yet based on the traditional French system, which did not provide for a fair and impartial trial or an opportunity for appeal of a court&#39;s ruling. (In addition, the judges were slave owners.)</p><br>
<p>The Destrehan tribunal resulted in the immediate execution of eighteen rebels (reportedly by firing squad), including at three of Jean-Noël&#39;s former slaves.</p><br>
<h3>Stephen Henderson (1773–1838)</h3><br>
<p>Ownership changed again after Jean-Noël Destréhans death in 1823. Two years later, his son-in-law Stephen Henderson bought the plantation from the estate. Henderson was an immigrant from Scotland, who had arrived in the United States penniless but became an extremely wealthy entrepreneur. In 1816, he had married Marie Eléonore "Zelia" Destréhan, who was 16 years old at the time of her marriage; Henderson was 42. Destrehan Plantation was Zelias childhood home. Zelia died in 1830, childless; and a grief-stricken Henderson died eight years later.</p><br>
<p>Henderson&#39;s will was quite controversial in its time, as it stipulated that all his slaves be freed; and for those that desired, they would be given transport to Liberia. For those who stayed, a factory was to be set up for the freed slaves to manufacture shoes and clothes, and 25 years after his death a city was to be laid out on the grounds of the plantation and named Dunblane. The family contested the will; and after 12 years in litigation and an appeal to the Louisiana Supreme Court, the will was set aside based on a legal technicality.</p><br>
<h3>Pierre Adolphe Rost (1797–1868)</h3><br>
<p>Pierre Adolphe Rost, a justice of the Louisiana Supreme Court from 1845 to 1853, purchased the plantation from the Henderson estate in 1839. He and his wife, Louise Odile Destréhan, another daughter of Jean-Noël Destréhan, began to remodel the house in the then-popular Greek Revival style. Doors and windows were trimmed in Greek Revival details, the wood columns of the façade were encased in plastered brick, and the rear gallery was enclosed to create an entrance foyer. Also, removed from the rear gallery, winding staircases were re-installed in the center hall; and on the exterior, the stucco was scored to resemble stone.</p><br>
<p>Upon the advent of the American Civil War, Rost offered his services to the Confederate States of America and was assigned as the C.S.A.s diplomatic representative in Spain, where he stayed with his family for most of the war. After the Civil War ended in 1865, the plantation was seized by the Freedmens Bureau, and the Rost Home Colony was established. The plan was for the freedmen to have access to medical and educational aid, in addition to working for wages or for a portion of the harvested crops. The Rost Home Colony was the most successful of those created in Louisiana and provided a profit to the Bureau.</p><br>
<p>Also in 1865, Pierre Rost returned from Europe, with a pardon from President Andrew Johnson, and demanded his property back. The Colony existed for an additional year, paying Rost rent, with the last colonist departing in December 1866.</p><br>
<p>Pierre Rost died in 1868 and his wife and son, Emile Rost, continued to live at Destrehan Plantation. Emile Rost sold the plantation in 1910, to the Destrehan Planting and Manufacturing Company, ending family ownership of the estate after 123 years.</p><br>
<h3>American Oil Company</h3><br>
<p>In 1914, the Mexican Petroleum Company, a predecessor of the American Oil Company, bought the property and built an oil refinery. The company tore down the ancillary buildings around the manor house and built employee housing. The mansion itself was used in a variety of ways including as a clubhouse. In 1959, American Oil tore down the refinery, abandoning the site; the following 12 years brought rapid decay for Destrehan Plantation house.</p><br>
<p>Due in part to an old legend that the privateer Jean Lafitte had hidden treasure in the house, treasure-seekers left gaping holes in the walls. Vandals also stripped the building of its Italian-marble mantels, cypress paneling, Spanish-style ceramic tiles, and glass window panes. Fortunately, a local sheriff prevented the theft of the plantation&#39;s original 1840s iron entrance gates and a 1,400 lb marble bathtub, rumored to be a gift from Napoleon Bonaparte to the family.</p><br>
<h3>River Road Historical Society</h3><br>
<p>In 1971, American Oil donated the house and 4 acre of land to the River Road Historical Society, a nonprofit organization. The oil company continued its support in 1990 by donating monies for the installation of a fire sprinkler system and new roof, as well as gifting an additional 12.8 acre of surrounding land.</p><br>
<p>Through its volunteer efforts, the historical society was able to raise sufficient funds to halt the process of decay at the former plantation, restoring the house and grounds to their former beauty. Recent efforts have focused on authentically re-creating the plantation community which would have surrounded the manor house.</p><br>
<p>Destrehan Plantation is open daily for guided tours, which interpret the lives of the plantation&#39;s former residents — both free and enslaved. Period crafts such as dyeing with indigo, candle-making, and open-hearth cooking are demonstrated on most days.</p><br>
<h2>Destrehan Plantation in popular culture</h2><br>
<p>Destrehan Plantation was used as a location in the following feature films and television shows:</p><br>
<h3>Feature films</h3><br>
<p>12 Years a Slave (2013)</p><br>
<p>Interview with the Vampire (1994)</p><br>
<p>Lemonade - Portions of Beyoncé&#39;s film were recorded at Destrehan Plantation (2016)</p><br>
<h3>Television shows</h3><br>
<p>Flip My Food with Chef Jeff (2015)</p><br>
<p>NCIS: New Orleans (2015)</p><br>
<p>Ravenswood (2013)</p><br>
<p>Source:</p><br>
<p>Glensheen, the Historic Congdon Estate is a 20,000 square foot mansion in Duluth, Minnesota, United States, operated by the University of Minnesota Duluth as a historic house museum. Glensheen sits on 12 acres of waterfront property on Lake Superior, has 39 rooms and is built in the Jacobean architectural tradition, inspired by the Beaux-Arts styles of the era. The mansion was constructed as the family home of Chester Adgate Congdon. The building was designed by Minnesota architect Clarence H. Johnston Sr., with interiors designed by William A. French Co. and the formal terraced garden and English style landscape designed by the Charles Wellford Leavitt firm out of New York. Construction began in 1905 and was completed in 1908. The home cost a total of $854,000, equivalent to more than $22 million in 2017. The home is a crowning example of design and craftmanship of the Midwestern United States in the early 20th century.</p><br>
<h2>Description</h2><br>
<p>William Frenchs interior exhibits Late Victorian, Arts and Crafts, Federal Style, and Art Nouveau styles. French also designed the furniture for the house to coordinate with the style in each room. The rooms are trimmed or paneled in Circassian walnut, mahogany, cypress, fumed oak, enameled birch, and American walnut, with the furniture in each room made of the same wood used in the woodwork. The original furniture brought into the house in 1908 and 09 remains in virtually the same place it has been for 110 years. Some of the wall coverings and upholstery are also original. The hallways exhibit original stenciling in the Arts and Crafts style as well as wood carving. Wall and ceiling coverings are made of wool, silk, filled burlap, and gold leaf. The doors throughout the home are made of two kinds of wood, with oak on the hallway side and the variety of wood used in the room on the other side. The furniture in the eldest sons room, for example, is decorated with ebony inlaid motifs that are repeated in the oak paneled walls. Chester Congdons art collection hangs in the home as it did when the Congdons lived there. The collection includes works by American artists Charles Warren Eaton, Henry Farrer, Childe Hassam, Albert Lorey Groll, Hamilton King, Lawrence Mazzanovich, Henry Ward Ranger, Peter Alfred Gross, David Ericson, C. F. Daubigny, Henri Harpignies, and many more. The house also contains a silk embroidery done by Japanese artist Watunabe. In addition to the main mansion, the estate has its own Carriage House, Gardener&#39;s Cottage, and Boathouse on Lake Superior.</p><br>
<h2>History</h2><br>
<p>In 1968 the estate was given to the University of Minnesota Duluth to own and operate. At the time, Elisabeth Congdon (Chester Congdon&#39;s youngest daughter) was given a life estate, allowing her to occupy Glensheen until her death.</p><br>
<p>Roger Caldwell, the second husband of Elisabeth Congdons adopted daughter, Marjorie Congdon LeRoy Caldwell Hagen, was convicted of two counts of first-degree murder and received two life sentences for the murders of Elisabeth Congdon and her nurse, Velma Pietila, on June 27, 1977. Marjorie was charged with aiding and abetting and conspiracy to commit murder but was acquitted on all charges. In 1982 Caldwells conviction was overturned by the Minnesota Supreme Court. He was set to be retried but pleaded guilty and submitted a full confession. He was later released from prison, and in 1988 he committed suicide. In the intervening years, Marjorie Congdon Caldwell Hagen was twice convicted of arson, for which she served 12 years in prison, and was once wanted for bigamy in North Dakota.</p><br>
<p>In 1979, two years after Congdon&#39;s murder, the mansion opened to the public. For years, the third floor and attic were closed to the public due to safety concerns over limited access, but both areas were opened to small group tours in 1992. The estate is listed on the National Register of Historic Places.</p><br>
<h2>In popular culture</h2><br>
<p>The movie You&#39;ll Like My Mother was filmed at the Glensheen mansion. The movie starred Patty Duke and Richard Thomas, released on October 13, 1972.</p><br>
<p>The American/Australian documentary television series Behind Mansion Walls, on Investigation Discovery, dedicated half of episode seven, in its debut season, to the murders of Elisabeth Congdon and her nurse.</p><br>
<p>The American television show Mansions and Murders featured the story of the murders of Elisabeth Congdon and her nurse Velma Pietila. The show also spoke of some of the crimes that Elisabeth&#39;s adopted daughter Marjorie committed, such as arson and forgery as well as her acquittal of the murders. The title of the episode is "Goodnight Nurse". It is the 3rd episode of the 1st season and aired on May 6, 2015.</p><br>
<p>In 2015, a musical based on the murders titled Glensheen was created by Jeffrey Hatcher and Chan Poling.</p><br>
<p>The movie Girl Missing, starring Francesca Eastwood, was partially filmed at Glensheen, featuring the grounds, the shore of Lake Superior, and the exterior of the house.</p><br>
<p>The Frankford Arsenal is a former United States Army ammunition plant located adjacent to the Bridesburg neighborhood of Northeast Philadelphia, Pennsylvania, north of the original course of Frankford Creek.</p><br>
<h2>History</h2><br>
<p>Opened in 1816 on 20 acres of land purchased by President James Madison, it was the center of USA military small-arms ammunition design and development until its closure in 1977. Among the many other products manufactured at the arsenal were fire-control and range-finding instruments, and gauges for these components.</p><br>
<p>With the outbreak of the Civil War, the arsenals commander, Josiah Gorgas, resigned and joined the Confederate States Army in deference to the wishes of his Alabama-born wife and reported to the Confederate capital in Richmond with a large supply of USA Army guns and ammunition. By the end of the war, the arsenal employed over 1,000 workers. It served as a major site for the storage of weapons and artillery pieces; a depot for the repair of artillery, cavalry and infantry equipment; repair and cleaning of small arms and harnesses; the manufacture of percussion powder and Minié balls; and the testing of new forms of gunpowder and time fuses. During the Gettysburg campaign, the arsenal provided tens of thousands of muskets and vast supplies of ammunition for Pennsylvanias "Emergency Militia" regiments. Among the innovations extensively tested at the Arsenal was the Gatling Gun, an early form of machine gun that saw extensive service in the Indian Wars.</p><br>
<p>During World War I and World War II, the arsenal was again busy supplying the war efforts, providing a major source of jobs and income for the region. At times, employment reached 22,000.</p><br>
<p>The Frankford Arsenal was an entity unto itself, a virtual city within a city, and contained everything from its own police and fire departments, dining halls, motor pool, and a complete medical facility. The Arsenal was part of the USA Arsenal System—dedicated military establishments spread throughout the country to perform specific military missions for the Government.</p><br>
<p>From the beginning, the Frankford Arsenal was involved in the design and manufacture of munitions. As military weapons became more complex, the centers role expanded to cover the development of a whole range of the Armys more advanced weapon systems. The Arsenal contained the world-famous Pitman-Dunn Laboratories along with a number of other R&D departments. Arsenal scientists and engineers designed and developed everything from basic materials to LASER-guided ballistics, all produced entirely in-house from the concept phase to the fielding of the equipment. New portable and embedded computer applications saw the development of the LASER rangefinder, fielded artillery computational machines (FADAC) and radar systems. During the Vietnam War, experiments in caseless ammunition, far-infrared low-light-level technologies, and advanced LASER applications were under development.</p><br>
<p>The labs were supported by a full range of first-class drafting and machine shops scattered throughout the many buildings of the center. Everything from milling to electroplating, to multi-layer printed circuit board fabrication could be accomplished by "The Shops". The Optical Lens Design Facility was one of the finest in the country. The Optical Assembly shop also refurbished field binoculars. The Fire Control department literally wrote the glass and optics standards used throughout the United States.</p><br>
<p>Once a newly designed system was manufactured, complete structural and environmental testing was necessary to insure that the device could withstand the rigors of a fielded environment. This was accomplished in Arsenal&#39;s environmental testing and evaluation facility.</p><br>
<p>As the USA military–industrial complex grew, the Arsenal could no longer compete as a manufacturing entity. More and more of its programs were farmed out to industry. The Arsenal&#39;s functions were eventually transferred to the Picatinny Arsenal in New Jersey. The Fire Control and Ammunition Engineers were transferred to Picatinny Arsenal until they were retired.</p><br>
<p>During the presidential campaign of 1976, vice presidential candidate Walter Mondale stood in front of the Frankford Arsenal and promised that it would remain open. The Carter/Mondale ticket won the election but the promise was not fulfilled; the arsenal closed for USA government use in 1977.</p><br>
<p>Before closing, many custom designs were developed and tested, including the use of aluminum and steel for the manufacture of cartridge cases.</p><br>
<p>The northernmost part of the site was assumed by the Pennsylvania Fish and Boat Commission for use as a boat ramp and fishing spot on the Delaware River. In August 2018, six buildings on the southernmost part of the property were purchased by Alliance Partners HSP for use as a light-industrial and office park.</p><br>
<h2>Munition markings</h2><br>
<p>Each round of ammunition was marked with the headstamp "F A" on its base, denoting that it was produced at the Frankford Arsenal.</p><br>
<p>Early metallic cartridges produced at Frankford were not head-stamped. These were either Martin or Benet primed copper cases. Early cartridges were stamped "F" for Frankford, or "R" for rifle, or "C" for carbine. Ammunition produced prior to World War I was dated with the numerical month-year headstamp, such as "8 79" or "2 12", indicating August 1879 or February 1912 as the date of manufacture.</p><br>
<p>Match-grade 7.62 mm (.308) cartridge cases were manufactured in limited quantities.</p><br>
<p>Cartridges conforming to NATO specifications were marked with the NATO cross (a circle containing a "+").</p><br>
<p>The D. H. Lawrence Ranch, as it is now known, was the New Mexico residence of the English novelist D. H. Lawrence for about two years during the 1920s and the only property Lawrence and his wife Frieda owned. The 160 acre property, originally named the Kiowa Ranch, is located about 18 mi northwest of Taos, New Mexico, near Lobo Mountain and San Cristobal in Taos County, at about 8,600 ft above sea level. The gate of the ranch is 4.2 miles by road from a historic marker and turnoff on state route NM 522.</p><br>
<p>The ranch was briefly owned by Mabel Dodge Luhan as part of more extensive holdings nearby, although it had been occupied by homesteaders and several structures existed on the property dating back to the 1890s. When Mabel donated it to Frieda Lawrence (after Lawrence himself declined) in 1924, it became first the summer home of the couple and then Frieda&#39;s home until her death in 1956, at which time she bequeathed it to the University of New Mexico. The ranch is on the National Register of Historic Places and the New Mexico State Register of Cultural Properties. It was closed to visitors from 2008 to 2014 for repairs, but re-opened to the public in March 2015.</p><br>
<h2>Lawrence in New Mexico</h2><br>
<p>Lawrence and his wife Frieda received an invitation dated November 1921 from Mabel Dodge Sterne, who had read some of Lawrence&#39;s Sea and Sardinia, excerpts from which had appeared in The Dial, a literary magazine to which Lawrence contributed. Sterne was a wealthy society hostess and arts patron who had taken up residence in Taos and who was to marry Tony Lujan (stylized Luhan by Sterne), a Native American from Taos Pueblo, thus becoming Mabel Dodge Luhan in 1923. Traveling via Australia, then to San Francisco, Lawrence and Frieda arrived in Taos in mid-September 1922.</p><br>
<p>After some conflict between the Lawrences and Sterne and Lujan, during which the Lawrences moved into one of Tonys guest houses, then into another belonging to friends, He refused, saying, "We cant accept such a present from anybody." However, Frieda accepted, telling Lawrence that "well give Mabel the manuscript" of one of Lawrences most well-known novels, Sons and Lovers. The deed was in her name.</p><br>
<p>While the couple spent a relatively short time there, the ranch became the only property that they ever owned during their marriage, and it became a place of rest and relaxation, where Lawrence wrote much of his novel St Mawr and began The Plumed Serpent, during five months of the summer of 1924. Aldous Huxley is known to have visited the Lawrences at the ranch.</p><br>
<p>By October 1924, Lawrence and Frieda left for Mexico and it was while they were in Oaxaca that he was diagnosed with tuberculosis. The couple returned to the USA, and by April 1925, they were back at the ranch where they spent the summer, Lawrence continuing work on the novel which became The Plumed Serpent. However, with his better health and their six-month visa about to expire, Lawrence was determined to return to Europe. They left Taos on September 11, Lawrence&#39;s 40th birthday, and settled in Italy. Although he never returned to New Mexico, in a letter to Brett in December 1929 from Bandol, France, Lawrence expressed some interest in doing so: "I really think that I shall try to come back in the spring. I begin to believe that I shall never get well over here."</p><br>
<p>However, D. H. Lawrence died in France on March 2, 1930 and his body was buried near Vence. In 1935, at Friedas request, his remains were exhumed and then cremated and his ashes were brought to the ranch by Angelo Ravagli (Friedas lover and the man who became her third husband in 1950) with the intention that they be buried there.</p><br>
<h2>Memorial</h2><br>
<p>After Lawrence&#39;s death, Frieda returned to the ranch and lived there with Ravagli, who constructed the white plastered 12 ft. x 15 ft. Memorial building in 1934.</p><br>
<p>While some controversy surrounds the issue of what exactly happened to the writer&#39;s ashes after the cremation, it generally is agreed that they were brought to New Mexico and then mixed with concrete to form part of the large memorial stone which was placed in a small covered building on the ranch site, now known as the Lawrence Memorial, although the term "shrine" had been used in the past.</p><br>
<p>At her death in Taos in 1956, Frieda was buried on the ranch property and she bequeathed it to the University of New Mexico at Albuquerque, its present owner (overseen through the UNM D. H. Lawrence Ranch Initiatives, co-chaired through the Department of English and Institutional Support Services/Physical Plant Department). Her grave is located just outside the Memorial building and visible on the left of the picture.</p><br>
<p>A guest book allows visitors to sign in, see who has been there and from where they have traveled. For example, in Spring 1979, the guest book showed the bold, black signature of English novelist "Iris Murdoch, Oxford, England."</p><br>
<p>The UNM D. H. Lawrence Ranch Initiatives was created the end of 2014. "The purpose of the Ranch Initiatives is to preserve the legacy of novelist D. H. Lawrence and his wife, Frieda Lawrence. The Ranch Initiatives program will seek to place the operation of the property on a firm financial basis and to restore and develop the site so that it can support educational, cultural, and research activities for students, faculty, and the greater New Mexico community. This mission honors the directives of Frieda Lawrences will, which stipulated that the property be used for educational, cultural, charitable, and recreational purposes.&#39;"</p><br>
