<p>The Hall of Fame for Great Americans is an outdoor sculpture gallery located on the grounds of Bronx Community College  in the Bronx, New York City. It was the first such hall of fame in the United States. Built in 1901 as part of the University Heights campus of New York University , the structure was designed by architect Stanford White to conceal a retaining wall for the Gould Memorial Library. The hall commemorates 102 prominent Americans, selected by a board of electors and grouped into one of fifteen categories. The physical structure consists of a loggia with colonnades measuring 630 ft long. The colonnades contain niches with plaques and 96 bronze portrait busts.</p><br>
<p>The philanthropist Helen Gould donated funds for the structure in 1900, and the Hall of Fame was formally dedicated on May 30, 1901. Soon after the Hall of Fame opened, it became a focal point for USA national pride. Originally, the hall only contained plaques honoring native-born USA citizens. The first bust was installed in 1907, and foreign-born citizens were inducted starting in 1915. The majority of the busts were sculpted between 1922 and 1930. Most of the busts dedicated between 1930 and 1970 were installed shortly after the elections of their respective honorees.</p><br>
<p>The Hall of Fame became part of BCC after NYU sold its Bronx campus to the City University of New York in 1973. The last honorees were elected in 1976, and the Hall of Fame has largely fallen into obscurity since then. The busts of Louis Brandeis, Clara Barton, Luther Burbank, and Andrew Carnegie were never sculpted due to a lack of funding, while the remaining 98 busts started to decay over the years. Following periods of deterioration, BCC renovated the Hall of Fame several times in the late 20th and early 21st centuries. BCC removed the busts of Confederate generals Robert E. Lee and Stonewall Jackson in 2017 following a white supremacist rally in Charlottesville, Virginia, that led to national outcry against Confederate monuments more broadly.</p><br>
<h2>Design</h2><br>
<p>The memorial structure is an open-air loggia flanked by colonnades. Designed in the neoclassical style by architect Stanford White of the firm McKim, Mead & White, it was built as part of New York University (NYU)&#39;s Bronx campus. The loggia has space for 102 bronze sculptural busts. The loggia runs to the west of the Hall of Languages, Gould Memorial Library, and Hall of Philosophy from south to north. The section around the Gould Library is curved to the west.</p><br>
<h3>Dimensions and specifications</h3><br>
<p>The loggia measures 630 ft long; the original section measured 500 ft long. The firm of Crow, Lewis and Wick designed the 130 ft annex, with McKim, Mead & White as supervising architects. Sedgwick Avenue, which runs directly west of the Hall of Fame, is about 40 to 60 ft beneath the hall. The Hall of Fame&#39;s walkway measures 10 ft wide, flanked by parapets measuring 4 ft high.</p><br>
<p>The northern and southern entrances to the Hall of Fame both contain sculpted gates designed by Samuel Yellin. The words "Enter with Joy that those within have lived" are inscribed above the northern gates, while the words "Take counsel here of Beauty, Wisdom, Power" are inscribed above the southern gates. The parapets are made of Massachusetts granite, while the pedestals and columns are made of Indiana limestone. The eight pedestals contain the inscriptions "The Hall of Fame / for Great Americans / by wealth of thought / or else by mighty deed / they served mankind / in noble character / in world-wide good / they live forevermore". The ceiling of the loggia is made of Guastavino tile, while the sloped roof above is clad with red Spanish tile.</p><br>
<h3>Busts and plaques</h3><br>
<p>The Hall of Fame was originally planned to have space for 150 plaques, each measuring 2 by.</p><br>
<p>As of 2017, the hall contains 96 busts, which are placed on pedestals above the parapet walls. Beneath each bust is a bronze tablet bearing the name of the person commemorated, significant dates, achievements, and quotations. The busts themselves were created by a variety of sculptors at various times. Each class of honorees is placed in a different portion of the hall; for example, authors and editors busts are placed at the north end, while inventors&#39; busts are placed at the south end.</p><br>
<p>Next to the Hall of Fame is a bust of Gilbert du Motier, Marquis de Lafayette, a French aristocrat and military officer who fought in the American Revolutionary War. Lafayette is the only non-American citizen in the complex, though he was given honorary USA citizenship. Above his bust is the inscription "New York University to Lafayette 1932", while below is the inscription "I am an American citizen and an American officer."</p><br>
<h3>Museum of the Hall of Fame</h3><br>
<p>There are storage rooms behind the foundation halls and below the walkway.</p><br>
<h2>History</h2><br>
<h3>Origin and inspiration</h3><br>
<p>Dr. Henry Mitchell MacCracken, chancellor of NYU, proposed the Hall of Fame in the late 1890s to conceal a retaining wall for the Gould Memorial Library, which was exposed because the site sloped steeply downward to the west. According to MacCracken, the hall "owes its inception in large part to hard facts of physical geography". The Hall of Fame for Great Americans was the first hall of fame in the United States. Chancellor McCracken described the evolution of the Hall of Fame&#39;s design:</p><br>
<p>Plans for the Hall of Fame finally proceeded after Helen Gould donated $100,000 in March 1900. John J. Tucker received the general contract for the Hall of Fame. The hall was to contain commemorative plaques for 150 individuals, 50 of whom were to be selected in 1900. Every five years thereafter, the electors would select five additional names by majority vote, with the final selections being made in 2000. NYU invited 100 people to serve as electors in late March 1900. At that point, the cost of the hall had nearly doubled to $200,000. Each USA state originally had one elector; in twenty states, the chief justice served as that state&#39;s elector.</p><br>
<p>The electors received 252 nominations, only 30 of which received the required majority of fifty votes. In October 1900, the NYU Senate approved the first inductees for inclusion. The Senate also approved the addition of a loggia for foreign-born inductees, with space for up to thirty names. The hall included 29 names when it was dedicated on May 30, 1901; the foreign inductees&#39; loggia had not yet been built due to a lack of funds. When the Hall of Fame was completed, it was so widely known that The New York Times regularly reported on nominations and elections, even detailing how many votes each nominee received.</p><br>
<h3>Elections and heyday</h3><br>
<h4>1900s and 1910s</h4><br>
<p>Eleven additional names were selected in 1910. In the five years that followed, 20 electors either retired or died, and 25 electors were appointed in their place. MacCracken changed the rules for electors ahead of the 1915 election, such that one elector was apportioned to every state or group of states with one million residents. In addition, the electors were allowed to select at least two women in every election. The planned northern extension of the Hall of Fame was never built.</p><br>
<p>In early 1915, NYU announced plans for a separate womens wing after receiving $33,000 in donations. An additional 21 electors either retired or died in the next five years, and only 34 of the original electors remained by 1920. The Hall of Fame was temporarily converted to a barracks in 1918, during World War I. The United States Army laid out beds for 600 soldiers in the museum underneath the colonnade. The next year, writer Robert Underwood Johnson was appointed as the Hall of Fames second director, following the death of MacCracken, his immediate predecessor.</p><br>
<h4>1920s and 1930s</h4><br>
<p>Between the two world wars, the Hall of Fame saw up to 50,000 visitors annually. Seven Americans were selected in 1920, including foreign-born theologian Roger Williams, who had first been elected ten years prior. Five busts, depicting nominees from previous elections, were unveiled in May 1922; they were the first busts to be added since 1907. The same year, the Hall of Fames board of electors decided to abolish separate elections for female nominees. The electors had been concerned that "zealous partisans and relatives" would attempt to nominate individuals of "temporary vogue" shortly after their deaths. The honorees tablets, which had been segregated by gender, were subsequently rearranged. New tablets had to be created for each of the seven female honorees because the existing tablets were wedged so firmly into the hall&#39;s foundation.</p><br>
<p>NYU continued to unveil busts of honorees from previous elections in May of each year. Seven additional busts were dedicated in 1923, ten in 1924, and five in 1925. Only two men were picked in the 1925 election, the first held under the new rules; one of them was foreign-born naval officer John Paul Jones, who had first been elected twenty years prior. The university dedicated nine busts in 1926, six in 1927, five in 1928, and eight in 1929. Nine busts were dedicated in May 1930, as well as two sets of new gates. At that point, all 65 previous honorees had busts. Four men were elected to the Hall of Fame later the same year, and their busts were unveiled the next May.</p><br>
<p>By 1935, the Hall of Fame retained 11 of its original electors. That year, the electors voted to induct three men. The busts of two of these men were unveiled in May 1936, but the bust of Grover Cleveland was dedicated almost a year later in March 1937, coinciding with what would have been his 100th birthday. The Hall of Fames electors leased offices at the International Building in Rockefeller Center in mid-1937. Following Johnsons death later that year, journalist John Huston Finley was appointed as the Hall of Fame&#39;s director.</p><br>
<h4>1940s to 1960s</h4><br>
<p>Of 141 candidates nominated in 1940, composer Stephen Collins Foster was the only person selected; his bust was dedicated the next May. This was the first time a musician was elected to the Hall of Fame, as well as the first election in which a single honoree was selected. The bust of Washington, the halls first Black honoree, was dedicated in May 1946. Busts of the other honorees were delayed; Ralph Washington Sockman, the pastor of Christ Church United Methodist in Manhattan, became the halls sixth director after Angell died in 1949. Sockman served in that position until his death two decades later.</p><br>
<p>Six people were selected in 1950: Susan B. Anthony, Alexander Graham Bell, Josiah Willard Gibbs, William C. Gorgas, Theodore Roosevelt, and Woodrow Wilson. Bells and Gorgass busts were dedicated in 1951, followed by those of Anthony and Payne in 1952 and Theodore Roosevelt in 1954. Wilbur Wright, George Westinghouse, and Stonewall Jackson were selected during the 1955 election. By then, the renown of some of the nominees had begun to decline, and many nominees tended to be from lesser-known fields. The bust of Wilson, who had been honored in the previous election, was dedicated in May 1956. Stonewall Jacksons bust was dedicated one year later in May 1957, followed that December by the busts of Westinghouse and Gibbs. NYU wished to unveil Wilbur Wrights bust alongside that of his brother Orville Wright, who had died in 1948 and was thus ineligible for nomination until the 1970s. NYU&#39;s senate waived the 25-year requirement for Orville Wright, allowing him to be nominated during the 1960 election.</p><br>
<p>Thomas Edison, Henry David Thoreau, and Edward MacDowell were elected to the Hall of Fame in 1960. Ten people, including Orville Wright, failed to get a sufficient number of votes and were automatically re-nominated for the next election. while Thoreaus was unveiled the following May, the hundredth anniversary of his death. MacDowells bust was not unveiled until October 1964. In addition, the Hall of Fame hired the Medallic Arts Company in 1963 to create bronze and silver medals for each of the honorees. The company created 99 different designs of medals. Orville Wright was finally selected for the Hall of Fame in 1965, along with Jane Addams, Oliver Wendell Holmes Jr., and Sylvanus Thayer. Four of the five remaining busts were dedicated in each of the three subsequent years. The first was Thayers bust in 1966, followed by the Wright brothers busts and then Addamss bust. The Hall of Fame did not dedicate Holmess bust until 1970, five years after his election.</p><br>
<h3>Sale of campus and final elections</h3><br>
<p>The Hall of Fame remained prominent through the 1960s, when the hall and its honorees were covered in the World Book Encyclopedia. Walds bust was installed in September 1971. By then, the halls renown had started to decline. Urban planner Robert Moses wrote in 1971 that the previous election had happened largely without fanfare and that the American Revolution Bicentennial Commission did not even mention the Hall of Fame in its reports. According to Charles Parks, leader of the National Sculpture Society, the Hall of Fame&#39;s decline could be attributed to the fact that modern halls of fame commemorated living people, honoring "lots of celebrities and very few heroes".</p><br>
<p>In 1973, NYU sold its Bronx campus to the City University of New York (CUNY), which operated the campus as part of the Bronx Community College (BCC). The sale specifically excluded the Hall of Fame, which CUNY officials believed had no value. Following the sale, there was uncertainty as to whether NYU, CUNY, or another organization would operate the Hall of Fame. The Trustees of the Hall of Fame was established in 1974, and NYU and CUNY jointly provided $125,000 a year for the hall&#39;s upkeep. The agreement lasted three years. Four additional honorees (Louis D. Brandeis, George Washington Carver, Franklin D. Roosevelt, and John Philip Sousa) were elected in November 1973, bringing the total number of inductees to 99.</p><br>
<p>NYU was considering eliminating its $61,000 annual subsidy for the Hall of Fame by 1976. The halls remote location, far from the New York City Subway, attracted few visitors compared to other tourist attractions in New York City. Clara Barton, Luther Burbank, and Andrew Carnegie were elected to the Hall of Fame the same year. This was the Hall of Fames last election. The busts of Brandeis, Barton, Burbank, and Carnegie were never executed due to a lack of funds.</p><br>
<h3>Maintenance and upkeep</h3><br>
<h4>1970s to 1990s</h4><br>
<p>Funding for the Hall of Fame ceased nearly entirely after the United States Bicentennial in 1976, and the agreement between NYU and CUNY expired around the same time. All of the halls guides were fired and the halls information booth was closed. This was at least partially attributed to fears of high crime in the surrounding area. Many of the busts corroded in the following years. Some busts were also vandalized, such as that of Andrew Jackson, which was knocked out of its niche and pushed down a hill. The remaining silver medals of honorees were melted down. Johnson & Jensen bought the remaining bronze medals, which they planned to sell at a deep discount.</p><br>
<p>DASNY had allocated $2 million to fix the leaking roof and the walkway in 1981, though the National Endowment for the Arts rejected BCCs request for a $37,000 grant to repair the Hall of Fame. Roosevelts bust was finally installed in July 1992.</p><br>
<p>The William A. Hall Partnership was hired to restore the ceiling in 1992, and the Cavalier Renaissance Foundry restored 90 of the busts for about $40,000. Several conservators criticized the fact that the original finishes of these busts had been removed. The state provided $200,000 for the renovation; at the time, public contributions toward the hall&#39;s upkeep had ceased nearly entirely. The hall ultimately cost $1.3 million to restore; the project was completed in 1997. The next year, the Municipal Art Society gave BCC a preservation award for "outstanding building restoration". By the late 1990s, Rourke hoped to restart elections for the Hall of Fame. To accommodate additional honorees, Rourke proposed expanding the Hall of Fame into the Gould Library, as well as displaying short video clips instead of busts. Meanwhile, Rourke asked Brandeis University, the American Red Cross, and the Carnegie Foundation if they would respectively fund the busts of Brandeis, Barton, and Carnegie. All three organizations declined to donate $25,000 for each bust.</p><br>
<h4>2000s to present</h4><br>
<p>In 2000, Bronx borough president Fernando Ferrer offered a matching grant of $500,000 to fund further renovations, as well as the four unexecuted busts. To raise money for the hall&#39;s renovation and expansion, BCC organized a $1 million fundraiser in 2001. Nearly two years later, BCC had raised only $2,000, all of it from NYU alumni.</p><br>
<p>BCC announced plans in 2015 to raise $25 to $50 million for a renovation of the Gould Library, including an expansion of the Hall of Fame into the library. In August 2017, following a white supremacist rally in Charlottesville, Virginia, New York governor Andrew Cuomo ordered that the busts of Confederate States Army generals Robert E. Lee and Stonewall Jackson be removed. Following the removals, the Hall of Fame had 96 busts and space for six additional busts. CUNY planned to host an election to fill the two remaining spots, but there were still no funds for these elections. The Cultural Landscape Foundation described the Hall of Fame as being one of several historic sites across the United States that were "at risk".</p><br>
<h2>Nominations</h2><br>
<p>All nominees had to be citizens of the United States, whether naturalized or native-born, and they were required to have died at least 25 years prior to nomination. Originally, inductees were required to have died at least 10 years before their nomination, but this was increased in 1922.</p><br>
<h3>Voting process</h3><br>
<p>Originally, the public could make nominations during March and April of each election year; no nominations were accepted after May 1.</p><br>
<p>The board of electors then decided on each nomination from June to October. Each elector obtained ballots from the Hall of Fames curator, upon which they could vote for up to seven individuals. The electors could only vote on nominations from the public or nominees from previous years. An elector could then mark a nominee as being either eligible, ineligible, or out of that electors field of expertise. Electors included "the most respected writers, historians, and educators of their day, along with scores of congressmen, a dozen Supreme Court justices, and six Presidents". The Hall of Fame had at least one elector from every USA state. To avoid a conflict of interest, NYU officials were barred from serving on the board of electors. Each elector was picked by NYU&#39;s faculty senate; if an elector were to die or resign, the NYU senate would vote to select new electors.</p><br>
<p>The board of electors originally selected candidates by a simple majority vote, although three-fifths of electors had to agree on nominations from 1925 to 1940. After the board of electors voted in favor of a nominee, a majority of NYUs senate (including its "honorary members") had to approve the board of electors choice. The NYU senate could theoretically veto any selection, although this never happened during the hall&#39;s history. For the 1976 election, the majority vote was replaced with a point system. During that election, candidates were nominated to one of three categories (arts/humanities, sciences, and government/business/labor), and the highest-ranking candidate in each category was elected. Although no elections have taken place since then, the rules were changed in 1979 so that art, business and labor, government, humanities, and science were all split into their own categories.</p><br>
<p>The following table summarizes each election:</p><br>
<h3>Classification of honorees</h3><br>
<p>The first 50 names were supposed to represent "a majority" of people from 15 classes:</p><br>
<p>authors and editors</p><br>
<p>business men</p><br>
<p>inventors</p><br>
<p>missionaries and explorers</p><br>
<p>philanthropists and reformers</p><br>
<p>clergymen and theologians</p><br>
<p>scientists</p><br>
<p>engineers and architects</p><br>
<p>lawyers and judges</p><br>
<p>musicians, painters, and sculptors</p><br>
<p>physicians and surgeons</p><br>
<p>politicians and statesmen</p><br>
<p>soldiers and sailors</p><br>
<p>teachers</p><br>
<p>distinguished men and women outside of these classes</p><br>
<p>These classifications have not been followed because the halls electors only selected 29 people in the first election. Furthermore, the requirement could not be enforced after the 1900 election. In practice, most of the honorees in 1900 were politicians and statesmen. More than three decades later, politicians and statesmen comprised a plurality of the halls honorees.</p><br>
<h3>Honorees</h3><br>
<p>As of 1976, when the last election was held, the Hall of Fame had 102 honorees. At least one-quarter of honorees are from New York state or have ties to the state. Seven members of the Hall of Fame&#39;s board of electors were themselves elected.</p><br>
<h3>Nominees not elected</h3><br>
<p>The following people were among those nominated at least once but not elected:</p><br>
<p>Samuel Adams</p><br>
<p>Louisa May Alcott</p><br>
<p>Johnny Appleseed</p><br>
<p>Chester A. Arthur</p><br>
<p>Sarah Franklin Bache</p><br>
<p>Henry Barnard</p><br>
<p>William Beaumont</p><br>
<p>John Shaw Billings</p><br>
<p>George Caleb Bingham</p><br>
<p>Elizabeth Blackwell</p><br>
<p>Elena Petrovna Blavatsky</p><br>
<p>Borden Parker Bowne</p><br>
<p>William Brewster</p><br>
<p>William Austin Burt</p><br>
<p>Horace Bushnell</p><br>
<p>John C. Calhoun</p><br>
<p>Alice Cary</p><br>
<p>Frederick Edwin Church</p><br>
<p>George Rogers Clark</p><br>
<p>George M. Cohan</p><br>
<p>Calvin Coolidge</p><br>
<p>John Singleton Copley</p><br>
<p>Jefferson Davis</p><br>
<p>Dorothea Dix</p><br>
<p>Paul Dunbar</p><br>
<p>Amelia Earhart</p><br>
<p>Wyatt Earp</p><br>
<p>John Eliot</p><br>
<p>Henry Ford</p><br>
<p>James A. Garfield</p><br>
<p>William Lloyd Garrison</p><br>
<p>Lou Gehrig</p><br>
<p>Henry George</p><br>
<p>Horace Greeley</p><br>
<p>Sarah Josepha Buell Hale</p><br>
<p>Warren G. Harding</p><br>
<p>Benjamin Harrison</p><br>
<p>William Henry Harrison</p><br>
<p>Charles Evans Hughes</p><br>
<p>Richard M. Hoe</p><br>
<p>John Ireland</p><br>
<p>Helen Hunt Jackson</p><br>
<p>William James</p><br>
<p>John Jay</p><br>
<p>Andrew Johnson</p><br>
<p>Al Jolson</p><br>
<p>Chief Joseph</p><br>
<p>Adoniram Judson</p><br>
<p>Francis Scott Key</p><br>
<p>Joyce Kilmer</p><br>
<p>Fiorello La Guardia</p><br>
<p>Karl Landsteiner</p><br>
<p>Gilbert N. Lewis</p><br>
<p>Crawford Long</p><br>
<p>Huey Long</p><br>
<p>Cyrus McCormick</p><br>
<p>Robert McCormick</p><br>
<p>Ephraim McDowell</p><br>
<p>Charles Follen McKim</p><br>
<p>William McKinley</p><br>
<p>Ottmar Mergenthaler</p><br>
<p>S. Weir Mitchell</p><br>
<p>Lucretia Mott</p><br>
<p>Benjamin Peirce</p><br>
<p>Wendell Phillips</p><br>
<p>Hiram Powers</p><br>
<p>Will Rogers</p><br>
<p>Babe Ruth</p><br>
<p>Sacagawea</p><br>
<p>Jacob Schiff</p><br>
<p>Elizabeth Seton</p><br>
<p>Lydia Huntley Sigourney</p><br>
<p>Matthew Simpson</p><br>
<p>Elizabeth Cady Stanton</p><br>
<p>John Stevens</p><br>
<p>Robert L. Stevens</p><br>
<p>Nikola Tesla</p><br>
<p>Roger B. Taney</p><br>
<p>Benjamin Thompson</p><br>
<p>Judah Touro</p><br>
<p>Paul M. Warburg</p><br>
<p>Martha Washington</p><br>
<p>Mary Ball Washington</p><br>
<p>Francis Wayland</p><br>
<p>Noah Webster</p><br>
<p>William Henry Welch</p><br>
<p>Henry Wheaton</p><br>
<p>Theodore Dwight Woolsey</p><br>
<p>Constance Woolson</p><br>
<p>Among nominees who were rejected, some never received any votes, including American Revolution militia officer Paul Revere. Several nominees have been rejected multiple times, including Roman Catholic saint Elizabeth Seton, poet Joyce Kilmer, and politician Horace Greeley. Many unsuccessful nominees received at least thirty votes in one election, and some surpassed this threshold in several elections. Some of the eventual honorees were rejected several times before they were selected, including Edgar Allan Poe, Walt Whitman, and James Monroe.</p><br>
<h2>Impact</h2><br>
<p>Soon after the Hall of Fame opened, it became a focal point for USA national pride. As one writer, Richard Rubin, said:</p><br>
<p>The Wall Street Journal wrote that the Hall of Fame was "a window on early 20th-century ideas of greatness". As Richard Rubin of The Atlantic Monthly wrote in 1997: "Now achievement alone was enough, even achievement within a narrow context."</p><br>
<p>Starting in the late 20th century, there was some controversy over the demographic breakdown of the Hall of Fames honorees. A major issue was that, although a majority of BCCs students were Hispanic, few of the Hall of Fame&#39;s inductees were people of color or women.</p><br>
<p>The Hall of Fame has also been referenced in works of popular culture, such as the 1939 film The Wizard of Oz. The Hall of Fame, along with other structures on the BCC campus, have frequently been used as a filming location.</p><br>
<p>Ashland is the name of the plantation of the 19th-century Kentucky statesman Henry Clay, located in Lexington, Kentucky, in the central Bluegrass region of the state. The buildings were built by slaves who also grew and harvested hemp, farmed livestock, and cooked and cleaned for the Clays.</p><br>
<p>Ashland is a registered National Historic Landmark. The Ashland Stakes, a Thoroughbred horse race at Keeneland Race Course that has run annually since the race course first opened in 1936, was named for the historically important estate.</p><br>
<h2>History of the estate</h2><br>
<p>Henry Clay came to Lexington, Kentucky from Virginia in 1797. In 1804, he began buying land for the plantation outside the city&#39;s limits. He eventually became a major planter who enslaved 60 people and owned over 600 acre.</p><br>
<p>Among the slaves were Aaron Dupuy and Charlotte Dupuy as well as their children Charles and Mary Ann Dupuy. Clay took them with him to Washington D.C. when his congressional term began in 1810, and they were held there for nearly two decades. In 1829, 28 years before the more famous Dred Scott challenge, Charlotte Dupuy sued Henry Clay for her freedom and that of her two children in Washington D.C. circuit court. She was ordered to stay in Washington while the court case proceeded, and lived there for 18 months, working for Martin Van Buren, the next Secretary of State. Clay took her husband Aaron Dupuy and her children Charles and Mary Ann Dupuy with him when he returned to Ashland. The court ruled against Dupuy, and when she refused to return voluntarily to Kentucky, Clay had her arrested. Clay had Dupuy renditioned to New Orleans and had her held by his daughter and son-in-law, where she was enslaved for another decade. Finally, in 1840, Clay freed Charlotte and her daughter Mary Ann Dupuy, and in 1844, he freed her son Charles Dupuy.</p><br>