<p>Rananim, the online writing community of the D. H. Lawrence Ranch Initiatives, began offering its first set of online workshops in October 2014 to bring awareness to the ranch. Net proceeds benefit the renovation and promotion of the ranch. Rananim was the name of the utopian society Lawrence wished to create with other writers and artists.</p><br>
<h2>Other features</h2><br>
<h3>Dwellings</h3><br>
<p>"Two dwellings and a small barn existed on the property" when Lawrence, Frieda, and Dorothy Brett went to live there in early May, 1924. The largest, "The Homesteader&#39;s Cabin" was chosen by the couple while Lady Brett occupied the small one-room cabin, which may be visited. Neither log cabin was in good repair and renovations were necessary in the early months of their occupancy.</p><br>
<h3>The Lawrence Tree</h3><br>
<p>A striking feature of the exterior is the very large pine which became known as the Lawrence Tree. The writer frequently worked at a small table at its base and he expressed his love for it as follows:</p><br>
<p>The big pine tree in front of the house, standing still and unconcerned and alive... the overshadowing tree whose green top one never looks at... One goes out of the door and the tree-trunk is there, like a guardian angel. The tree-trunk, the long work table and the fence!</p><br>
<p>In the summer of 1929, on one of her early visits to New Mexico, Georgia O&#39;Keeffe visited the Lawrence Ranch. The visit inspired her painting The Lawrence Tree, with its unusual viewpoint gained from lying on a long bench and looking up into the branches of the tree.</p><br>
<p>Cheekwood is a 55 acre historic estate on the western edge of Nashville, Tennessee that houses the Cheekwood Estate & Gardens. Formerly the residence of Nashville&#39;s Cheek family, the 30,000 ft&sup2; Georgian-style mansion was opened as a botanical garden and art museum in 1960.</p><br>
<h2>History</h2><br>
<p>Christopher Cheek founded a wholesale grocery business in Nashville in the 1880s. His son, Leslie Cheek, joined him as a partner, and by 1915 was president of the family-owned company. Leslies wife, Mabel Wood, was a member of a prominent Clarksville, Tennessee, family. Meanwhile, Joel Owsley Cheek, Leslies cousin, had developed an acclaimed blend of coffee that was marketed through Nashvilles finest hotel, the Maxwell House Hotel. Cheeks extended family, including Leslie and Mabel Cheek, were investors. In 1928, the Postum Cereals Company (now General Foods) purchased Maxwell House&#39;s parent company, Cheek-Neal Coffee, for more than $40 million.</p><br>
<p>After the sale of the family business, Leslie Cheek bought 100 acre of woodland in West Nashville for a country estate. He hired New York residential and landscape architect Bryant Fleming to design the house and gardens, and gave him full control over every detail of the project, including interior furnishings. The resulting limestone mansion and extensive formal gardens were completed in 1932. The estate design was inspired by the grand English manors of the 18th century.</p><br>
<p>Leslie Cheek died just two years after moving into the mansion. Mabel Cheek and their daughter, Huldah Cheek Sharp, lived at Cheekwood until the 1950s, when Huldah Sharp and her husband offered the property as a site for a botanical garden and art museum. The Exchange Club of Nashville, the Horticultural Society of Middle Tennessee and other civic groups led the redevelopment of the property aided by funds raised from the sale of the former building of the defunct Nashville Museum of Art. The new Cheekwood museum opened in 1960.</p><br>
<h2>Art museum</h2><br>
<p>Cheekwood&#39;s art collection was founded in 1959 upon the holdings of the former Nashville Museum of Art and is accredited by the American Alliance of Museums. The core holdings include broad collections of American art; American and British decorative arts; contemporary art, especially outdoor sculpture acquired for the Woodland Sculpture Trail.</p><br>
<p>Cheekwoods American art collection includes 600 paintings and 5,000 prints, drawings and photographs. The collection, assembled in the 1980s and early 1990s through a multimillion-dollar bequest, spans the history of American art. Its strength centers on The Eight. Other strengths include the worlds largest collection of sculptures of William Edmondson, photographs by Louise Dahl-Wolfe, and a vast variety of post-Second World War prints. Recently, the Museum has pursued a consciously focused acquisition process, having added paintings by James Hamilton, William Bradford, and new contemporary sculpture for the Trail.</p><br>
<p>The core holdings of the decorative arts collection include the third-largest Worcester porcelain in the United States, and a 650-piece silver collection, spanning the 18th-20th centuries.</p><br>
<p>The Cheek Mansion is itself considered part of the collection. A year-long renovation, completed in June 2017, restored much of the original building, which revealed authentic features (wood and marble floors that had been carpeted), and conserved historical architectural motifs, such as the illusionist murals that line the main corridor.</p><br>
<p>The Contemporary Art collection, housed in the galleries created out of the estate&#39;s original garage and stables, is small but of high quality, including paintings by Larry Rivers, Andy Warhol, Robert Ryman, Red Grooms, and Marylyn Dintenfass. Additionally, seven small galleries were created in the old horse stable stalls to enable Cheekwood to display installation art.</p><br>
<p>The Ann & Monroe Carell Jr. Family Sculpture Trail, a collection of ten sculptures by international artists, extends the contemporary art collection into nature, focusing on a kind of intimate, outdoor art not commonly found in American museums.</p><br>
<h2>Botanical garden</h2><br>
<p>Extending across the grounds from the Museum of Art, the Botanical Garden encompasses the entire 55 acre site with an emphasis on display, education, and study. The plant collections include boxwood, conifer, crape myrtle, daffodil, daylily, dogwood, fern, herb, holly, hosta, hydrangea, Japanese maple, magnolia, Southeastern US natives, redbud, and trillium.</p><br>
<h2>Controversies</h2><br>
<p>In 1963, Jane Andreson Dudley, wife of former United States Amassador to Denmark Guilford Dudley established The Swan Ball as a means of raising funds for the new Tennessee Botanical Gardens and Fine Arts Center at Cheekwood. In July 2024, Cheekwood was sued by the Swan Ball Initiative, a group of former Swan Ball committee members, claiming that Cheekwood took over the Swan Balls planning and operations, including the events donor database, bank account, and bookkeeping. The lawsuit also claimed that Cheekwood orchestrated a "coup" to take over the event.</p><br>
<p>Cheekwood filed a counterclaim against the Swan Ball Initiative in July 2024, arguing that Cheekwood was the rightful owner of the Swan Ball trademark and that the event is inseparable from Cheekwood. Additionally, the counterclaim argued that since 2021, the event converted an average of 32 percent of fundraising into actual donations, well below the 60 to 70 percent Cheekwood claimed was "industry standard".</p><br>
<p>In September 2024, the Swan Ball organizers moved the 2025 event to Edwin Warner Park, claiming that proceeds from the event would go to the Park rather than Cheekwood.</p><br>
<h2>Other attractions</h2><br>
<p>In addition to the Museum and the Botanical Garden, Cheekwood operates two gift shops, and a restaurant called the Cafe 1929 which is located in the Frist Learning Center.</p><br>
<p>The Hikes-Hunsinger House is a historic residence in Louisville, Kentucky, United States. Although it was built in the 1820s as a farmhouse, it is now surrounded by the city, but it retains much of its original architecture, and it has been named a historic site.</p><br>
<h2>Architecture</h2><br>
<p>Built in 1823, Among the premier components of the interior is the main stairway, which dominates the hallway between the first and second floors. The floor plan includes a parlor, a living room, a kitchen, and a dining room on the first floor, while the large majority of the second floor is divided among multiple bedrooms.</p><br>
<h2>History</h2><br>
<p>George Hikes Jr., a member of one of the leading families of early Louisville, constructed the present house and several others in the area. For over a century and a half, the house was owned by members of the Hikes family, who for many years continued to operate the farm, mill, and distillery that their ancestor had established along with the house. According to oral traditions preserved among the Hikes family, the property has been occupied by ghosts and by Union Army soldiers heading toward Perryville, and some of the details on an associated smokehouse were placed in order to demonstrate the owners&#39; devotion to the ideals of Southern hospitality.</p><br>
<h2>Preservation</h2><br>
<p>No longer is the Hikes House located amid farming country as in its early days. Part of the house&#39;s long lane is now the busy Hikes Lane, suburbia now encompasses the house on all sides, and much of the original farm is now occupied by subdivisions and a school. Nevertheless, the house retains much of its original architecture, due in part to consistent maintenance throughout its history. In recognition of its historically significant architecture, the Hikes-Hunsinger House was listed on the National Register of Historic Places in late 1975. It is one of more than four hundred different buildings and historic districts in the city of Louisville with this distinction.</p><br>
<p>The Treviño–Uribe Rancho is a historic fortified home at the junction of Trevino and Uribe Streets in the small frontier town of San Ygnacio, Texas. With a construction history dating to 1830, it is one of the oldest surviving buildings from the period of Spanish-Mexican settlement of the north bank of the lower Rio Grande. The building was designated a National Historic Landmark in 1998.</p><br>
<h2>Description and history</h2><br>
<p>The Treviño–Uribe Rancho is a multiroom sandstone structure, its chambers arranged in an L shape, with thick stone walls forming an enclosed rectangular compound. It sits on a bluff overlooking the Rio Grande to the west. There are no windows as such on the outside, only loopholes through which defenders might fire at attackers, and the main entrance to the compound is a fortified arched gateway with heavy double doors. The chambers of the house are reflective of multiple building campaigns in the 19th century, retaining many original features.</p><br>
<p>The San Ygnacio area was in the 18th century part of a large Spanish colonial land grant, extending on both sides of the Rio Grande. Early ranchos were established on the south bank of the Rio Grande, one of which, called Revilla (and later supplanted by present-day Guerrero), was across the river from the site of San Ygnacio. Jesus Treviño, a wealthy landowner from Revilla, purchased acreage on the north bank of the Rio Grande, and built a single-chamber stone structure in 1830, which is the oldest surviving portion of the rancho.</p><br>
<p>This structure was probably not a permanent habitation, but was likely intended as shelter from the elements and Native American attacks. Treviño&#39;s son-in-law, Blas Maria Uribe, added to this structure in building campaigns between 1851 and 1871, which transformed it into the compound seen today. One of its features is a native stone made into a polished sundial and set into the north wall of the fort.</p><br>
<p>A substantial number of 19th-century fortified homes similar to this one were lost in the 20th century with the construction of the Falcon International Reservoir.</p><br>
<p>The Claremont Riding Academy, originally Claremont Stables, 175 West 89th Street, between Columbus and Amsterdam Avenues on Manhattan&#39;s Upper West Side, was designed by Frank A. Rooke and built in 1892. Closed in 2007, Claremont was the oldest continuously operated equestrian stable in New York City and the last public stable in Manhattan. The building was listed on the National Register of Historic Places in 1980 and designated a New York City Landmark in 1990. Since 2010, it has belonged to the Stephen Gaynor School.</p><br>
<h2>Claremont Stables</h2><br>
<p>In 1892, when horses still provided the primary means of transportation – the first automobile appeared on Manhattan&#39;s streets six years later – developer Edward W. Bedell, architect Frank A. Rooke, and builder Richard Deeves created a four-story carriage stable with a full basement. A penthouse was added in 1901. The structure had stalls for horses on the basement and second floors, and carriage storage space on the third, fourth, and penthouse floors; the main floor was used for carriage storage and for hitching the horses to their burdens. Horses and carriages could be had for hire, and horses could be boarded.</p><br>
<p>At the same time, Rooke designed three two-story architecturally compatible private stables which were built on the neighboring lots – now 167, 169, and 171 West 89th Street – which Bedell then sold to local families. These were listed on the National Register of Historic Places in 1983. They were rehabilitated in 1989 by Buck & Cane to serve as the home of Ballet Hispanico.</p><br>
<p>The style is Romanesque Revival. Prevalent in the 1880s and found throughout the Upper West Side, the style was adapted for a number of different building types, both residential and commercial. The facade is beige Roman brick, limestone, and terra cotta.</p><br>
<p>The building is supported by the two outside brick walls, plus column and girders. The ground floor and basement columns are cast iron. The stable floors were of scored concrete or cement, with drains for liquid waste disposal. The basement and first and second floors were connected by ramps.</p><br>
<p>Bedell sold the building in 1893, and over the next thirty-four years a number of different concerns operated the stable as lessees.</p><br>
<h2>Claremont Riding Academy</h2><br>
<p>In 1927 the Claremont Stables became a riding school, in part to encourage the employment of the bridle paths in nearby Central Park. In December 1943, Irwin J. Novograd, a Polish immigrant employed as a bookkeeper for Claremont, purchased the building.</p><br>
<p>In 1961 the building was condemned by the City of New York for demolition as part of the West Side Urban Renewal Area. The academy remained as month-to-month tenant for 37 years, with Irwins son, Paul J. Novograd, becoming the academys president in 1984, and continuing to offer boarding privileges, group and private riding lessons, and horse rentals. The city changed its plans, the demolition never occurred, and the academy was able to repurchase the building from the city in 1998.</p><br>
<p>The Central Park bridle paths, however, had been allowed to deteriorate, and were no longer restricted to equestrian use, which became practically impossible, resulting in a loss of business to the academy. This, and the expenses resulting from a historic restoration, the owners said, led to the academy&#39;s demise in 2007. Claremont was the oldest stable structure in New York still in use at the time.</p><br>
<p>In 2010, the building was purchased by the Stephen Gaynor School – whose main building, at 148 West 90th Street, is behind it – which adapted it for the school&#39;s arts center and early learning center, building a rooftop addition in 2012.</p><br>
<h2>In popular culture</h2><br>
<p>The 1981 film Eyewitness features an extended sequence shot on location in the riding academy.</p><br>
<p>Jackson Ward, previously known as Central Wards, is a historically African-American district in Richmond, Virginia, with a long tradition of African-American businesses. It is located less than a mile from the Virginia State Capitol, sitting to the west of Court End and north of Broad Street. It was listed as a National Historic Landmark District in 1978. "Jackson Ward" was originally the name of the area&#39;s political district within the city, or ward, from 1871 to 1905, yet has remained in use long after losing its original meaning.</p><br>
<h2>History</h2><br>
<h3>Center of black commerce, entertainment and religion</h3><br>
<p>After the American Civil War, previously free blacks joined freed slaves and their descendants and created a thriving African-American business community, and became known as the "Black Wall Street of America." Leaders included such influential people as John Mitchell, Jr., editor of the Richmond Planet, an African American newspaper.</p><br>
<p>Maggie L. Walker was the first woman to charter and serve as president of an American bank, all the more remarkable an accomplishment as she was both African-American and was mobility-impaired. The Maggie L. Walker National Historic Site at her former Jackson Ward home is operated by the National Park Service and the house was designated a National Historic Site in 1978 and opened as a museum in 1985.</p><br>
<p>Giles Beecher Jackson was the first African American to practice law before the Supreme Court of Virginia, he was active in the neighborhood and has a "Giles B. Jackson Day" on April 17 (starting in 2007) and a historic landmark in his honor at the intersection of North 2nd Street and East Clay Street.</p><br>
<p>As a center for both black commerce and entertainment, Jackson Ward was also called the "Harlem of the South". Venues along "The Deuce " (2nd Street) such as the Hippodrome Theater were frequented by Duke Ellington, Ella Fitzgerald, Bill "Bojangles" Robinson, Lena Horne, Cab Calloway, Billie Holiday, Nat King Cole, James Brown and other Chitlin&#39; Circuit performers. A statue of Robinson dancing on a staircase is at the center of the neighborhood at the intersection of Chamberlayne Parkway and West Leigh Street.</p><br>
<p>Other notable residents included Bishop F. M. Whittle, Adolph Dill, Max Robinson and brother Randall Robinson.</p><br>
<h3>Desegregation</h3><br>
<p>Jackson Ward was central to the Civil Rights Movement in Richmond. In 1940, the Virginia General Assembly created the Richmond Housing Authority, which could condemn property as well as issue bonds to construct housing. In 1941, 1956 and 1961, the city (which initially had no African-Americans on the city council) hired Harland Bartholomew & Associates to plan for redevelopment. The redevelopment plans targeted Jackson Ward, and had the effect of severely disintegrating the historic community&#39;s social structure, as well as clustered low-income persons in Jackson Ward and nearby Church Hill, and destroyed much of the pre-existing housing stock in order to construct freeways, broad urban boulevards, office buildings, the Richmond Coliseum, the Greater Richmond Convention Center and a smaller number of housing units controlled by the Richmond Housing Authority.</p><br>
<p>The Richmond Housing Authority, initially controlled by the citys white business elite, first targeted the sub-neighborhood known as Apostle Town, adjacent to Maggie Walkers Penny Savings Bank. It built 297 units of public housing known as Gilpin Court to replace 200 houses. However, only 25 of 576 applicants for the new spaces (all segregated by race until 1964) had families who had lived in Apostle Town. During the 1950s, Richmond destroyed 4700 units of housing in black neighborhoods and replaced them with 1736 units of public housing, mostly concentrated in Richmonds East End and all within three miles of Richmonds center. While some displaced people received small grants, as well as priority in applying for housing in the new projects, many found the public housing demeaning or simply unattractive. Both black and white realtors practiced blockbusting. As urban renewal progressed, many historic black churches followed their congregations and moved from Jackson Ward to north Richmond. These included the First African Baptist Church and St. Philips Episcopal Church. Both moved to churches formerly used by white congregations who had followed their congregations to suburban Lakeside. Between 1950 and 1960, Richmonds population decreased by 10,000 persons, while surrounding Henrico County (which had 57,340 people in 1950) grew to 117,339 residents by the 1960 census. Meanwhile, the Richmond housing authority built Creighton Court (1952), Fairfield Court (1958) and Whitcomb Court (1958), all in Richmond&#39;s East End.</p><br>
<p>In 1946 R. Stuart Royer and Associates, a consulting firm, proposed a turnpike that Richmond voters twice rejected in public referendums. However, the Virginia General Assembly (with no black members at the time) then created the Richmond-Petersburg Turnpike Authority in 1954, which four months later announced the highway would be built through Jackson Ward. The consultants initial report had insisted that destroying existing housing "offers no serious obstacle to a highway location." The expressway destroyed 1000 homes, cut a block-wide barrier canyon through what had been the neighborhoods historic center, blocked 31 streets and eliminated pedestrian pathways between the newly created halves. However, the neighborhood banded together to rescue Sixth Mount Zion Baptist Church, which had been established in 1867 by Rev. John Jasper and initially occupied a building purchased from white Presbyterians but which had been renovated in 1887 and held 1400 worshipers. The church secretary, Cerelia Johnson, worked as an elevator operator in Richmonds City Hall, and conveyed discussions she overheard in the corridors of power to pastor Dr. A.W. Brown. The highway (now part of I-95) was rerouted slightly, and the church became the only building to remain on the north side of Duval Street. The turnpike opened in 1958, but Sixth Mount Zions congregation lost 1000 members.</p><br>
<p>Jackson Ward housed many involved in the desegregation battles that culminated in the Massive Resistance crisis of 1955–1965. Lawyers Oliver Hill, Martin A. Martin and Spottswood William Robinson III, represented many Virginians in cases brought with the help of the NAACP. The predecessor firm helped achieve pay equity for black teachers before World War II, and after the war helped desegregate Richmonds schools. The represented the plaintiffs in Davis v. County School Board of Prince Edward County, one of the cases that was part of the USA Supreme Court decision in Brown v. Board of Education, which declared segregation in public schools as unconstitutional. After Martins death, the firm continued with Hill, and later attorneys Samuel Wilbert Tucker and Henry L. Marsh</p><br>
<p>After desegregation, as black Virginians became more widely integrated into Richmonds other business and residential areas, Jackson Wards role as a center of black commerce and entertainment declined. Like most older urban neighborhoods of a similar era, the housing stock of Jackson Ward deteriorated as absentee landlords took over from single-family households.</p><br>
<p>Richmond also developed what became the sixth highest concentration of public housing stock among cities over 200,000 people. For example, the Richmond Housing Authority built Mosby Court East and Mosby Court West in 1962 (all within a mile of Creighton Court, Fairfield Court and Whitcomb Court), then the 30-acre site made possible through urban clearance received a new school, Mosby School, designed to hold 1500 junior high school students and 1000 elementary school students.</p><br>
<p>In 1966, the General Assembly created the Richmond Metropolitan Authority, with the power of eminent domain, to build a toll road from suburban Chesterfield County (mainly white) to downtown through the black East End and an adjoining low income white neighborhood. It displaced 1000 people and obliterated the historic Penitentiary Bottom sub-neighborhood.</p><br>
<p>By the 1970s, Richmond&#39;s city council had become majority black, so another proposed superhighway project designed as a downtown bypass (and which would effectively enclose the five public housing projects in a box) received no support. Also, the city council secured identification of the Maggie Walker House as a national landmark, and preservation of the Leigh Street corridor. Nonetheless, the last government-sponsored neighborhood revitalization project (begun in 1970 and with much of the bulldozing completed by 1973) effectively destroyed a 2800-person multigenerational neighborhood known as Fulton Bottom, before new federal requirements for paying those displaced led to that project becoming stalled until 2011. The Fulton Bottom revitalization plan had reserved most of the 370 acres for industrial sites, and industrial boulevard and flood control.</p><br>
<h3>Revival</h3><br>
<p>Toward the end of the 20th century, Richmond worked to revitalized Jackson Ward, including its pre-existing housing stock. The National Park Service assisted by restoring the Maggie L. Walker house, as well as listing the neighborhood on the National Register of Historic Places in 1976 and as a historic district in 1978. In the 1980s, historic tax credits by the federal government aided the restoration of dozens of houses on Leigh, Marshall and Clay Streets.</p><br>
<p>Many Richmond residents have bought houses in Jackson Ward to renovate and restore in order to live in an historic area and revive the cultural character of the neighborhood. Each first Friday of the month, is held at night on Broad Street. Art Galleries open their doors to an outdoor party that includes live music, including Jazz and Salsa. Local restaurants, bars and a coffee shops serve customers who come to the. On New Year&#39;s Eve 2014, the heavy metal band Gwar opened GwarBar in Jackson Ward. The band described it as "a fantasy land of food and beverage, catering to everyone from local punk metal freaks, rock stars, businessmen, celebrity chefs and starving artists."</p><br>
<p>Since the start of the 21st century, the neighborhoods reputation has rapidly changed from being that of a high crime neighborhood, into a popular historic district which rivals that of the Fan, and Church Hill. However, the revival of the neighborhood has led to gentrification controversy, particularly since while in 2000 it still had a majority African American population, by 2010 nearly twice as many white people as black lived in the neighborhood. Furthermore, the neighborhoods continued change focuses development on mixed-use new construction as much as restoration of existing historic buildings.</p><br>
<h2>Architecture and landmarks</h2><br>
<p>The earliest houses of Jackson Ward were a series of small cottages built in the Federal style. By the later 1830s up until the Civil War, the Greek Revival style was prominent, which represents a major part of Richmonds pre-war architectural heritage. And then beginning in the 1850s the Italianate styles. A major part of the districts visual appeal and charm derived from the contrast between the two ornamental and austere characteristics of the two styles.</p><br>
<p>St. Marys German Catholic Church was built on Marshal Street to serve the growing German Catholic immigrant community that had moved into greater Richmond from about 1850 to through the 1880s. The center of the neighborhood is dominated by the former Armstrong High School, now the Richmond Public Schools Adult Career Development Center. Armstrongs sports field is now Abner Clay Park, which has a bandstand, football field, basketball court and tennis facilities.</p><br>
<p>Charles Thaddeus Russell was one of Virginia&#39;s first licensed black architects. A majority of the workers and contractors hired by Russell were black. He designed homes in and businesses in Jackson Ward. He also designed many buildings in an area that was known as “Black Wall Street of America.”</p><br>
<p>Historic churches in Jackson Ward include the Third Street Bethel African Methodist Episcopal Church, the Hood Temple African Methodist Episcopal Church, the Ebenezer Baptist Church and the Sixth Mount Zion Baptist Church. The Sixth Mount Zion Baptist Church was known as the home of African-American evangelist pastor Rev. John Jasper, whose famous "Sun Do Move" sermon brought him fame.</p><br>
<p>The Leigh Street Armory building was revitalized, and since 2016 is the home of the Black History Museum and Cultural Center of Virginia, which was previously located at 00 Clay Street in Jackson Ward.</p><br>
<p>The long invisible Shockoe Hill African Burying Ground is located in Jackson Ward. Likely the largest burial ground for free people of color and the enslaved in the United States, it is one of Virginia&#39;s most endangered historic places. Established in 1816 as two (1 acre) plots by the city of Richmond, it is estimated to have received over 22,000 interments and expanded to a little over 31 acres before it was closed to new burials in 1879 due to overcrowded conditions. The burial ground was added to the Virginia Landmarks Register and National Register of Historic Places as part of the Shockoe Hill Burying Ground Historic District in 2022. The heart of this burial ground is located at 1305 N 5th St.</p><br>
<p>The Slater Mill is a historic water-powered textile mill complex on the banks of the Blackstone River in Pawtucket, Rhode Island, modeled after cotton spinning mills first established in England. It is the first water-powered cotton spinning mill in America to utilize the Arkwright system of cotton spinning as developed by Richard Arkwright.</p><br>
<p>The mill&#39;s founder, British immigrant Samuel Slater - having apprenticed as a young man with industrialist Jedediah Strutt in Belper, England - arrived in Rhode Island with the desire to use English mill plans to build like mills in America. Slater - with capital provided by Moses Brown of Providence, Rhode Island - first produced a working set of machines necessary to spin cotton yarn using water power, with construction of the machines completed in 1793, with a working mill, dam, waterway and waterwheel. Manufacturing was based on the Arkwright cotton spinning system, which included carding, drawing, and spinning machines.</p><br>
<p>While celebrated as bringing upon the Industrial Revolution with the establishment of the first successful textile mill in the nation, Slater’s initial employment of young children ages 7-13 also brought the mill notoriety. Renowned photographer Lewis Hines documented the extremely harsh working conditions for the children, and publication of the images helped lead to the establishment of new laws created to help protect children.</p><br>
<p>Slater’s hiring practices involving children and families established a pattern that was replicated throughout the Blackstone Valley known as the "Rhode Island System".</p><br>
<p>The Rhode Island System was later eclipsed by Francis Cabot Lowell&#39;s Waltham System. The mill and surrounding area were the site of early labor resistance, including the first factory strike in the United States, which was led by young women workers in 1824.</p><br>
<p>Slater Mill was added to the National Register of Historic Places and designated a National Historic Landmark on November 13, 1966, the first property to be listed on the register. In December 2014, the mill was added to the newly formed Blackstone River Valley National Historical Park.</p><br>
<h2>Architectural history</h2><br>
<p>The original portion of the Slater Mill built in 1793 was six bays long and two stories tall. Several additions were made beginning in 1801, and a second added in 1835. Between 1869 and 1872, a large addition was made to the north end of the mill. Cotton spinning continued until 1895, after which the mill was used for various industrial purposes until 1923. The building had suffered numerous fires in the past, and two fires occurred in 1912 which precipitated awareness of the building and the need for its preservation.</p><br>
<h2>From mill to museum</h2><br>
<p>In 1921, the non-profit Old Slater Mill Association was founded with the purpose of saving the historic Mill. Efforts to restore the mill began in 1923; modern additions to the structure were removed, restoring the mill to its 1835 appearance. In 1955, it opened as a museum. Restoration of the nearby Wilkinson Mill (built 1810–1811) was completed in 1978 as part of the Slater Mill site.</p><br>
<p>The Slater Mill site now serves as a museum, educational center, and music venue, which "celebrates innovation and the entrepreneurial spirit by engaging audiences in relevant cultural, historic, and artistic endeavors". It includes five acres of land on both sides of the Blackstone River, a dam on the river, two historic mills (the Slater Mill and Wilkinson Mill), and the Sylvanus Brown House (built in 1758 but moved to the site in the 1960s).</p><br>
<p>The Slater Mill and other key buildings that are part of the Old Slater Mill Historic District were acquired by the National Park Service in 2021.</p><br>
<p>Memorial Park Cemetery was founded in 1924 by E. Clovis Hinds on initial 54 acres . It is located at 5668 Poplar Avenue in Memphis, Tennessee.</p><br>
<p>Different species of trees of different ages, as well as bushes, can be found throughout the cemetery, enhancing the atmosphere of a park-like setting.</p><br>
<p>The cemetery is noted for its Crystal Shrine Grotto, a hand-built cave depicting Biblical scenes built by artist Dionicio Rodriguez.</p><br>
<p>The cemetery is owned by the private death care industry company, NorthStar Memorial Group, based in Houston.</p><br>
<h2>Crystal Shrine Grotto</h2><br>
<p>In 1935 Mexican artist Dionicio Rodriguez was hired to beautify the park with sculptures. Annie Laurie&#39;s Wishing Chairchairman, Broken Tree Bench, Abrahams Oak, Pool of Hebron and Cave of Machpelah are some of the most important sculptures that can be found in different locations throughout the cemetery.</p><br>
<p>In 1938 construction of the Crystal Shrine Grotto began. The grotto is a 60 ft (18.3 m) deep, hand-built cave in a hillside near the center of the cemetery, filled with 5 tons (4.5 t) of quartz crystal, hence the name Crystal Shrine Grotto. The grotto was completed after Rodriguez death in 1955. The shrines in the grotto illustrate the stages of "Christs Journey on the Earth from Birth to Resurrection".</p><br>
<p>Since 1991, the Crystal Shrine Grotto has been listed on the National Register of Historic Places for Tennessee.</p><br>
<h2>Notable burials</h2><br>
<p>James Pinckney Alley, early cartoonist</p><br>
<p>Bobby Bland, American blues singer</p><br>
<p>Don Briscoe, actor</p><br>
<p>Laura Bullion, female Old West outlaw</p><br>
<p>Ronnie Caldwell, musician with the Bar-Kays</p><br>
<p>Jimmy Griffin, musician</p><br>
<p>Isaac Hayes, singer and actor</p><br>
<p>Mark James, singer, songwriter, musician</p><br>
<p>Bill Justis, musician, composer, arranger</p><br>
<p>Shawn Lane, composer, guitarist, pianist, musician</p><br>
<p>Charlie Lea, baseball player</p><br>
<p>Gilbert Earl Patterson, Presiding Bishop of the Church of God in Christ</p><br>
<p>Sam Phillips, record producer</p><br>
<p>Jay Reatard, musician</p><br>
<p>Charlie Rich, singer</p><br>
<p>Bob Welch, musician, former Fleetwood Mac member</p><br>
<p>Red West, actor, songwriter</p><br>
<p>George Klein (DJ), DJ and television host</p><br>
<p>John (Long Tom) Thomas Winsett, MLB player</p><br>
<p>The Colorado Chautauqua, located in Boulder, Colorado, United States, and started in 1898, is the only Chautauqua west of the Mississippi River still continuing in unbroken operation since the heyday of the Chautauqua Movement in the 1920s. It is one of the few such continuously operating Chautauquas remaining in the United States, and was designated a National Historic Landmark in 2006.</p><br>
<h2>The Colorado Chautauqua in the 21st century</h2><br>
<p>The Colorado Chautauqua Association, a 501(c)(3) nonprofit organization formerly known as the Texas-Colorado Chautauqua Association, presents a variety of lectures, live musical performances, and silent films on a year-round schedule, although the summer months are emphasized. The operation also includes the Chautauqua Dining Hall. Short-term lodging is also offered. The Association manages 26 acre leased from the City of Boulder, including the historic Chautauqua buildings, all of which are still in regular use:</p><br>
<p>the 1898 Chautauqua Auditorium (listed on the National Register of Historic Places on March 21, 1978)</p><br>
<p>the 1898 Dining Hall</p><br>
<p>the 1900 Academic Hall (now the Administration Building)</p><br>
<p>the 1911 Missions House</p><br>
<p>the 1918 Community House</p><br>
<p>the 1919 Columbine Lodge</p><br>
<p>98 cottages, constructed between 1899 and 1954 (80 before 1915), some of which are owner-occupied and some of which are rentals offered by the Colorado Chautauqua Association.</p><br>
<p>Between these 26 acre of Association land and Baseline Road lies a 14 acre Boulder city park called Chautauqua Park. This area is marked "Chautauqua Green" on the map published by the Colorado Chautauqua Association. Both the park and the Association land are open to the public without an entry fee.</p><br>
<p>The entire 40 acre site, including both the Association land and the adjacent Chautauqua Park, was designated a National Historic Landmark on February 10, 2006. The site is bounded on the north by Baseline Road, on the northeast by residential back yards on 10th Street, and on the southeast, south, and west by the City of Boulder Mountain Parks.</p><br>
<p>Residents of Boulder generally refer to the entire 40 acre site by the single word Chautauqua. In the early years, the site was known as "Texado Park".</p><br>
<h2>History</h2><br>
<h3>19th century</h3><br>
<h4>1897</h4><br>
<p>The Texas-Colorado Chautauqua Association was incorporated in Austin, Texas in September 1897. This organization was for the purpose of conducting a summer school and lecture series for Texas school teachers at a Colorado location to be determined later. A cooler summer climate than Texas was desired.</p><br>
<h4>1898</h4><br>
<p>In February 1898, the Texas-Colorado Chautauqua Association and the City of Boulder entered into an agreement to locate the Chautauqua near Boulder, subject to the city providing sufficient area and suitable facilities. A city bond election was held on April 5, 1898 and the necessary bonds and expenditures were approved to purchase the land and build the first buildings.</p><br>
<p>On April 18, 1898 the Boulder City Council appointed a "Committee on Parks," the earliest beginning of the city&#39;s Parks Department. Later in April, the Bachelder Ranch site was selected and purchased for the Chautauqua; the grounds, one mile (1.6 km) south of the city, were named Texado Park. On May 12, 1898 construction of the Chautauqua Auditorium commenced; the Dining Hall construction started one week later. Both buildings were completed in time for the opening of the first Chautauqua season on July 4, 1898.</p><br>
<p>However, the two greatest disappointments of the initial season were first, that no residential cottages had yet been constructed; and second, that the electric streetcar line from downtown Boulder to Texado Park had not been built in time for the opening. In the first season, Colorado Chautauqua attenders were housed entirely in tents. They traveled the 1.5 miles (about 2 km) from the Boulder railway station to the Chautauqua on foot or in horsedrawn vehicles, via dirt roads that were alternately dusty and muddy.</p><br>
<p>The 1898 fee was $75 for the entire six-week season, including tuition, admission to all lectures and entertainments, all boarding and lodging, and round-trip rail fare to Boulder from any location within a 100 mi radius of Fort Worth, Texas.</p><br>
<p>The first year&#39;s six-week program featured no fewer than 94 scheduled speeches, including addresses from the well-known evangelist T. Dewitt Talmadge, the Kentucky orator Henry Watterson, the governors of Colorado and Texas, the mayor of Boulder, and the president of the University of Colorado. Various clergymen also delivered sermons each Sunday.</p><br>
<p>The Kansas City Symphony Orchestra was in residence for the entire season, and would return many times in future years. They played a sacred concert each Sunday, and incidental music as requested, often several times a day. Various bands, pianists, and vocalists also performed.</p><br>
<p>Music classes were offered including cello, guitar, mandolin, piano, singing and chorus. The Collegiate Department of the Chautauqua offered 51 different classes in mathematics, chemistry, botany, physics, psychology, education, as well as English, Latin, Greek, French, and German language and literature.</p><br>
<p>From that first season, the Colorado Chautauqua also presented motion pictures in the Auditorium. The evening program for July 21, 1898, was "Edison&#39;s Genuine Projectoscope, Colorscopic Diorama and Wargraph, with Music, reproducing scenes of the war with Spain."</p><br>
<p>Other activities included burro and horseback rides, hikes to the nearby Flatirons on Green Mountain, stagecoach rides to Boulder Falls and Eldorado Springs, and mountain railway excursions to destinations as far away as Ward.</p><br>
<p>The activities of the 1898 Chautauqua season were to continue and expand from that date to the 1920s, except for the Collegiate Department, which was largely supplanted by the summer session of the University of Colorado beginning in 1904.</p><br>
<h4>1899</h4><br>
<p>The Electric Street Railway from downtown Boulder to Texado Park was started in late April 1899 and completed on June 24, 1899, ten days ahead of the opening of the second Colorado Chautauqua season. Cars ran every 15 minutes from 6:30 a.m. to 11:00 p.m., and the fare was five cents.</p><br>
<p>The first cottages were built in the spring of 1899. At the opening of the second season, between 30 and 40 cottages were available, with the other attenders still residing in tents. Construction of additional cottages continued in later years, although some would stay in tents until 1916.</p><br>
<p>William Jennings Bryan, the biggest celebrity of the Chautauqua movement, first appeared at the Texas-Colorado Chautauqua on July 12, 1899, drawing a capacity crowd to the Chautauqua Auditorium, with thousands more thronging the adjacent hillsides. The total attendance was about 13,000.</p><br>
<h4>1900</h4><br>
<p>The Academic Hall was constructed in June 1900. Cottages built in 1900 included the Womens Christian Temperance Union cottage, which offered rooms to members at 50 cents per night. The prohibitionist cause was a continuing theme in the early days of Chautauqua lectures, as were womens suffrage, Populist politics, and a nondenominational Christian message of self-improvement.</p><br>
<p>Republican and Democratic orators were invited to give campaign speeches for their respective presidential candidates, William McKinley and William Jennings Bryan. Jonathan P. Dolliver spoke on August 20, 1900 and Champ Clark the following week. This experiment was not considered a success, and overtly partisan election-year speeches would not return until 1932.</p><br>
<p>On December 20, 1900, the Texas-Colorado Chautauqua was reorganized as the Colorado Chautauqua, with an entirely local board of directors. Title to the land remained with the city of Boulder, but the Colorado Chautauqua Association operated the Chautauqua under a long-term lease, since renewed several times.</p><br>
<p>The reorganization, partly prompted by financial deficits, had both a broadening and a narrowing effect. More emphasis was placed on wooing attenders from states other than Texas, but at the same time The Colorado Chautauqua had become Boulder&#39;s own enterprise. More townspeople attended the presentations in the ensuing years. More Boulderites were also directly involved in managing the Chautauqua programs.</p><br>
<h3>Early 20th century</h3><br>
<p>The early years of the 20th century saw continuing growth and development of the Colorado Chautauqua. One highlight was the appearance of John Philip Sousa and his band at Chautauqua Auditorium in the fall of 1904, after the Chautauqua season was over for that year.</p><br>
<p>In the first two decades of the Colorado Chautauqua, an average of 40 full evening musical programs were presented each season, which is to say each summer. Dramatic readings from Shakespeare and Ibsen were also staples of the early 20th century Chautauqua experience in Boulder, as were operatic arias. The 1910 program featured "costumed recitals from grand opera" presented by the Chicago Operatic Company on July 4.</p><br>