<h2>The mansion</h2><br>
<p>Using the profits of his forced-labor farming, Henry Clay used slaves to build his Federal style house in around 1806 (see Federal architecture). He had two wings added between 1811 and 1814, designed for him by Benjamin Latrobe. Inferior building materials, particularly a porous type of brick, resulted in an unstable structure. The building was likely damaged in the New Madrid earthquake and aftershocks of 1811–12. Clay&#39;s many repairs could never completely stabilize the house.</p><br>
<h2>Later ownership</h2><br>
<p>Clay divided the Ashland estate among three sons. After his father&#39;s death, son James Brown Clay owned and occupied Ashland and a surrounding tract of about 325 acre. James Clay had the house razed in 1854, and rebuilding was completed by 1857. Local architect Thomas Lewinski designed the new structure, which used features of the original house: the footprint and foundation, floorplan, and massing, but Lewinski modernized the house stylistically. With many Italianate features, the resulting mansion is a mix of Federal architecture and Italianate details. Inside, James Clay employed Greek Revival features and decorated the home lavishly (see:Victorian decorative arts) with imported furnishings purchased in New York City. James Clay rebuilt the house and his family lived there until his death in 1864. His widow Susan Jacob Clay sold the estate in 1866.</p><br>
<p>Kentucky University purchased Ashland and used it as part of its campus. University founder and regent John Bryan Bowman occupied the mansion. The Agricultural and Mechanical College (Kentucky A & M) sat on Clay&#39;s former farm. During the Kentucky University period, Regent John Bowman used part of the mansion to house and display the University Natural History Museum.</p><br>
<p>Kentucky University split into what became Transylvania University and the University of Kentucky, and sold Ashland in 1882.</p><br>
<p>Henry Clay&#39;s granddaughter Anne Clay McDowell and her husband Henry Clay McDowell purchased the estate (consisting of about 325 acre and outbuildings) and moved in with their children in 1883. They remodeled and modernized the house, updating it with gas lighting (later, electricity), indoor plumbing, and telephone service. Their eldest daughter Nannette McDowell Bullock continued to occupy Ashland until her death in 1948. She founded the Henry Clay Memorial Foundation, which purchased and preserved Ashland. The historic house museum opened to the public in 1950.</p><br>
<h2>Plantation name</h2><br>
<p>It is unclear whether Henry Clay named the plantation or retained a prior name, but he was referring to his estate as "Ashland" by 1809. The name derives from the ash forest that stood at the site. Clay and his family lived at Ashland from approximately 1806 until his death in 1852 (his widow Lucretia Clay moved out in 1854). His political career led Clay to spend most of the years between 1810 and 1829 in Washington, D.C.</p><br>
<p>Several cities, the city of Ashland, Kentucky, in Boyd County, the city of Ashland, Missouri, in Boone County, the city of Ashland, Oregon, the town of Ashland, Virginia and the city of Ashland, Wisconsin, in Ashland County, were named in honor of the estate. The borough of Ashland, Pennsylvania, in Schuylkill County, an anthracite coal mining town, was named in honor of the estate as well.</p><br>
<p>The Balboa Pavilion in Newport Beach, Orange County, California, is a California Historical Landmark and a National Historic Place. Established on July 1, 1906, the Balboa Pavilion played a prominent role in the development of Newport Beach by attracting real estate buyers to an area formerly designated as "swamp and overflow" land.</p><br>
<p>The Balboa Pavilion is one of Californias last surviving waterfront recreational pavilions from the turn of the century. The Pavilion continues to serve the public today as a marine recreational facility and is Newport Beachs most famous landmark, as well as its oldest standing building.</p><br>
<h2>History</h2><br>
<h3>Origins</h3><br>
<p>On September 20, 1905, the War Department in Washington D.C. granted a group of promoters, called the "Newport Bay Investment Company," permission to construct the Pavilion as a "boat-house, bath-house, and pavilion."</p><br>
<p>The promoters built the pavilion on the Newport Harbor side of the sand spit and its sister project, the Balboa Pier, on the adjacent ocean side of the sand spit, which is today called the Balboa Peninsula. These two structures were built to attract lot purchasers to this area of Newport Beach called Balboa.</p><br>
<h3>Design</h3><br>
<p>The pavilion was designed by Los Angeles freelance architect Fred R. Dorn, who would later go on to work as an associate of Morgan, Walls & Clements. On July 1, 1906, the 65 ft-high Victorian style building was fully completed to coincide with the completion of the Pacific Electric Railway Red Car Line extension to central Balboa near the Balboa Pavilion on July 4, 1906, after only 10 days of construction.</p><br>
<p>With the extension of the Red Car line, People began to flock to Balboa and some purchased lots, and, thus, the Newport Investment Company&#39;s plan worked.</p><br>
<p>The original building had a second story meeting room and a first story bathhouse. In the bathhouse, people could change from street attire into rented "bathing suits." Soon, yearly Fourth of July bathing beauty parades brought large gatherings of people to Balboa.</p><br>
<h3>Big Band era</h3><br>
<p>The 1930s ushered in the Big Band era. On weekends the Pavilion featured such prominent bands as Count Basie, Benny Goodman, and the Dorsey Brothers. Phil Harris and his band played regularly on weekdays. The dance step called the "Balboa" originated at the Balboa Pavilion and swept across the United States.</p><br>
<p>The Pavilion had several upstairs and downstairs card rooms where patrons would gamble.</p><br>
<p>Until the later 1930s, the Pavilion offered speed boat rides. Two speedy 35 ft boats would take off full speed from underneath the Balboa Pavilion with sirens blaring and race out of the bay and into the Pacific Ocean.</p><br>
<h3>Post World War II</h3><br>
<p>Right after World War II, Newport Harbor was the center of sport fishing activity in southern California with over 100 boats and 9 landings, one of which operated out of the Pavilion. Today, only two sport fishing landings with less than ten boats survive, one of which still operates out of the Balboa Pavilion.</p><br>
<p>In 1942, the Pavilion&#39;s owners leased the upstairs of the building to a gentleman who built and operated a ten-lane bowling alley. Pinsetters hand set the pins.</p><br>
<h3>Decay</h3><br>
<p>Because the Pavilion is anchored on a narrow strip of sandy waterfront, about 90% of the building was supported on wooden pilings, which extend over the bay. In 1947, the wooden pilings deteriorated, and the building began to collapse into the bay.</p><br>
<p>In 1947 or 1948, the Gronsky family purchased the deteriorated Balboa Pavilion at a very low price and replaced the deteriorating original wooden pilings with large, concrete pilings. The result was a newly fortified, element-resistant city landmark.</p><br>
<p>In the later 1940s and early 1950s the Balboa Pavilion housed a "Skil-O-Quiz" bingo parlor which gave prizes rather than cash. But bingo was deemed too wicked, was outlawed, and the sheriff shut the establishment down.</p><br>
<h2>Museum usage</h2><br>
<p>In 1954, Gronsky instituted a shell museum upstairs. The museum displayed over 2.5 million shells. Eventually, the shell fish collection was donated to Bowers Museum in Santa Ana.</p><br>
<h3>Restoration</h3><br>
<p>In 1961, the Gronskys sold the Balboa Pavilion to Ducommun Realty Company of Los Angeles. Edmond G. "Alan" Ducommun&#39;s "mission" was to restore the building to its original 1906 look, and he generously invested an estimated one million dollars into the property. In 1963, Ducommun added 1500 lights to the buildings exterior which remain on the building today. These lights, along with the Cupula on top of the building, additionally serve as a navigation beacon for night boat travelers.</p><br>
<h3>Purchase</h3><br>
<p>In 1969, Daveys Locker Inc., a sport fishing operation, purchased the Balboa Pavilion to provide a permanent terminal for the expansion of its Catalina Island passenger service. Its president, Phil Tozer, refurbished the buildings interior to reflect the early 1900s architecture.</p><br>
<p>On May 20, 1980, the Balboa Pavilion Company branched off from Davey&#39;s Locker and took over ownership of the Pavilion.</p><br>
<p>In late November 2005, the Balboa Pavilion Company sold the Balboa Pavilion to the Gugasians.</p><br>
<h2>Pavilion today</h2><br>
<p>Currently, the Balboa Pavilion is used as a marine recreation facility, with sportfishing boats, the transportation terminal for the Catalina Flyer to Catalina Island, small boat (skiff) and (duffy) rentals, whale watching, sunset cruises, a restaurant and upstairs ballroom for banquets, receptions and conferences.</p><br>
<p>The Kennedy Gold Mine is a gold mine in Jackson, California, one of the deepest mines on the Mother Lode. It closed in 1942 and together with nearby Argonaut Mine, is registered as California Historical Landmark No. 786. It has since been re-opened as a tourist attraction.</p><br>
<p>The mine is named for Andrew Kennedy, an Irish immigrant, who reportedly discovered a quartz outcropping in the late 1850s near what is now State Route 49. The Kennedy Mining Company was formed in 1860 when he and three partners began digging shafts near today&#39;s mine property entrance. The mine operated sporadically until it closed in 1878. In 1886 fifteen people invested $97,600 (~$ in ) to reopen the mine under the corporate entity of the Kennedy Mining and Milling Company.</p><br>
<p>In 1898 the company began sinking a new shaft 1,950 feet (591 m) east of the original shafts. This East Shaft would eventually reach a vertical depth of 5,912 feet (1,792 m), the deepest vertical depth gold mine in North America at the time. In 1928 a surface fire burned all the structures except two. All other buildings and foundations were built after 1928. The company operated the mine until 1942 when the USA Government closed gold mines because of the war effort.</p><br>
<p>On August 27, 1922, when forty-seven miners were trapped by fire in the nearby Argonaut Mine 4,650 feet (1,409 m) below ground, rescue efforts were launched from the Kennedy Mine to connect the tunnels of the two mines. Unfortunately progress was slow and rescuers arrived too late to save the miners in the Argonaut.</p><br>
<p>At the time of its closing, the mine had produced some $34.3 million (according to the California Department of Conservation) when gold was valued at $20.67 and $35.00 per ounce. The company paid its stockholders $5.8 million between 1886 and 1937. Over 95% of these dividends were paid at $20.67 per ounce.</p><br>
<p>Stone Hill Winery is a Missouri winery located in Hermann, Missouri, along the Missouri River, in what is called the Missouri Rhineland of the Hermann AVA. Established by German immigrants in 1847, it is the largest winery in the state.</p><br>
<h2>History</h2><br>
<p>A small private winery, built on a hill at the southern boundary of Hermann, was established in 1847 under the name of the founder, Michael Poeschel (1809-1893). From 1861 to 1878, when John Scherer was a partner, the name changed to M. Poeschel and Scherer. Building on the present site began in 1861. The original complex included the shipping cellars built that year and a residence-company office building built in 1869. Poeschel and Scherer sold most of the company in 1878 to their managers, William Herzog and George Stark. In 1883, Herzog and Stark took full ownership of the winery, and changed its name to Stone Hill Wine Company. George Stark, who was born in Germany in 1845 and emigrated to the United States in 1867, became sole proprietor in 1893. Under his management the Stone Hill Wine Company became one of the largest in the country.</p><br>
<p>At the turn of the 20th century, Stone Hill Winery was the largest winery west of the Mississippi River in the United States, the second largest winery in the United States, and the third largest winery in the world. It produced 1,250,000 gallons in 1900. Its wine had won numerous awards in international fairs, including Vienna in 1873, Philadelphia in 1876, and St. Louis in 1904. Due to Prohibition, the winery was closed in 1920, along with virtually all others in the nation. During this time, the owners earned money by using its wine cellars to grow mushrooms for sale until 1965.</p><br>
<p>In 1965 local farmers Jim and Betty Held made Stone Hill Winery the first in Missouri to be re-established.</p><br>
<p>They moved into the remnants of the original winery and began the long restoration of the dis-repaired old-world buildings and vaulted underground cellars.</p><br>
<p>The Old Stone Hill Historic District was listed on the National Register of Historic Places in 1969.</p><br>
<p>The Community Methodist Church of Ione, is a United Methodist church in Ione, California, United States. The church is registered as a California Historical Landmark and is listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The church was founded in 1861 with $8,000 being set aside for its building. Construction started on July 4, 1862. When the church was dedicated in 1866, it was called the "Ione City Centenary Church." Eventually it was called "Cathedral of the Mother Lode."</p><br>
<h2>Architecture</h2><br>
<p>The church is made of brick. It consists of 255,000 bricks which were locally fired. It has a high roof with rafters that are visible. The roof and rafters do not use any bolts.</p><br>
<p>Knight Foundry, also known as Knight&#39;s Foundry and Shops, is a cast iron foundry and machine shop in Sutter Creek, California. It was established in 1873 to supply heavy equipment and repair facilities to the gold mines and timber industry of the Mother Lode. Samuel N. Knight developed a high speed, cast iron impulse water turbine which was a forerunner of the Pelton wheel design. Knight Wheels were used in some of the first hydroelectric plants in California, Utah, and Oregon. This site is the last water-powered foundry and machine shop in the United States. A 42 in Knight Wheel drives the main line shaft, with smaller water motors powering other machines.</p><br>
<h2>History</h2><br>
<p>Samuel Knight came west to California from Maine in 1863. His Knight Wheel was the first kind of water turbine where a high-pressure nozzle from which the water originated was aimed slightly off-center to the cups that caught the water, allowing the energy created by water&#39;s splashing not to be wasted. By the 1890s, more than 300 Knight Wheels had been produced and were in widespread use across the Western United States.</p><br>
<p>Lester Allan Pelton&#39;s competing Pelton Wheel was developed in 1878, based on a similar concept, but using two cups side-by-side and having the nozzle pointed directly between the cups. It turned out to be more efficient, the two types having been directly compared in a competition in 1883. The Pelton Wheel went on to become the industry standard. Recognizing the superior design, Knight developed an improved electrical governor that controlled the flow of water to the nozzle for any type of impulse water turbine.</p><br>
<p>During the California Gold Rush, the foundry was just one of many such in the area, producing items necessary for the times, such as mining equipment and street lights for the growing region. As the years passed and the gold was exhausted, the foundry stayed in business by creating specialized parts that could not be easily mass-produced. Additionally, Knight invented several other types of mining equipment, with the foundry having a total of eight patents for machines designed in his shop, one of them being issued after Knight&#39;s death. Knight dredger pumps were used in San Francisco Bay, Puget Sound, and the Willamette and Columbia Rivers.</p><br>
<p>Knight died in 1913 and left the ownership of the foundry to his employees, and it stayed in employee hands until 1970 when the last employee-owner died. At that point, it was purchased by Carl Borgh, an aerospace engineer from Southern California who was originally a customer.</p><br>
<p>The foundry stayed in business until 1996 when Borgh retired, after which it survived for a while as a museum, but there was not enough business to offset the high insurance costs of the equipment. Borgh died in 1998 and his estate sold the company to Richard and Melissa Lyman in 2000, a couple who was in the business of preserving old buildings. Their purchase was simply to hold it until a non-profit organization founded by Andy Fahrenwald, a filmmaker who had come to create a documentary film about the foundry, had enough funds to purchase it. However, Fahrenwalds organization could never raise enough money. In 2007 the City of Sutter Creek agreed to buy it from the Lymans, but could not come to an agreement on terms suitable to both parties, and negotiations ended in August 2010. The Lymans generously donated the buildings and land to the City Of Sutter Creek on December 31, 2016. A preservation plan is currently pending.</p><br>
<h2>Process</h2><br>
<p>Wood craftsmen begin by making a model of the desired metal object from hardwood, using lathes, saws, and planes, which were all powered by the Knight Wheels. The model, called a pattern, is then placed in a casting flask, in its simplest form a topless and bottomless box split in half around its perimeter. The flask is placed on a board and a sand mixture (containing seacoal, bentonite clay, and pitch) poured and rammed around the pattern. The additives harden and stabilize the sand so that the flask can be split apart and the pattern removed leaving an exact impression or mold in the sand. The pattern can be reused almost indefinitely to create more molds in additional casting flasks. A channel or gate is left in the sand so that when the flask is rejoined, the ironworkers can pour the molten iron into it through the opening. When the iron has solidified the flask is broken apart, destroying the sand mold in the process, to reveal the rough casting.</p><br>
<h2>Present status</h2><br>
<p>The foundry is registered as a California Historical Landmark. and is listed on the National Register of Historic Places. It is also designated a Mechanical Engineering Historic Site by the American Society of Mechanical Engineers (ASME), and has been declared one of America&#39;s Most Endangered Places by the Smithsonian Institution. The land and buildings were donated to the city of Sutter Creek, California on December 31, 2016. An open house was held on March 4, 2017, with much of the equipment shown operating. The open house coincided with fundraising to purchase the equipment within the buildings and to further establish a living museum.</p><br>
<p>The public is welcomed on the second Saturday of each month for self-guided tours. There are also private tours for individuals and groups. Tours by school children and other educational groups is encouraged.</p><br>
<p>Knight Foundry Alliance is a 501(c)(3) nonprofit organization, tax ID #83-2165652.</p><br>
<p>The Carson City Mint was a branch of the United States Mint in Carson City, Nevada. It primarily minted silver coins; however, it also minted gold coins, with a total face value in dollars nearly equal to that of its silver coins. The mint minted coins in 21 different years.</p><br>
<p>The Carson City Mint was created in 1863 but was not put into operation until 1870. It ran until 1885, went on a hiatus, and resumed operations in 1889, after which it ran until 1893, when it closed permanently. It is now the Nevada State Museum, Carson City.</p><br>
<h2>History</h2><br>
<p>Built at the peak of the silver boom conveniently near a local silver mine, 50 issues of silver coins and 57 issues of gold coins minted here between 1870 and 1893 bore the "CC" mint mark. The mint was established in Carson City to facilitate minting of silver coins from silver in the Comstock Lode, much as the San Francisco Mint was established to facilitate minting gold coins from the gold of the California gold rush. From 1895 to 1933, the building served as the USA Assay Office for gold and silver. The federal government sold the building to the state of Nevada in 1939. Coins struck here, especially Morgan dollars, are generally rare and command a high premium among collectors.</p><br>
<p>The building that housed the mint was the first designed by Alfred B. Mullett after becoming Supervising Architect of the Department of the Treasury. The construction supervisor was Abraham Curry, also known as the "Father of Carson City." The simple Renaissance Revival-style stone facade has pairs of round-headed windows and a center portico. It is now the home of the Nevada State Museum. Although the mint has not struck United States coins since 1893, Coin Press No. 1 (the original coin press from the mint) is still in the building and used to strike commemorative medallions with the "CC" mint mark. The most recent of these are medallions commemorating the 75th anniversary of the museum.</p><br>
<h3>Proposed commemorative coin production</h3><br>
<p>On July 16, 2019, a bill was introduced proposing to strike commemorative Morgan and Peace dollars on the premises of the Nevada State Museum in 2021. If passed, the coins will feature the "CC" mint mark, becoming the first legal tender coins to do so in 128 years. Aside from adding a new date to both the Morgan and Peace dollar series, it would be the first time the Peace dollar is struck with the mint mark.</p><br>
<p>The bill has received support from many coin collectors, with the American Numismatic Association encouraging collectors to express their support. However, some collectors have voiced their concerns about the mintage limit of 500,000 pieces.</p><br>
<p>Though 2021 Morgan commemorative dollars were struck with a CC privy mark, they were not struck at the former Carson City Mint.</p><br>
<h2>Denominations minted</h2><br>
<h3>Silver denominations</h3><br>
<p>Note: A Seated Liberty dollar was the first coin to be struck at Carson City.</p><br>
<h3>Gold denominations</h3><br>
<p>Wagon Bed Spring, also known historically as the Lower Spring or Lower Cimarron Spring, is a historic former spring in Grant County, Kansas, United States. It is located about 12 mi south of Ulysses, on the west side of United States Route 270.</p><br>
<h2>Description</h2><br>
<p>Wagon Bed Spring is located at what was historically the north bank of the Cimarron River, in a rural setting about 12 mi south of Ulysses, Kansas. The site is marked by interpretive signage. The river is a historically intermittent stream, and its channel has been altered since the 19th century by flooding, and the actual spring site is now in the river bed. The flow of the spring came from an outcropping of the Ogallala Formation. Center pivot irrigation adjacent to the spring resulted in lowering of the water table and the spring ceased to flow in the 1960s.</p><br>
<p>The site is historically and archaeologically significant as a major migrant camp site on the Santa Fe Trail. The spring was one of the few reliable sources of water along the Cimarron Cutoff between the watersheds of the Arkansas and Cimarron Rivers, and many migrant and military groups camped here in the 60 years or so that the trail was used. Mountain man Jedediah Smith was probably killed here or near here on May 27, 1831, by Comanches.</p><br>
<p>The Daughters of the American Revolution placed a historic marker near the spring in 1907. In 1914, a series of floods on the Cimarron River began to significantly alter the topography of the area, eventually placing the location within a much widened river bed. The site was designated a National Historic Landmark in 1960, but its boundaries were not precisely delineated. It had also not been investigated archaeologically to any significant degree, although numerous accounts give descriptions of the site over time. Amateur investigations in the 1980s suggested that major elements of the site, in particular the places where migrant groups camped, fell outside the assumed boundaries of the site. The National Park Service instituted formal investigations in the early 1990s resulted in a formal characterization of the spring area, and identification of the core areas used for camping. The landmarked area also includes sections of preserved wagon ruts.</p><br>
<p>Point of Rocks is a cliff in Morton County, Kansas which was one of three landmarks by the same name on the Santa Fe Trail. This one was on the Cimarron Cutoff. It is now part of Cimarron National Grassland.</p><br>
<p>The bluff overlooks the north side of the Cimarron River and lies approximately seven miles north of Elkhart west of K-27.</p><br>
<p>Point of Rocks has been an important landmark for travelers to this region of Kansas. It signifies the closeness of springs and thus water. Many springs are known to exist in the region of the Cimarron River near Point of Rocks. Because of this, Point of Rocks was an important landmark for travelers heading west on the Cimarron Cutoff and for modern day ranchers. Point of Rocks is the third Highest Point in the state of Kansas with the elevation at its summit being 3,540 ft.</p><br>
<p>Point of Rocks-Middle Spring Santa Fe Trail Historic District, which includes the cliff, a spring, and four Santa Fe trail segments, is listed on the National Register of Historic Places.</p><br>
<p>An overlook on the Point of Rocks looks out over former Point of Rocks ranch area. The overlook includes interpretative displays.</p><br>
<p>A DAR monument was placed on the Point of Rocks in April 1914. Soon after, on May 1, 1914, the a flood of the Cimarron River destroyed hay and numerous buildings of the Point of Rocks ranch, as well as drowning two daughters of the Brite family.</p><br>
<p>The district was added to the National Register on April 10, 2013.</p><br>
<p>High Point Terrace is a neighborhood located in the heart of the city of Memphis, Tennessee. The High Point Terrace Historic District is listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>High Point Terrace is generally geographically defined as being located north of Walnut Grove Road, east of North Highland Street, south of Summer Avenue and bounded on the east by North Graham Street. Sam Cooper Boulevard, a local freeway, cuts the northern section off from the rest of the neighborhood. High Point gets its name from the railroad industry because, when the railroad that cut through the neighborhood was active, it was the highest point between the Mississippi River (to the west) and the Wolf River (to the east). Several years ago the rail bed was converted into the Shelby Farms Greenline, a popular paved exercise trail for non-motorized traffic.</p><br>