<p>The famed evangelist Billy Sunday spoke to large crowds in 1909, 1924, 1925, and 1931. Other evangelists also delivered their message of fire and brimstone to the Chautauquans. According to Chautauqua tradition, all religious observance and preaching was nondenominational, but the growing tide of Fundamentalism made its influence felt through a number of Chautauqua orators as the 20th century progressed.</p><br>
<p>From the beginning of the Colorado Chautauqua, two or three motion pictures had been presented each year. But starting with the 1918 season, in the face of higher costs for lecturers and entertainers, the Colorado Chautauqua Association decided to increase the number of movies. The Association expressed the intention to maintain the quality of the live stage presentations, although those events would be fewer. They also pledged that the motion pictures selected would be the "best productions on the screen" and would be limited to films that were morally uplifting and suitable for family viewing. Since the Chautauqua lacked the financial resources to compete for first run films with the commercial movie theaters, second-run movies were selected. The 1918 Colorado Chautauqua movie menu included Oliver Twist, The Bluebird, Rebecca of Sunnybrook Farm, and The Vicar of Wakefield, among others.</p><br>
<p>From 1918 forward, about half of the evening presentations were motion pictures, the other half continuing to be lectures and live entertainment. That formula held for about ten years, after which the movies came to occupy a steadily increasing percentage of the Chautauqua presentations.</p><br>
<h3>Middle 20th century</h3><br>
<p>Eventually the effects of two world wars, one Great Depression, and the development of many competing entertainment opportunities (especially movies, radio, television, and the automobile) would greatly impact the nature of events held at the Colorado Chautauqua. Under financial pressure, the presentations decreased in variety. Although the Colorado Chautauqua Association continued to schedule a few lectures and musical performances (including annual appearances by groups representing SPEBSQSA and the Sweet Adelines, which persist into the 21st century), by the 1950s the vast majority of activities at the Chautauqua consisted of second-run movies in the Auditorium, presented with marginal projection and sound equipment. The Colorado Chautauqua had entered a dormant period, although some traditions continued, such as the nondenominational summer Sunday School program.</p><br>
<p>The built-up area of the city of Boulder gradually expanded, reaching the boundaries of the Chautauqua site by the 1940s. Chautauqua became part of the city, although it was still at the edge of the City of Boulder Mountain Parks. Over the years many of the cottages were winterized for year-round use. The Colorado Chautauqua became, in part, a residential district for Boulderites.</p><br>
<h3>Late 20th century</h3><br>
<p>The 1970s saw a crisis in the history of the Colorado Chautauqua. Attendance and revenue were declining. The buildings were deteriorating. The Chautauqua Association&#39;s 1941 lease on the land was scheduled to expire in 1981. The city of Boulder was entertaining various ideas for the Chautauqua grounds including demolition in favor of building a new convention center on the site.</p><br>
<p>In 1974, Daily Camera editor Laurence Paddock completed an application to list the Chautauqua Auditorium on the National Register of Historic Places. When this listing came about in 1978, the city shifted its planning from demolition to restoration. The historic preservation designation of the Auditorium was the turning point for The Colorado Chautauqua as it exists today.</p><br>
<p>The Colorado Chautauqua gradually returned to its roots in the late 20th century, scheduling much more live music and a modest number of additional lectures. Jazz and bluegrass concerts were introduced, with good popular success. Guest performers have included composer-pianist Peter Kater, Native American flutist R. Carlos Nakai, Doc Watson, Hot Rize, George Winston, Bill Monroe, Lyle Lovett, Randy Newman, Bobby McFerrin, Bruce Cockburn, Suzanne Vega, Bela Fleck, Roger McGuinn, Loudon Wainwright III, Michelle Shocked, and the Boulder Philharmonic Orchestra, among others.</p><br>
<p>The biggest positive impact on the Chautauqua was the arrival, in 1978, of the Colorado Music Festival including the Festival Orchestra under the direction of Giora Bernstein, in residence each summer for dozens of performances. The Colorado Music Festival remains an annual summer fixture at Chautauqua (more recently under the direction of Michael Christie) into the 21st century, presenting a variety of music with the most commonly featured composers being Mozart, Stravinsky, and Beethoven.</p><br>
<p>Chautauqua audiences of the late 20th century have enjoyed lectures from Hunter S. Thompson, Al Gore, Jesse Jackson, Colorado governor Roy Romer, and Congressman David Skaggs of Colorado, among others. Political campaign speeches were brought back to the Chautauqua in the 1996 season for the first time since 1932.</p><br>
<p>In response to competition from home VCRs, the second-run family films were discontinued in 1995. The Chautauqua film tradition continues, however, with a silent film series that began in 1986 and persists into the 21st century, featuring live piano accompaniment by Hank Troy and other students of Photoplay music.</p><br>
<p>The Dining Hall was refurbished in 1979 and the food service contracted out. For the first time, the Chautauqua Dining Hall became a destination restaurant (which it still is in the 21st century) and ceased to be a financial drain on the Colorado Chautauqua Association. The Dining Halls license to serve wine and beer, however, represents something of a break with Chautauquas prohibitionist past.</p><br>
<p>From a near-collapse in the early 1970s, The Colorado Chautauqua recovered to become a permanent part of the Boulder community and a piece of living history.</p><br>
<h3>21st century</h3><br>
<p>Currently, during the summer months, The Colorado Chautauqua hosts the Colorado Music Festival (CMF) in the Chautauqua Auditorium. The festival is six weeks long and showcases the Colorado Music Festival Orchestra. Due to its programming by national and international musicians, the festival recently earned recognition from the League of American Orchestras and the National Endowment for the Arts. During the summer 2020 season, the Colorado Music Festival held a series of online concerts due to the Covid-19 global pandemic.</p><br>
<p>Cambridge Common is a public park and National Historic Landmark in Cambridge, Massachusetts, United States. It is located near Harvard Square and borders on several parts of Harvard University. The north end of the park has a large playground. The park is maintained by the Cambridge Department of Public Works.</p><br>
<h2>History</h2><br>
<p>In the colonial period, Cambridge Common served as a pasture on which animals grazed. It was also used as a military training ground. It originally extended from what is now Linnaean Street in the north all the way south to Harvard Square between Massachusetts Avenue and Garden Street.</p><br>
<p>Public executions took place in the northern portion of this space, known as Gallows Hill, located today west of Massachusetts Avenue around Lancaster Street. Executed at this site on September 22, 1755, were two enslaved African Americans, Mark and Phillis, who were both accused and convicted of poisoning their enslaver, John Codman of Charlestown. Phillis was burned at the stake, and Mark was killed by hanging on gallows some ten yards away from the stake. His body was subsequently exhibited publicly for decades in Charlestown, such that even Paul Revere remembered passing by its site while on his famous ride. Phillis was later described by a newspaper as "the last recorded victim" of this punishment in New England.</p><br>
<p>Legend has it that George Washington took command of the Continental Army in a ceremony underneath the Washington Elm. Yet historical research suggests no such ceremony took place.</p><br>
<p>The current space was not enclosed until 1830.</p><br>
<p>Barracks were constructed on the common during World War I as the Navy Department built structures for its Radio School on the grounds.</p><br>
<p>Cambridge Common has long been a site for public gatherings in which groups met before marching to Boston Common as part of protests for Civil Rights or against the Vietnam War.</p><br>
<p>Matt Damon recalled how Ben Affleck helped him in a fight during a football game on the Common in the mid-1980s.</p><br>
<h2>Monuments and memorials</h2><br>
<p>A commemorative plaque marks the location of the Washington Elm, a tree under which legend claims Washington stood as he first assumed command of the Continental Army. Nearby is the Prince Hall Monument by Ted Clausen and a trio of bronze cannons, a plaque for Henry Knox, and another for Tadeusz Kościuszko.</p><br>
<p>In the northeast corner is the Statue of John Bridge, also known as The Puritan, by Thomas Ridgeway Gould.</p><br>
<p>Slightly southeast of the center of the Common is a memorial to the American Civil War with a statue of Abraham Lincoln in a covered area near the base of the memorial. On top of the memorial is a statue of a soldier.</p><br>
<p>Cambridge Common is also the site of an Irish Famine Memorial, dedicated on July 23, 1997, by then President of Ireland, Mary Robinson, and unveiled to an audience of 3,000 people. The Memorial sculpture was created by Maurice Harron, a sculptor from Derry, Northern Ireland. There is a similar memorial in downtown Boston.</p><br>
<p>Waveland State Historic Site, also known as the Joseph Bryan House, in Lexington, Kentucky is the site of a Greek Revival home and 10 acres now maintained and operated as part of the Kentucky state park system. It was the home of the Joseph Bryan family, their descendants and the people they enslaved in the nineteenth century. Bryan&#39;s father William had befriended Daniel Boone and they migrated west through the Cumberland Gap.</p><br>
<p>Joseph Bryan, William&#39;s grandson, became an early planter here and established a plantation for tobacco and hemp as commodity crops. He also began to breed thoroughbred race horses. settler and horseman of this region.</p><br>
<h2>History</h2><br>
<p>The Daniel Boone and William Bryan families met in the Yadkin River valley, North Carolina, where they lived near each other. William Bryan married Mary Boone, a sister of Daniel Boone. William and Mary had a son, Daniel Boone Bryan. Daniel Boone surveyed the land in what became Kentucky that he would give to his nephew, Daniel Boone Bryan. The young man became known as a historian, frontiersman, and poet. Boone surveyed a large area of about 2,000 acre about six miles from present-day downtown Lexington, Kentucky.</p><br>
<h3>Daniel Boone Bryan</h3><br>
<p>Daniel Boone Bryan settled this land around 1786. The property was later named Waveland for the appearance of the fields of grain and hemp when the wind blew through them. Central Kentucky, known as the Bluegrass Region, had the largest hemp and rope producers of the nation in the nineteenth century. When Bryan first moved to his property, he built a small stone cabin.</p><br>
<h3>Joseph Bryan</h3><br>
<p>Daniel Boone Bryan&#39;s son, Joseph, inherited Waveland and constructed the Big House of the plantation about 1844 to 1848. He had married Elizabeth, and they eventually had twelve children together. Bryan decided to build a classic Greek Revival structure. Inspired by the work of Lexington architect John McMurtry, Bryan hired Washington Allen, a well-known Lexington contractor, to oversee the construction of his new home.</p><br>
<p>It had a portico and spacious entry hall. The main doorway of the mansion is considered to be an exact replica of the doorway of the north entrance to the Erechtheion at the Acropolis in Athens, Greece. A porch was built on either side of the house, with views to surrounding country side. The rooms were constructed to be fourteen-feet-high on the first floor, making them cooler in summer.</p><br>
<p>As did many planters, who essentially had to operate self-sufficient villages, Bryan had developed minor industries on his plantation. A gunsmith shop employed twenty-five men at one time; he manufactured saltpeter and gunpowder. Both a gristmill and paper mill (which also processed lumber) were operated on the plantation, as were a blacksmith shop, and a distillery. (Kentucky was known for its bourbon.) He was able to manage all of these successfully.</p><br>
<p>Bryan also allowed space on the plantation for a Baptist church and a private female seminary. There was no public education in Kentucky until it was established during the Reconstruction era.</p><br>
<p>As was typical of many large plantations with in-house industries, Bryan drew from his own products for construction of the house. The lumber was harvested and trimmed at Waveland, the wrought iron was made at his blacksmith, the bricks used in the buildings were made from clay gathered on the land, and fired in a kiln on site. Stones for the house&#39;s foundation and some decorative work were quarried and dressed at Tyrone on the Kentucky River and moved to Waveland. To reduce construction costs, Bryan had the stairway rail built from flat pieces of wood instead of rounded ones. His wife wanted expensive marble baseboards, but Bryan used cheaper stones and had them painted to look like marble.</p><br>
<p>Joseph Bryan constructed his office with seven doors, each for a different part of his life. One door connected to the formal dining room, where he and guests would eat. One door led into the family parlor, where he could be with his children.</p><br>
<p>Another door, which locked from his office, was to stairs to two second-floor rooms that he rented out to travelers. He made sure he could lock the strangers in for his family&#39;s safety. The travelers could not leave their room until Bryan Joseph unlocked the door, so he was safe from being robbed or attacked by them at night.</p><br>
<p>Another door led outside to the back of the house and outbuildings, and the fields where enslaved African Americans worked. Thus he had quick access and easier communication with them. Another door led from his office to the road by which businessmen would arrive to see him. As a successful businessman in Kentucky, Bryan was often visited by others. The remaining two doors were closets, which he used as safes.</p><br>
<p>In the antebellum years, the Bryans were slaveholders. They held thirteen slaves, three women and ten men. The women conducted all the domestic work of cleaning the house, laundering and ironing clothes and linens, as well as to process meat and produce, and do all the cooking. Margaret Cartmell Bryan, Joseph&#39;s wife, made the clothing for the slaves and for her own family. The invention of the sewing machine significantly reduced the time it took her to make clothing.</p><br>
<p>The male slaves worked the farm. Each one had to keep 20 acre of land. In order to save time traveling, the Bryans allowed the slaves to build houses on the property they kept. The slaves at Waveland enjoyed freedoms that were uncommon for other slaves of the day. When they were not working, they were allowed to hunt for themselves. They were also allowed to buy and sell produce, meat and other goods at the local markets, and to keep any profits. Joseph Bryan allowed the slaves to keep weapons. The slave quarters were two bricks thick, making them better insulated than many homes in Kentucky.</p><br>
<p>Joseph Bryan supported the Confederacy during the Civil War and gave them supplies such as horses and food produced on his land. When Union authorities discovered this, they sought to arrest him. Bryan fled to Canada, returning years later after the war had ended. The slaves at Waveland were emancipated at war&#39;s end, but most chose to stay and continue working for Bryan. He paid them for their labor, and charged them rent.</p><br>
<h3>Joseph Henry Bryan</h3><br>
<p>Joseph Henry Bryan, one of Bryan&#39;s eleven children, lost his house, so he and his wife and children moved back into Waveland with his father. Eventually, Joseph Bryan Sr. moved out, leaving Joseph Henry Bryan as the owner of Waveland.</p><br>
<p>He developed horse racing stock and established Waveland as one of the premier thoroughbred and standardbred (trotters) farms in Kentucky. Waveland produced some great horses such as "Waveland Chief", "Ben-Hur", "Eric", "Olaf" and "Wild Rake", who never lost a heat and was sold to William Rockefeller for $7800 in the 1880s. Joseph Henry Bryan also built a race track across from the mansion. He and other businessmen watched the races from near the track. This was not considered a suitable environment for women of their class, and Bryan&#39;s wife, daughters and female guests would often go up to the top floor of the house and watch the races with their binoculars.</p><br>
<p>Joseph Henry Bryan was a notorious gambler. In less than seven years, he lost over one million dollars. Another family member had to sell their home so that they could try to keep Joseph Henry Bryan from losing the Waveland property. Eventually, however, Bryan was unable to pay his debt. For this, he was never forgiven by his family. He had to sell the house at auction just to try to pay off his debt.</p><br>
<p>Salle A. Scott bought Waveland in 1894. She sold the property in 1899 to James A Hullet. In 1956, the Commonwealth of Kentucky bought the house and about 200 acre of the original 2,000 acre for preservation (the house) and use by the University of Kentucky of the larger farmland for research and experimental agriculture.</p><br>
<h2>Museum</h2><br>
<p>In 1957, Waveland was adapted as a historic house museum. Its exhibits depict and interpret Kentucky life from pioneer days to the Civil War. Ten acres are included with the house property, which has been renovated and furnished to show antebellum life on a plantation during the 1840s. Period-appropriate furniture was donated to the site. Many of the ancillary buildings did not survive the decades after the Civil War.</p><br>
<p>Waveland&#39;s buildings include the mansion, decorated in antebellum style, and four outbuildings: the ice house, a two-story brick building that was the slavequarters, a barn, and a smokehouse.</p><br>
<p>Tours are given daily for much of the year, and tour guides dress in the style of the 1840s. Tours include the historic house, the slave quarters, smokehouse and ice house. They focus on the Bryan family and life on a 19th-century Bluegrass Kentucky plantation.</p><br>
<p>The Ansonia  is a condominium building at 2109 Broadway, between 73rd and 74th Streets, on the Upper West Side of Manhattan in New York City. The 17-story structure was designed by French architect Paul Emile Duboy in the Beaux-Arts style. It was built between 1899 and 1903 as a residential hotel by William Earle Dodge Stokes, who named it after his grandfather, the industrialist Anson Greene Phelps. Over the years, the Ansonia has housed many conductors, opera singers, baseball players, and other famous and wealthy people. The Ansonia is a New York City designated landmark and is listed on the National Register of Historic Places.</p><br>
<p>The building occupies a large, irregular site on the west side of Broadway. It has a facade of limestone, granite, white brick, and terracotta, as well as turrets at its corners, light courts along each side, and a three-story mansard roof. The Ansonia Hotel was constructed with as many as 2,500 rooms, many of which were arranged as multi-room suites, although these have since been downsized to 425 apartments. Originally, the hotel had its own power plant and air-filtration plant, as well as a system of pneumatic tubes and cooling pipes. The public rooms, including the lobby, basement shopping arcade, and restaurants, were decorated in the Louis XIV style, and the hotel also had a small roof farm in the 1900s. There was also a basement swimming pool, which in the late 20th century housed a gay bathhouse called the Continental Baths and a swingers club called Platos Retreat. The apartments themselves ranged from small studios to multi-room suites with parlors, libraries, and dining rooms. Over the years, both the apartments and public spaces have been substantially rearranged, but the facade has remained largely intact.</p><br>
<p>Stokes headed the Onward Construction Company, which acquired the site in July 1899 and built the hotel there. The restaurants in the hotel were dedicated in February 1903, though the hotel itself did not formally open until April 16, 1904. Frank Harriman leased the Ansonia in 1911, turning it into a short-term hotel, and the Bowman-Biltmore Hotels chain took over in 1918 and renovated the hotel. Stokess son W. E. D. "Weddie" Stokes acquired the hotel after his fathers death in 1926. The Ansonia passed through multiple operators during the 1920s and stopped offering hotel services in the early 1930s. The building was sold three times between 1945 and 1948 before being auctioned in 1950 to Jacob Starr. The Ansonia gradually fell into disrepair through the 1970s, and Ansonia Associates eventually acquired it in 1978. Ansonia Associates repaired many of the building&#39;s issues but was involved in hundreds of lawsuits during that time. The Ansonia was converted into a condominium building in 1992, although rent-regulated tenants remained in the building through the 21st century.</p><br>
<h2>Site</h2><br>
<p>The Ansonia is at 2109 Broadway, on the Upper West Side of Manhattan in New York City. It occupies the eastern end of a trapezoidal city block bounded by Broadway to the east, 74th Street to the north, West End Avenue to the west, and 73rd Street to the south. The land lot covers. The site has frontage of about on 74th Street, on Broadway, and on 73rd Street. It occupies what was originally 42 land lots. The Ansonia is on a curved section of Broadway, which runs diagonally to the Manhattan street grid to the south, but which parallels other avenues to the north. Prior to the development of larger structures on Broadway, the building was originally visible from as far south as 59th Street and as far north as 105th Street.</p><br>