<h2>Community</h2><br>
<p>The main thoroughfare extending North from Walnut Grove across Sam Cooper Blvd. to Summer Ave.,(also called High Point Terrace) is several blocks long and contains a small shopping area with a grocery store, family dental office, dry cleaners, pizza shop, barber shop, Deli/Cafe, pub and a few other businesses. Property values in High Point Terrace are some of the highest per square foot in the city of Memphis. There are approximately 4,000 residents and 1,800 homes (most of which are examples of early post-World War II minimal traditional design) in the area.</p><br>
<h2>History</h2><br>
<p>Development in this part of Memphis began around 1900, though very little was developed. The next major development during the early 1940s, but World War II halted development for several years. The whole neighborhood was completed by 1953. The construction of Sam Cooper Boulevard (which was originally to be I-40) destroyed many of the original homes built at the turn of the century. The High Point Terrace Historic District, which includes 1180 contributing buildings over 480 acre, was added in 2002 to the National Register of Historic Places (NRHP). The NRHP is the United States federal government&#39;s official list of districts, sites, buildings, structures, and objects deemed worthy of preservation for their historical significance. A property listed in the National Register, or located within a National Register Historic District, may qualify for tax incentives derived from the total value of expenses incurred preserving the property. The neighborhood has a literary connection: In the late 1950s the great American playwright Tennessee Williams wrote the play "Period of Adjustment", which is subtitled "High Point is Built on a Cavern". The play premiered on Broadway in 1960 and was made into a major motion picture in 1962. (It is well-known that Williams had many Memphis connections, and IMDB lists the movie setting as "High Point, Tennessee".)</p><br>
<p>The Central City Opera House is located in the Central City/Black Hawk Historic District in Central City, Colorado, United States. It was constructed in 1878. It has offered operatic and theatrical productions that drew prominent actors and performers in the late 19th-century, and in the early 20th-century it was a motion picture theater.</p><br>
<p>The opera house was designated to the National Register of Historic Places in 1973.</p><br>
<h2>Construction and subsequent renovations</h2><br>
<p>In 1877, the citizens of Central City formed the Gilpin County Opera House Association to fundraise for the states first opera house. Denver architect Robert S. Roeschlaub designed the Renaissance Revival stone and brick structure, with a crescent-shaped balcony and arched windows. San Francisco artist John C. Massman painted a mural to the ceiling with a central medallion that features the sky, surrounded by a large geometrical patter, and trompe-lœil architectural moldings.</p><br>
<p>It was built by Welsh and Cornish miners and town residents, who had a tradition of music. The opera house is kept cool during the summer by a creek flows that through a flume under the building. Electricity was installed in 1896 and it was renovated, without structural changes, in 1903.</p><br>
<p>In 1929 a dedicated band of Denver preservationists and music lovers formed the Central City Opera House Association to perform a renovation and re-open the opera house. It was a volunteer-driven effort led by Ida Kruse McFarlane, Edna Chappell and Anne Evans that resulted in an extensive restoration of the Opera House in 1932. In the 1980s and 1990s, the entire structure was restored, including the foundation and replacement of the 1920-era lighting relic by a computerized lighting system. In 1999, wooden chairs were replaced with plush new theater seating.</p><br>
<h2>Productions and cinema</h2><br>
<p>With the 1878 grand opening, Central City was Colorados cultural capital until another opera house, Tabor Grand Opera House, opened in 1881. The Opera House was not turning a profit and it expanded its repertoire to include theater productions to increase its revenues. They featured prominent 19th-century actors such as Joseph Jefferson, Edwin Booth, Madame Januschek and Fannie Barlow. In addition, Buffalo Bill performed here as well as P. T. Barnums circus.</p><br>
<p>Peter MacFarlane, who was a contractor for the original construction and the contractor for the 1903 renovation, became the principal owner of the Opera House by 1910, when he opened it as a motion picture theater. The Opera House closed in 1927.</p><br>
<p>The opera house was donated to the University of Denver in May 1931 by MacFarlane&#39;s heirs and restoration was organized by the newly formed Central City Opera House Association. It began a tradition of offering summer opera and theater festivals, which have become nationally recognized.</p><br>
<p>The Central City Opera company was also formed that year. It is the fifth oldest opera company in the United States. One of its popular performances is The Ballad of Baby Doe, which tells the story of wealthy mine-owner Horace Tabor and his second wife Baby Doe Tabor. It was first performed in 1956.</p><br>
<p>Samuel Ramey and Beverly Sills have performed at the opera house. It was noted by Daniel Rule, who managed the Central City Opera company, that 29 of the performers of the Metropolitan Opera in New York had performed at Central City. The Central City Opera House Association owns 30 Victorian houses in town that are used during the summer to board singers who perform at the opera house. Up until 2000 all of the operas were performed in English. Central City Opera now performs all of its operas in their original languages.</p><br>
<p>The opera house continues to offer several operatic productions each summer and screenings of silent and classic films.</p><br>
<h2>Popular culture</h2><br>
<p>It was a film location for the movie The Duchess and the Dirtwater Fox starring Goldie Hawn and George Segal.</p><br>
<p>It was also referenced in chapter 9 of On the Road by Jack Kerouac, mentioning the opera Fidelio and interactions with the performers in a wild night in Central City as the western opera world intersected with the Beat Generation.</p><br>
<p>The Criel Mound, also known as the South Charleston Mound, is a Native American burial mound located in South Charleston, West Virginia. It is one of the few surviving mounds of the Kanawha Valley Mounds that were probably built in the Woodland period after 500 B.C. The mound was built by the Adena culture, probably around 250–150 BC, and lay equidistant between two “sacred circles”, earthwork enclosures each 556 ft in diameter. It was originally 33 ft high and 173 ft in diameter at the base, making it the second-largest such burial mound in the state of West Virginia.  This archaeological site is listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The mound was originally conical in shape. Residents of the area leveled the top in 1840 to erect a judges&#39; stand, as they ran horse races around the base of the mound at the time.</p><br>
<p>The Criel Mound was excavated in 1883–84 under the auspices of the US Bureau of Ethnology and the supervision of Col. P.W. Norris. The excavation was performed by Professor Cyrus Thomas of the Smithsonian Institution. Inside the mound, Professor Thomas found thirteen skeletons: two near the top of the mound, and eleven at the base. The skeletons at the base consisted of a single very large but badly decayed skeleton at the center, a "once most powerful man" which according to A.R. Sines who assisted Col. Norris in the excavation, measured "Six feet, 8 3–4 inches" (205 cm) from head to heel (the Smithsonian nomination form added "but the extreme height indicated might have been an exaggeration created by earth pressing down on the burial"). This skeleton was surrounded by ten other skeletons arranged in a spoke-like pattern, with their feet pointing toward the central skeleton. The skeletons at the base had been wrapped in elm bark and were lying on a floor of white ash and bark. Several artifacts were found buried with the skeletons, including arrowheads, lanceheads, and shell and pottery fragments. The central skeleton was accompanied by a fish-dart, a lance-head, and a sheet of hammered native copper near the head. Holes found at the base of the mound suggest that the bodies at the base had been enclosed in a wooden vault.</p><br>
<h3>Kanawha Valley Mounds</h3><br>
<p>The Criel Mound is part of the second-largest known concentration of Adena mounds and circular enclosures which Cyrus Thomas called the "Kanawha Valley Mounds". This area extends for eight miles (13 km) along the upper terraces of the Kanawha River floodplain, in the vicinity of present-day Charleston. In 1894, Cyrus Thomas reported 50 mounds in this area, ranging from 3’ to 35’ in height and from 35’ to 200’ in diameter. He also reported finding eight to ten circular earthworks, enclosing from 1 to 30 acre. Stone mounds dotted the bluffs above the floodplain.</p><br>
<p>While many of the original Adena mounds were destroyed during later development of the area, a few remain. The Wilson Mound is in a private cemetery in South Charleston. A recreation of the original Shawnee Reservation Mound exists in Institute, West Virginia.</p><br>
<h3>Staunton Park</h3><br>
<p>Today, the Criel Mound is the centerpiece of Staunton Park, a small municipal park maintained by the city of South Charleston. It is a gathering place for community activities, such as arts and crafts fairs, revivals, memorial services, sunrise services, and town carnivals.</p><br>
<p>The Mount  is a country house in Lenox, Massachusetts, the home of noted American author Edith Wharton, who designed the house and its grounds and considered it her "first real home." The estate, located in The Berkshires, is open to the public. The property was declared a National Historic Landmark in 1971.</p><br>
<p>Today, The Mount is a cultural center and historic house museum, welcoming over 50,000 visitors each year. Visitors can explore the property and learn about Edith Wharton by taking tours of the house and gardens and are invited to sit in and interact with the rooms without obstruction. Interpretive exhibits throughout the house explore Wharton and her servants’ lives, as well as her humanitarian efforts and literary legacy. The Mount also presents lectures, dramatic readings, theater, music, storytelling, workshops, outdoor sculptures, films, and literary panels with over 40 local partner organizations.</p><br>
<h2>History</h2><br>
<p>The Mounts main house was inspired by the 17th-century Belton House in England, with additional influences from classical Italian and French architecture. Edith Wharton used the principles described in her first book, The Decoration of Houses (1897, co-authored with Ogden Codman, Jr.), when she designed the house. She thought that good architectural expression included order, scale, and harmony. Its west (entry) elevation is three stories; on the garden side it is two stories with an opening out to a large, raised, stone terrace overlooking the grounds. The house exterior is a striking white stucco, strongly set off by dark green shutters, and rises from a quasi-rustic foundation of coarse field stone. Clusters of gables and white chimneys rise from the roof, which is capped with a balustrade and cupola. This main house is augmented by Georgian Revival gatehouse and stable, and a beautifully restored Lord and Burnham Greenhouse. Whartons sometime collaborator, Ogden Codman, Jr., assisted with the architectural design. Wharton&#39;s niece, Beatrix Jones Farrand, designed the kitchen garden and the drive; Farrand was the only woman of the eleven founders of the American Society of Landscape Architects.</p><br>
<p>Edith Wharton and her husband, Edward, lived in the Mount from 1902 to 1911. After the Whartons left, the house was a private residence, a girls&#39; dormitory for the Foxhollow School, and site of the theatre company Shakespeare & Company. It was then bought by Edith Wharton Restoration, which has restored much of the property to its original condition and oversees the running of the property.</p><br>
<p>The house is situated at the high end of its grounds. The original site was 113 acre of farmland, with another 15 acre later added. The current estate size is 49.5 acre. Restored gardens include an Italian walled garden, formal flower garden, alpine rock garden, lime walk, and extensive grass terraces.</p><br>
<p>Today, in addition to being a historic house, The Mount is a major tourist attraction in the Berkshires of Western Massachusetts. It has been featured in several high-end magazines including an eight-page spread shot by photographer Annie Leibovitz for the fall 2012 issue of Vogue, with a foreword by Colm Tóibín. In recent years, The Mount has become a literary hub, hosting an array of events including readings, book launches, and panel discussions. Author appearances have included: Tom Reiss, Billy Collins, David McCullough, Megan Marshall, Lily Koppel, Adam Gopnik, Kate Bolick, Garrison Keillor, John Berendt.</p><br>
<h2>Paranormal activity</h2><br>
<p>In 1942 The Mount became part of the Foxhollow School for Girls, and residents reported unexplained noises and experiences in the living areas of the mansion. Following the school&#39;s closure in 1976, the mansion remained vacant for several years until Shakespeare & Company used it as a dormitory and performance space. Actors reported the same unexplained sounds and sightings of figures in period dress. In early 2009, the SyFy television show Ghost Hunters filmed an episode at The Mount, and over the course of three days reported audio and visual evidence of activity, such as the sounds of footsteps in an otherwise empty room, and disembodied voices. The show did a follow-up episode in 2015.</p><br>
<p>The Paul Revere House, built c.1680, was the colonial home of American Patriot and Founding Father Paul Revere during the time of the American Revolution. A National Historic Landmark since 1961, it is located at 19 North Square, Boston, Massachusetts, in the city&#39;s North End, and is now operated as a nonprofit museum by the Paul Revere Memorial Association. An admission fee is charged.</p><br>
<h2>History</h2><br>
<p>The original three-story house was built about 1680, making it the oldest surviving house in downtown Boston. It occupied the former site of the Second Church of Boston&#39;s parsonage, home to Increase Mather and Cotton Mather, which was destroyed by fire on November 27, 1676. Its first owner was Robert Howard, a wealthy slave merchant. His L-shaped townhouse contained spacious rooms and would have been enhanced by exterior features such as a second-floor overhang and casement windows.</p><br>
<p>As is typical of early Massachusetts Bay timber construction, the main block of the three-story dwelling consisted of four structural bays demarcated by heavy framing posts and overhead beams. The larger ground-floor room in this main block was dominated by its chimney bay and adjoining lobby entrance. Although some contemporary Boston houses had separate kitchen buildings, the two-story extension behind the Revere House was typical. As the Revere House was set quite close to neighbors, its double casement windows were installed in the rear elevation rather than the more common placement in a gable.</p><br>
<p>Around the middle of the eighteenth century, the Paul Revere House went through two major renovations. First, the roofline facing the street was raised substantially to bring the house in line with the Georgian architectural style that had become prevalent at that time (the roofline was returned to its original pitch, albeit without a gable, by the restorers in 1907–1908, which gave rise to a commonly held misconception that the attic had been removed). Second, a two-story lean-to was added in the ell between the two 17th-century portions of the house (this lean-to was removed by the restoration in 1907–1908).</p><br>
<p>Paul Revere owned this house from 1770 to 1800, although he and his family may have lived elsewhere for periods in the 1780s and 1790s. It is believed that during the Revere occupancy the rear chimney was added (c. 1790) including the kitchen that visitors see in the first room they enter.</p><br>
<p>After Revere sold the house, it became a tenement with its ground floor remodeled for use as shops, including at various times a candy store, cigar factory, bank and vegetable and fruit business. In 1902, Revere&#39;s great-grandson, John P. Reynolds Jr. purchased the building to prevent demolition, and restoration took place under the guidance of architect and historic preservationist Joseph Everett Chandler. In April 1908, the Paul Revere House opened its doors to the public as one of the earliest historic house museums in the United States.</p><br>
<p>Despite the substantial renovation process which returned the house to its conjectured appearance around 1700, 90% of the structure (including two doors, three window frames, and portions of the flooring, foundation, inner wall material and raftering) is original to 1680, though none of the window glass is original. Its heavy beams, large fireplaces, and absence of interior hallways are typical of colonial living arrangements. The two chambers upstairs contain several pieces of furniture believed to have belonged to the Revere family.</p><br>
<p>Immediately adjacent (across the entry courtyard, the original site of the John Barnard House) is the brick Pierce–Hichborn House, built about 1711 as an early Georgian house, and also operated as a nonprofit museum by the Paul Revere Memorial Association.</p><br>
<p>In December 2016, the Paul Revere Memorial Association opened a 3,500 ft&sup2; visitor and education center connected to the house by an elevated walkway. Purchased in 2007, $4 million in renovations allow the new education center to provide additional exhibit space on Revere&#39;s Midnight Ride, his work as a silversmith, and his industrial work after the American Revolution. The renovations permit wheelchair users to access the second floor of the house for the first time, while classrooms and a library allow for expanded research and educational outreach.</p><br>
<p>The Pierce–Hichborn House  is an early Georgian house located at 29 North Square, Boston, Massachusetts. It is immediately adjacent to the Paul Revere House and is now operated as a nonprofit museum by the Paul Revere Memorial Association. An admission fee is charged.</p><br>
<h2>Design</h2><br>
<p>The Pierce–Hichborn House is three stories tall, faced in common-bond brickwork with decorative belt courses and large sash windows. Its narrow side elevation faces the street, with its main facade opening onto a compact private passageway. Inside it is laid out on each floor as a narrow central hallway and stairway with a single heated room to either side. Framing is oak and the trim is pine, including fireplace mantels. Originally each room had two front-facing windows and two side windows although later extensions to the side of the house farthest from the street eliminated those side windows. The house is not rectangular and its street-side corner is very sharp to take full advantage of the small urban lot.</p><br>
<h2>History</h2><br>
<p>The original dwelling was probably destroyed in the 1711 Boston fire. The house is an excellent example of early Georgian architecture and one of the earliest surviving brick structures in Boston. It was built by glazier Moses Pierce, the grandson of John Jeffs, who built the neighboring Paul Revere House thirty years earlier. Even then the neighborhood was urban, and the house stood three doors down the square from the Revere House. William Shippard purchased the house in 1747. Nathaniel Hichborn, a boatbuilder and cousin of Paul Revere, acquired the house from Shippard in 1781. The Hutchinson family lived in the house until 1864. It became a tenement and store until the early 1940s.</p><br>
<p>In 1941, the Society for the Preservation of New England Antiquities bought the house at a bank auction. In 1949, descendants of Hichborn led an effort to restore the house. The house was named a National Historic Landmark by the National Park Service on November 24, 1968. As per procedure, the house was also listed on the National Register of Historic Places. In 1970, ownership was turned over to the Paul Revere Memorial Association, who operate the house as a museum in conjunction with the Revere house.</p><br>
<p>The Nathaniel Bowditch House, sometimes called the Bowditch-Osgood House and the Curwen-Ward-Bowditch House, is a historic house and National Historic Landmark at 9 North Street in Salem, Massachusetts. With a construction history apparently dating to 1759–60, the house is distinctive as having been owned by three families important in the maritime history of Salem. Its landmark designation in 1965 stems from its association with Nathaniel Bowditch , the founder of modern navigation, who lived here from 1811 to 1823. The house now serves as the headquarters of Historic Salem, Inc., which was responsible for its rescue from demolition and eventual restoration.</p><br>
<h2>Description and history</h2><br>
<p>The Bowditch House is significant both architecturally and historically. It is a -story clapboarded house in the Federal style, five bays wide and two rooms deep, with a low-pitch hip roof. The building originally stood at 312 Essex Street, and was moved to its present location in the 1940s to avoid demolition as part of a road widening project. Its most elegant feature is its main entrance, which is centered on the front facade. The doorway is recessed from the facade in a paneled opening, and is flanked by sidelight windows and topped by a transom window. The opening is flanked by fluted pilasters with elaborately-carved capitals, supporting a flat-roofed architrave. The roof is surrounded by a "chinese balustrade", a restoration of a feature the house was known to have earlier.</p><br>
<p>Although long believed to have been built c. 1805, researchers in 2000 uncovered evidence within the papers of Samuel Curwen strongly suggestive that the house was actually built in 1759–60. Curwen&#39;s diary identifies plans to build a -story structure otherwise dimensionally identical to the Bowditch house, suggesting that the third story may have been the result of alterations in 1805, at which time its Federal styling would also have been added.</p><br>
<p>The Curwen or Corwin family has a long history in Salem, as shipbuilders, merchants, and businessmen. Samuel Curwen, the builder of this house, was a Loyalist who fled the country at the outset of the American Revolutionary War, and whose estate was plundered during his absence. The childless Curwen left the house to his nephew Samuel Curwen Ward, to whom a young Nathaniel Bowditch was apprenticed as a ship chandler. Ward lost the house to foreclosure in 1800, after which it was bought by a cousin, William Ward. He was a captain of several merchant ships, and was responsible for the alterations that gave the house its present appearance, including the "chinese balustrade" which was representative of his involvement in the China Trade. The woodwork involved in this transformation is now attributed to Salem&#39;s master carver, Samuel McIntire.</p><br>
<p>The Wards sold the house to Nathaniel Bowditch in 1811. Bowditch had by then already published his New American Practical Navigator, a major revision and update of an earlier British work that was riddled with errors. This work provided up-to-date information on tides, currents, and astronomical tables, and has served as the basis for modern navigational guides ever since. This house is one of three in Salem to survive (the other two are the house in which he was born, and a second childhood house). The Bowditches lived here until 1823, when they moved to Boston. The next significant owner of the house was Joseph B. F. Osgood, a prominent Salem lawyer who was city mayor during the American Civil War. His family owned the house from 1858 to 1911. It thereafter was subdivided into apartments, and went through a succession of owners.</p><br>
<p>Plans by the city to widen North Street threatened the Bowditch House and the adjacent Corwin "Witch House". Concerned preservationists in the community formed Historic Salem, Inc. (HSI), in order to preserve them. The Bowditch House was moved to its present location in 1944, and the Witch House was moved within its lot to accommodate the widened road. It is believed that the original foundation of the Bowditch house may survive under the lawn of the Witch House. HSI restored the Witch House, but not the Bowditch House, which was taken over by the city in the 1960s for town offices. It was returned to HSI in 2000, and given a complete restoration. HSI also leases out several rooms as offices; one current tenant is an office of Orange Mountain Music, the personal record label of minimalist composer Philip Glass.</p><br>
<p>The Nathaniel Bowditch House was declared a National Historic Landmark in 1965, and was listed on the National Register of Historic Places in 1966.</p><br>
<p>Capon Chapel, also historically known as Capon Baptist Chapel and Capon Chapel Church, is a mid-19th century United Methodist church located near to the town of Capon Bridge, West Virginia, in the United States. Capon Chapel is one of the oldest existing log churches in Hampshire County, along with Mount Bethel Church and Old Pine Church.</p><br>
<p>A Baptist congregation was gathering at the site of the present-day church by at least 1756. Primitive Baptist minister John Monroe (1750–1824) is credited for establishing a place of worship at this site; he is interred in the church&#39;s cemetery. The land on which Capon Chapel was built originally belonged to William C. Nixon (1789–1869), a member of the Virginia House of Delegates; later, it was transferred to the Pugh family. The first documented mention of a church at the Capon Chapel site was in March 1852, when Joseph Pugh allocated the land to three trustees for the construction of a church and cemetery.</p><br>
<p>During the early years of Capon Chapel, no Protestant denomination was the exclusive owner or occupant, and the church was probably utilized as a "union church" for worship by any Christian denomination. Capon Chapel was used as a place of worship by Baptists until the late 19th or early 20th century. In the 1890s, Capon Chapel was added as a place of worship on the Capon Bridge Methodist circuit of the Southern Methodist Episcopal Church. As of 2017, Capon Chapel remains a Methodist church, now a part of the United Methodist Church, holding Methodist services four Sundays per month at 1pm. Open table communion is held on the first Sunday of each month. Capon Chapel also maintains a daily devotion hotline.</p><br>