<p>The building is near several other notable structures, including the Rutgers Presbyterian Church to the south, the Hotel Beacon and Beacon Theatre to the northeast, the Apple Bank Building to the east, and the Dorilton one block south.</p><br>
<p>The city&#39;s first subway line was developed starting in the late 1890s, and it opened in 1904 with a station at Broadway and 72nd Street. The construction of the subway spurred the development of high-rise apartment buildings on the Upper West Side along Broadway; many of these buildings were constructed on land that had never been developed. The Ansonia was one of several large apartment buildings developed on the Upper West Side in the early 1900s, along with such structures as the Dorilton and the Astor.</p><br>
<h2>Architecture</h2><br>
<p>The Ansonia was built as a residential hotel and is designed in the Beaux-Arts style, Its developer, William Earl Dodge Stokes, listed himself as "architect-in-chief" for the project and hired French architect Paul Emile Duboy to draw up the plans. The New Orleans architect Martin Shepard served as draftsman and assistant superintendent of construction, while George Vassars Son & Co. built the structure. The building was named for industrialist Anson Green Phelps, the developers grandfather.</p><br>
<p>The Ansonia is 17 stories tall. Early plans called for the building to be 12 stories, 14 stories, Other sources have cited the Ansonia as being 16 or 18 stories tall.</p><br>
<h3>Form and facade</h3><br>
<p>The Ansonia measures about. The building includes turrets with cupolas at its corners and light courts along each side.</p><br>
<p>The Ansonia has a facade of limestone, granite, white brick, and terracotta. The base is clad with rusticated blocks of limestone, and there are balconies just above the base and near the top of the building.</p><br>
<p>On the intermediate stories are French windows with elaborate iron balconies. The balconies, many of which span several bays, visually divide the facade into several groups of windows. Each domed cupola is topped by finials and widow&#39;s walk rooftop platforms.</p><br>
<h3>Features</h3><br>
<p>When the Ansonia opened in the 1900s, it covered. or 1,218 guestrooms and 400 suites. There were about 400 full bathrooms and about 600 additional sinks and toilets; at the time of the Ansonia&#39;s construction, it was the largest-ever plumbing contract. The modern-day Ansonia has 425 apartments, as well as a garage and a rooftop terrace.</p><br>
<h4>Mechanical features</h4><br>
<p>The hotel contained about of pipe, about ten times as much as in similarly sized office buildings. The pipes carried gas; hot, cold, and iced water; electrical wiring; and sewage. The boilers had a total capacity of. The building had its own power plant with coal-fired generators. The power plant occupied one-fourth of the basement. The Ansonia also included an air-filtration plant, which drew air from the western side of the building; the air was filtered, heated in the sub-basement, and distributed to each room through pipes in the walls. Air was ventilated from a flue on the roof.</p><br>
<p>There were originally six elevators for guests, two elevators for housekeepers, two freight elevators, and numerous dumbwaiters. Although the Otis Elevator Company had offered to install elevators in the building, Stokes considered them too expensive, so he created his own elevator company and his own hydraulic-elevator model, which could travel at up to. Upon the Ansonia&#39;s opening in 1903, it was cited as having 362 telephones, 18,000 electric burners, 2,500 steam radiators, 400 refrigerators, and 1,000 faucets. The building also had 600 toilets and 400 washrooms, more than any other residential building in New York City at the time.</p><br>
<h4>Public areas</h4><br>
<p>When the Ansonia was being constructed, it was planned to have "more and finer banquet halls, assembly rooms, and reception rooms than any other hotel". The hotel&#39;s lobby included a fountain with live seals and was flanked by two banks of elevators. Also on the ground floor was a small grill room. In the 21st century, American Musical and Dramatic Academy occupies the lower stories, with a theater, studios, private rooms, and performance spaces.</p><br>
<p>In the basement was a shopping arcade or. The bathhouse had "private encounter rooms", a sauna, a massage parlor, and Turkish baths. From 1977 to 1980, the Ansonias basement housed Platos Retreat, a club for heterosexual couples characterized in The New York Times as a swingers&#39; sex club. The space was accessed by a mirrored staircase, and also featured a 60-person Jacuzzi, an "orgy room", a dance floor, and private rooms. In the 1990s, the basement was converted into storefront space.</p><br>
<p>The hotel had two interior staircases and several fire escapes when it was completed. The marble-and-iron stairway was intended to complement the lobby&#39;s marble floor, which was designed in a black-and-white checkerboard pattern. The stairway was topped by a skylight, which was blacked out during World War II. The building reportedly had about of hallways in total. Hallways measured wide. Each story also had a hall attendant, a cold-storage pantry, a serving room where food from the kitchen could be delivered, and a reception room with communal toilets. On the 17th floor were rooms for staff.</p><br>
<p>The top stories included a restaurant and a roof garden. The farm housed bears, chickens, ducks, goats, and hogs; it also reportedly housed four geese and a pig owned by W. E. D. Stokes. Thereafter, the farm was closed, and the animals were sent to Central Park. When Weddie was 12 years old, he installed a radio transmitter on the roof of the hotel. For a short time in 1929, the roof contained handball courts.</p><br>
<h4>Apartments</h4><br>
<p>Each apartment&#39;s ceiling measured The building had extremely thick masonry walls measuring between thick, which made each apartment nearly soundproof. There were also reportedly 175 mi of pipes and tubes laid throughout the building. Embedded in the walls was a system of pneumatic tubes, which allowed residents and staff to communicate easily. Each apartment had a landline for long-distance calling and call bells to summon staff; there was also a hall attendant on every floor. The walls also included a system of pipes that carried freezing brine, which was characterized as an early version of an air-conditioning system. The brine pipes allowed the building to maintain a constant temperature of year-round. Many of the smaller guestrooms initially did not have kitchens because they were intended for short-term guests; instead, there were refrigerators in these units. Apartments with kitchens were equipped with electric ranges.</p><br>
<p>After the Ansonia was converted to condominiums, many of the old apartments were combined.</p><br>
<h2>History</h2><br>
<p>During the early 19th century, apartment developments in the city were generally associated with the working class. By the late 19th century, apartments were also becoming desirable among the middle and upper classes. Between 1880 and 1885, more than ninety apartment buildings were developed in the city. Meanwhile, the Ansonias developer William E. D. Stokes, an heir to the wealthy Stokes family, developed and bought real estate on the Upper West Side in the late 19th century. From 1887 to 1890, Stokes bought land at the intersection of 73rd Street and Broadway, but he did not redevelop the land immediately. According to the writer Elizabeth Hawes, the Ansonia was one of Stokess "dream houses", along with a townhouse at 4 East 54th Street that he built but never occupied.</p><br>
<h3>Stokes ownership</h3><br>
<h4>Development</h4><br>
<p>Stokes established the Onward Construction Company specifically to develop the hotel; the company was named after one of the Stokes familys racehorses. Stokes also founded companies to manufacture the buildings terracotta and elevators. He was closely involved in the hotels development, having traveled to France to study other buildings architecture and floor plans before hiring Paul Emile Duboy, a French architect. The hotel began construction November 15, 1899.</p><br>
<p>By mid-1900, the ironwork had reached the fourth floor, while the facade had been built to the second floor. At the time, the building was expected to cost $800,000 and rise 14 stories. The structure was significantly taller than most of the other buildings in the vicinity, which were generally three to four stories at most. Sixteen hundred workers were employed in the structures construction by early 1901, when the hotels facade was nearly complete. The hotel was known at the time as the Anson-Stokes, after Williams grandfather, and was projected to be the worlds largest hotel, beating out the old Waldorf-Astoria.</p><br>
<p>The hotels construction was delayed by numerous labor strikes, including a six-week strike among bricklayers and a two-month strike among masonry workers. After the masonry workers went on strike in May 1902, Stokes offered $1,000 to end the strike. That August, the Bank for Savings lent the Onward Construction Company $1.5 million to complete the building. The hotels construction was delayed by numerous other labor strikes. for six months. Carpenters and painters, plumbers, gas installers, and marble installers each went on strike for several weeks. As the building was being completed, the plasterers struck again, prompting Stokes to abandon his plans to install Caen stone in the hotel; the painters and decorators also struck after discovering that some tenants had hired decorators from a different labor union. The strikes may have contributed to the cancellation of an 11-story stone tower at the center of the hotel, which had been proposed in early architectural drawings.</p><br>
<h4>Opening and 1900s</h4><br>
<p>The hotel housed 110 families by early 1903, when it was known as the Ansonia, although it had not formally opened. The hotel&#39;s ground-floor restaurant was formally dedicated on February 13, 1903, although the Broadway entrance was not yet complete. The hotel was dedicated on April 19, 1904</p><br>
<p>Although it was intended as an apartment hotel with long-term residents (many of whom remained there for decades), the Ansonia had many features characteristic of a transient hotel. Servants changed the table napkins and towels three times a day Other objects such as soap, stationery, and light bulbs were cleaned or replaced regularly. Another contractor sued Stokes in 1907 for $90,000. Stokes defended himself by claiming that Duboy was in an insane asylum in Paris and that, when Duboy signed the final plans for the hotel in 1903, he was already insane and should not have been making commitments in Stokes&#39;s name concerning the hotel.</p><br>
<h4>1910s and 1920s</h4><br>
<p>In September 1911, Stokes leased the entire hotel for 30 years to Frank Harriman for $9 million. Stokes also announced that he would transfer the hotel&#39;s title to his son, W. E. D. "Weddie" Stokes Jr., but the elder Stokes would still operate the hotel.</p><br>
<p>Unlike his father, Weddie never had any interest in operating the Ansonia, choosing to lease it to more experienced hotel operators instead. In May 1918, the Ansonia became part of the Bowman-Biltmore Hotels chain, operated by John McEntee Bowman. George W. Sweeney was appointed as the hotels manager. Bowman announced plans to renovate the Ansonia for $500,000, converting 300 "non-housekeeping" suites into guestrooms with bathrooms. He also planned to renovate the ground level and add a ballroom there. The hotel began to attract sportsmen like boxer Jack Dempsey, in part because of what writer Steven Gaines described as "the Ansonias racy reputation as a home to gamblers and spies and deposed dictators". One resident, Chicago White Sox first baseman Chick Gandil, held a meeting at his apartment in which he told several teammates to intentionally lose the 1919 World Series; in the ensuing Black Sox Scandal, Gandil and his teammates were permanently banned from professional baseball.</p><br>
<p>After the Ansonia was refurbished in the early 1920s, its operators published a promotional booklet for travelers who "expect more of a hotel than just a place to sleep and leave their luggage". By 1922, the hotel was worth $6.5 million, of which the land was worth $2.65 million and the building was worth $3.85 million. Although the Stokeses did not divorce, W. E. D. Stokes moved out of his apartment at the Ansonia in 1925, less than a year before his death. At the time, the hotel had 1,218 rooms; When W. E. D. Stokes died that May, Weddie inherited the hotel, which was estimated to be worth $4.5 million.</p><br>
<p>Childs Restaurants leased the hotels Fountain Room and ground-level bank for use as a restaurant in 1927, and Keens Chop House leased the main dining room the same year. The Onward Construction Company then leased the hotel to the Ansonia Hotel Corporation until November 1928. Zue McClary, proprietor of the Ansonia Hotel Corporation, then operated the hotel on a monthly lease from November 1928 to April 1929. McClary reportedly spent $160,000 on renovating the hotel. Although McClary claimed to have given up the hotels lease of her own volition. her company filed for bankruptcy several months afterward. The new operators, a group of men who operated Keens Chop House, agreed to lease the hotel for 20 years for a total of $5.5 million. Walter S. Schneider was hired to design a renovation of the building costing $500,000. The plans included a gymnasium, swimming pool, ballroom, and indoor golf course.</p><br>
<h4>1930s and early 1940s</h4><br>
<p>With the onset of the Great Depression, the kitchens and restaurants were shuttered permanently in the 1930s, and the Ansonia stopped offering traditional hotel services such as food service and housekeeping. Musicians stopped performing on the roof, the lobby fountain&#39;s seals were relocated, and the rugs and furniture were sold off. In addition, the apartments themselves were subdivided and rearranged. The Ansonia Hotel Corporation signed a new ten-year lease for the hotel in 1936 and announced that it would add a more modern air-cooling system to the Ansonia.</p><br>
<p>During World War II, the apartments were placed under rent control, a measure that was intended to be temporary but remained in place for half a century. This effort produced of scrap metal. In addition, the brine pipes and pneumatic tubes were removed from the walls, and the skylight at the top of the building&#39;s main staircase was blacked out.</p><br>
<h3>1940s sales</h3><br>
<p>The Stokes family&#39;s Onward Construction Corporation agreed in August 1945 to sell the building to a client of attorney Abraham Traub for $2.5 million. The client, Rexby Realty, announced plans to spend $200,000 on renovating the property. The Ansonia Realty Corporation, headed by Edwin S. Lowe, took title to the building in February 1946. That April, Lowe announced that he would convert the second floor into the Ansonia Professional Center, with 42 offices for doctors and dentists. The Dajon Realty Corporation bought the Ansonia in October 1946, paying $750,000 in cash and taking over a $1.8 million mortgage. Dajon immediately announced plans to spend $300,000 on renovations, including installing kitchenettes and refrigerators in every apartment.</p><br>
<p>Dajon resold the building in April 1948 to a group of investors known as Ansonia House Inc. At the time, the Ansonia was cited as containing 476 apartments and ten stores. Residents claimed that Broxmeyer was significantly increasing their rent, while employees alleged that they could not cash the checks that they had received as salary. instead, he used the money to buy more apartment buildings. That February, tenants formed a committee to fight Broxmeyers management of the building, and state and federal judges signed separate orders preventing the Ansonias furnishings from being sold off. Menin was appointed as trustee of Ansonia House Inc. the same month. Some tenants refused to pay rent after Menin took over the Ansonia, prompting him to begin evicting these tenants that June. Broxmeyer was subsequently sentenced to five years in prison, and his assets were sold off.</p><br>
<h3>Starr ownership and decline</h3><br>
<h4>1950s and 1960s</h4><br>
<p>In April 1950, a federal judge approved Menin&#39;s recommendation that the hotel be sold to a syndicate that had placed a $1.021 million mortgage on the property. The buyers, led by Jacob Starr, bought the hotel for $40,000 The new owners then announced that they would renovate the Ansonia. However, the renovations never took place. When Starr submitted alteration plans to the Department of Buildings, he discovered that the hotel had never received a proper certificate of occupancy; before he could obtain one, he had to repair several building-code violations that the DOB had issued over the years. The issues included rattling windows, a leaky roof, and rusted ducts and pipes, as well as balconies that were on the verge of falling off the facade. Starr refused to rectify any of these building-code violations, claiming that they were too expensive to resolve, so he did not receive a certificate of occupancy. General neglect continued to characterize the Ansonia in subsequent years.</p><br>
<p>Following a series of robberies at the hotel, its managers added CCTV systems to the elevators in 1960, and vigilante groups of residents began patrolling the top floors. The nonprofit organization American Music Center was headquartered at the Ansonia in the 1960s. To earn money from the hotel, Starr converted its long-abandoned basement pool to a gay bathhouse, the Continental Baths, during 1967 The Continental Baths&#39; cabaret performances attracted large crowds, especially during the weekends.</p><br>
<p>Meanwhile, the Ansonia had been reclassified as a residential hotel after the citys zoning codes were modified in 1968. Harry Garland, one of many voice coaches who lived at the Ansonia, established the buildings first tenants association, the Ansonia Residents Association (ARA). Members of the ARA petitioned a state judge to freeze the Ansonias rents until Starr had made the repairs. After the judge ruled in the ARA&#39;s favor, Garland said that "people were concerned for my safety" because Starr was furious at him.</p><br>
<h4>1970s</h4><br>
<p>Unable to raise rents at the Ansonia, Starr announced plans to demolish it and build a 40-story tower in its place. The ARA first tried to find a rich buyer for the building, without success. At a public hearing in April 1970, a lawyer for Starr testified that the structure lacked "any particular historic significance". This prompted concerns from residents who believed that the building would be demolished. They also hosted a five-hour gala in October 1971 to raise awareness for the Ansonia. the LPC designated the building as a city landmark on March 15, 1972, preventing the facade from being modified or demolished without the LPC&#39;s approval.</p><br>
<p>Despite the landmark designation, the Ansonia continued to suffer from what the Times called "steadily deteriorating mechanical systems and a warren-like layout". Increasing crime had prompted tenants to patrol the corridors themselves. Residents filed multiple lawsuits against the Ansonia Holding Corporation, the buildings legal owner, in an attempt to force Starr to fix the hotels many issues. The tenants only won one lawsuit through 1978, which blocked the landlord from raising the rent by 13 percent between 1976 and 1977. One tenant claimed the pipes were so dirty that she had to run her faucet for half an hour before taking a bath. while another tenant said that constant flooding had damaged a light socket in her apartment.</p><br>
<p>The Continental Baths in the basement had closed by 1973. The Platos Retreat club opened at the hotel in late 1977. but did not allow single men to enter. As a result, men began loitering outside a pornographic shop at the buildings base, which prompted the owners to close the 74th Street entrance to the building for security reasons.</p><br>
<h3>Ansonia Associates ownership</h3><br>
<p>In 1978, the building was acquired by Ansonia Associates, a consortium of three partnerships, for $2.5 million. The consortium, headed by Herbert Krasnow, Albert Schussler, and Stanley Stahl, The group began considering converting the building into residential condominiums, devising about 30 distinct floor plans. Over the following decades, one of the co-owners, Jesse Krasnow, began to collect hundreds of documents, photographs, building plans, and decorations.</p><br>
<h4>Initial renovations</h4><br>
<p>Almost immediately after acquiring the hotel, Jesse Krasnow sought to evict Platos Retreat, since the clubs presence made it difficult for Krasnow to obtain financing for a planned renovation of the Ansonia. and the owners spent $2 million on a waterproof flat roof and renovating vacant apartments. By one account, the owners spent $3.5 million to repair the roof, which still leaked. The masonry facade had also started to fall apart and was being repaired.</p><br>
<p>Krasnow had spent $21 million on renovations by 1980; he had created a $4 million reserve fund for the building, and he opened a 100-space parking garage in the basement to provide income for the Ansonia. Even so, Krasnow continued to face considerable opposition from residents. The owners had renovated the 12th-floor hallway with dropped ceilings and two types of wallpaper and carpeting, intending to extend these design features to the rest of the interior. An article in The Village Voice, documenting the changes, was published under the headline "Barbarians Rape the Ansonia". As such, residents requested that the city&#39;s CAB recategorize the building as an apartment house.</p><br>
<p>The CAB unfroze rents for 333 apartments in early 1980 after the owners had announced their intentions to repair these apartments. The owners indicated that they would raise these apartments&#39; rents by 46 percent, to make up for rent increases that had been deferred during the rent freeze, Some of the tenants were unable to pay the increased rates, as they were retired and lived on Social Security payments. The owners and the ARA settled their dispute in February 1981. The settlement limited the extent to which the rents could be raised, provided tenants with rent abatements and concessions, and placed restrictions on the scope of the renovations. A group of dissenting residents, led by Thomas Soja, formed the Ansonia Tenants Coalition (ATC). Members of the ATC also paid rent into an escrow account, then sued Krasnow using the interest collected from that account.</p><br>
<h4>Condo-conversion plan and lawsuits</h4><br>
<p>The Ansonias owners planned to convert the 471 apartments on the 15 upper stories to residential condos, while retaining ownership of the ground-level storefronts and basement garage. The condos were to cost about $48,500 per room, whereas residents typically paid $150 per month per room. The Attorney General of New York could approve the Ansonias condo-conversion plan if five percent of tenants bought condos, but tenants alleged that the building still had significant issues. In another lawsuit filed by several tenants, a state judge ruled that the owner could temporarily raise rents to pay for capital improvements, but that the owner had to undo the rent increases when the project was finished. The latter decision was later overturned.</p><br>
<p>The New York City Department of Sanitation fined the Ansonias owners $400,000 in 1988 for failing to remove asbestos from the building, as was required under city law. Ansonia Associates had completed several aspects of the renovation by early 1990. These included a new boiler room; upgraded telephone and wiring systems; repairs to the roof; and addition of storm windows. That March, one person was killed and 16 others were injured after the plaster ceiling of a croissant shop at the Ansonias ground level collapsed. An investigation found that the collapsed ceiling had supported the weight of a false ceiling and mechanical equipment that had been installed in the 1980s</p><br>
<p>Meanwhile, Krasnow began buying out the tenants who had most strongly opposed the condo-conversion plan. In 1990, the tenants and Ansonia Associates finally agreed on a condo offering plan, wherein they could either buy or continue to rent their apartments. Tenants who wished to buy their apartments would pay 60 percent below market rates; for a one-bedroom apartment, this equated to $125,000, although many tenants could not afford even the discounted price. Ansonia Associates initially proposed selling 50 condos for between $101,000 and $939,000, and they planned to spend between $9 million and $11 million on further renovations. The proposed renovations included restoration of the lobby, sitting rooms, and elevators; adding kitchens; adding ventilation ducts and fans to 250 units; and replacing the electrical distribution system, The main entrance on 73rd Street, a porte-cochère, would be restored. The Ansonia Tenants Association agreed to the proposal, but the Ansonia Tenants Coalition did not want the conversion to proceed until the building-code violations had been fixed.</p><br>
<h4>Beginning of condo conversion</h4><br>
<p>The Ansonias condo offering plan went into effect in 1992. and opened a store at the Ansonia the next year. Also in 1994, the New York Court of Appeals upheld a lower courts ruling that the building could not be called a hotel.</p><br>
<p>Condo sales lagged until the late 1990s. Ansonia Associates had sold 60 apartments by 1996, at which point it had hired Zeckendorf Realty to market the building; Zeckendorf opened a sales office with three employees. each of which was designed for a specific buyer. Some of the building&#39;s apartments were combined over the years after tenants had died or relocated. By the late 1990s, the building had 410 apartments, compared with 520 before the condominium conversion had started.</p><br>
<h4>2000s to present</h4><br>
<p>By the 2000s, apartments were routinely selling for several million dollars, although Steven Gaines characterized the lobby as still being "a little dowdy". Apparel company The North Face renovated the ground-floor retail space at 73rd Street in the early 2000s, restoring some windows that had been hidden behind a masonry wall for several decades. By 2005, most of the rent-controlled tenants had moved out, and their units had been converted to condos. Only one-quarter of the units were rent-controlled or rent-stabilized; the remaining three-quarters of the building was composed of condominiums. According to Ansonia Realty sales director Bernie Gelb, the building had between two and five vacant apartments at any given time. Due to the buildings landmark status, condo owners could not replace the windows when renovating their apartments; in addition, Ansonia Realty had to approve all subleases of the condos. A Loehmanns store opened in the buildings basement in 2007, within the space formerly occupied by the Continental Baths and Platos Retreat.</p><br>
<p>The building continued to face lawsuits over the years, and it had been the subject of more than 800 lawsuits by 2014. For instance, a resident sued the Ansonia&#39;s managers in 2007, alleging that the building was infested with cockroaches, and a family sued their neighbor over cigarette smoke the next year. Nonetheless, by 2011, the Times reported that prices at the Ansonia, and at other condominiums on the Upper West Side, were higher than at housing cooperatives along Central Park. Apartments continued to be sold for millions of dollars, although 27 apartments were sold between 2009 and 2014 for less than $500,000. Some rent-regulated tenants also remained in the building.</p><br>
<h2>Notable tenants</h2><br>
<p>The Ansonia was nicknamed "The Palace for the Muses" because many of its residents were musicians and artists. In general, these residents were not also members of high society; Hawes wrote that many residents "represented elements still considered alien or unsavory to old-fashioned society people".</p><br>
<p>After the building was converted to condominiums in the 1990s, it began to attract lawyers, doctors, and financiers. Over the years, residents have included:</p><br>
<p>Frances Alda, soprano</p><br>
<p>Martin C. Ansorge, USA representative</p><br>
<p>Abdul-Bahá, son and chosen successor of Baháulláh, the founder of the Bahá&#39;í Faith</p><br>
<p>Sarah Bernhardt, actress</p><br>
<p>Billie Burke, actress; lived with her husband Florenz Ziegfeld Jr.</p><br>
<p>Enrico Caruso, tenor</p><br>
<p>Feodor Chaliapin, bass</p><br>
<p>Fausto Cleva, conductor</p><br>
<p>Richard and John Contiguglia, concert pianists</p><br>
<p>Royal S. Copeland, USA senator</p><br>
<p>Jack Dempsey, boxer</p><br>
<p>Theodore Dreiser, writer</p><br>
<p>Richard Dreyfuss, actor</p><br>
<p>Geraldine Farrar, soprano and actress</p><br>
<p>Sam Franko, conductor</p><br>
<p>Chick Gandil, baseball player</p><br>
<p>Giulio Gatti-Casazza, opera manager</p><br>
<p>Anna Held, actress; lived with her husband Florenz Ziegfeld Jr.</p><br>
<p>Victoriano Huerta, Mexican dictator</p><br>
<p>Sol Hurok, impresario</p><br>
<p>Angelina Jolie, actress</p><br>
<p>Andre Kostelanetz, conductor; lived with his wife, Lily Pons</p><br>
<p>Lillian Lorraine, actress</p><br>
<p>Gustav Mahler, composer and conductor</p><br>
<p>Lauritz Melchior, tenor</p><br>
<p>Yehudi Menuhin, violinist</p><br>
<p>Bob Meusel, baseball player</p><br>
<p>Mae Murray, actress</p><br>
<p>Lefty O&#39;Doul, baseball player</p><br>
<p>Charles Henry Parkhurst, clergyman</p><br>
<p>Ettore Panizza, composer</p><br>
<p>Roberta Peters, soprano</p><br>
<p>Ezio Pinza, bass</p><br>
<p>Lily Pons, soprano; lived with her husband, Andre Kostelanetz</p><br>
<p>Ashley Putnam, soprano</p><br>
<p>Elmer Rice, playwright</p><br>
<p>Isaac L. Rice, businessman; lived with wife Julia Barnett Rice</p><br>
<p>Julia Barnett Rice, activist; lived with husband Isaac L. Rice</p><br>
<p>Babe Ruth, baseball player</p><br>
<p>Bidu Sayão, soprano</p><br>
<p>Ignacio Sánchez Mejías, bullfighter</p><br>
<p>Wally Schang, baseball player</p><br>
<p>Tito Schipa, tenor</p><br>
<p>Antonio Scotti, baritone</p><br>
<p>Eleanor Steber, soprano</p><br>
<p>Teresa Stratas, soprano</p><br>
<p>Igor Stravinsky, composer</p><br>
<p>Arturo Toscanini, conductor</p><br>
<p>Florenz Ziegfeld Jr., impresario; lived with his wives</p><br>
<h2>Impact</h2><br>
<h3>Critical reception</h3><br>
<p>When the building was being developed, in 1902, the New-York Tribune characterized the Ansonia as "an up-to-date specimen of apartment architecture". Christopher Gray wrote in 1987 that the Ansonia, along with the Apthorp and the Belnord, "gave a cosmopolitan electricity to" the section of Broadway north of 59th Street. In the 1983 book New York 1900, Robert A. M. Stern and his coauthors wrote that the building "transformed Parisian prototypes into a veritable skyscraper".</p><br>
<h3>Influence and media</h3><br>
<p>The presence of the building influenced David Childss design of the Alexandria, constructed at Broadway and 72nd Street in 1990. That development contains an illuminated octagonal cupola as a homage to the Ansonias turrets. The Laureate condominium building at Broadway and 76th Street, completed in the 2000s, also contains balconies, curved corners, and rusticated blocks inspired by those of the Ansonia.</p><br>
<p>The building has been depicted in several media works In the film Perfect Stranger (2007), Halle Berry plays a news reporter who lives in an Ansonia condo. The facade was used as a set for the 2012 TV show 666 Park Avenue, whose producer David Wilcox said he had been attracted by the building&#39;s "absolutely fascinating" history. Its facade was also depicted in the TV show The Marvelous Mrs. Maisel, standing in for the fictional "Dansonia". In addition, the Ansonia has been used as a setting or filming location for movies such as The Sunshine Boys (1975), Single White Female (1992), and Uptown Girls (2003). Rod McKuen included a song titled "Full Moon Over the Ansonia Hotel" on his 1977 album Slide... Easy In.</p><br>
<p>Fort Fillmore, located at 32°13′30″N 106°42′52″W, was a United States military fortification established by Colonel Edwin Vose Sumner in September 1851 near Mesilla in what is now New Mexico, primarily for the purpose of protecting settlers and traders traveling to California. Early frontier migrants were under constant threat from attack by local Native Americans, and a network of forts was eventually created by the USA government to protect and encourage westward expansion. Fort Fillmore was intended to protect a corridor plagued by hostile Apaches, where several migration routes converged between El Paso and Tucson to take advantage of Apache Pass.</p><br>
<h2>Construction</h2><br>
<p>Fort Fillmore was originally constructed in the jacal style with upright wood posts plastered over with adobe; later, more substantial adobe walls were erected. Much of the work on the fort was done by the soldiers with the assistance of local Mexican laborers who made the adobe bricks.</p><br>
<p>The post was built on sand hills above the Rio Grande. The Rio Grande would later change its course, making the fort about 1 mile from the river. This forced the army to use water wagons to supply the post with water and made it hard to defend in the event of attack.</p><br>
<p>Fort Fillmore served as an operating base for units of the 1st Dragoons, briefly the 2nd Dragoons, Regiment of Mounted Rifles, and the 3rd and briefly the 8th Infantry Regiments. It was for a time the headquarters of the 3rd Infantry Regiment. The troops were active in the Gila Expedition of 1857 and in operations against the Apaches in the Sacramento Mountains. In one foray, Captain Henry W. Stanton, namesake of Fort Stanton, New Mexico, was killed near the Rio Penasco. His grave was one of the few to be identified when the abandoned post was inspected in 1869. Most of the soldiers and civilians interred in the forts cemetery are still buried there on a sand ridge southeast of the remains of the fort. A fence and flagpole are now located on the cemeterys site.</p><br>
<p>Fort Fillmore was a stop on the Butterfield Overland Mail.</p><br>
<p>Possibly the most famous soldier who served at Fort Fillmore was Captain George Pickett. Pickett is best remembered for leading the fateful charge on July 3, 1863 at the Battle of Gettysburg. In 1855, Union General Ambrose Burnside used the fort as a supply point when he drilled geothermal wells about fifteen miles west of the post.</p><br>
<h2>Abandonment</h2><br>
<p>Two days after the Union&#39;s unsuccessful attack on Confederate soldiers under the command of Lt. Col. John Baylor at the First Battle of Mesilla on July 25, 1861, Fort Fillmore was set afire and abandoned by the Union army. As they retreated back to Fort Stanton under Major Isaac Lynde, they became desperately thirsty and exhausted. When 300 Confederate soldiers approached the 500 retreating Union soldiers, Lynde surrendered his demoralized troops without firing a shot.</p><br>
<p>On August 7, 1862, federal troops near Fort Fillmore engaged in a skirmish with Confederate troops retreating from Santa Fe, defeating them.</p><br>
<p>The fort was officially closed by the Union in October 1862, but sources continue to mention Fort Fillmore as a waypoint along several major routes throughout the period of westward expansion. The Upper and Lower Emigrant Trails converged in El Paso and, along with the Butterfield, Pacific and Overland Trails, passed through the corridor Fort Fillmore was erected to defend. The remains of the fort were leveled at some later date after a failed attempt by the owner to sell or trade it to the State of New Mexico as a park. A grove of pecan trees now stands on the approximate location of the fort.</p><br>
<p>El Santuario de Chimayó is a Roman Catholic church in Chimayo, New Mexico, United States.  This shrine, a National Historic Landmark, is famous for the story of its founding and as a contemporary pilgrimage site. It receives almost 300,000 visitors per year and has been called "no doubt the most important Catholic pilgrimage center in the United States."</p><br>
<h2>Description</h2><br>
<p>The Santuario is on Juan Medina Drive in Chimayo. It is entered through a walled courtyard. Built of adobe with a bell tower on each side, Pointed caps on the towers and a metal pitched roof (blocking the clerestory) were added after 1917, probably in the 1920s. The "elegant" doors were carved by the 19th-century carpenter Pedro Domínguez. An unusual feature is two side-by-side rooms at the entrance forming a vestibule or narthex, once used for storage. The nave contains a crucifix representing Christ of Esquipulas, 6 ft tall. Other notable folk-art decorations include five reredoses</p><br>
<h2>History</h2><br>
<p>In the early 19th century, 19 families lived in what was then called El Potrero de Chimayó (potrero means pasture). The land where the Santuario stands belonged to Don Bernardo Abeyta, one of the first members of Los Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesús Nazareno (the Penitentes) in the area. He was probably devoted to the Christ of Esquipulas, a pilgrimage site in Guatemala where the clay is ascribed healing power. A nephew of Don Bernardo was christened Juan de Esquipulas in 1805.</p><br>
<p>Bernardo Abeyta built a small chapel to the Christ of Esquipulas on the site around 1810. On November 15, 1813, he wrote to Father Sebastián Álvarez, the parish priest of Santa Cruz de la Cañada, asking him to write to the Episcopal See of Durango for permission to build a bigger church in which the people of El Potrero could worship Jesus as he appeared at Esquipulas and could hear Mass. The next day, Fr. Álvarez wrote the letter, mentioning that cures were reported and many pilgrims were arriving. On February 8, 1814, Francisco Fernández Valentín, Vicar General of the Diocese of Durango, wrote back with permission. By 1816 the chapel was replaced by the El Santuario shrine.</p><br>
<p>Abeyta&#39;s daughter, Carmen Abeyta de Chaves, inherited the property and kept it despite an attempt to force her to give it to the Church; a major source of her income was donations from pilgrims. Her daughter, María de los Ángeles Chaves, inherited it in turn and was the owner as of 1915. members of the newly formed Spanish Colonial Arts Society bought the property and donated it to the Archdiocese of Santa Fe.</p><br>
<p>El Santuario de Chimayó was declared a National Historic Landmark in 1970.</p><br>
<h2>Annual observances</h2><br>
<p>Each year some 300,000 people from all over the world make pilgrimages to the Santuario de Chimayó during Holy Week, especially on Holy Thursday and Good Friday, some seeking blessings and some in fulfillment of a vow. Walking is traditional; some pilgrims walk from as far away as Albuquerque, about 90 miles (150 km). While the pilgrimage began in the 19th century, it was revived by survivors of the Bataan Death March after World War II.</p><br>
<p>Many visitors to the church take a small amount of the "holy dirt", often in hopes of a miraculous cure for themselves or someone who could not make the trip. Formerly, at least, they often ate the dirt. (Likewise pilgrims to the original shrine of Esquipulas eat the supposedly curative clay found there.) Seekers of cures more commonly rub themselves with the dirt or simply keep it. The Church replaces the dirt in the pocito from the nearby hillsides, sometimes more than once a day, totalling up to 25 or 30 tons a year.</p><br>
<p>The Church takes no position on whether miracles have occurred at the Santuario.</p><br>
<p>The feast of Our Lord of Esquipulas is celebrated on January 15 or on the Sunday nearest that date. The feast of St. James the Great (Santiago) is celebrated on the fourth weekend of July.</p><br>
<h2>Legends</h2><br>
<p>Some say that before the Spaniards arrived, a hot spring that then flowed near the site was sacred to the Tewa Indians for its healing powers.</p><br>
<p>One version of the legend says that during Holy Week, Abeyta (or a friar) saw a light shining from the hillside and dug the crucifix up with his bare hands. He turned it over to Fr. Álvarez, who took it to the Santa Cruz church, but the crucifix mysteriously returned to the spot where Abeyta found it. After the third time this happened, Álvarez and Abeyta decided to build a chapel on the spot to house the crucifix.</p><br>
<p>Another version says Abeyta was watching his sheep and contemplating his blessings, though he was sick, when a vision of his patron saint, San Esquipula, beckoned to him. He went to the place where the saint had appeared and knelt; he was cured immediately. Other people also were cured there, and Abeyta built the chapel in thanks.</p><br>
<p>Yet another version says that the crucifix had belonged to a priest from Esquipulas who accompanied the first Spanish settlers in Chimayo. He was killed by Indians and buried in Chimayo. A flood of the Santa Cruz River (a small tributary of the Rio Grande) in the spring of 1810 uncovered the body and the crucifix. People who remembered the priest dedicated the shrine to the Christ of Esquipulas.</p><br>
<h2>Skeptical reception</h2><br>
<p>In 2013 skeptical investigator Joe Nickell wrote that "claims made for holy dirt at Chimayo are unwarranted. Despite borrowed and contrived legends that the site is miraculous, the soil is actually an ordinary variety trucked in from elsewhere and merely blessed."</p><br>
<p>Researcher Benjamin Radford reported finding little evidence to corroborate claims of miraculous cures in his 2014 book Mysterious New Mexico.</p><br>
<h3>Pilgrimage, Good Friday, March 21, 2008</h3><br>
<p>The Anson Mills Building is a historic building located at 303 North Oregon Street in El Paso, Texas. The building stands on the original site of the 1832 Ponce de León ranch. Anson Mills hired Henry C. Trost of the Trost and Trost architectural firm to design and construct the building. Trost was the areas foremost pioneer in the use of reinforced concrete. Built in 1910–1911, the building was only the second concrete-frame skyscraper in the United States, and one of the largest all-concrete buildings. At 145 feet , the 12-story Mills Building was the tallest building in El Paso when completed. The architectural firm of Trost and Trost moved its offices to the building upon completion, where they remained until 1920. The Mills family sold the building in 1965. The building stands on a corner site opposite San Jacinto Plaza, with a gracefully curved street facade that wraps around the south and east sides. Like many of Trosts designs, the Anson Mills Building&#39;s overall form and strong verticality, as well as details of the ornamentation and cornice, are reminiscent of the Chicago School work of Louis Sullivan.</p><br>
<p>In 1974, the Mills Building&#39;s windows were replaced with vertical bands of mirrored glass, radically altering its appearance.</p><br>
<p>The Mills Building was designated as a Texas Historic Civil Engineering Landmark by the American Society of Civil Engineers in 1981.</p><br>
<p>Fort Macomb is a 19th-century United States brick fort in Louisiana, on the western shore of Chef Menteur Pass. It is listed on the National Register of Historic Places. The fort is adjacent to the Venetian Isles community, now legally within the city limits of New Orleans, Louisiana. This community was some miles distant from the city when first built and is still distant from the main developed portion of the city.</p><br>
<h2>History</h2><br>
<p>Chef Menteur Pass is a water route from the Gulf of Mexico to Lake Pontchartrain and the lakeshore of New Orleans. (The other route is the Rigolets; both straits connect Pontchartrain to the Gulf via Lake Borgne.) An earlier fort at the site was called Fort Chef Menteur.</p><br>
<p>The United States built the current brick fort in 1822, just seven years after British forces invaded the New Orleans area from the sea, at the close of the War of 1812. It was named Fort Wood in 1827 renamed Fort Macomb in 1851, for General Alexander Macomb, former Chief of Engineers and the second Commanding General of the United States Army.</p><br>
<p>The small fort shaped like a pie wedge has a curved front facing the channel; the curve overlaps the two straight walls, forming demi-bastions. At the salient of the two straight walls is a full bastion facing landward. The fort was surrounded by two wet ditches (moats) with extensive outworks between the ditches. On the parade stands a citadel, a defensive barracks.</p><br>