<p>Capon Chapel&#39;s cemetery is surrounded by a wrought iron fence made by Stewart Iron Works, and contains the remains of John Monroe, William C. Nixon, West Virginia House of Delegates member Captain David Pugh (1806–1899), American Civil War veterans from the Union and the Confederacy, and free and enslaved African Americans. Capon Chapel, along with its cemetery, was added to the National Register of Historic Places on December 12, 2012, in recognition of its representation of the rural religious architecture of the Potomac Highlands region, and for its service as an important rural church in Hampshire County.</p><br>
<h2>Geography and setting</h2><br>
<p>Capon Chapel and its associated cemetery are located to the east Christian Church Road (West Virginia Secondary Route 13), approximately 2.01 mi south of Capon Bridge and 1.14 mi northeast of the unincorporated community of Bubbling Spring in southeastern Hampshire County. Capon Chapel is 894 ft east of the Cacapon River, in a rural agricultural area within the Cacapon River Valley. Dillons Mountain, a forested and narrow anticlinal mountain ridge, rises to the west of the Cacapon River Valley, while the forested, rolling foothills of the anticlinal Timber Ridge rise to the valley&#39;s east.</p><br>
<p>The church and cemetery are accessible through a gravel driveway to the north; to the west, a cluster of tall oak trees blocks access to the road. Capon Chapel is landscaped with boxwoods on its north and south sides, a single holly on its east side, and forsythias along its west side. The Capon Chapel property consists of the church structure (c. 1852), and its associated cemetery, which is enclosed partly by the historic wrought iron fence and partly by a chain link fence. A flagpole stands at the center of the cemetery&#39;s eastern perimeter.</p><br>
<h2>History</h2><br>
<h3>Background</h3><br>
<p>The land upon which Capon Chapel is located was originally part of the Northern Neck Proprietary, a land grant that the exiled Charles II awarded to seven of his supporters in 1649 during the English Interregnum. Following the Restoration in 1660, Charles II finally ascended to the English throne. Charles II renewed the Northern Neck Proprietary grant in 1662, revised it in 1669, and again renewed the original grant favoring original grantee Thomas Colepeper, 2nd Baron Colepeper and Henry Bennet, 1st Earl of Arlington in 1672. In 1681, Bennet sold his share to Lord Colepeper, and Lord Colepeper received a new charter for the entire land grant from James II in 1688. Following the deaths of Lord Colepeper, his wife Margaret, and his daughter Katherine, the Northern Neck Proprietary passed to Katherine&#39;s son Thomas Fairfax, 6th Lord Fairfax of Cameron in 1719.</p><br>
<p>Under Lord Fairfax&#39;s ownership, the Cacapon River Valley was predominantly inhabited by English-speaking settlers as early as the late 1730s. The majority of these settlers had come from Pennsylvania and New Jersey, many of whom were either Quakers or former Quakers who were attracted to the Baptist and Methodist denominations.</p><br>
<h3>Baptist affiliation</h3><br>
<p>The Baptists established the oldest extant churches in Hampshire County. During the Baptists early growth in Hampshire County, the best known Baptist ministers were John Monroe (1750–1824) and Benjamin Stone (1743–1842). According to historians Hu Maxwell and Howard Llewellyn Swisher in History of Hampshire County, West Virginia (1897), Monroe was a minister for Primitive Baptists, who were adherent to a strict interpretation of the Calvinist theology of the Ketocton Association. Monroe probably established a Baptist church on the site of the present-day Capon Chapel, where he is buried in the churchs cemetery. However, other sources claim that a Baptist congregation began gathering at the Capon Chapel site as early as 1756.</p><br>
<p>Increased settlement and the arrival of other religious denominations in the Cacapon River Valley were further facilitated following the completion of the Northwestern Turnpike in the 1830s, which connected Parkersburg with Winchester. A small community began to develop near the turnpikes Cacapon River crossing, 2.01 mi north of Capon Chapels present-day location. The community later became the town of Capon Bridge.</p><br>
<p>The land on which Capon Chapel was built belonged to William C. Nixon (1789–1869), a member of the Virginia House of Delegates. Nixons mother-in-law, Elizabeth Caudy (1773–1816), was the first person to be buried in the churchs cemetery. While various sources estimate that Capon Chapel was built around the 1750s, there is no physical or documentary evidence to support this claim. The first documented mention of a church at the Capon Chapel site was in March 1852, when Joseph Pugh allocated 88 and one-half poles, or approximately 0.55 acres, to three trustees: David Pugh, another David Pugh, and Robert Pugh. The Pugh family, which was of Welsh descent, were early settlers in the Cacapon River Valley, and were one of the families that came from Wales through Pennsylvania in the late 17th century. The grants deed told the trustees to conceive "a Graveyard and for a house for the Public Worship of Almighty God for the use of all orthodox Christians", and specified that the land was only to be used for religious worship and "for no other purpose". The deed further stipulated that inheritors of the land had to be Pughs descendants.</p><br>
<p>During the church&#39;s early years, no Protestant denomination was the exclusive owner or occupant of Capon Chapel, which indicates that the church was probably utilized as a "union church" for worship by any Christian denomination.</p><br>
<h3>Methodist affiliation</h3><br>
<p>In addition to the Baptist faith, Methodists started coming to the Cacapon River Valley during the latter half of the 18th century. Methodist Episcopal Church circuit rider Francis Asbury traveled through the Capon Bridge area in 1781. Capon Chapel was not commonly used as a Baptist place of worship by the early 20th century, and developed into a permanent stop along the Capon Bridge Methodist circuit, which later grew to include Central Church at Loom and Bethel Church at Neals Run. In 1976, the circuit&#39;s pastor was Thomas Malcolm.</p><br>
<p>Capon Chapel remains a Methodist church, now a part of the United Methodist Church. As of 2015, Capon Chapels congregation numbers five. The churchs Methodist circuit pastor is M. Christopher Duckworth; and it offers services four Sundays a month. A small group of committed congregants maintain the historic church and cemetery grounds. Brenda Hiett is the church&#39;s caretaker, as of 2015. Throughout its existence, Capon Chapel has been known by various names, including "Capon Baptist Chapel" and "Capon Chapel Church".</p><br>
<h3>Preservation</h3><br>
<p>According to the churchs caretaker, Brenda Hiett, the churchs roof and siding were installed around 1900. A wrought iron fence, made by Stewart Iron Works in Cincinnati, Ohio, was installed around the churchs cemetery. Electrical conduits were added to the interior of the church when it was electrified around 1930, and further electrical updates were made in 2011. The churchs perimeter foundation of concrete blocks replaced the original stone piers in the early 1970s, and its wide, heart pine plank floors were sanded and re-lacquered. Around 1990, the Stewart Iron Works fence and gate were restored by White’s Ornamental Ironworks.</p><br>
<p>In 2008, following surveys of historic properties throughout the county, the Hampshire County Historic Landmarks Commission and the Hampshire County Commission embarked upon an initiative to place structures and districts on the National Register of Historic Places. The county received funding for the surveys from the State Historic Preservation Office of the West Virginia Division of Culture and History. Capon Chapel was added to the National Register of Historic Places on December 12, 2012, in recognition of its representation of the rural religious architecture of the Potomac Highlands region, and for its service as an important rural church in Hampshire County.</p><br>
<h2>Architecture</h2><br>
<p>Capon Chapel is a single-story, rectangular, front gable log building, covered with white-painted wooden clapboard siding, and topped with a green standing seam metal roof, along with metal snow guards.</p><br>
<h3>Exterior</h3><br>
<p>The churchs main façade is located on its east side, facing toward Timber Ridge, and away from the Cacapon River and Christian Church Road. The east side consists of a front gable façade of white-painted clapboard siding. The church has one entryway, which is a centrally-located, four-paneled wooden door, topped by wooden dentil molding and a rectangular, four-light transom window. The transom is the only window on the churchs east side. Unpainted wooden railings are on each side of the entryway. The clapboard siding on the churchs east side is horizontal, and varies between 5 and in width. The overhanging eave of the churchs roof is accentuated by a single wooden drop pendant at the top of the gable. The modern electricity meter is located to the right of the main entrance. The non-loadbearing concrete block perimeter wall on this side is concealed by a stone veneer.</p><br>
<p>The west elevation is covered with white-painted clapboarding and is undecorated, with the exception of an off-center concrete block chimney and a single drop pendant similar to the one located at the top of the gable.</p><br>
<p>The churchs north and south sides consist of two symmetrically placed six-over-six double-hung sash wooden windows, along with operable green-painted louvered wooden window shutters. The clapboard sidings vary between 3 and in width. At the base of the churchs north side, concrete blocks are visible under the foundation. On the churchs south side, a small strip of the roofs eave confirms the original location of the chimney.</p><br>
<h3>Interior</h3><br>
<p>The interior of the church consists of a large, open floor plan, with wooden pews lined perpendicular to the north and south sides, thus creating a central aisle. The altar is a small wooden pulpit, which serves as a lectern that is accessible by a small wooden step; the altar is accented by a large wooden backdrop of casing with dentil molding. Each of the churchs interior walls is covered with pine wainscot panelling and wallpaper, and topped with wooden crown molding. Wooden swag moldings accentuate the four symmetrically-placed six-over-six double-hung sash wooden windows, the doorways wooden casing, and the transom window. The wooden pews are simple, with cushions added for comfortable seating. The original ceiling is obscured by a dropped ceiling, which also conceals the electrical conduits for the churchs brass chandeliers. Prior to the churchs electrification, kerosene lanterns were used for light, and the lanterns remain in the church for decorative purposes. The churchs floor consists of the original heart pine planks. Concrete blocks and cut stone border the buildings perimeter to prevent animals from entering the church&#39;s crawl space. Within the crawl space, log carrier beams support the building, on which the bark remains extant.</p><br>
<h2>Cemetery</h2><br>
<p>The cemetery is less than an acre in size and is located to the immediate east of the church, surrounded by a wrought iron fence manufactured by Stewart Iron Works. Gertrude Ward (1896–1988), a local historian and orchardist, is also interred in the cemetery. Captain David Pugh was an elected representative Hampshire County, who voted to secede from the Union in 1861.</p><br>
<p>Older gravestones in the cemetery are generally cut from limestone, and the gravestones placed after 1900 are predominantly made of polished granite. Most of the gravestones have weathered significantly. The gravestones are generally rounded or rectangular in shape, and are placed on small stone foundations. The gravestones of prominent local leaders are more ornate in character, including that of Captain David Pugh and his family, who are buried under a large obelisk that lists the names of his three wives and their respective children. Nixons gravestone is deteriorating due to advanced weathering; it is made of limestone and contains a carving of an open book. Following the purchase of a rectangular land tract around 1990, the cemetery was expanded on the east side. This section of the cemetery is excluded from the churchs historically-recognized boundaries, as it was not associated with the church during the period of its greatest significance.</p><br>
<p>The cemetery perimeter is lined on three sides by a cast wrought iron fence, accessible by a gate 3 ft in width at its western entryway.</p><br>
<p>The Spencer–Peirce–Little Farm is a Colonial American farm located at 5 Little&#39;s Lane, Newbury, Massachusetts, United States, in the midst of 231 acre of open land bordering the Merrimack River and Plum Island Sound. The farmhouse, dating to, was designated a National Historic Landmark in 1968 as an extremely rare 17th-century stone house in New England. It is now a nonprofit museum owned and operated by Historic New England and open to the public several days a week during the warmer months; an admission fee is charged for non Members.</p><br>
<h2>Description and history</h2><br>
<p>In 1635, John Spencer was the original grantee of the 400 acre parcel of land. The land was used to raise beef cattle for the community. Daniel Peirce Sr., a blacksmith from Ipswich in Essex County, England, purchased the property in 1651 for 500 pounds. By his death in 1677, the property had risen in value to 1,200 pounds and was described in the inventory of the estate as, "A Farme about two hundred and thirty acres of upland and meadow with housing, barns and orchard." This jump in value may indicate that the stone house was built during his lifetime. In 1861, Edward H. Little, local farmer, purchased the farm. His descendants made few changes to the house, and gave the property to the Society for the Preservation of New England Antiquities (now Historic New England) in 1986.</p><br>
<p>The farmhouse is built of local stone in random rubble, with a porch and gable ends of brick, and exterior walls in lime mortar. It is the only stone house of the 17th century in New England to survive with exterior walls intact. Floors and roof are timber framed, with major framing beams and joists set in pockets of the exterior walls. Molded bricks in a variety of shapes and fabrications embellish the entrance niche and arched openings. The original arched windows were replaced with smaller, Georgian windows by Nathaniel Tracy in the 18th century.</p><br>
<p>Todays floor plan with central chimney and rear ell is essentially original, but for the added partitions in east and north chambers. The original central chimneys foundation, supported by two broad brick arches, survives in the cellar; but above this point the central chimney was torn down in the late eighteenth century.</p><br>
<p>A tenant farmer building is to the rear, connected with the main house by a breezeway. Outbuildings include a carriage barn (now converted to museum space) and a large barn. Some 230 acre of farmland is still in productive use and contains walking paths for the public. The house itself has been arranged to be suitable for children&#39;s visits. Exhibits include a parlor restored to early nineteenth-century style and set for tea, kitchen restored to the 1930s, and dining room set exactly as when recorded in the 1940s. They explain the archaeological excavations and display furniture, 18th century glass and ceramic vessels reconstructed from shards found at the site.</p><br>
<p>The Grave Creek Mound in the Ohio River Valley in West Virginia is one of the largest conical-type burial mounds in the United States, now standing 62 ft high and 240 ft in diameter. The builders of the site, members of the Adena culture, moved more than 60,000 tons of dirt to create it about 250–150 BC.</p><br>
<p>Present-day Moundsville has developed around it near the banks of the Ohio River. The first recorded excavation of the mound took place in 1838, and was conducted by local amateurs Abelard Tomlinson and Thomas Biggs. The largest surviving mound among those built by the Adena, this was designated a National Historic Landmark in the mid-20th century.</p><br>
<p>In 1978 the state opened the Delf Norona Museum at the site. It displays numerous artifacts and interprets the ancient Adena Culture. In 2010, under an agreement with the state, the US Army Corps of Engineers gave nearly 450,000 artifacts to the museum for archival storage. These were recovered in archeological excavations at the site of the Marmet Lock, and represent 10,000 years of indigenous habitation in the area.</p><br>
<h2>Description</h2><br>
<p>Grave Creek Mound is the largest conical type of any of the mound builder structures. Construction of the earthwork mound took place in successive stages from about 250–150 B.C., as indicated by the multiple burials at different levels within the structures. In 1838, road engineers measured its height at 69 ft and its base as 292 ft.</p><br>
<p>Originally a moat of about 40 ft in width and 5 ft in depth, with one causeway across it, encircled the mound for defensive purposes. Inside the mound, archaeological researchers have discovered Adena remains and ornaments. In addition, they discovered a small sandstone tablet, the Grave Creek Stone, which modern scholars believe to be a hoax.</p><br>
<h2>History</h2><br>
<h3>Pre-history</h3><br>
<p>Grave Creek mound was created during the Woodland time period (late Adena Period around 1000 BC to about 1 AD). The people who lived in West Virginia during this time are among those groups classified as Mound Builders. This particular tumulus or burial mound was built in successive stages over a period of a hundred years.</p><br>
<h3>18th century</h3><br>
<p>The Grave Creek Mound was believed first seen by a European American in 1770, when Joseph Tomlinson and his brother built a log cabin at Grave Creek Flats. Joseph discovered the mound accidentally while hunting. Two years later, he built a cabin for his family 300 ft from the mound.</p><br>
<p>It was visited in 1775 by the young Englishman Nicholas Cresswell on his canoe expedition down the Ohio River. He describes the mound, its history and surrounding structures in his journal (p. 71). In 1803, Merriwether Lewis wrote about the mound in his journal; he saw it on his way to meet William Clark in Louisville, Kentucky on their expedition to explore the Louisiana Purchase.</p><br>
<h3>19th century</h3><br>
<p>On March 19, 1838, the landowner Jesse Tomlinsons nephew, Abelard Tomlinson, and Abelards brother-in-law Thomas Biggs began excavation on the first of three shafts into Grave Creek Mound. The first shaft was begun approximately 4 ft feet up on the north face of the mound, likely so that the excavated soil could be deposited in the ditch rather than be carted away. At approximately 111 ft into the mound a burial chamber was discovered, dug into the original ground surface. The burial chamber was reported to have been a cuboid measuring 8 ft by 12 ft aligned north-south and dug 7–8 ft into the natural ground surface. While contemporary reports indicate that the lower burial was central to the mound, given the 295 ft diameter of the mound recorded in 1838, and the 111 ft tunnel, this may have been a simplification, with the burial merely "central", rather than in the exact center. The lower tomb contained two burials, one on the eastern side and the other on the western. The western was found with approximately 650 beads of either shell or ivory depending on the historical accounting (either the local doctor, Dr. James Clemens, or the ethnologist Henry Schoolcraft). The second two tunnels were dug following the discovery of the lower vault, one vertical from the top into the mound and the second approximately halfway up on the northern face. These two shafts intersected at a second burial chamber, containing a single burial, discovered June 9, 1838. Among the artifacts reported were 1700 ivory beads, 500 sea shells, and five copper bracelets. The tunnels they made destroyed valuable evidence that could have been used by researchers to compare with data from other mounds. Once the mound was completely excavated, Tomlinson expanded the lower burial chamber and opened a museum inside the mound, charging an admission fee for visitors though it was later abandoned in 1847. In 1843, Henry Rowe Schoolcraft, an early ethnologist of Native Americans, mapped the area. He later was appointed as the US Indian Agent along the northern frontier and based in Michigan.</p><br>
<h3>20th century</h3><br>
<p>In 1908 the mound was saved from demolition for development by local women of the Wheeling Chapter of the Daughters of the American Revolution, who raised funds to acquire an option on the property. In 1909 the state of West Virginia purchased the site for preservation. It was declared a National Historic Landmark in 1964.</p><br>
<p>Further archaeological investigation led to the discovery that the appearance of the earth of the mound is quite different underneath the surface compared to the land around it. Although it was built of the same dirt, the remains of dead bodies that were burned changed the color of some dirt to blue.</p><br>
<h2>Delf Norona Museum</h2><br>
<p>The Delf Norona Museum displays many artifacts found at the site. It is owned and operated by the West Virginia Division of Culture and History. Opened in 1978, the museum has exhibits that interpret the culture of the Adena people and theories about how the mound was constructed.</p><br>
<p>In the 21st century, the USA Army Corps of Engineers transferred nearly 450,000 artifacts to the Delf Norona Museum for curation and archival. They were recovered during the 1990s in an extended archeological excavation for the replacement site of the Marmet Lock on the Kanawha River. The artifacts, representing 10,000 years of habitation by varying cultures at one site in the Kanawha Valley, include stone projectile knives, a 3,000-year-old sandstone cooking bowl hand carved before the people started making pottery, and stone jewelry from a Fort Ancient village.</p><br>
<p>In April 2010, the state mounted two exhibits of artifacts from the site at the rotunda of the state capitol in Charleston. The exhibits included historic items dating from the John Reynolds plantation, including pendants made by slaves from 1790s Spanish coins, and material related to colonial salt production. The major part of the exhibit is made up of prehistoric artifacts of Native American peoples, whose occupation of the valley continued for thousands of years, much longer than the brief settlement of European Americans. Additional exhibits will be mounted as the state&#39;s Office of Culture and History has an opportunity to assess the artifacts. The Native American artifacts will be kept at the Delf Norona Museum.</p><br>
<p>The Boll Weevil Monument in downtown Enterprise, Alabama, United States, is a prominent landmark and tribute erected by the citizens of Enterprise in 1919 to show their appreciation to an insect, the boll weevil, for its profound influence on the areas agriculture and economy. Hailing the beetle as a "herald of prosperity," it stands as the worlds first monument built to honor an agricultural pest.</p><br>
<p>The Monument consists of a statue of a woman holding a pedestal with a boll weevil perched on top.</p><br>
<h2>Story</h2><br>
<p>The boll weevil (Anthonomus grandis), sometimes referred to as the "Mexican cotton boll weevil" was indigenous to Mexico, but appeared in Alabama in 1915. By 1918 farmers were losing whole crops of cotton. H. M. Sessions saw this as an opportunity to convert the area to peanut farming. In 1916 he convinced C. W. Baston, an indebted farmer, to back his venture. The first crop paid off their debts and was bought by farmers seeking to change to peanut farming. Cotton was grown again, but farmers learned to diversify their crops, a practice which brought new money to Coffee County.</p><br>
<p>Bon Fleming, a local businessman, came up with the idea to build a statue and helped to finance the cost. As a tribute to how something disastrous can be a catalyst for change, and a reminder of how the people of Enterprise adjusted in the face of adversity, the monument was dedicated on December 11, 1919, at the intersection of College and Main Street, the heart of the town&#39;s business district.</p><br>
<h3>Description</h3><br>
<p>The monument depicts a female figure in a flowing gown with arms stretched above her head. She raises high a trophy topped by an enlarged-scale boll weevil. The statue stands atop an ornately detailed base which supports two round streetlamps. The base stands in the center of a fountain, which is surrounded by a wrought-iron railing. The monument stands more than 13 ft tall.</p><br>
<p>At the base of the monument appears the following inscription:</p><br>
<p>The original statue of the woman, excluding the fountain and boll weevil, was built in Italy for approximately $1,800. The boll weevil was not added until thirty years later, when Luther Baker thought the Boll Weevil Monument should have a boll weevil on it. He made the boll weevil and mounted it atop the statue.</p><br>
<h3>Vandalism</h3><br>
<p>The boll weevil, and sometimes even the entire monument, has been repeatedly stolen throughout the years. Each time it was found and repaired by the city of Enterprise until July 11, 1998. On that day vandals ripped the boll weevil out of the statues hands and permanently damaged the statue. City leaders were going to repair the original statue and put it back, but it proved too difficult and costly. A polymer-resin replica was erected in its place in downtown Enterprise in 1998. The original was on display at Enterprises Depot Museum, a few hundred feet away at 106 Railroad Street. In 2019, following the 100th anniversary of the monument, it was moved to the Pea River Historical and Genealogical Society&#39;s Gift Shop. A nearby security camera monitors the monument for further vandalism. In recent memory, dish soap has been poured into the monument fountain resulting in mounds of suds in and around the monument area.</p><br>
<p>Old Main is the oldest building on the University of Arkansas campus in Fayetteville, Arkansas. It is one of the most recognizable symbols of the University , and of higher education in general in Arkansas.</p><br>
<h2>History</h2><br>
<p>Old Main was constructed between 1873 and 1875 as part of a land grant for the state of Arkansas. At this time it was known as University Hall. G. N. Wright was one of the contractors. In 1873, the University of Arkansas purchased Van Osdel&#39;s plans for the University Hall at the University of Illinois at Urbana-Champaign (demolished in 1938) and erected an identical structure.</p><br>