<p>A Louisiana garrison took control of and occupied the fort starting on 28 January 1861 early in the American Civil War. In 1862 the Union Army regained control of the fort and also occupied New Orleans.</p><br>
<p>In 1867 the barracks caught fire, after which the fort was largely abandoned by the USA Army. It was decommissioned in 1871.</p><br>
<h2>Preservation</h2><br>
<p>The fort and its land are now owned by the State of Louisiana. While some efforts were made to open it to limited tourism in the late 20th century, the decaying condition of the fort was judged too hazardous for public visits. The similar but better preserved Fort Pike, some 10 mi away at the Rigolets, is the regional coastal fort that is open to visitors. (currently closed for budget reasons.)</p><br>
<p>In February 2013 a group of 97 students and their chaperones from Oakland County, Michigan helped clear the mud and debris caused by various hurricanes from the inside of the Fort.</p><br>
<h2>Filming location</h2><br>
<p>The climax of the first-season finale of the 2014 television series True Detective was filmed on location at Fort Macomb.</p><br>
<p>This site is also a filming location for the television series Into the Badlands in 2015.</p><br>
<p>In 2016, Beyoncé filmed portions of her critically acclaimed visual album, Lemonade, at Fort Macomb.</p><br>
<p>Episode 17 of Season 4 of NCIS: New Orleans used the location for a concluding scene.</p><br>
<p>The James Blake House is the oldest surviving house in Boston, Massachusetts, United States. The house was built in 1661 and the date was confirmed by dendrochronology in 2007. It is located at 735 Columbia Road, in Edward Everett Square, just a block from Massachusetts Avenue. The Dorchester Historical Society now owns the building and tours are given on the third Sunday of the month.</p><br>
<h2>History</h2><br>
<p>The house was built in a Western English style of post–medieval architecture by James Blake, an immigrant from England. The Blake family owned the house until 1825 when it was acquired by the Williams family. In 1891, the City of Boston acquired the house. In order to save the house from demolition in 1896, the Dorchester Historical Society acquired the property from the city and moved the house less than 500 feet from its original location by Massachusetts Avenue to its current location. In 1978, the interior and exterior of the house were designated as a Boston Landmark by the Boston Landmarks Commission.</p><br>
<p>The immediate area, as well as the house, have been undergoing an extensive renovation and preservation. The house was completely re-shingled and the grounds improved.</p><br>
<p>Friends Hospital is a psychiatric hospital located in Philadelphia, Pennsylvania, United States.</p><br>
<p>Founded in 1813 by Quakers as The Asylum for the Relief of Persons Deprived of the Use of Their Reason, the institution was later renamed the Frankford Asylum for the Insane. It was the first private mental hospital in the United States, and is the oldest such institution with a continuous history of operation. Its campus, which dates to its founding, is a National Historic Landmark.</p><br>
<p>Friends Hospital is accredited by the Joint Commission on Accreditation of Healthcare Organizations and licensed by the Commonwealth of Pennsylvania.</p><br>
<h2>Mission</h2><br>
<p>The 1813 mission statement of the hospital was "To provide for the suitable accommodation of persons who are or may be deprived of the use of their reason, and the maintenance of an asylum for their reception, which is intended to furnish, besides requisite medical aid, such tender, sympathetic attention as may soothe their agitated minds, and under the Divine Blessing, facilitate their recovery."</p><br>
<h2>History</h2><br>
<p>The Quakers established Friends Hospital in 1813, drawing on a belief that all persons could live a "moral, ordered existence if treated with kindness, dignity, and respect", despite disabilities. The influential minister Thomas Scattergood decried what he considered the harsh conditions faced by patients in mental asylums, calling for the "moral treatment" of patients. This model served as an inspiration for the establishment of the Friends Asylum for Persons Deprived of the Use of Their Reason; it was the United States&#39; first privately run psychiatric hospital.</p><br>
<h2>Greystone Program</h2><br>
<p>Located on the grounds of the Friends Hospital, the Greystone Program occupies two houses, Greystone House and Hillside House, and is a long-term community residence for individuals with severe and persistent mental illnesses. Some residents chose to make the Greystone Program their permanent home while others transition to a less structured environment.</p><br>
<p>The Nehemiah Royce House, also known as the Washington Elm House, is a historic home located at 538 North Main Street in Wallingford, Connecticut, United States. The saltbox house was constructed in 1672. George Washington visited the house twice, first in 1775 while on his way to take command of the Continental Army in Cambridge, Massachusetts, and again in 1789 when he gave an address to the townspeople in front of the house near the Elm.</p><br>
<h2>Biography of Nehemiah Royce</h2><br>
<p>Nehemiah Royce was christened on May 30, 1637 (actual birth date unconfirmed), at St. Michael&#39;s church in Stamford, Lincolnshire, England, the son of Robert Royce and Mary Jugkson/Jackson.</p><br>
<p>On November 20, 1660, he married Hannah Morgan. They had nine children together.</p><br>
<p>Royce, a carpenter, joiner and blacksmith by trade, was one of Wallingford&#39;s original 38 proprietors authorized by the Connecticut General Assembly in 1667 to purchase land from the Quinnipiac nation. On May 12, 1670, Wallingford was incorporated and about 126 people settled in the town. On May 11, 1693, Royce was elected deputy representing Wallingford to the Court of the Connecticut Colony.</p><br>
<p>He died on November 1, 1706.</p><br>
<h2>House</h2><br>
<p>The Royce house is an example of American colonial saltbox architectural style. The Royce family occupied the house for over 200 years. The house was moved to its current location in 1924.</p><br>
<p>The prominent figures associated with the 1930s-1940s rehabilitation of the Royce House is an impressive roster of leaders in the historic preservation movement</p><br>
<p>in New England. The list includes Richard Henry Dana, William Sumner Appleton, Elmer Keith, J. Frederick Kelly, George Dudley Seymour, and Bertram Little. For a time it was a museum and then was used as a residence by Choate Rosemary Hall, until the school donated the house to the Wallingford Historic Preservation Trust in 1999. It is listed in the National Register of Historic Places.</p><br>
<p>The Asa Gray House, recorded in an HABS survey as the Garden House, is a historic house at 88 Garden Street, Cambridge, Massachusetts. A National Historic Landmark, it is notable architecturally as the earliest known work of the designer and architect Ithiel Town, and historically as the residence of several Harvard College luminaries. Its most notable occupant was Asa Gray , a leading botanist who published the first complete work on American flora, and was a vigorous defender of the Darwinian theory of evolution.</p><br>
<h2>History</h2><br>
<p>The Gray House was designed in 1810 by architect Ithiel Town, whose earliest known work it is. It was built for the zoologist William Dandridge Peck, and originally stood at the corner of Garden and Linnaean Streets in Cambridge, Massachusetts, on the grounds of the Harvard College Botanical Garden. Subsequent occupants included botanist Thomas Nuttall and Harvard presidents James Walker and Jared Sparks. Asa Gray purchased the house in 1842 and moved in during the summer of 1844, after receiving an appointment to a professorship at Harvard that he would hold for 45 years. Already a rising star in the world of botany, Gray in 1848 published The General of the Plants of the United States, which was not only groundbreaking for the content, but also in its presentation. His discovery of relationships between plants of North America and East Asia was influential in the growth of the field of plant geography. His highly public defense of Charles Darwin&#39;s On the Origin of Species gained him widespread attention in the public sphere.</p><br>
<p>The Gray House was purchased in 1910 by Allen Cox, who moved it to its present address the same year. Gardner Cox (one of Allen&#39;s children and a well known artist in Boston, converted the attached carriage house into an art studio). Benjamin (an executive) & Liz Shepherd (a sculptor and printmaker) bought the house in 1999 and restored it. They were awarded a Restoration Award for their work by the Cambridge Historical Commission in 2001. They restored the art studio in 2006. It is still a private residence, and was declared a National Historic Landmark in 1965.</p><br>
<h2>Architecture</h2><br>
<p>The house has a rectangular main block, measuring 40 x, with a side ell that is about 24 ft square. When first built, it was attached to a plant conservatory that was also designed by Town. The house is two stories tall and five bays wide, with a hip roof surrounded by a low balustrade. The main facade is flushboarded, with pilasters at the corners; the other sides of the house are sheathed in clapboards. The cornice on the main block is dentillated; that on the ell is plain. The main entrance is centered on the front facade, with sidelight windows on either side and a fanlight window above. The entry is sheltered by a portico supported by clustered square columns; this portico is a replacement to the original, made when the house was moved. There is a secondary entrance in the ell, which is sheltered by a closed-in porch dating to c. 1920. At the rear of the house is an addition, roughly dating to the move but extended later, which incorporates a formerly-external shed into the house.</p><br>
<p>The interior of the house follows a typical Federal-period center hall plan, with the central hall divided into front and rear sections (each with a staircase) by a doorway with a fanlight. There are two rooms on either side of the central hall. The woodwork in the public spaces is not particularly elaborate, with simple cornice moldings and fireplace surrounds, and flared moldings around the windows. The downstairs room of the ell served as Asa Gray&#39;s study, and includes a number of wood-frame display cases lining one wall.</p><br>
<p>The Blaine House, also known as the James G. Blaine House, is the official residence of the governor of Maine and their family. The executive mansion was officially declared the residence of the governor in 1919 with the name "Blaine House". It is located at Capitol and State streets in Augusta, across the street from the Maine State House.</p><br>
<p>The Blaine House was donated to the State of Maine for use as a governors residence by Harriet Blaine Beale in 1919. The house dates back to 1833 and was built by James Hall, a retired ships captain. James G. Blaine, then the Speaker of the Maine House of Representatives, purchased it in 1862 as a present for his wife, the former Harriet Stanwood, daughter of a prominent Augusta family. Blaine substantially enlarged the building, constructing an addition at the rear that was a near replica of the original structure, and removing interior walls to create a large entertainment space.</p><br>
<p>During World War I the house was used by Maines Committee for Public Safety. It was presented to the State by Blaines youngest daughter, Mrs. Harriet Blaine Beale, and established by the 1919 Legislature as the official residence of the governor of Maine. It was remodeled, to designs by the noted Maine architect John Calvin Stevens, prior to the first governor taking residence in 1921. Carl E. Miliken was the first governor to occupy the residence.</p><br>
<p>The Blaine House was declared a National Historic Landmark in 1964, for its association with Blaine, an influential political and diplomatic figure on the national stage in the decades following the Civil War.</p><br>
<p>In June 2014, a system of high efficiency heat pumps was installed in the Blaine House in an effort to reduce the heating bill, after a test of one over the winter in the governor&#39;s sleeping quarters. With heating oil, the Blaine House used 5,074 gallons of oil at a cost of $16,775 in 2013. The oil boiler is also going to be converted to natural gas in a further effort to reduce costs, though that system will only be needed on the coldest days. The total cost of the upgrades is expected to be $115,000.</p><br>
<p>The current resident is Governor Janet Mills.</p><br>
<p>The Plaza Ferdinand VII is an outdoor garden and park in the Historic Pensacola Village area of downtown Pensacola, Florida. It is located on Palafox Street between Government and Zaragoza Streets. It was named after Ferdinand VII of Spain, the King of Spain between 1813 and 1833. A National Historic Landmark, it is the site of the formal transfer of Florida to United States jurisdiction in 1821.</p><br>
<h2>Background</h2><br>
<p>Plaza Ferdinand VII is bounded on the north by Government Street, the east by Jefferson Street, the south by Zarragossa Street, and the west by Palafox Street. About 2 acre in size, it is a grassy area, dotted with trees, and criss-crossed by paved walkways. It has three principal features: a fountain near the northern end, an obelisk at the center, and a memorial to Andrew Jackson near the southern end. The central obelisk is a memorial to railroad baron and mayor of Pensacola William Dudley Chipley.</p><br>
<p>The plaza forms part of a street plan laid out in 1765, when Pensacola was the capital of the British colony of West Florida. Originally the central park of that plan was somewhat larger, but significant portions were subdivided and sold off in 1802, when West Florida was again a Spanish colony.</p><br>
<h2>Historical significance</h2><br>
<p>Under the Adams–Onís Treaty, negotiated in 1819, Spain agreed to cede Florida to the United States. Spain did not formally ratify the treaty until 1821. In March of that year, Andrew Jackson was appointed its first territorial governor, and was given the task of overseeing the transfer of the territories of East and West Florida from Spanish authorities. A formal ceremony was held in St. Augustine on July 10, in which the chief United States representative was Jackson&#39;s deputy, Robert Butler. Jackson attended the ceremony held on this plaza on July 21, in which the Spanish flag was lowered and the American flag raised. He then made a speech to the townspeople, informing them that the land was now the Florida Territory, and that Pensacola would be its capital. The bust of Jackson now stands at the spot where he was formally inaugurated as territorial governor. The bust was donated in 1935 by the Pensacola Historic Preservation Society.</p><br>
<p>The plaza was declared a National Historic Landmark in 1960. As such, it was automatically included in the National Register of Historic Places when that program began in 1966.</p><br>
<p>In 1989, the plaza was listed in A Guide to Florida&#39;s Historic Architecture, published by the University of Florida Press.</p><br>
<p>Archaeologists, in 2002, discovered evidence of British structures previously not known to have existed in that area.</p><br>
<h2>New Year&#39;s celebration</h2><br>
<p>Plaza Ferdinand was the site of the Pelican Drop.</p><br>
<h2>Notable buildings near the plaza</h2><br>
<p>Saenger Theatre</p><br>
<p>Quayside Art Gallery, 17 E. Zarragossa, located in an 1873 firehouse</p><br>
<p>Federalist House, 11 E. Zaragoza Street.</p><br>
<p>The Hulda Klager Lilac Gardens are nonprofit botanical gardens specializing in lilacs, located at 115 South Pekin Road, Woodland, Washington. The gardens open in Spring mid-April for Lilac Days 10:00am–4:00pm daily *check website for dates; After Lilac Days check website for current days/hours. There is an admission fee charged payable at the cashier station. A small admission supports the operation of the gardens. There is also an annual plant sale during Lilac Days only. The house and museum are only open during Lilac Days.</p><br>
<h2>History</h2><br>
<p>The gardens were established by Hulda Klager (1863–1960), who began hybridizing lilacs in 1905. She was inspired by the work of Luther Burbank. By 1910 she had created 14 new varieties, and in 1920 she started showing her lilacs every spring.</p><br>
<p>In 1948 the gardens were flooded, only the larger trees survived. People who had purchased plants in the past returned starts to Hulda and the gardens were replanted. Two years later in 1950 the gardens were once again open for the annual "Lilac Week".</p><br>
<p>Hulda eventually developed over 250 varieties. After her death, the gardens were preserved and then organized into a nonprofit foundation in 1976.</p><br>
<p>Today the gardens contain more than 90 varieties of lilacs, as well as Victorian gardens and a farmhouse.</p><br>
<p>The Elsinore Theatre is a theatre located in Salem, Oregon, United States, that first opened on May 28, 1926.</p><br>
<h2>Early years</h2><br>
<p>Owner George Guthrie enlisted the firm of Lawrence and Holford to design the theatre in a Tudor Gothic style meant to resemble the castle in the city of Elsinore from Shakespeares play Hamlet. Ellis F. Lawrence, the first dean of the University of Oregon school of architecture, was the projects principal architect. The building features stained glass by the Povey Brothers and a Mighty Wurlitzer theatre organ similar to the original, which was dismantled in 1962. Originally the Elsinore was designed for live performances and silent films. Three years after its construction in 1926, Guthrie leased the theatre to Fox West Coast Theatres. It was at this time that sound movies came to the theatre.</p><br>
<h2>Decline and restoration</h2><br>
<p>In 1954, the theater began a general decline from its once great status in Salem into a second-run movie theater. In 1980, the Elsinore was set to be demolished. A grassroots effort known as the Save the Elsinore Committee did not want to let this historical treasure be demolished, and so began to work hard with local authorities to save the theater.</p><br>
<p>During the 1980s, the Save the Elsinore Committee obtained the consent of the owner to use the theater for 18 days of the year for free community events in order to spark public interest about the theater and its fate.</p><br>
<p>Until 1987, the theater was one of only three active movie theaters in downtown Salem (the others being the Capitol Theater just around the corner and an arthouse theater). Many of its customers came from Willamette University, drawn both by low admission prices and by the fact that the Elsinore was only two blocks off campus.</p><br>
<p>In approximately 1989, the theater was sold to Act III Theatres in conjunction with several other local movie theaters in the possession of Tom Moyer, who was the owner at the time. ACT III continued to allow the community to have limited use of the theater. ACT III did not have any interest in a 60-year-old movie theater however, and thus put it up for sale in 1990. The Save the Elsinore Committee jumped at the chance to gain ownership of the theater and launched a fundraising drive to purchase it. The funds were raised, and the theater was purchased. It continued to raise money for its operational costs through fundraising in the community and was graced by appearances from many stars at the turn of the millennium, most notably by actors James Earl Jones and Gregory Peck.</p><br>
<p>Finally, in February 2002, a deal was cut with CB2, the architectural firm also responsible for Salem&#39;s Riverfront Carousel, to help restore the Elsinore completely at an estimated cost of $3.2 million.</p><br>
<p>The Old State Capitol State Historic Site, in Springfield, Illinois, is a former capitol building for the USA state of Illinois, and one of two preserved former Illinois capitol buildings . It was built in the Greek Revival style in 1837–1840, when Springfield became the capital city, and served as the state house from 1840 to 1876, when it was replaced by the current capitol. It is the site of candidacy announcements by Abraham Lincoln in 1858 and Barack Obama in 2007. It was designated a National Historic Landmark in 1961, primarily for its association with Lincoln and his political rival Stephen Douglas.</p><br>
<h2>State House</h2><br>
<p>From 1820 through 1837, the political capital of the young state of Illinois was the small village of Vandalia, Illinois, in the south center of the state. On the National Road, Vandalia was initially well-situated to fulfill its governmental role. As northern Illinois opened to settlement in the 1830s, however, public pressure grew for the capital to be relocated to a location closer to the geographic center of the state.</p><br>
<p>A caucus of nine Illinois lawmakers, including the young Whig Party lawyer Abraham Lincoln, led the effort to have the capital moved to the Sangamon County village of Springfield. Their efforts were successful in 1837, when the Illinois General Assembly passed a law creating a two-year transition period with the goal of moving the capital to Springfield in 1839.</p><br>
<p>Workers built a state office building, large for the time, on the central square in Springfield in 1837–1840. The cost was $240,000, of which the city of Springfield paid $50,000. The structure, designed by local architect John Francis Rague and constructed of yellow limestone from the nearby town of Crow&#39;s Mill, contained chambers for both houses of the General Assembly, offices for the Governor of Illinois and other executive officials, and a chamber for the Illinois Supreme Court.</p><br>
<p>It was in this building that Lincoln served his final term as a state lawmaker in 1840–41. As a lawyer, he pleaded cases before the state supreme court in this building (1841–1860). In the Illinois House chamber, Lincoln made his House Divided speech in June 1858, announcing his candidacy for the USA Senate. It was to the same chamber, in May 1865, that his body was returned to lie in state, arriving from Washington, D.C., prior to final burial in Springfield&#39;s Oak Ridge Cemetery.</p><br>