<p>The contract to construct the Hall was signed by the superintendent of public instruction, Joseph Carter Corbin, who was the highest elected African American official in Arkansas during Reconstruction.</p><br>
<p>Most of the building materials used in Old Main came from local areas, because the nearest river port was 60 miles away and the nearest railroad was 150 miles away. 136 miles of lumber came by oxen-drawn wagons from the Peter Van Winkle Sawmill near historic War Eagle Mill in Benton County. The red exterior bricks were made from clay dug on campus and fired in kilns built west of Old Main. The brown sandstone used for the foundation and basement was also quarried from near the building site. The five-story building contained 2,600,000 bricks when originally constructed.</p><br>
<p>After nearly a hundred years of use, Old Main had fallen into disrepair, and in 1981 the building was closed for safety reasons. After a considerable period of debate over whether to restore the old building or tear it down, restoration work began in the summer of 1989 and Old Main was renovated extensively. The renovation proceeded ahead of schedule, and it was finished during the spring semester of 1991 at a cost of $10 million. It was rededicated during the Fall of 1991. The architects of the renovation were Mott, Mobley, McGowan & Griffin of Fort Smith, with preservation architect John K. Mott as the partner in charge.</p><br>
<p>Prior to the extensive restoration of 1986–1991, the building was fondly remembered for its large, open, and decorative central stairwell. However, this stairwell effectively formed a chimney which violated any number of building codes to which the renovated building would have to conform. To preserve the stairwell&#39;s appearance and function while still conforming to modern safety standards, an innovative automated fire protection system was installed which would slide out and close protective fire doors from concealed storage areas on each floor, effectively sealing the stairwell off.</p><br>
<p>In the original building, stairwells were also sited at either end of the central "shotgun" hallway. These were closed off during the 1986–1991 restoration. Additional stairwells were sited at the ends of the wings, again to conform to building codes.</p><br>
<p>The original 19th century Corinthian iron columns, featured prominently in almost all photographs of Old Mains wings, remain in place to this day. To conform to building codes, all but one floors worth have been reinforced with welded steel and encased in fireproof boxes.</p><br>
<p>The original columns in Giffels Auditorium were preserved in the renovation process. In order to preserve these columns while still conforming to building codes, they needed to be rendered non-structural. The north wing of the building was therefore completely reconstructed such that loads are carried by the walls instead of the columns. The distinctive "inset" look of the windows of the modern Giffels auditorium are a result of this restructuring and reinforcement.</p><br>
<p>In 2005 the building underwent another round of renovations. At that time, it received a new roof, aging mortar was replaced, and a clock face was installed in the south tower.</p><br>
<p>During its history, Old Main has housed many different departments and served many different administrative functions. It currently houses the offices of the J. William Fulbright College of Arts and Sciences, its honors program and five academic departments, as well as classrooms and meeting spaces.</p><br>
<h2>Architectural features</h2><br>
<p>The north tower stands 130 feet tall and the south tower stands 123 feet tall. The front doors of the building still retain their original hinges. The cornerstone of the building lists its original cost in 1871 dollars, $186,000. The sweeping stairwell leading to the attic of the building found at the center of the top floor is original to the structure. The walls of the rooms in the central "shotgun" hallway are structural and largely conform to the plan of the original building. The cast-iron sides of the seats in the Giffels auditorium are supposedly cast from original molds.</p><br>
<h3>Arboretum</h3><br>
<p>The arboretum (the large lawn area in front of Old Main) is a home to one of every type of tree in Arkansas (with a few exceptions, such as the umbrella magnolia, Magnolia tripetala) and once used to be a training ground for military officers when military tactics were taught at the University. It also served as a place where the band would march and play. Today, the band practices in Baum East (a parking lot on campus), and the arboretum is simply a green space where students can study, play games, or simply stroll through and enjoy.</p><br>
<h3>James William Fulbright statue</h3><br>
<p>In 2002, a statue of former student, law faculty member, president of the University, congressman, senator, and namesake of the college housed in Old Main, J. William Fulbright, was erected in the rear courtyard of the building. President Bill Clinton gave a much-anticipated speech at the dedication ceremony.</p><br>
<h3>Bells</h3><br>
<p>In 1879, the first official bell for Old Main was installed. That bell still exists today, but is no longer in regular use. The last two times it was used was when it rang 10 times in 1985 to mark the $10 million received through donations for the restoration process and in July 1989 to mark the beginning of renovation. Electronic bells were installed during 1949, and dedicated to those students lost in any war. These bells wore out and were replaced with a computerized bell device. It plays the Westminster Chimes every hour from 8 am - 8 pm and the alma mater every day at six A.M. and again at five P.M.</p><br>
<h3>Senior Walk</h3><br>
<p>Senior Walk is a tradition unique to the University of Arkansas. Senior Walk was established in 1905 by president John Tillman. Each year, all graduates have their name carved into the sidewalk that circles, and cuts through campus. The walk begins directly in front of Old Main with the first graduating class, of 1876.</p><br>
<h3>Clock</h3><br>
<p>The south tower was originally designed to have a clock, however, one was not installed until the 2005 renovation. Although there was no clock face, the building did have a bell in the opposite tower that rang every hour and half-hour and could be heard all over campus, as well as most of downtown Fayetteville and surrounding areas. When President Bill Clinton gave a much-anticipated speech at the J. William Fulbright statue dedication ceremony, Clinton asked Chancellor John A. White, "Where is the clock?" Three years later, Old Main received a clock face.</p><br>
<p>On October 27, 2005, after more than 130 years without a functioning clock face, a specially constructed clock was completed and dedicated on the South Tower. This was in celebration of reaching a "Campaign for Twenty-First Century" campaign goal of $1 billion and also included the replacement of aging mortar between bricks, replacing the roof, and other minor aesthetic improvements to the building.</p><br>
<p>The West Point Mint is a USA Mint production and depository facility erected in 1937 near the USA Military Academy in West Point, New York, United States. the mint holds 22% of the United States&#39; gold reserves, or approximately 54,000,000 ozt . The mint at West Point is second only to the gold reserves held in secure storage at Fort Knox. Originally, the West Point Mint was called the West Point Bullion Depository. At one point it had the highest concentration of silver of any USA mint facility, and for 12 years produced circulating Lincoln cents. It has since minted mostly commemorative coins and stored gold.</p><br>
<p>It gained official status as a branch of the United States Mint on March 31, 1988. Later that year it was listed on the National Register of Historic Places.</p><br>
<h2>Building</h2><br>
<p>Prior to its 2005 remodel that added a second story, the mint was a 170 by one-story reinforced concrete structure with a flat roof. The walls are mostly featureless with some recessed arches at the entryways. It is on a 4 acre parcel of land near the northern facilities of the United States Military Academy, with parking lots on either side. The interior contains minting presses and bullion compartments.</p><br>
<h2>History</h2><br>
<p>As of 1937, it served as a storage facility for silver bullion and was thus nicknamed "The Fort Knox of Silver." Even without United States Mint status, it produced USA coinage. From 1974 through 1986, the West Point Mint produced Lincoln cents bearing no mint mark, making them indistinguishable from those produced at the Philadelphia Mint. The years 1977 to 1979 saw Washington quarters produced as well. Approximately 20 billion dollars worth of gold was stored in its vaults in the early 1980s (although this was still significantly less than at Fort Knox).</p><br>
<p>September 1983 saw the first appearance of the "W" mint mark (from this still unofficial USA Mint) on a $10 gold coin commemorating the 1984 Los Angeles Olympic Games. This was the first legal tender USA gold coin minted since 1933. In 1986, American Gold Eagle bullion coins were solely produced at this facility, again, with no mint mark. The West Point Bullion Depository was granted mint status on March 31, 1988. Starting in 1999 American Silver Eagle bullion coins were also produced at the mint.</p><br>
<p>In 2002, the USA Military Academy at West Point was honored for its 200th anniversary, and a bicentennial commemorative silver dollar was issued and unveiled on March 16 of that year, featuring a cadet color guard on the obverse and the helmet of Pallas Athena on the reverse. The coin was produced only at the West Point Mint.</p><br>
<h2>Special West Point coinage</h2><br>
<p>An unusual coinage from West Point occurred in 1996, when a commemorative Roosevelt dime was produced for the 50th anniversary of the design. Given as an insert with the standard mint sets sold that year, over 1.457 million were produced. Thus, although this "W"-mint-marked dime is not particularly scarce, it was made only for collectors. In 2015 another "W"-mint-marked dime was issued along with a 2015-W dollar, these as part of a three-coin set to commemorate the March of Dimes. Only 75,000 sets were produced.</p><br>
<p>In 2014, a reverse-proof silver Kennedy Half Dollar which was part of a commemorative set, along with the 24K gold proof Kennedy Half Dollar were produced there to commemorate the 50th anniversary of the Kennedy Half Dollar design, again with the "W" mint mark.</p><br>
<p>In 2015, the West Point Mint struck Sacagawea Dollars for the first time. Released as part of a special “Native American Coin and Currency Set”, only 90,000 were produced.</p><br>
<p>The first cents to display the "W" mint mark were produced for collectors in 2019. These West Point Lincoln cents were added to traditional mint and proof sets and were minted in three different finishes. An uncirculated 2019-W cent was included with the uncirculated set, a proof 2019-W cent was included with the proof set, and a reverse-proof 2019-W cent was included with the silver proof set. There are no mintage limits for these sets and individual buyers are not limited in the quantities they are allowed to order.</p><br>
<p>On April 2, 2019 the United States Mint announced that 10 million quarters would be placed into circulation containing the "W" mint mark in an effort to promote the hobby of coin collecting. Although quarters had been produced at the West Point Mint before, none of them included the "W" mint mark. These quarters are a part of the "America the Beautiful" quarters program; 2 million of each of the five national park quarters released in 2019 were scheduled to contain the "W" mint mark. This was continued in 2020, with the 2020 coins including a special "V 75" privy mark commemorating the 75th anniversary of the end of World War II.</p><br>
<p>On January 10, 2020, the United States Mint announced that each of the three annual sets released in 2020 would include a "W"-mint-marked Jefferson nickel, just as was done with the Lincoln Cents the previous year. A proof nickel was included with the clad proof set and a reverse-proof nickel with the silver proof set. Originally the uncirculated coin set was to contain a 2020-W uncirculated nickel, but this plan was scrapped due to the ongoing coin shortage caused by the coronavirus pandemic.</p><br>
<h2>Present</h2><br>
<p>Today, all American Eagle series proof and uncirculated bullion coins in gold, silver, platinum, and palladium are produced at West Point, along with all gold commemorative and a few silver commemorative coins. Bullion and proof gold Eagles and some uncirculated and all proof silver Eagles, as well as all commemoratives from West Point are struck with the "W" mint mark. Since 2006, the West Point Mint has also made all American Buffalo gold bullion coins.</p><br>
<p>The West Point Mint still acts as a gold bullion depository, and silver is kept on site only in quantities to meet minting demands. Due to the presence of such large quantities of gold bullion on site, security is high; for this reason, it is closed to the public, and its address is withheld by the National Park Service in its National Register listings, though Google Maps gives the site as 1063 NY-218, West Point, NY 10996.</p><br>
<p>USC Pacific Asia Museum is an Asian art museum located at 46 N. Los Robles Avenue, Pasadena, California, United States.</p><br>
<p>The museum was founded in 1971 by the Pacificulture Foundation, which purchased "The Grace Nicholson Treasure House of Oriental Art" from the City of Pasadena. Grace Nicholson donated the structure to the city for art and cultural purposes in 1943 and was a dealer in Native American and, later, Asian art and antiques. It houses some 15,000 rare and representative examples of art from throughout Asia and the Pacific Islands. In 2013, the museum became part of the University of Southern California. The building was temporarily closed beginning June 27, 2016 until December 2017 for a seismic retrofit and renovation. It has reopened as of December 8, 2017 with new operating hours.</p><br>
<p>The building, which is listed in the National Register of Historic Places, was built in 1926 and designed by the architectural firm of Marston, Van Pelt & Maybury. It is designed in the style of a Chinese imperial palace and features a central courtyard with a garden, a small pool, and decorative carvings.</p><br>
<h2>Galleries</h2><br>
<p>The Art of Pacific Asia</p><br>
<p>Japanese</p><br>
<p>Snukal Ceramics</p><br>
<p>Journeys: The Silk Road</p><br>
<p>South and Southeast Asian</p><br>
<p>Himalayan</p><br>
<p>Korean</p><br>
<h2>Notable exhibits</h2><br>
<p>The museum has a collection of more than 15,000 items from across Asia and the Pacific Islands, spanning over 5,000 years. Prominent holdings include the "Harari Collection" of Japanese paintings and drawings from the Edo (1600-1868) and Meiji (1868-1912) periods, one of the largest collections of Japanese folk paintings outside Japan.</p><br>
<p>The museum&#39;s exhibits also look at the mash-up of Chinese calligraphy and American graffiti:</p><br>
<p>China Modern: Designing Popular Culture 1910-1970 (August 6, 2010- Feb. 6, 2011)</p><br>
<p>Japan in Blue and White (March 25, 2010- March 6, 2011)</p><br>
<p>"Following the box"- Exhibition inspired by found photographs taken in India during World War II ( Sep 2019- Jan 2020)</p><br>
<p>In 2024, the museum&#39;s exhibit "Another Beautiful Country" explored the work of Chinese American artists. It was curated by art historian Dr. Jenny Lin, a professor at the University of Southern California.</p><br>
<h2>California Historical Landmark Marker</h2><br>
<p>California Historical Landmark Marker NO. 988 at the site reads:</p><br>
<p>NO. 988 PACIFIC ASIA MUSEUM (GRACE NICHOLSON&#39;S TREASURE HOUSE OF ORIENTAL AND WESTERN ART) - Grace Nicholson, a noted collector and authority on American Indian and Asian Art and artifacts, supervised the design of her combination gallery and museum which was completed in 1929. It has been called an outstanding example of 1920s revival architecture and is unique for its use of Chinese ornamentation.</p><br>
<p>China Camp State Park is a state park in Marin County, California, surrounding a historic Chinese American shrimp-fishing village and a salt marsh. The park is located in San Rafael, California, on the shore of San Pablo Bay. It is known for its hiking and mountain biking trails, scenic views, and open spaces. The 1,514 acre park was established in 1976. A 75 acre district, including the shrimping village and a prehistoric shell midden, were added to the National Register of Historic Places in 1979 for having state-level significance in archaeology, architecture, commerce, settlement, and social history. China Camp State Park, along with the Rush Ranch Open Space Preserve, is part of the San Francisco Bay National Estuarine Research Reserve.</p><br>
<h2>History</h2><br>
<h3>Pre-Chinese settlement</h3><br>
<p>Prior to the 1700s, the area now containing the park was inhabited by indigenous Coast Miwok people, who lived by hunting, harvesting acorns from the local oaks, and fishing and gathering seafood from the bay. After the 1775 arrival of the Spanish, who founded the nearby Mission San Rafael Arcángel, the Miwok were largely wiped out within 100 years.</p><br>
<p>In 1844, the Spanish granted much of the land that now comprises the park to Timothy Murphy, an Irish settler who became mayor (alcalde) of San Rafael. Following the United States takeover of California in 1846, Murphy lost most of his land and subsequently died, and the land came into the possession of John and George McNear, two Sonoma County businessmen who established a large dairy ranch and other businesses, such as a quarry and brickyard, on the site. These businesses employed a number of Chinese immigrants, who began to settle in the area.</p><br>
<h3>Chinese settlement</h3><br>
<p>By the 1880s, Chinese Americans had established a village at China Camp of approximately 500 people, many of whom were originally from Canton, China. They supported themselves by shrimp fishing in San Pablo Bay or working at local businesses. In its heyday, the village had three general stores, a marine supply store and a barber shop. China Camp was one of approximately 26 such shrimp-fishing villages established along the coast by Chinese Americans, many of whom had moved from San Francisco to escape racial prejudice and persecution. For a brief time following the 1906 San Francisco earthquake and fire, China Camps population increased to 10,000 as residents of San Franciscos Chinatown fled from the destruction.</p><br>
<p>In the late 1800s, the Chinese American fishermen of China Camp would catch 3 e6lb of shrimp per year, much of which was exported to China and Hawaii. However, the economy of the village was severely harmed by the passage of laws in the early 1900s that outlawed the export of shrimp, closed the height of the shrimping season, and prohibited shrimping with bag nets which were the main method of catching shrimp. As a result, the population of China Camp greatly declined, leaving only one family — the Quans — carrying on shrimp fishing.</p><br>
<p>In 1914, a new net, the trawl, was invented, which made it possible for the Quans to resume their commercial shrimp fishing enterprise and process 5,000 pounds of shrimp per day. They also operated other businesses such as a general store, a boat rental, and a cafe, which served both villagers and visitors who came to the area for outdoor recreation.</p><br>
<h3>Establishment of state park</h3><br>
<p>By the 1960s, most of the surrounding area, including the future park lands, was owned or controlled by developer Chinn Ho. The shrimp population of San Pablo Bay had also greatly declined due to water pollution and diversion, although Frank Quan, the grandson of the original Quan patriarch who came to China Camp and the last remaining Quan family member living there, continued to fish, selling most of his catch for bait.</p><br>
<p>In the early 1970s, Gulf Oil expressed interest in large-scale development of the area, including high-rise condominiums and large commercial areas. Local residents and environmental and conservation groups protested the plan, and as a result, the land was sold for approximately $2.3 million in 1976 to the nonprofit California State Parks Foundation, who in turn sold it to the state of California to create China Camp State Park. Chinn Ho donated the 36 acre site of China Camp village for preservation as a memorial to Chinese American history. The general plan established for the park specifically provided that Frank Quan would be permitted to continue living in the village.</p><br>
<h4>1975 Barbecue murders</h4><br>
<p>The park is also known for the 1975 barbecue murders, in which a local teenager, Marlene Olive, and her boyfriend, Chuck Riley, killed her parents, Jim and Naomi Olive, in the nearby suburban community of Terra Linda and then tried to dispose of the bodies by cremating them in a barbecue pit (firepit) at the park.</p><br>
<h3>2011 proposed closure controversy</h3><br>
<p>In 2011, China Camp State Park was one of 70 parks slated for closure by the state of California in connection with a $22 million state budget cut. Marin County residents voiced concern that if closed, the park could fall into disrepair, including the historic Chinese village which, according to Frank Quan — then 85 years old and the last remaining resident of the village — was the last of the 26 coastal Chinese fishing villages with enough original structures left to preserve. The California state parks department claimed that China Camp State Park was running at a deficit and that it lacked the money to keep it and other parks open.</p><br>
<p>The nonprofits Marin State Parks Association and Friends of China Camp, along with various other residents and community groups, protested the closure and raised funds to save the park. After an investigation by the Sacramento Bee revealed that the state parks department had an undeclared budget surplus of $54 million, leading to the resignation of the state parks director and the firing of her assistant, an agreement was reached under which China Camp State Park would be jointly funded by the state parks department and the Marin State Park Association, which would also operate the park. Similar agreements were reached for two other Marin County state parks, Olompali State Historic Park and Tomales Bay State Park.</p><br>
<p>A revised agreement in 2013 returned operation of Olompali and Tomales Bay parks to the state, while the nonprofit organization Friends of China Camp continues to operate China Camp State Park, with no funding from the state.</p><br>
<p>Frank Quan died in August 2016, at age 90, while still living at the park.</p><br>
<h2>Activities</h2><br>
<p>The park offers a variety of outdoor activities, including overnight camping, picnic facilities, hiking and biking trails, kayaking, paddleboarding, and sailing.</p><br>
<p>China Camp also celebrates a Chinese-American Heritage Day each August, with lion dances, acrobatic and tai chi demonstrations, arts and crafts sales, activities for children, and a visit by the replica Chinese junk Grace Quan and other historic boats.</p><br>
<h2>In popular culture</h2><br>
<p>The Chinese fishing village at China Camp was used extensively in the filming of the 1955 movie Blood Alley, starring John Wayne as a captain in the United States Merchant Marine who rescues Chinese refugees from Communist China and transports them to British Hong Kong.</p><br>
<p>In 2018, China Camp was used as a filming location for the Netflix drama 13 Reasons Why. The park has also been used as a filming location for the 2012 HBO television film Hemingway & Gellhorn.</p><br>
<p>The Indian Industrial School at Genoa, Nebraska, United States was the fourth non-reservation boarding institution established by the Office of Indian Affairs. The facility was completed in 1884 and operated until 1934. Now restored, it is owned and operated by a foundation as the Genoa USA Indian School Museum. The building is listed on the National Register of Historic Places.</p><br>
<h2>About</h2><br>
<p>The facility opened on February 20, 1884, and, like other such schools, its mission was to educate and teach Christianity and European-American culture to Native American children for assimilation. The village of Genoa, Nebraska was selected because the Federal Government already owned the former Pawnee Reservation property there; however, existing buildings at the site were unsuitable and in poor repair. The Pawnee had been removed to Indian Territory in 1879.</p><br>
<p>Like many buildings designed for Indian school campuses, the main building was a simple three-story structure with a hipped roof and a small triangular pediment above the center entrance. The pairs of tall windows and the strong horizontal lines across the front created a balanced composition. The building extended at length from its front facade. This was a popular design during the late 1880s.</p><br>
<p>The school expanded, eventually enrolling Native American children from ten states and over 20 tribes. In time the school grew from the original 74 students to an enrollment of 599. It encompassed more than 30 buildings on 640 acres. The USA government closed the school in 1934, during the Great Depression.</p><br>
<p>At least 86 children died at the school, although the true death toll is likely higher. The causes of many of these deaths are currently unknown, but disease was a factor in at least some deaths, particularly in the school&#39;s early years. In 1892, for example, the school experienced a severe measles outbreak. Ten children died and 105 were sick. Other causes of death may have included tuberculosis, influenza, and pneumonia. An accidental shooting, a drowning, and a freight car accident also occurred, though some may not have been accidents but suicides.</p><br>
<h2>Genoa USA Indian School Museum</h2><br>
<p>The Genoa US Indian School Foundation purchased the Manual Training building of the school from the town of Genoa, restored it and now operates the facility as the Genoa USA Indian School Museum.</p><br>
<p>Genoa Indian School Students.JPGStudents at the Genoa Indian School appeared anxious in a photo taken in 1910. Young children were forcibly taken away from family and tribes to ostensibly educate them and make them more able to succeed in the dominant Anglo-Saxon culture.</p><br>
<p>The Angels Hotel in Angels Camp, California, was the hotel where the author Mark Twain heard a story that he would later turn into his short story "The Celebrated Jumping Frog of Calaveras County".</p><br>