<p>As a result of economic growth spurred by the American Civil War and consequent industrialization, this fifth or Old State Capitol was, by the 1870s, too small to serve the purpose for which it had been built. Illinois built its sixth and current State Capitol building four blocks to the southwest, and the state government turned the Old State Capitol over to Sangamon County to serve as the county courthouse.</p><br>
<h2>Courthouse</h2><br>
<p>From 1876 until 1966, the Old State Capitol was the county courthouse of Sangamon County. During this time the building was extensively altered. In 1839, a two-floor building had been large enough to hold the entire governmental structure of Illinois; but after continued growth in the population of Springfield and the surrounding townships, in 1898-1899 Sangamon County raised the historic structure 11 ft, added a third floor under it, and demolished and reconfigured the interior to hold circuit court rooms and office space.</p><br>
<p>In the early 1960s, the Civil War centennial rekindled interest in the historic central Springfield structure. In addition, Sangamon County&#39;s space needs had grown so urgent as to require the county to build for itself an entirely new courthouse building. The county retroceded the Old State Capitol to the state of Illinois, this time as a place of public assembly and museum of Lincoln history.</p><br>
<h2>Illinois Historic Preservation Agency</h2><br>
<p>In order to restore and preserve the Old State Capitol, which had been extensively altered during its life as a courthouse, workers completely dismantled it, stone by stone, and rebuilt it. The public areas of the Old State Capitol were reconstructed to resemble the appearance of the building in 1860, when Lincoln last saw the capitol prior to his departure to Washington.</p><br>
<p>The state also excavated the plaza under and around the Old State Capitol to construct an extensive office and parking complex, which later served as the headquarters of the Illinois Historic Preservation Agency.</p><br>
<p>The reconstruction work was carried out in 1966–1969, and the rebuilt House Chamber was available for the state&#39;s Constitutional Convention to use in 1970.</p><br>
<p>The restored Old State Capitol continues to be used for ceremonial functions. In February 2007 then-USA Senator Barack Obama officially announced his candidacy for President of the United States at this location, and in August 2008 he formally introduced his vice-presidential candidate, Joe Biden, with the building as a backdrop.</p><br>
<p>Visitors can tour the capitol on their own or take 30-minute guided tours.</p><br>
<h2>In popular culture</h2><br>
<p>A commemorative one-cent piece was minted for general circulation in 2009 to celebrate Lincoln&#39;s work as a lawyer. It used the Old State Capitol, which incorporated a courtroom for the Illinois Supreme Court where Lincoln pleaded key cases in his legal career, as a backdrop.</p><br>
<p>The Old State Capitol grounds are used as the venue for the Springfield Old Capitol Art Fair, an annual May festival.</p><br>
<p>The Flying Horses Carousel is the oldest operating platform carousel in the United States. Located in the historic resort community of Oak Bluffs, Massachusetts, on Martha&#39;s Vineyard, the carousel was apparently first located in New York City before being moved to the island in the 1880s.</p><br>
<p>The carousel was listed on the National Register of Historic Places in 1979 and designated a National Historic Landmark in 1987. The carousel is one of only a handful of carousels that still have brass rings for a rider to attempt to grab as the carousel rotates.</p><br>
<h2>History</h2><br>
<p>Oak Bluffs, located on the northeastern part of the island of Marthas Vineyard, was originally settled as part of Edgartown in the 17th century. In 1835 the Methodist camp known as Wesleyan Grove (also a National Historic Landmark) was established in the area. Development of the area as a summer resort became more formally organized with the establishment of the Oak Bluffs Land and Wharf Company in 1866. The company developed what was then one of the earliest planned communities, guiding the communitys growth over the following years.</p><br>
<p>The exact date of construction of the carousel is not known. Its artwork closely resembles that found in an 1870s catalog published by the Charles W. F. Dare Company, a major manufacturer of carousels in the late 19th century. At least one expert believes that artwork of the carousel itself was done by the same artist whose work appears in the catalog, suggesting its construction date to be between 1876 and 1878.</p><br>
<p>In 1884, F. O. Gordon of New York City acquired the carousel and moved it to Cottage City, as Oak Bluffs was then known. Evidence of its use in New York is surmised from a stamp "Coney Island #4" on the inside of one of its decorative panels. It was originally sited near the entrance to Oak Bluffs Harbor. In 1889, the town of Oak Bluffs acquired the carousel and moved it to its present location at the base of Circuit Avenue, the towns business and entertainment district. The town sold the carousel to Joseph Turnell in 1896, and it then went through a succession of owners before its acquisition by the Marthas Vineyard Land Trust in 1986.</p><br>
<p>The carousel was listed on the National Register of Historic Places in 1979, and designated a National Historic Landmark in 1986. It is one of the two oldest operating carousels in the United States; the other, the Flying Horse Carousel in Watch Hill, Rhode Island (also a National Historic Landmark), is of a similar vintage, and is also a Dare Company carousel.</p><br>
<h2>Description</h2><br>
<p>The carousel is sited on a roughly triangular piece of land at the base of Circuit Avenue in Oak Bluffs that is bounded by Circuit Avenue, Oak Bluffs Avenue, Lake Avenue and Kennebec Avenue. Its address is 33 Oak Bluffs Avenue. Since being moved to the island, it has been housed in a somewhat utilitarian single-story building. It is sheathed in painted vertical pine boards, and has a low gable roof.</p><br>
<p>The carousel is about 36 ft in diameter. Fourteen spreader panels radiate from the central platform, and are secured to the upper canopy by the columns that also support the horses and carriages of the carousel. Despite the name "Flying Horses" (given by Joseph Turnell), the horses are stationary when the carousel is rotating. The horses have their original oxide eyes, but their original horsehair manes have been lost.</p><br>
<p>The layout of the horses and carriages is as follows: a chariot, two pair of horses, a chariot, three pairs of horses, and then the entire sequence repeated. The panels that decorate the carousel, including those surrounding the central column housing the carousel machinery, depict equestrian and marine scenes. By the 1980s, these panels, needing restoration, had been removed and replaced by panels of local scenes done by a local artist. When the site was purchased by the Martha&#39;s Vineyard Land Trust, the Flying Horses underwent an extensive restoration, returning the carousel to its original appearance, complete with the historic panel paintings that were done by a Dare Company artist.</p><br>
<p>Although originally powered by steam, the carousel was converted to electricity in 1900, and is powered by a 10-horsepower motor located in the building&#39;s basement. The gears and belts connecting the motor to the carousel were rehabilitated in the 1980s. The ride has a traditional ring assembly, where the lucky rider who successfully grabs a brass ring gets a free ride.</p><br>
<p>The carousel’s music is provided by a 1923 Wurlitzer #103 Band Organ.</p><br>
<p>The Mechanic Street Historic District encompasses a historic 19th-century mill and mill village in a 14-block area of the Pawcatuck section of Stonington, Connecticut. Extending along the Pawcatuck River and south of West Broad Street , the area includes a large brick mill complex on the banks of the river, and a neighborhood of well-preserved worker housing on the road grid to its west. The district was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Pawcatuck area of Stonington developed, along with adjacent Westerly, Rhode Island, as a port and shipbuilding center in the early 19th century. Several shipyards lined the western (Stonington) bank of the river, whose worker housing formed the early construction of worker housing on the residential grid to the west. The arrival of the railroad in 1837 led the area to also develop an industrial base, with a foundry established in 1851 and a machine factory in 1857. This plant eventually specialized in the manufacture of printing presses, and was joined later in the 19th century by a textile mill. Worker housing of all types was built nearby, both by the business owners and other parties, to meet the housing demand for the workers employed in these businesses.</p><br>
<p>The historic district is 147 acre in size, bounded on the north by West Broad Street and the east by the Pawcatuck River. It includes a large waterfront mill complex, with 7 major buildings over a 25 acre area, and a smaller company office building. It extends westward from the mill as far as Courtland Street, the area beyond the railroad tracks consisting mainly of worker housing. The buildings in the residential area are stylistically diverse, including examples of Greek Revival housing from the shipyard period, and tenement-style housing built later in the 19th century.</p><br>
<p>El Tiradito  is a shrine and popular local spot located at 420 South Main Avenue in the Old Barrio area of Downtown Tucson, Arizona. Because of the sites association with pleas for supernatural intervention, it is also called the Wishing Shrine. The legends surrounding the site center around a broken-hearted man dying and, due to a sin, being unable to be buried on consecrated ground. The legends date to the 1870s, and the shrine has been present since at least 1891. Its name comes from the Spanish "tirar." The shrine was the first Arizona property to be placed on the National Register of Historic Places for its traditional cultural values. It is especially important to Tucsons Mexican and Mexican American communities.</p><br>
<p>The shrine consists of the crumbling remains of a brick building, with a large metal rack for candles and desert plants now occupying the interior. Large, glass-encased candles, frequently depicting saints of the Roman Catholic Church are lit and left burning at the shrine, both on the stand and along the ledges of the building. Small slips of paper containing prayers or messages of thanks are also often pressed into cracks in the walls or left elsewhere at the shrine, as are other memorial objects. In addition to the faithful who leave these religious objects, El Tiradito is frequented and favored by many Tucsonans, including writers, poets, and other members of the town&#39;s artistic community.</p><br>
<p>The Tucson Chamber of Commerce calls the el Tiradito "the only sinner to become a saint." The site is not sanctioned by the Catholic Church, yet has religious and cultural significance. The victim gained a reputation for being able to mediate petitions to God and grant miracles.</p><br>
<p>Every year, there is a large Day of the Dead celebration at the shrine.</p><br>
<h2>Legend</h2><br>
<p>The legend associated with the site varies– the University of Arizonas Southwest Folklore Center contains over twenty versions of the story. The story generally occurs in the 1870s or 1880s. It was first recorded in an 1893 newspaper article and then in a 1909 diary. The identity of the victim in the story changes based on the story: some say he was good, bad, a hapless victim, or a priest. The victim is suddenly killed and buried where they fell, on unconsecrated ground. There is often a love triangle, with one or two of the participants killed in a fit of passion. Author Stella Pope Duarte describes the story as ""the Romeo and Juliet&#39; of the Latino world."</p><br>
<p>One version associates the site with a ranch hand named Juan Oliveras. This legend says that Oliveras had an affair with his mother-in-law. His father-in-law caught and killed him. His mother-in-law, unable to bury him on consecrated ground due to his sin, buried him near where he fell. Another version says Oliveras had an affair with his stepmother, and was killed by his own father. Religious neighbors brought candles to the site where he was buried.</p><br>
<p>Another story claims that a man fell in love with a beautiful woman from a far. When he learned she was betrothed to another, he committed suicide. Because of the Catholic Church&#39;s prohibition of suicide victims burial in consecrated ground at the time, he was buried where he died, and his friends and family brought candles and flowers. A third claims a man, looking for his long-lost father, met his stepmother; his father, not recognizing him, killed his son in jealousy.</p><br>
<p>Other versions include a man who was thrown from a train, a man killed by a stray bullet, a man killed by local sheriffs who mistakenly believed him to be a criminal, a son who killed his father who did not want him to sell the family horse, and a son who killed his father to avenge his mother.</p><br>
<h2>Creation of shrine</h2><br>
<p>Visitors to this area light candles for the man, hoping his soul will be freed from purgatory. Some of the nooks and crannies of El Tiradito even house the notes and letters of the heartbroken, prayers asking for healing of the heart. Legend says that if a candle burns through the night at the shrine, the lighter&#39;s wish will be granted. Some locals pray there "for help where blood had been spilled and a lost soul had gone forth to confront the unknown."</p><br>
<p>The original shrine was destroyed to build a highway, but was rebuilt in 1927 on land donated for its construction by prominent Tucsan Teófilo Otero. The structure was built in 1940 as a part of the Neighborhood Youth Administration.</p><br>
<p>In 1971, Tucson announced plans a highway that would cut through Barrio Viejo, destroying the shrine and displacing around 1200 residents. Residents formed The El Tiradito Committee. They enlisted Tucson Legal Aid to argue on their behalf and campaigned to get El Tiradito listed on the National Register of Historic Places. A foundation was create to maintain the shrine, promote cultural events, and support the neighborhood.</p><br>
<h2>Site of mourning and activism</h2><br>
<p>El Tiradito is also a site of mourning. It was used for this purpose as early as 1980, when a Catholic priest organized a vigil there for the Salvadoran Organ Pipe deaths. Beginning in 2000, Tiradito has hosted a weekly vigil to memorialize migrants who die trying to cross the Sonoran Desert. This vigil is run by the immigration advocacy group Coalicion de Derechos Humanos, No More Deaths, and Interfaith Immigrant Coalition. It considers the mourned "new tiraditos, the new discarded ones." Activists leave bottles of water there in memory of those who died of hunger and thirst. The site is also used for protests against alleged abuses by immigration and local authorities.</p><br>
<p>After the Orlando nightclub shooting, a vigil was held at El Tiradito in memory of its victims.</p><br>
<p>The Sex Workers Outreach Program meets there on the International Day to End Violence Against Sex Workers to commemorate those who were killed.</p><br>
<h2>Physical structure</h2><br>
<p>The structure is about fifteen feet tall and thirty feet wide. It has two sides descending in staggered segments.</p><br>
<p>Bride&#39;s Hill, known also as Sunnybrook, is a historic plantation house near Wheeler, Alabama. It is significant as an example of a Tidewater-type cottage. It was added to the Alabama Register of Landmarks and Heritage on April 16, 1985, and to the National Register of Historic Places on July 9, 1986.</p><br>
<h2>History</h2><br>
<p>A member of the Dandridge family, cousins of Americas first First Lady (Martha Washington), is believed to have built Brides Hill. Its deep cellar, lighted by oblong ground-level windows, houses a basement kitchen-dining room. On the main floor a broad central hall, with a graceful reverse-flight stairway rising to the low half-story above, separates two large rooms. Allegedly a separate brick kitchen structure once stood to the rear. When absorbed into the vast Joseph Wheeler estate in 1907, the house and surrounding farm became known as Sunnybrook. Located in rural Lawrence County, the house has been unoccupied since the 1980s and is in a state of disrepair.</p><br>
<h2>Architecture</h2><br>
<p>Brought to the early Alabama plantation frontier by settlers from the Tidewater and Piedmont regions of Virginia, this vernacular house-type is usually a story-and-a-half in height, and characterized by prominent end chimneys flanking a steeply pitched roof often pierced by dormer windows.</p><br>
<p></revision></p><br>
<p><coord>34.670278,-87.244444</coord></p><br>
<p>Cap and Gown Club, founded in 1891, is an eating club at Princeton University, in Princeton, New Jersey, United States. Colloquially known as "Cap", the club is one of the "Big Four" eating clubs at Princeton . Members are selected through a selective process called bicker. Sometimes known as "the Illustrious Cap and Gown Club," it was the first of the currently selective eating clubs to accept women. Though personalities of eating clubs certainly change throughout the years, Cap and Gown is described in F. Scott Fitzgerald&#39;s This Side of Paradise as "anti-alcoholic, faintly religious and politically powerful."</p><br>
<p>Cap was the most bickered eating club in 2011, 2013, 2014, and 2015. It has been the most selective club since 2013, with 287 students bickering in Spring 2019, thirty-five percent of whom were offered membership.</p><br>
<h2>History</h2><br>
<p>Cap is located at 61 Prospect Avenue between Cloister Inn and the University Cottage Club. It is the only Princeton eating club to have stayed in the same geographic location for its entire existence. Three Cap clubhouses have occupied this location. The first was completed in 1892. In 1895 when the club outgrew this clubhouse, the structure was moved across the street, and William Ralph Emerson was commissioned to design the second clubhouse (completed in 1896). Ten years later, Cap was ready to expand again. The Emerson building was moved away, and Raleigh Gildersleeve designed the clubhouse that Cap still occupies today. A major renovation and expansion of the clubhouse to increase the size of the clubhouse in step with its growing membership was completed in February 2011.</p><br>
<p>On December 9, 2020, the Cap and Gown Club Board of Trustees unanimously approved a new financial aid policy that provides a grant to every member of Princeton University financial aid, guaranteeing that no member on full financial aid pays any out-of-pocket costs for club membership.</p><br>
<p>Notable Cap and Gown alumni include Dean Cain 88, Brooke Shields 87, and Donald Rumsfeld &#39;54. Neurosurgeon Wilder Penfield, who pioneered the concept of the brain homunculus, was also a member of Cap and Gown.</p><br>
<p>Morven, known officially as Morven Museum & Garden, is an historic 18th-century house at 55 Stockton Street in Princeton, New Jersey. It served as the governor&#39;s mansion for nearly four decades in the 20th century, and has been designated a National Historic Landmark for its association with Richard Stockton , a signer of the United States Declaration of Independence.</p><br>
<h2>History</h2><br>
<p>In 1701, Richard Stockton was granted 5,500 acre by William Penn which included the land where Morven now stands. In the 1750s, his grandson, also named Richard Stockton, had 150 acre on which he built the house that his wife Annis Boudinot Stockton named "Morven", after a mythical Gaelic kingdom in Ireland.</p><br>
<p>Commodore Robert Stockton (1795–1866) later lived in the house that was built on the property. Robert Wood Johnson II, chairman of the company Johnson & Johnson, leased the home after Bayard Stockton died during 1932.</p><br>
<p>The house remained in Stockton family ownership until 1944, when it was purchased by New Jersey Governor Walter E. Edge. The sale was subject to the condition that Morven would be given to the state of New Jersey within two years of Edge&#39;s death. Edge transferred ownership of Morven to the state during 1954, several years before he died.</p><br>
<p>Morven served as New Jerseys governors mansion from 1944 until 1981, when it was donated to the New Jersey Historical Society. In 1982, Drumthwacket was designated as New Jersey Governor&#39;s Mansion and converted to the new official residence. Morven underwent research and restoration, and was opened as a museum in 2004.</p><br>
<h2>Owners</h2><br>
<p>"The Builder" Richard Stockton (c.1665-1709) from 1701 to 1709</p><br>
<p>Honorable John Stockton (1701-1758) from 1709 to 1758</p><br>
<p>"The Signer" Richard Stockton (1730–1781) from 1758 to 1781</p><br>
<p>"The Duke" Richard Stockton (1764-1828) from 1781 to 1828</p><br>
<p>Commodore Robert Field Stockton (1795–1866) from 1828 to 1866</p><br>
<p>Major Samuel Witham Stockton (1834-1899)</p><br>
<p>Walter E. Edge from 1944 to 1954</p><br>
<p>Governor&#39;s Mansion from 1954 to 1981</p><br>
<p>Museum since 1982</p><br>
<h2>Architecture</h2><br>
<p>Morven is a 2-1/2 story brick building, with a gabled roof and end chimneys. Two-story wings extend to either side of the main block. A Greek Revival porch extends across the center three bays of the main block&#39;s five-bay facade. The interior has an atypical central hall plan. The staircase, normally in the center hall in these plans, is instead placed crosswise in a rear hall which also provides access to the wings. To the right of the central hall is the Gold Room, a parlor, while the main dining room is on the left. The left wing housed servant quarters and the kitchen, while the right wing housed the library and a family room. The interior styling is consistent with late 18th and early 19th century architectural fashions.</p><br>