<p>The hotel was originally a canvas tent erected by C. C. Lake in 1851, and replaced by a one-story wooden structure. It was rebuilt with stone in 1855, and a second story was added in 1857.</p><br>
<p>In front of the building is the "Frog Hop of Fame", where commemorative plaques are embedded in the sidewalk for the winners of the annual Jumping Frog Jubilee frog jumping contest.</p><br>
<p>The building, no longer operated as a hotel, is registered as California Historical Landmark #734. It was also listed on the National Register of Historic Places in 1972. It is currently an apartment complex.</p><br>
<p>The Altaville Grammar School in Altaville, California is one of the oldest grammar schools in California. It was built in 1858 of brick in the Greek Revival style and remained in use until 1950, when it was replaced by the Mark Twain Elementary School in Altaville. After its abandonment, it fell into disrepair, but was restored in 1989 by the Calaveras County Historical Society. The building serves now as an example of a typical schoolroom of the 19th century.</p><br>
<p>The schoolhouse is registered as California Historical Landmark #499 and is listed on the National Register of Historic Places (NPS-1979000471).</p><br>
<p>Coso Hot Springs is a hot spring complex in the Coso Volcanic Field in the Mojave Desert of Inyo County, California. The Springs are on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>The Coso Hot Springs lie within the boundaries of the Naval Air Weapons Station China Lake (NAWS China Lake), near Little Lake, Inyo County, California and USA Route 395. They are near the Coso Mountains, north of Indian Wells Valley and south of the Owens Valley. The hot springs are part of the geothermal activity of the Coso Volcanic Field.</p><br>
<h2>Water profile</h2><br>
<p>The hot mineral water emerges from the ground at 207 &deg;F.</p><br>
<h2>History</h2><br>
<p>The springs were a traditional Native American cultural and healing ritual site of the Coso people, and later the Northern Paiute and Timbisha. The site is called Kooso or Muattang Ka in Timbisha. In the 1920s it was a "hot springs resort." Contemporary local Native American people periodically have ceremonies at the springs.</p><br>
<p>Coso Hot Springs is the site of one of the largest (if not the largest) assemblages of prehistoric rock art in North America. The areas known as Big and Little Petroglyph Canyons by the hot springs have over 20,000 remarkably undisturbed images in a distinctive so-called Coso style.</p><br>
<p>The Zachary-Tolbert House, also known as the Mordecai Zachary House, is a restored pre-American Civil War house located at Cashiers, Jackson County, North Carolina. The house was built between 1850 and 1852, and is a two-story, five bay Greek Revival style frame dwelling. It has a low hipped roof and central front, two-story, portico. A frame two-room kitchen was added to the rear elevation and was connected to the house by a covered breezeway in the 1920s.</p><br>
<p>It was listed on the National Register of Historic Places in December 1998.</p><br>
<p>The house is owned by the Cashiers Historical Society and operated as a historic house museum that features a collection of hand-crafted ‘plain-style’ furniture.</p><br>
<p>Huffman Prairie, also known as Huffman Prairie Flying Field or Huffman Field is part of Ohio&#39;s Dayton Aviation Heritage National Historical Park. The 84-acre  patch of rough pasture, near Fairborn, northeast of Dayton, is the place where the Wright brothers  undertook the task of creating a dependable, fully controllable airplane and training themselves to be pilots. Many early aircraft records were set by the Wrights at the Huffman Prairie.</p><br>
<h2>History</h2><br>
<p>The Wrights began using Huffman Prairie in 1904 with the permission of the fields owner, Dayton banker Torrence Huffman. It was located near an interurban trolley stop called Simms Station, 8 mi outside the brothers hometown of Dayton. In April, they started testing their Wright Flyer II.</p><br>
<p>The Wrights made about 150 flights at the field in 1904–1905, leading to development of the 1905 Wright Flyer III, which they considered to be the first practical airplane. This aircraft has been restored, and is now displayed at the Carillon Historical Park in Dayton.</p><br>
<p>In 1910, the Wright Company placed its testing operations at Huffman Prairie Flying Field; the Wright Company also operated its Wright Flying School on the site. Through the Flying School, the Wright Company trained more than a hundred pilots, including the aviators for the Wright Exhibition Team and early military aviators, including Henry H. "Hap" Arnold and Thomas DeWitt Milling. The United States Army Signal Corps purchased the field in 1917 and renamed it, along with 2,000 adjacent acres (8 km), Wilbur Wright Field. In 1948 the area was merged with nearby Patterson Field to become Wright-Patterson Air Force Base.</p><br>
<h2>Huffman Prairie Flying Field Historic Site</h2><br>
<p>The National Park Service currently operates this historic site where visitors may see the place where the Wrights developed the worlds first practical airplane as well as replicas of their 1905 hangar and launching catapult. While the historic flying field is mowed short, simulating the grazed pasture used by the Wrights and allowing its use for re-enactment flights, an adjacent area of tall-grass prairie is maintained unmowed, managed instead using late-season controlled burns. A nature trail winds among the prairies tall grasses, diverse wildflowers, and occasional shrubs. The Huffman Prairie area is located within the Air Force Base, with a separate entrance and fencing between it and an adjacent runway and other modern base facilities.</p><br>
<p>The associated Huffman Prairie Flying Field Interpretive Center is located about 2 miles (3.2 km) from the flying field on Wright Brother Hill, near the Wright Brothers Memorial, overlooking Huffman Prairie and other parts of the Air Force Base. This National Park Service facility addresses the specific problems Orville and Wilbur Wright encountered while they were perfecting their flying machine, their first demonstration flights in the United States and in Europe, their exhibition team, and their manufacturing facility in Dayton, Ohio. The center contains a Wright Flyer flight simulator visitors can try out, highlights the continuing legacy of Orville and Wilbur Wright as embodied in the development of Wright-Patterson Air Force Base, and overviews the continuing aeronautical research at this Air Force facility.</p><br>
<p>Huffman Prairie Flying Field was designated as a National Historic Landmark in 1990, is one element of the Dayton Aviation Heritage National Historical Park and was added to the USA World Heritage Tentative List as part of the Dayton Aviation Sites listing in 2008. In 1986, 109 acres of the natural portion of the Huffman Prairie was designated as an Ohio Natural Area.</p><br>
<p>The Morris–Jumel Mansion  is an 18th-century historic house museum in the Washington Heights neighborhood of Upper Manhattan in New York City, United States. It is the oldest extant house in Manhattan, having been built in 1765 by British military officer Roger Morris, and was also home to the family of socialite Eliza Jumel in the 19th century. The New York City government has owned the house since 1903. The house&#39;s facade and interior are New York City designated landmarks, and the building is a National Historic Landmark and a contributing property to the Jumel Terrace Historic District.</p><br>
<p>Roger Morris developed the house for himself and his wife Mary Philipse Morris, but only lived there until 1775. Continental Army General George Washington used the mansion as his temporary headquarters for one month in late 1776, during the American Revolutionary War, after which British and Hessian officers occupied the house until 1783. After the British evacuation of New York, the house passed through multiple owners over the next three decades, being used variously as a residence and a tavern. The Jumels bought the house in 1810, living there intermittently until the late 1830s; the Jumel family and the related Chase family then occupied the house consistently until 1887. After being sold twice more, the house was owned by the Earle family from 1894 to 1903. After the city acquired the mansion, it reopened as a museum on May 29, 1907, and was operated by the Washington Historic Association. The house has undergone renovations in the 1930s, 1940s, and 1980s.</p><br>
<p>The house, designed with elements of the Federal, Georgian, and Palladian styles, has a raised basement and three above-ground stories. It has a wooden facade with a double-height portico facing south and an octagonal annex in the rear. The interior consists of a kitchen in the basement; a parlor, library, and dining room on the first floor; bedrooms on the upper floors; and wide central hallways. The museums collection includes furniture, decorations, household items, and personal items belonging to its former occupants. The museum also presents performances and events at the house. Both the museums exhibits and the house&#39;s architecture have received positive commentary, and the mansion has been featured in several media works.</p><br>
<h2>Site</h2><br>
<p>The mansion is located at 65 Jumel Terrace in the Washington Heights neighborhood of Upper Manhattan in New York City. The house is in Roger Morris Park, within the boundaries of the Jumel Terrace Historic District, but is landmarked separately from the historic district. The land lot, which is coextensive with Roger Morris Park, measures 62,000 ft2 with a frontage of 359.25 ft and a depth of 168.67 ft. The site is bounded by Jumel Terrace to the west, 160th Street to the south, Edgecombe Avenue to the east, and 162nd Street to the north.</p><br>
<p>Extending west of the mansion is Sylvan Terrace, which was originally the mansions carriage driveway. The house is surrounded by residential buildings, such as the 555 Edgecombe Avenue apartment building (formerly the Roger Morris Apartments) to the south. There are numerous row houses on the surrounding blocks, which include some of Manhattans last remaining wood-frame houses. The 163rd Street–Amsterdam Avenue station of the New York City Subway is near the mansion.</p><br>
<p>The mansion sits atop Coogan&#39;s Bluff, from which Lower Manhattan, the Hudson River including the Palisades, the Bronx, Westchester, the Long Island Sound, and the Harlem River were once visible. The Jumel family, who once occupied the mansion, claimed to be able to see seven counties from the house. In the late 19th century, the house was visible from several miles away and had views of most locations in Manhattan, despite being readily accessible from the elevated Ninth Avenue Line. This led one 19th-century writer to state that "as a point of observation it is hardly to be excelled".</p><br>
<h3>Roger Morris Park</h3><br>
<p>Roger Morris Park, within which the mansion is situated, is a 1.52 acre park bounded by Jumel Terrace, Edgecombe Avenue, 160th Street, and 162nd Street. is the only remnant of a 130 acre estate that belonged to him and his wife, Mary Philipse Morris. The Morris property covered some distance from Harlem all the way to the Hudson River to the west. The mansion itself was built on one of the highest natural points in Manhattan,</p><br>
<p>A gate to the west, along Jumel Terrace, provides entry to the park. Due to the steep slope of the site, there is a masonry retaining wall to the east, facing Edgecombe Avenue.</p><br>
<p>The northeast corner of the park contains a sunken garden, which was designed by Helen Elise Bullard during a 1934–1935 Works Progress Administration renovation. The garden, which measures about 58 by, is octagonal; the shape was inspired by that of the mansion&#39;s octagonal annex. Stone paths divide the garden into quadrants, and there is a retaining wall around it. Next to the garden is an octagonal structure with a brick facade. There are also lawns on the west and north sides of the mansion, as well as a rose garden on the east side.</p><br>
<h2>Residential history</h2><br>
<p>During the 17th century, the site was part of the town of Harlem and was located on a larger plot called the Great Maize Land. The first house on the site had been developed by Jan Kiersen, who received a half-morgen of land, about 1,495 yd2, in 1695 or 1696. He also received permission to build a house, barn, and garden east of Kingsbridge Road (now St. Nicholas Avenue). Kiersen received a deed to the land in 1700 or 1701 and gradually enlarged his estate. Carroll farmed on the land for two years before selling it to Roger Morris in 1765.</p><br>
<h3>Morris ownership</h3><br>
<h4>Development and early occupancy</h4><br>
<p>Roger Morris, who served as a member of the Executive Council of the Province of New York, had retired from the British Army in 1764. Concurrently, the New York Mercury published an advertisement for a site in Upper Manhattan, with an orchard, two nearby rivers, and panoramic views in all four directions. At the time, the site was still rural, the land was part of the British Province of New York, and New York City comprised what is now Lower Manhattan.</p><br>
<p>Construction began in mid-1765. Contractors secured oak timbers from the nearby forest, which oxen then pulled to the site. but was also referred to as the Roger Morris House. There also were a set of barns, which were located to the north, near what is now 165th Street.</p><br>
<p>The Morrises two sons and two daughters were born at the house, Both Roger and Mary were Loyalists affiliated with the British cause. The historian William Henry Shelton wrote that Mount Morris was vulnerable to arson attacks from Patriots—who sought American independence—since Roger was a member of New Yorks legislative council.</p><br>
<h4>Use during the American Revolutionary War</h4><br>
<p>Continental Army general William Heath and his officers occupied the house as early as September 5, 1776, holding it for their commander in chief, George Washington. Washington used the mansion as a headquarters for a month after British troops forced his army to retreat to Upper Manhattan. He entered the house on the night of September 14–15, 1776; the exact date and time of his arrival is unclear. The house was chosen because of its elevated topography, which enabled Washington to see approaching enemy troops. There were claims that Washington may have chosen the site because of a previous romantic attraction to Mary Morris, but these rumors were unfounded.</p><br>
<p>Washington stayed at the mansion for a month with his military secretary and several aides, strategizing for the Battle of Harlem Heights while headquartered there. About 8,000 troops stayed in nearby camps, while some troops set up wooden huts along modern-day Sylvan Terrace. The Continental Army remained in "undisturbed possession of their camps" until about October 18, when the Battle of Pells Point began. Washington retreated around October 21–22 to flee advancing British troops, and Continental Army colonel Robert Magaw was left to guard the house. On November 16, 1776, during the Battle of Fort Washington, Washingtons troops tried to reenter the house but were beaten back by British troops. Captured Continental Army prisoners were tied up in the mansion&#39;s barns.</p><br>
<p>The British occupied the house from 1776 until the evacuation of New York in 1783. Documentation of the British troops time at the house is sparse and is described mainly in two soldiers journals. Records do not show who occupied the house just after the British captured Fort Washington. The mansion became the headquarters of British lieutenant-general Henry Clinton until 1777 and Hessian commander Baron Wilhelm von Knyphausen during 1778. The latter&#39;s staff also took up some space in the house. and a tent camp existed nearby. During 1780, the British used the house as a lookout station, and Hessian major general Von Lossburg also lived there.</p><br>
<h3>Confiscation, 1780s to 1800s</h3><br>
<p>In 1779, the Colony of New Yorks Commissioners of Forfeiture passed the Act of Attainder, which confiscated all Loyalists properties as soon as the British withdrew from New York. The Morrises forfeited their Harlem Heights estate, which was advertised for sale in the New York Gazette and Weekly Mercury in 1783. Following its confiscation, Mount Morris was occupied by several different tenants. but Arnold Pickman wrote that neither Berrian nor Ledyard lived in the house.</p><br>
<p>The house became a tavern in 1785, a capacity in which it served for about two years. Talmage Hall operated the tavern, which was known as Calumet Hall. The tavern was a popular stop along the Albany Post Road, Contemporary advertisements promoted the fact that the tavern was in the Morrises old house and the presence of stagecoach service to Upstate New York and New England. One observer was quoted in the New York Times as saying that the mansion was suitable for both temporary and permanent visitors and characterized the houses octagonal parlor room as being "very happily calculated for a turtle party". Hall had been forced to sell the tavern by June 1788.</p><br>
<p>A farmer, John Bogardus, is recorded as having rented the mansion in 1789 and 1790. After becoming USA President, George Washington, several Founding Fathers, and their families returned to the house for a party in 1790. Ledyard had sold his half of the property before 1791 to Theodore Hopkins and Michael Joy. He then attempted to sell it, renting the property to a farmer named Jacob Myer in the meantime. In 1793, Bleecker sold the parcel that included the Morris House to William Kenyon. After Roger Morris died in 1794, Mary Morris sued to regain ownership of the mansion, claiming that the Act of Attainder did not apply to the mansion since it belonged to her as part of the Morrises&#39; prenuptial agreement.</p><br>
<p>Kenyon sold the entire parcel to Leonard Parkinson, an Englishman, Parkinson decided to sell and subdivide his estate in 1809; the estate was split into fifteen lots, and the mansion and an adjacent coach house were classified as occupying lot number 8. The same year, Mary Morris dropped her claim to the mansion, and John Jacob Astor bought the property from the Morris heirs. but a map from 1815 showed two additional buildings and a gatehouse near the mansion.</p><br>
<h3>Jumel ownership</h3><br>
<p>In 1810, French wine merchant Stephen Jumel paid $10,000 for the house and some land around it. The Jumels had largely been "neglected by society" when they lived in Lower Manhattan, and Eliza, who had come from poor beginnings, was anxious to become part of New York Citys elite. According to Shelton, members of the public may have become interested in the mansions history because of Eliza&#39;s lifestyle, which Shelton called "a leaf out of the book of the fairies". The Washington Post wrote that the house was "the social center of colonial New York" for a half-century after the Jumels bought the house.</p><br>
<h4>1810s and 1820s</h4><br>
<p>The 1810 United States census shows that seven people lived in the Jumel household, but the Jumels probably split their time between the uptown mansion and their Lower Manhattan house. The Jumels remodeled the house, adding the Federal style entrance and redecorating the interior in the Empire style. The family reproduced the original wallpaper and bought as much furniture as they could. The family sometimes stayed in their other houses in Lower Manhattan and France. Mary Bowen refused to stay in the mansion by herself because of a belief that the house was haunted by the ghosts of soldiers. By 1814, Stephen Jumel had offered the mansion and his other properties for sale, but the mansion was not sold.</p><br>
<p>In 1815, Stephen Jumel imported several Egyptian cypress trees from France, which were planted on vacant lots near the mansion. The same year, Stephen and Eliza placed the mansion in trust. The Jumels went to France the same year because they had failed to gain enough social standing. returned to the Jumel Mansion in 1817. Eliza and her servants were the only occupants of the mansion until Mary Bowen arrived in 1818. and then returned to France.</p><br>
<p>During the time that the Jumels stayed in France, the mansion was rented to several people during the 1820s, albeit likely only during the summer. These included the family of Moses Field in 1825 and the Clinton family in 1826. Stephen deeded Eliza the mansion and surrounding land in 1825; sources disagree on whether the move was due to Eliza Jumels duplicity or whether the move was intended to prevent Stephens creditors from taking over the mansion. The 1830 United States census recorded eleven people in the Jumel household who lived in the mansion.</p><br>
<h4>1830s to 1860s</h4><br>
<p>Around the time of Stephens death, Mary married the lawyer Nelson Chase, and Eliza bought additional furniture for the mansion. they were married in the houses parlor on July 3 of that year. The marriage, and Burrs stay in the house, was short. Eliza filed for divorce in 1834, which was granted in 1836, shortly before Burrs death. Burr left the mansion for seven months after Eliza filed for divorce, then returned for another five weeks. and she stayed in the mansion from time to time. She reportedly lived in the mansion until 1834, then rented residences elsewhere for five years.</p><br>
<p>During the late 1830s, the mansion may have been occupied by the Pell and Monroe families. but she and the Chase family had moved into the mansion again by 1848, five years after Mary Chase died. The 1850 United States census showed nine people in the Jumel household who lived at the mansion, A well was excavated on the grounds around 1857.</p><br>
<p>Eliza Jumel was eccentric in her later years. Unscrupulous neighbors took advantage of the womans eccentricity, "helping themselves to anything they wanted on the neglected farms of the estate", in Sheltons words. The 1860 United States census recorded seven people in the household. when they were thrown out after a fight in which Eliza&#39;s great-nephew threw an inkstand at the painting of his great-aunt. until her death in 1865. During that time, the mansion had few visitors and began to decay. Shelton wrote that Eliza was often seen wearing tattered dresses and entertaining imaginary visitors.</p><br>
<h3>After Eliza Jumel&#39;s death</h3><br>
<h4>Disputes over the estate</h4><br>
<p>Following Elizas death, her estate was involved in a series of lawsuits revolving around her will. The Chase family lived in the house for about two decades after Eliza died. By 1868, the mansion was occupied by Nelson Chase, the family of Nelsons son William Inglis Chase, and the family of Nelson&#39;s daughter Eliza Jumel Péry. The three branches of the families lived in different parts of the mansion and ate dinner at different times. The 1870 United States census did not list the Chase household, but the 1880 census showed twelve members of the Chase household living in the mansion.</p><br>
<p>The disputes over the Jumel estate were not resolved until 1881, when a judge ruled that Mary Bowen had never legally owned the mansion and ordered that the Jumel estate be partitioned. An unidentified purchaser bought the mansion and 30 neighboring lots for $40,000, but the sale was delayed after protests from several people alleging to be Stephen Jumel&#39;s heirs. Nelson Chase ultimately retained the mansion, although the estate was subdivided. He built a new barn around 1885; the barn was likely demolished before 1909. The family did not finish selling off their property in the area until 1921.</p><br>
<h4>Sales of the mansion</h4><br>
<p>The Chase family remained at the Jumel Mansion until Nelson Chase and Eliza Jumel Péry sold it in March 1887 to Henry H. Tobey, who resold it to Eban Sutton Jr. Sutton is not known to have lived in the mansion, Elizabeths husband, the early filmmaker Louis Le Prince, wished to screen his films publicly at the mansion but disappeared mysteriously in 1890. Numerous pieces of furniture, purported to be from Eliza Jumels collection, were auctioned off in early 1890, though the family of Nelson Chase claimed that they still owned the Jumel furniture. Sutton sold the mansion to Seth Milliken in May 1894.</p><br>
<p>The Earle family acquired the mansion in 1894 and renamed it Earle Cliff. The new owners were Ferdinand Pinney Earle, whose mother&#39;s family were related to the Morrises, and his wife, Lillie J. Earle. They moved many colonial-style decorations to the cellar, replaced decorative elements, painted the walls, and installed wallpaper throughout various parts of the house. A stair from the basement to the first-floor pantry was sealed off, and the Earles renovated the octagonal annex into a studio apartment and removed a dormer window. Lillie Earle, who headed the Washington Heights Society of the Children of the American Revolution, sometimes hosted events at the mansion. lawn parties, a commemoration of the Battle of Harlem Heights, and meetings of the Sons of the American Revolution. In 1898, a decade after the nearby Hamilton Grange had been relocated, there were unsuccessful proposals to move Earle Cliff. The 1900 United States census showed that seven members of the Earle household lived in the house.</p><br>
<h2>Museum history</h2><br>
<h3>Acquisition and operation dispute</h3><br>
<p>As early as 1899, there had been calls for the government of New York City to acquire the Jumel Mansion and convert it to a museum. Supporters of the museum plan included the editor of The Spirit of 76 magazine, the American Scenic and Historic Preservation Society, Daughters of the American Revolution, and Sons of the American Revolution. The citys Board of Public Improvements first considered the plan in March 1900 and asked the Manhattan Department of Parks (later the New York City Department of Parks and Recreation, or NYC Parks) that September to map out the Jumel Mansion&#39;s site. After initially voting against acquiring the house, the Board of Public Improvements voted in favor of the acquisition in March 1901. The next month, the board approved a proposal to purchase the house for $150,000, although the sale was not finalized at that time.</p><br>
<p>The New York City Board of Aldermen passed legislation in December 1901 to convert the mansion and surrounding grounds into a public park. Seth M. Milliken moved to foreclose on a $30,000 mortgage on the house in May 1902, and a lis pendens was filed against the mansion early the next year as part of the foreclosure proceedings. The Daughters of the American Revolution formed a committee in February 1903 to raise money for the mansion, and the Board of Estimate and Apportionment approved the parks creation that May. Lillie Earle initially did not wish to sell the mansion to the city, but she later indicated that she was willing to sell the mansion to the city or to a historical organization. Following the sale, the Realty Protective Company sued Lillie, claiming that she had reneged on an agreement to pay the company ten percent of the houses sale price. The grounds had been downsized to 67,391 ft2 and were surrounded by retaining walls on three sides.</p><br>
<p>The Daughters of the American Revolution formed the Washington Headquarters Association (WHA) in March 1904 to operate the museum, claiming that they had the rights to operate the museum because their ancestors fought under Washington. Their sister organization, the Sons of the American Revolution, submitted a competing bid to operate the museum but later agreed to provide financial support to the Daughters. The Colonial Dames of America also submitted a bid, claiming that they were more responsible than the Daughters were. Following a dispute in which the New York State Legislature passed competing bills awarding operation of the museum to both the Colonial Dames and the Daughters, park commissioner John J. Pallas was appointed to mediate the dispute. As a compromise, governor Benjamin Odell signed a bill that May, allowing the Department of Parks to turn the houses operation over to either organization. Following a hearing in November 1904, Pallas ruled in 1905 that ownership of the mansion belonged to the Department of Parks. The Daughters did not contest Pallass decision, though the WHA was still permitted to operate the museum.</p><br>
<h3>Opening and early years</h3><br>
<p>The WHA announced in April 1905 that it planned to restore the Morris–Jumel Mansion. The mansion hosted events such as Washingtons Birthday celebrations even before the renovation was completed. The Morris–Jumel Mansion Museum formally opened on May 29, 1907, after the renovation was completed. Kady Brownell, an American Civil War veteran, was the museums first custodian.</p><br>
<p>In the first few years of the museums operation, the WHA hosted two events at the house annually; by the early 1910s, the museum attracted over 30,000 visitors per year. The Morris–Jumel Mansion was one of the only remaining mansions in Washington Heights at the time, as most of the areas other large country homes were being demolished. The mansion was now well within the borders of New York City, easily accessible via the subway and the Amsterdam Avenue streetcar. but the house was not renamed. The historian Reginald Pelham Bolton discovered parts of the mansion&#39;s original kitchen the next year.</p><br>
<p>William Henry Shelton, the museums curator during the 1920s, reported that many visitors came from the West and Midwest (where few or no Revolutionary War–era structures existed) and that the museum was also popular among teachers and Francophones. The Herald Statesman reported that the museum was one of the most popular historical sites in Upper Manhattan. The mansion was repainted and renovated in 1922, when the porticos pillars and the entrance to the eastern portion of the house were rebuilt. The project also included new landscaping and a restored kitchen.</p><br>
<h3>1930s to 1980s</h3><br>
<p>The house had still not been renovated by the early 1930s, Work on the renovation started that September. The project added a stairway to the basement on the east, as well as areaways along the western half of the house. The first-floor kitchen at the northeast corner was removed. In addition, a new garden, pathways, drainage pipes, gutter stones, and patio were built. The basement kitchen was restored to its 18th-century appearance, and an exhibit with colonial children&#39;s objects was added. The Daughters of the American Revolution also refurbished four rooms; and recorded 800 visitors within one month. The WHA dedicated a new flag outside the mansion in 1939.</p><br>
<p>In the mid-20th century, the house was known variously as the Morris Mansion and the Jumel Mansion. Nancy McClelland was hired in 1945 to restore the interiors, with assistance from Hofstatters Sons and Watson & Collins. The houses exhibits were rearranged so the Morris familys belongings were on the first floor and the Jumel familys belongings were on the second floor. Period furniture and furnishings such as wallpaper were installed through the house. The restorations of the dining room and rear parlor were finished in June 1945, The mansion remained in good condition the following decade and was designated as a national and city landmark in the 1960s. By then, there were persistent rumors that the house was haunted.</p><br>
<p>The museum saw 20,000 annual visitors by the 1970s, after a series of books about Eliza Jumel were published. The museums curator at the time, Mrs. LeRoy Campbell, said most visitors came to the mansion because of their interest in Jumels life. Among the visitors were British queen Elizabeth II, who toured the house in 1976 to celebrate the United States bicentennial. By the early 1980s, nine of the houses rooms were open to the public. A board of trustees was raising money for the restoration of the house, which had again become dilapidated. The house received a $200,000 preservation grant from the New York state government in 1987. In spite of high crime rates in the surrounding neighborhood, the mansion&#39;s curator said in the late 1980s that the museum was largely unaffected by crime because of several security measures. The Morris–Jumel Mansion was one of the founding members of the Historic House Trust, established in 1989.</p><br>
<h3>1990s to present</h3><br>
<p>The Morris–Jumel Mansions exterior underwent an extensive renovation starting in 1990. Jan Hird Pokorny Architects, which had been hired in 1986 to conduct a survey of the houses condition, was also hired to restore the house. Structural improvements comprised three-quarters of the $600,000 cost. Pokorny&#39;s firm restored the structure to its 19th-century appearance, consulting old photographs and replacing architectural details such as the balustrade, dormers, and windows. One of the exterior stairways, built in the 1930s, was infilled. By the end of the 20th century, the mansion and surrounding area were frequented by buses carrying European and Japanese tourists, prompting complaints from local residents. There were twelve rooms on display at the time. The paint had started to peel off, the roof was leaking, and some decorative elements had begun to deteriorate in the early 2000s. As such, the house was repainted and the windows were replaced in 2002.</p><br>
<p>In 2013, an intern discovered a draft of the 1775 Olive Branch Petition while cleaning out the mansion&#39;s attic. The museum had been planning a $350,000 renovation at the time, and its executive director Carol Ward wanted to sell the Olive Branch Petition manuscript to raise money for an endowment. The manuscript was ultimately sold for over $912,500. The museum had attracted 17,000 visitors that year, less than half of whom were students.</p><br>
<p>The museums popularity increased after the Broadway musical Hamilton opened in 2015; Ward estimated that, in 2016, the museum may have seen a 75 percent increase in visitors because of the musical. Eliza Jumels bedroom and the parlor were restored in the early 2020s. The Historic House Trust announced in November 2021 that it had secured $2.7 million for a renovation. By then, the cost of the renovation had increased due to both inflation and the need to fix additional issues. The house was deteriorating: the paint on the facade was peeling, and one of the portico&#39;s columns collapsed in late 2022. The New York Times described the house in late 2023 as being in such poor condition "that it is possible to touch it and walk away with a moist, splintered clump of wood siding in the palm of your hand".</p><br>
<h2>Architecture</h2><br>
<p>The Morris–Jumel Mansion is an early example of Palladian architecture in the USA the Toronto Star claimed that the mansion was the first Palladian-style structure in North America. It is not known who designed the mansion, but Morris may have been the architect of his own residence; his uncle had been a successful architect in England. Carpenters and masons from the area may have constructed the mansion. The exterior design was influenced by Palladio, a 16th-century Italian architect, while the interior was described as having a Georgian-style plan. The remodeling by the Jumels c. 1810 was in the Federal style. Twentieth-century news articles described the house as being designed in the Georgian style.</p><br>
<p>While other 18th-century waterfront mansions in New York City were oriented with their rears facing the river, the Morris–Jumel Mansion is oriented north–south, roughly parallel to the Harlem River. Additionally, the mansion has been described in The New York Times as one of Manhattan&#39;s oldest buildings of any kind.</p><br>
<h3>Exterior</h3><br>
<p>The mansion consists of two sections. The main house is two and a half stories high, including the half-height third story which is treated as an attic.</p><br>
<p>The structure was built with a wooden frame, with brick exterior walls to keep out the heat. are covered with white wooden siding that has a rusticated appearance. The corners of the house are decorated with vertical quoins, and a wooden belt course runs horizontally across the second floor. All of the facades are covered with planking except for the eastern wall of the main mansion, which is covered with shingles. At the bottom of the basement walls is a stone gutter measuring 22 in wide. The windows are all of slightly differing sizes; one window has a scratch, created when one of Eliza Jumel&#39;s grandchildren scraped a diamond on the glass to determine whether the diamond was real.</p><br>
<p>The south facade of the main house has a double-height portico and triangular pediment supported by grand Tuscan columns. The portico originally overlooked New York Bay several miles away and spans half of the width of the house. The front door was surrounded by an ornately carved doorway. There are sidelight windows on either side of the doorway, above which is an arch with a semicircular fanlight; the fanlight was added by the Jumel family. Directly above the main entrance are a French door and a balcony on the second floor.</p><br>
<p>The main house has a hip roof with dormer windows, which is surrounded by a cornice with dentils. Part of the roof is flat and enclosed by a railing. The annex also has a hip roof. There are three asymmetrical chimneys: one each above the eastern and western walls of the main mansion and one above the annex. A gutter was installed on the roof in the early 19th century, replacing the basement gutters.</p><br>
<h3>Interior</h3><br>
<p>The New York Daily News cites the interior as covering approximately 12,000 ft&sup2, The layout is similar to that of other houses built before the American Revolution, with various Palladian halls.</p><br>
<p>When the Morris–Jumel Mansion became a museum, it was re-furnished to reflect the decorations that existed when Morris, Washington, and Jumel occupied the mansion. The modern-day house is decorated with period furnishings and careful reproductions of period carpets and wallpaper. It features nine restored rooms, one of which was Washingtons office. The dining room and Eliza Jumels bedchamber, with a bed that supposedly belonged to Napoleon, are also open. Personal artifacts of Morris, Washington, Jumel, and Aaron Burr are part of the museum&#39;s collection. Throughout the house are semi-elliptical archways and molded cornices.</p><br>
<h4>Basement</h4><br>
<p>The basement was excavated out of solid rock The smaller rooms, and the stairways to the first floor and the house&#39;s yard, led off the kitchen.</p><br>
<p>The kitchen originally measured 20 by across. After the house&#39;s completion, a brick partition was added to keep the kitchen warm in the winter.</p><br>
<h4>First floor</h4><br>
<p>The main entrance is through the center of the southern facade. It leads to an entrance hall in the front and a main hall behind it. The entrance hall and main hall form a single passageway leading to the octagonal annex in the rear; the halls are about 12 ft wide. There are two large rooms on either side of the passageway.</p><br>
<p>To the left of the entrance and main halls are the parlor and the library, respectively. The parlor, sometimes referred to as the reception room and tearoom, is near the southwest end of the house. but a 1792 advertisement called it "particularly adapted and fitted for a nursery".</p><br>
<p>To the right of the entrance hall, at the southeast end of the house, is a dining room. At some point in the 19th century, there was a doorway separating the stairs from the main hall; this doorway was removed "some years" prior to 1916. There is a landing halfway up the staircase, which formerly had a door leading to the butler&#39;s pantry.</p><br>
<p>The octagonal drawing room in the rear has paneled shutters, cornice moldings, and six-over-six sash windows, like the other rooms. The walls also contain paneled wainscoting, which is not found anywhere else in the house; at the time of the mansion&#39;s completion, the walls were intended to be decorated with wallpaper. One account claimed that 200 Native Americans once gathered in the room to give Washington a wreath. A 1914 account cited the room as being decorated in the Louis XV style with Empire-style ceilings and fireplace. By the late 20th century, the drawing room had been redecorated with late-18th century details like Chinese wallpaper.</p><br>
<h4>Second floor</h4><br>
<p>The 1792 New York Daily Advertiser advertisement indicates that the second floor was probably split up into seven bedrooms. The central section of the main house&#39;s second floor is divided into front and rear halls, similarly to the first story. The rooms to the northwest, southwest, and southeast were formerly used as bedrooms, and there is another bedroom in the octagonal annex. Following a renovation in 1945, these bedrooms were redecorated with objects belonging to Eliza Jumel, Mary Bowen, Aaron Burr, and George Washington.</p><br>
<p>At the southern end of the front hall is a Palladian window, with a French door leading to the balcony on the facade. The bedrooms are decorated similarly to the first-floor rooms, with fireplaces, molded cornices, paneled shutters, and three-over-six sash windows. The southeastern bedroom, which was likely Eliza Jumels bedroom, is decorated with furniture and wallpaper in the Empire and Napoleonic styles. The southwestern bedroom was likely Aaron Burrs, while that to the northwest probably belonged to Mary Bowen. All of these rooms are decorated with 19th-century furnishings reminiscent of their respective occupants. The bedroom in the annex was originally divided into three sections and was used by Washington during the Revolutionary War. This room has several windows, as well as a marble hearth and fireplace mantel with embedded fossils.</p><br>
<h4>Third floor</h4><br>
<p>The third floor was originally devoted to guest bedrooms; The library is open only to the Friends of the Morris–Jumel Mansion.</p><br>
<h2>Operation</h2><br>
<p>The New York City Department of Parks and Recreation owns the house. The museum receives most of its funding through grants, revenue from events, and admission., the museum&#39;s annual budget averaged $250,000.</p><br>
<h3>Collection</h3><br>
<p>Over the years, the museum has acquired numerous objects. These included a Masonic apron that may have belonged to Aaron Burr and two desks and chairs that he used. By the 1940s, the first-floor rooms contained decorations like Sheraton furniture. Some objects were borrowed from other museums, A small first-floor room displayed Revolutionary–era relics excavated near the house, and the basement kitchen displayed cookware. A New York Times article from 1985 said that the museum had such varied artifacts as a chandelier from Napoleon and a laundry list for Washington.</p><br>
<p>In the late 20th and early 21st centuries, the Morris–Jumel Mansion was still decorated with a variety of objects used by the Morrises, Washington, the Jumels, and Burr. The furniture collection consists of pieces designed by Thomas Sheraton, Thomas Chippendale, and Duncan Phyfe. The house also retained other artifacts such as its porcelain collection, Eliza Jumel&#39;s bed, and French wallpapers.</p><br>
<h3>Temporary exhibits</h3><br>
<p>In addition to the permanent collections, there have been several temporary exhibits throughout the years. In the museum&#39;s early years, it hosted exhibits such as a display of American Revolutionary War-era objects and a display of objects manufactured by women. and a series of miscellaneous artifacts on the third floor. and a 2022 exhibit of historical portraits of Washington Heights.</p><br>
<h3>Events and programs</h3><br>
<p>The museum hosted annual lawn parties and Washingtons Birthday holiday celebrations in the early 20th century. and meetings of the WHA and the Daughters of the American Revolution. During the mid-20th century, its events included a celebration of Washingtons bicentennial; Flag Day ceremonies; and Revolutionary War reenactments. The mansion hosted open houses and storytelling series in the 1970s, and museum officials began allowing visitors to host parties at the mansion in 1977, except for weddings and bar or bat mitzvahs.</p><br>
<p>By the late 20th and early 21st centuries, the mansion regularly presented lectures, concerts, and special exhibits. Events in the 1980s and 1990s included a play about Eliza Jumels life; Historic House Festivals; "Jazz at the Mansion" festivals; and Easter egg hunts. During the 2000s and 2010s, the mansion hosted outdoor jazz concerts, the Early Music Celebration, and suppers themed to the Founding Fathers cuisine. Its past programs have included a children&#39;s workshop for designing model rooms, while its 250th anniversary in 2015 was celebrated with a Halloween festival.</p><br>
<p>The museum presents several regular programs of its own. For example, it hosts ghost tours and regular "paranormal investigations", taking advantage of the fact that the mansion was rumored to have up to five ghosts, including those of Burr and Eliza Jumel. Once a month, Family Day events are presented at the mansion, and the museum hosts online "parlor chats". There are workshops at the mansion, as well as plays and art shows.</p><br>
<h2>Impact</h2><br>
<h3>Critical reception</h3><br>
<p>In 1881, The New York Times wrote that "it is a treat to see a house occasionally that is a little different from its neighbors" and that the Morris–Jumel Mansion was one such structure. Josiah Collins Pumpelly wrote in 1903 that the house "still remains a conspicuous monument of the taste and ambitious aspirations of those who lived during the infancy of the Commonwealth". The next year, the Buffalo Evening News said that, although the Earles had modified the house significantly, the rooms were still recognizable as examples of early architecture.</p><br>
<p>The Christian Science Monitor wrote in 1921 that there was evidence of the builders workmanship in the mansions design, and the Washington Post called the house "one of those places where you can lose all sense of time and place". Another Times writer called the house "a pleasingly shabby-genteel Colonial pile" in 2001. The jazz musician Duke Ellington, who lived across the street, referred to the mansion as "the Crown of Sugar Hill", a reference to the nearby Sugar Hill area.</p><br>
<p>There has also been commentary about the museums collections. The New York Daily News said in 1968 that Eliza Jumels lifestyle was reflected in the furnishings, crystal, and china.</p><br>
<h3>Landmark designations</h3><br>
<p>The Morris–Jumel Mansions historical importance had been recognized as early as 1914, when the New York City Art Commission took pictures of the mansion and other notable sites across the city; at the time, cameras were still relatively uncommon. The mansion was also documented as part of the Historic American Buildings Survey in the 1930s, and the New York State Education Department erected two signs outside the house in 1935, summarizing the structures history. It became a National Historic Landmark in 1961, making it one of the first landmarks designated as such. The Morris–Jumel Mansion was added to the National Register of Historic Places on October 15, 1966, the day the National Historic Preservation Act of 1966 went into effect. The exterior was designated a New York City Landmark in 1967. and it was added to an NRHP district of the same name in 1973.</p><br>
<p>The LPC held hearings in 1975 to determine whether the interiors of Federal Halls rotunda, the Morris–Jumel Mansion, and the Bartow–Pell Mansion should be designated as landmarks. The LPC designated all three buildings interiors as landmarks on May 26, 1975, and the New York City Board of Estimate ratified these designations that July. The first and second floors of the Morris–Jumel Mansion were protected by the designation.</p><br>
<h3>Media</h3><br>
<p>The house has been associated with popular media as early as the 19th century, when it reportedly inspired a mansion in James Fenimore Cooper&#39;s 1821 novel The Spy. Later in the century, Fitz-Greene Halleck wrote his lines on the Greek patriot Marco Bozzaris on a rocky outcrop near the mansion overlooking the Harlem River. The television show Ghost Adventures filmed an episode at the house in 2014, The television show Broad City filmed a scene at the mansion in 2019.</p><br>
<p>The house itself has also been depicted in other exhibits. For example, it was featured in New-York Historical Societys 1952 exhibition of pre–Civil War houses in New York City, and artifacts from the mansion were displayed in the lobby of 1095 Avenue of the Americas in 1979. In addition, a room in the Lord & Taylor Building was decorated in 1976 with furnishings resembling that of the mansions rooms. Over the years, the mansion has been the subject of several historical studies, such as William Henry Sheltons 1916 book detailing the mansions history.</p><br>
<p>The Leland Stanford Mansion, often known simply as the Stanford Mansion, is a historic mansion and California State Park in Sacramento, California, which serves as the official reception center for the Californian government and as one of the official workplaces of the governor of California.</p><br>
<p>Built in 1856, the mansion was formerly the residence of Leland Stanford, 8th governor of California and founder of Stanford University. The Stanford family donated the estate to the Roman Catholic Diocese of Sacramento in 1900, which maintained a childrens home on the estate until 1978. Subsequently, the Californian government purchased the property to serve as the Californian capitals ceremonial reception center and as a state park, officially known as the Leland Stanford Mansion State Historic Park.</p><br>
<h2>History</h2><br>
<p>The original owner and builder of the home was Sacramento merchant Shelton C. Fogus, a wealthy Sacramento building merchant. The Renaissance Revival architecture of the original home is attributed to Seth Babson, who later designed the E.B. Crocker residence and art gallery that are now part of the Crocker Art Museum.</p><br>
<h3>Stanford family</h3><br>
<p>Leland Stanford, president of the Central Pacific Railroad (one of the Big Four tycoons) and a rising member of the Republican Party, purchased the home for $8,000 in June 1861, shortly before his election as California governor that year. During his two-year governorship, the Stanford Mansion served as the state&#39;s executive office and living quarters. Succeeding governors Frederick Low and Henry Huntly Haight would also make the mansion their office.</p><br>
<p>Between 1871 and 1872, the Stanford family embarked on an ambitious remodeling of the residence. As Stanford had had to attend his gubernatorial inauguration by rowboat in 1862, the home was raised twelve feet in response to frequent flooding from the Sacramento River. In addition, one story was added to both the bottom and top of the mansion. The home was also expanded from 4,000 ft&sup2; to 19,000 ft&sup2, and redesigned to reflect the French Second Empire architecture popular of the period, particularly in the 4th floor Mansard roof that caps the home. The result was a four-story remodeled architectural sandwich in which the original 2-story house sat between the added floors.</p><br>
<p>Following Stanford&#39;s death in 1893, his widow Jane Lathrop Stanford continued to oversee the home.</p><br>
<h3>Diocese of Sacramento ownership</h3><br>
<p>In 1900, Jane Stanford donated the home to the Roman Catholic Diocese of Sacramento to be used for the children of California. It was given to the Sisters of Mercy who ran it as an orphanage named the Stanford and Lathrop Memorial Home for Friendless Children.</p><br>
<p>In 1932, the home was handed over the Sisters of Social Service who eventually transformed the mansion from an orphanage to a residence for dependent high school girls. A fire in the mansion in 1940 brought considerable damage to the fourth floor.</p><br>
<p>The mansion was designated a California Historical Landmark in 1957 and a National Historic Landmark in 1987.</p><br>
<h3>Official reception house and state park</h3><br>
<p>In 1978, the government of California acquired the property for use as a state park. The Sisters of Social Services would remain on the grounds until 1987, when California State Parks designated the mansion and the immediate surrounding land as a state historic park. Following the state&#39;s decision, the National Park Service declared the mansion as a National Historic Landmark on May 28, 1987. It was not until September 2005 that the mansion would finally be open to public tours, after $22 million worth of renovation and rehabilitation.</p><br>
<p>The mansion is also the state&#39;s official reception center for leaders from around the world.</p><br>
<p>Prior to the reopening of the mansion, California did not have a location for the hosting of official functions for nearly 40 years. Today the mansion is frequently used by the Government of California to host foreign dignitaries. The Governor also retains an office in the mansion. Tours of the mansion are offered daily but can be impacted by official functions on behalf of the Governor&#39;s Office or the California State Legislature leadership.</p><br>
<h3>Restoration</h3><br>
<p>Beginning in 1991, with the help of Sacramento businessman and former Stanford University professor Peter McCuen, the Stanford Mansion underwent a 14-year renovation at a cost of $22 million ($ million in ). Accurate restoration of the home and its rooms was aided by both an extensive study of the home in 1986 through the Historic American Buildings Survey, and through a large collection of photographs of the home taken in 1868 by Alfred A. Hart, and again in 1872 by Eadweard Muybridge.</p><br>
<p>The repairs and restoration were completed in 2005, when the mansion opened to the public. California State Parks offers guided tours through the fully refurbished home. Rooms of the house have been restored to their 1872 appearance. The Leland Stanford Mansion is physically accessible, including the gardens, Visitor Center and restrooms. Elevators provide access to the upper floors of the mansion&#39;s tour route. A tactile model of the Mansion is also available in the Visitor Center.</p><br>
<p>The Woodstock Opera House is a historical venue for performing arts and receptions located in Woodstock, Illinois. It was built in 1889 and designed as a multi-use facility with space for city administration offices as well as police and fire departments. The building was planned by architect Smith Hoag and built by contractor Simon Brink for a cost of $25,000. Today, the City of Woodstock still owns the building, but the building is used exclusively as a performance space.</p><br>
<p>In 2013, the stage was dedicated to Orson Welles, who grew up in Woodstock and performed at the venue during his formative years.</p><br>
<h2>History</h2><br>
<p>The Opera House was built in 1889 to house the library, council room, justice court, fire department and second floor auditorium for the City of Woodstock. The Patti Rosa Company provided the inaugural performance of Margery Daw on Thursday, September 4, 1890.</p><br>
<p>The Opera House became McHenry County’s center for entertainment hosting touring vaudeville, minstrel and dramatic companies.</p><br>
<p>When the traveling circuits disappeared in the early 20th century, the Opera House became the site for the Chicago-areas first, however short-lived, summer stock theatre. Presented by the Todd School for Boys, The Todd Theatre Festival of 1934 was a six-week summer festival organized by Orson Welles, a 1931 graduate of the school. Three plays were presented — Trilby, Hamlet and Tsar Paul — featuring Welles, Hilton Edwards and Micheál MacLiammóir of Dublins Gate Theatre, Louise Prussing, Charles O&#39;Neal and Constance Heron. The stage of the Woodstock Opera House was dedicated to Welles in 2013, and the Woodstock Opera House hosted an 80th anniversary celebration of the Todd Theatre Festival.</p><br>
<p>In 1947, a group of citizens formed and supported the Woodstock Players. For several years the Players, provided acting experience for students graduation from the Goodman School. Now-famous personalities Paul Newman, Tom Bosley, Betsy Palmer, Geraldine Page, Shelley Berman and Lois Nettleton were among the more notable personalities.</p><br>
<p>In 1968, the Town Square Players was established. They were incorporated as a non-profit organization in 1973. In 1974, the Woodstock Musical Theatre Company was founded and made the Opera House their home. In 2019, the companies merged to create Theatre 121 and still perform regular seasons at the Opera House every year.</p><br>
<h2>Architecture</h2><br>
<p>Erected in 1889, the Opera House was designed and constructed by Elgin-based architect Smith Hoag at a cost of $25,000. The construction materials are mostly of local origin including limestone, terra cotta, fieldstone, white brick, and sandstone. Its architectural style is a mixture of late Victorian-era tastes combined with Early American, Midwestern, Gothic, and even Moorish elements. The interior is modeled after the showboats of the time, with dimensions and decorations that imitate many of those grand floating theatres.</p><br>
<p>In 1960, the Junior Civic Arts League invested time and effort to battle the increasing deterioration of the auditorium and stage. The Woodstock Fine Arts Association was formed in 1961 with the purpose of restoring the Opera House through the next decade.</p><br>
<p>In 1972, the Opera House was declared a "landmark" by the city and the Woodstock Opera House Community Center, Inc. was formed to raise funds for a restoration effort. The Opera House was later closed for two years of restoration work. It reopened in February 1977 and was renamed the Woodstock Opera House Community Center. Additional restoration projects were finished over the next two decades and the Opera House was considered fully restored with the final addition of the front Portico in 1999.</p><br>
<p>The building continues to be owned and maintained by the City of Woodstock and local residents. It features historic furnishings, stained glass windows, tin ceilings, original woodwork and hand drawn stencil ornamentations.</p><br>
<p>In 2003, a new annex was completed and added to the Opera House on its adjacent lot. It provides disability access to the stage, a freight elevator, additional back stage areas, offices and the Stage Left Café.</p><br>
<p>The Orson Welles Stage was dedicated February 10, 2013, honoring the site of Welles&#39;s American debut as a professional theatre director.</p><br>
<h2>Current operations</h2><br>
<p>The Woodstock Opera House hosts a variety of programming and events each year including concerts, theatrical plays, dance, visual arts, educational programming, lectures, meetings, receptions, and more. Situated on the historic square in downtown Woodstock, the Opera House is one of the oldest continuously operating theatres in the country.</p><br>
<p>The Opera House is a fully modernized theatre while retaining its historical character. It features contemporary sound, lighting, stage rigging, heating, air-conditioning and other amenities and is owned and operated by the City of Woodstock.</p><br>
<h2>Cinema</h2><br>
<p>The venue is featured prominently in the film Groundhog Day (which was filmed primarily in Woodstock) as The Pennsylvanian Hotel.</p><br>
<p>The John Cabot House is a historic house at 117 Cabot Street in downtown Beverly, Massachusetts. Built in 1781 by a prominent local businessman and ship owner, it was the town&#39;s first brick mansion house. It is now owned by Historic Beverly and open to the public five days a week. It was listed on the National Register of Historic Places in 1975.</p><br>
<h2>Description</h2><br>
<p>The John Cabot House is located in Beverly&#39;s downtown business district, on the east side of Cabot Street (its major thoroughfare) between Central Street and Franklin Place. It is a three-story timber-framed structure, its exterior clad in red brick and capped by a truncated hip roof. The main facade is five bays wide, with windows set in rectangular openings with splayed soldier brick headers. Projecting brick courses separate the floors, and the third-floor windows are smaller in height, and butt against the elaborate dentillated roof cornice. The main entrance projects slightly in a surround that includes sidelight windows, pilasters, and a corniced entablature. The interior has a typical central stair plan, and retains most of its original woodwork, which is in a heavy late Georgian style.</p><br>
<h2>History</h2><br>
<p>The house was built in 1781, and was the first brick mansion in Beverly. It was built for shipowner and privateer Capt. John Cabot (b. 1745 in Salem to Joseph Cabot and Elizabeth Higginson). Cabot was prominent in the towns economy, having also cofounded the Beverly Cotton Manufactory, Americas first cotton mill.</p><br>
<p>In 1802, the house became the first office of the Beverly Bank, the tenth oldest bank in America, with Capt. John Cabot serving as one of seven original directors. At that time, it was extended to the rear by a two-story wood-frame addition.</p><br>
<p>In addition to period rooms, the John Cabot House features maritime, military, and childrens exhibits as well as major changing exhibits. Historic Beverlys research facilities are also located here.</p><br>
<p>The John Hale House, also known as the Rev. John Hale Farm, is a historic Colonial house located at 39 Hale Street, Beverly, Massachusetts. The house is now operated as a nonprofit museum by Historic Beverly, with period furnishings and a room containing witchcraft-related artifacts.</p><br>
<p>This house was built in 1694, possibly with structural members from an earlier parsonage, by Beverlys first minister, Rev. John Hale (1636–1700). Hale is now best remembered for playing a significant part in the infamous Salem witch trials in 1692. He had been at the forefront of the prosecutions but underwent a change of heart when his second wife Sarah Noyes Hale was accused of witchcraft. She was not convicted, and shortly thereafter the trials concluded. After his wifes death in 1697, Rev. Hale wrote a book entitled A Modest Inquiry into the Nature of Witchcraft, condemning his colleagues who played leading roles in the trials.</p><br>
<p>Rev. Hale lived in this house until his death on May 15, 1700. Generations of descendants succeeded him in the house, until in 1937 they finally sold it to the. Over the years the house was much altered from its original state. Additions include a 1745 gambrel-roofed ell facing Hale Street that now contains the main entrance.</p><br>
<p>Descendants of Reverend Hale still remain in Beverly.</p><br>
<p>The Pickering House  is a First Period Colonial house at 18 Broad Street, in Salem, Massachusetts&#39; McIntire Historic District. Located in downtown Salem between Cambridge & Summer Street. Ten successive generations of the Pickering family including Colonel Timothy Pickering have owned and lived in this grand home. This house is believed to have been the oldest house in the United States continuously occupied by one family. However, in 1998, the Goodhue family moved into the house, with Albert Goodhue as the primary caretaker. It is located at 18 Broad Street, Salem, Massachusetts and is open to the public under the auspices of the nonprofit Pickering Foundation. Across the street is the Broad Street Cemetery, one of the three oldest in Salem.</p><br>
<h2>History</h2><br>
<p>Although the core house is in the First Period style, it has evolved considerably over the years. The original house was two stories tall, with a single room on each floor, and an entry bay. The left side was then added circa 1682 by his son, John Pickering II. In 1751, Deacon Timothy Pickering raised a rear lean-to up to a full two stories, which is how the house exists today.</p><br>
<p>In 1841 the front facade was reworked in the Gothic Revival style, with the facade gables probably dating from this time. Many of the houses external features date from this alteration, including the roof finials, round windows in the gables, cornice brackets, and exterior entry porch. Family records also suggest that a passageway was cut through the chimney stack at this time, and that the exterior chimney was remodeled to todays columnar style at this time. The Gothic-style fence with its cut-outs and obelisk finials was also added in this renovation. In 1904 a two-story ell was added to the rear. In 1948, Boston architect Gordon Robb carried out interior restoration work to reintroduce more Colonial Revival features.</p><br>
<p>The Wrigley Mansion in Phoenix, Arizona, is a landmark building constructed between 1929 and 1931 by chewing-gum magnate William Wrigley Jr.</p><br>
<p>It is also known as William Wrigley Jr. Winter Cottage and as La Colina Solana.</p><br>
<p>Located at 2501 East Telewa Trail, it sits atop a 100 ft knoll with views of greater Phoenix to the south, close to the Arizona Biltmore Hotel, which Wrigley owned.</p><br>
<h2>History</h2><br>
<p>Architect Earl Heitschmidt of Los Angeles designed the home at a cost of $1.2 million, in a combination of styles, including Spanish Colonial. The William Simpson Construction Company also of Los Angeles built the home. It has 24 rooms, 12 bathrooms, and over 16,000 ft&sup2;. Much of the extensive tilework was shipped to Phoenix from Wrigley&#39;s own factory in Catalina, hauled by mule to the site.</p><br>
<p>The Wrigleys maintained other residences in Chicago; Philadelphia; Lake Geneva, Wisconsin; Catalina Island; and Pasadena, and used this, the smallest of their houses, for only a few weeks a year. William Wrigley died in 1932, shortly after its completion.</p><br>
<p>In July 1992, Geordie Hormel bought the mansion and made it available for meetings, conventions and similar functions. Due to zoning regulation, The Wrigley Mansion must operate as a private club.</p><br>
<h2>Landmark designations</h2><br>
<p>The Wrigley Mansion was listed on the National Register of Historic Places in 1989.</p><br>
<p>The mansion has been designated as a Phoenix Point of Pride.</p><br>
<p>The mansion has been Winner of The Knot Weddings for 2011, 2009, and 2008.</p><br>
<p>Phoenix-Wrigley Mansion-1929-4.JPGPedestrian garden entrance sequence to the Wrigley Mansion</p><br>
<p>Phoenix-Wrigley Mansion-1929-17.JPGView of garden, from the upper entrance terrace</p><br>
<p>Phoenix-Wrigley Mansion-1929-5.JPGMain portal of the Wrigley Mansion</p><br>
<p>Phoenix-Wrigley Mansion-1929-3.JPGEntrance foyer and main staircase</p><br>
<p>Phoenix-Wrigley Mansion-1929-6.JPGView of foyer from the top of the main staircase</p><br>
<p>Phoenix-Wrigley Mansion-1929-7.JPGView of foyer from balcony</p><br>
<p>Phoenix-Wrigley Mansion-1929-10.JPGLiving room</p><br>
<p>Phoenix-Wrigley Mansion-1929-8.JPGHallway</p><br>
<p>Phoenix-Wrigley Mansion-1929-15.JPGTelephone operator&#39;s booth</p><br>
<p>Phoenix-Wrigley Mansion-1929-9.JPGSecond floor room</p><br>
<p>Phoenix-Wrigley Mansion-1929-11.JPGSecond floor room</p><br>
<p>Phoenix-Wrigley Mansion-1929-12.JPGA bedroom where Elvis Presley reportedly stayed</p><br>
<p>Phoenix-Wrigley Mansion-1929-13.JPGBathroom adjacent to the "Elvis Presley room"</p><br>
<p>Phoenix-Wrigley Mansion-1929-14.JPGView from a second floor balcony</p><br>
<p>Phoenix-Wrigley Mansion-1929-16.JPGView of another interior staircase</p><br>
<p>Phoenix-Wrigley Mansion-1929-2.JPGSide facade</p><br>
<p>Wrigley Mansion Phoenix Arizona 2008.jpgGardens and second floor balcony</p><br>
<p>The Benicia Arsenal  and Benicia Barracks  were part of a large military reservation located next to Suisun Bay in Benicia, California. For over 100 years, the arsenal was the primary US Army Ordnance facility for the West Coast of the United States.</p><br>
<p>In 1847 a 252 acre parcel of land adjoining the Benicia city limits on the east was acquired for a military reserve. First occupation of the post was on April 9, 1849, when two companies of the 2nd Infantry Regiment set up camp to establish Benicia Barracks, which also housed the 3rd Artillery Regiment. In 1851, after the urging of General Persifor F. Smith, the first Ordnance Supply Depot in the West was established in Benicia. In 1852 it was designated Benicia Arsenal. Notable military personnel who were stationed there during this time include Ulysses Grant, Edward Ord, and Joseph Hooker, among others.</p><br>
<p>The grounds of the Benicia Arsenal are also famous for stabling one of the elements of the Army&#39;s Camel Corps. The short-lived Camel Corps was disbanded in 1863, but the Camel Barns, built in 1855, remain and are now the Benicia Historical Museum.</p><br>
<p>The Benicia Arsenal was a staging area during the Civil War for Union troops from the West, and the installation remained a garrisoned post until 1898 when troops were assigned to duty in the Philippines during the Spanish–American War. From 1911 to 1913, the arsenal was commanded by Colden Ruggles, who later served as the Army&#39;s Chief of Ordnance. During World War I, the Benicia Arsenal gave ordnance support to all large Army installations in the Western States as well as supplying Ordnance material to American expeditionary forces in Siberia. Italian Service Units of the 4th, 4th and 50th Italian Quartermaster Service Company worked at the Arsenal during World War 2.</p><br>
<p>In the 24 hours following the Pearl Harbor bombing, 125 separate truck convoys were loaded and dispatched from the Benicia Arsenal, leaving its stock of ammunition, small arms, and high explosives completely exhausted. Throughout the war, the arsenal supplied ports with weapons, artillery, parts, supplies, and tools. In addition, the arsenal overhauled 14,343 pairs of binoculars, manufactured 180,000 small items for tanks and weapons, and repaired approximately 70,000 watches. However, the arsenal is most famous for supplying munitions to Lieutenant Colonel Jimmy Doolittle for the first bombing raid on Tokyo on April 18, 1942, launched from the USS Hornet.</p><br>
<p>Prior to 1940, the arsenal employed 85 civilian employees; by October 1942, the payroll had reached 4,545. The labor shortage in 1944 forced the arsenal commander to put 250 Italian and 400 German prisoners of war to work, alongside 150 juveniles from the California Youth Authority. Women comprised nearly half the civilian employee force. During the Korean War, the number of civilians reached an all-time high of 6,700 workers.</p><br>
<p>The Benicia Arsenal was deactivated in 1963, and the facility was closed in 1964. The arsenal has been redeveloped as work and sales space for artists and artisans.</p><br>
<p>Medal of Honor recipient John H. Foley is buried in the arsenal&#39;s cemetery.</p><br>
<p>The Cushing House Museum and Garden , also known as the Caleb Cushing House, is a Federal style mansion with a fine garden located at 98 High Street, Newburyport, Massachusetts, United States. It was a home of diplomat Caleb Cushing and is a National Historic Landmark.</p><br>
<p>The house is a center entrance four-story brick mansion in the Federal style, with entrances at both the front and sides, and two chimneys on each side. In shape it is a flattened cube, with five windows arranged symmetrically across both front and sides. Its main entry is crowned with a modest fanlight, echoed by a fan-shaped wooden motif atop the window above it. On the grounds, visitors will find a nineteenth-century garden, fruit trees, a privy, cobbled yard and carriage house.</p><br>
<p>Within the house are fine collections of silver, furniture, portraits, clocks, needlework, antique fans, hatboxes, nineteenth century toys, and more from New England, Asia, and Europe. The China Trade Room displays early China Trade decorative arts including four Chinese coastal Hong paintings. An extensive clock collection includes examples made by local master clockmakers David Wood and Daniel Balch. In the canopy bedroom stands a carved seventeenth-century Dutch cradle and a three-sided crib. Many oil portrait paintings hang in the house, including a Cecilia Beaux portrait of Margaret Cushing and 1801 paintings by John Brewster, Jr., of Newburyport&#39;s Prince family. The museum also maintains a collection of area maps, photographs, and genealogical references.</p><br>
<p>It is now the home of the Historical Society of Old Newbury and guided tours are offered between Memorial Day and Columbus Day.</p><br>
<p>The house was declared a National Historic Landmark and listed on the National Register of Historic Places in 1973, The house is deemed nationally significant for its association with Cushing, a 19th-century diplomat whose defining achievement was the Treaty of Wanghia, negotiated in 1844 with the Qing dynasty of China. This treaty was the first in which the United States secured equivalent rights to those of traditional colonial powers (in this case, the United Kingdom).</p><br>
<p>Gouldings Trading Post, now called Gouldings Lodge, is a historic general store, motel, and museum in southern Utah, United States, just outside of Monument Valley. It was constructed in 1928, seven years after Harry Goulding purchased 640 acres of land in the area. Shortly after Monument Valley became a popular tourist attraction, it was renamed and remodeled to house Goulding&#39;s Lodge. The lodge originally served as a trading post and home for the Gouldings.</p><br>
<p>During the Great Depression, while director John Ford was looking for a site to film his 1939 movie Stagecoach, Goulding went to work capturing photos of Monument Valley to send to Ford, who ended up shooting not only Stagecoach there but several other successful Western films. The films helped to popularize the area, and Goulding, realizing the potential value of tourism, established lodging and other services that could bring additional attention and profit.</p><br>
<p>The former trading post serves as a motel/museum for tourists and travelers looking to catch a glimpse of the famous valley and has been converted into the Goulding Lodge. Its history, isolation, and proximity to Monument Valley Navajo Tribal Park have made it a popular roadside attraction for travelers. The trading post was added to the National Register of Historic Places on October 20, 1980.</p><br>
<p>In November 2023, the Navajo Nation purchased Goulding&#39;s Lodge for $59.5 million. The purchase is expected to generate $7.4 million in annual revenue for the Navajo Nation, $2.4 million of which would be due to changing the taxing authority from the state of Utah to the Navajo Nation.</p><br>
<h2>Monuments</h2><br>
<p>Historic Forks of the Wabash is a historic museum park near Huntington, Indiana, that features several historic buildings, trails and remnants of the Wabash and Erie Canal. The location was the signing location of the historic Treaty at the Forks of the Wabash in 1838. The park is located along the Wabash River. It was listed on the National Register of Historic Places in 1985 as the Chief Richardville House and Miami Treaty Grounds.</p><br>
<p>Historic structures include:</p><br>
<p>Chief&#39;s House - Council house believed to have been used by Miami tribe Chief Jean Baptiste de Richardville during treaty negotiations and Miami Council meetings. Other sources indicate that his son-in-law, Francis La Fontaine, actually built the house in the early 1840s for use as his main residence. The house has been restored to appear as in 1846.</p><br>
<p>Nuck Log House - 1841 pioneer log house</p><br>
<p>School House - Pioneer-era log schoolhouse furnished for the 1880s</p><br>
<p>Ball State University conducted an archaeological dig at the Chief&#39;s House in 1989 which uncovered artifacts including nails, brick, glass, toys, housewares, and personal items. An additional excavation occurred in 1999.</p><br>
<p>The park offers programs for groups of all ages. Topics include archaeology, canals and transportation, pioneer life, Woodland Indian history, and art.</p><br>
<p>Wheatland, or the James Buchanan House, is a brick Federal style house which is located in Lancaster Township, Lancaster County, Pennsylvania, outside of Lancaster, Pennsylvania. It was formerly owned by the 15th president of the United States, James Buchanan.</p><br>
<p>The house was constructed in 1828 by William Jenkins, a local lawyer. The second owner was Thomas Fuller Potter. He sold it to William M. Meredith in 1845.</p><br>
<p>Wheatland changed hands again in 1848, when it was purchased by Buchanan. Buchanan occupied the house for the next two decades, except for several years during his ambassadorship in Great Britain and during his presidency. After his death in 1868, Wheatland was inherited by Buchanan&#39;s niece, Harriet Lane, who sold it in 1884 to George Willson.</p><br>
<p>It was inherited by a relative of Willson&#39;s in 1929. Wheatland was put up for sale again after the relative died in 1934 and was acquired by a group of people who set up a foundation for the purpose of preserving the house. Wheatland was designated a National Historic Landmark in 1961 and was added to the National Register of Historic Places in 1966. It was designated a contributing property to the Northeast Lancaster Township Historic District in 1980. The foundation and the adjacent historical society merged in 2009.</p><br>
<h2>Location</h2><br>
<p>Wheatland is located off Pennsylvania Route 23 (Marietta Avenue) in Lancaster Township, about 1.5 mi from the center of the city of Lancaster. It is situated on 10 acre of land, which it shares with Lancaster County&#39;s historical society, at the intersection of Marietta Avenue and President Avenue.</p><br>
<p>The region was originally inhabited by the Susquehannocks, who were first encountered in what is now Lancaster County by John Smith in 1608. They were also known to early settlers of the area as the "Conestogas", after the creek they resided near. In 1680, William Penn received a charter from Charles II for land to found the Province of Pennsylvania; Penn divided the land into the three counties: Bucks, Chester and Philadelphia. Lancaster County was formed from parts of Chester County on May 10, 1729. Lancaster Township was settled between 1717 and 1720, and was incorporated out of portions of Conestoga Township in 1729. The city of Lancaster was laid out in March 1730 and was incorporated as a borough in August 1742, before being incorporated as a city on March 20, 1818.</p><br>
<h2>History</h2><br>
<p>On November 20, 1824, over 403 acre of land was turned over to a bank in Lancaster by a farmer. The bank sold 165 acre and 68 square perches (18,513 ft; 1,720 m) of that land, on January 29, 1828, for $11,731.87, (equal to $ today), through the use of a straw man, to William Jenkins, a lawyer and, then, president of said bank. Jenkins had a house constructed on the property and named it "The Wheatlands", either after the surrounding wheatfields or because the site of the house used to be a wheatfield. Jenkins sold 17 acre and 25 square perches (7,010 ft; 651 m) of land, including the house, to his son-in-law Thomas Fuller Potter in 1836. William M. Meredith bought the same plot on May 8, 1845, plus an additional 5 acre, for $6,750, equal to $ today. Meredith used it as primarily a summer house and as a home for his wife and children; Meredith&#39;s duties as head of the bar in Philadelphia prevented him from living at Wheatland on a permanent basis.</p><br>
<p>Wheatland was put up for sale by Meredith and was contacted in June 1848 by Secretary of State James Buchanan, who was interested in the house. The sale of Wheatland was delayed by Meredith, who was not sure whether he really wanted to sell the estate, and by Buchanan, who did not want to force Meredith into making a decision that he might regret. Wheatland was sold in December 1848 at the same price that Meredith had purchased it at; Buchanan moved into the mansion several months later, accompanied by his niece, Harriet Lane, and nephew, James Buchanan "Buck" Henry, and his housekeeper, Esther "Miss Hetty" Parker. Buchanan ran unsuccessfully for the Democratic Party&#39;s nomination for President in the 1852 election, however he was appointed the Minister to Great Britain by the newly elected Franklin Pierce. Buchanan did not return to the United States, and to Wheatland, until 1856.</p><br>
<p>Not long after arriving back at Wheatland, Buchanan was nominated by the Democratic Party to be its candidate for President on June 9, 1856. Buchanan did not tour the country as part of the campaign. Instead, he conducted it from Wheatland as a "front porch campaign". Buchanan won the election and carried all of the Southern states, with most of the votes in the Northern states going to the Republican nominee John C. Frémont. Part of Buchanans success in the South was his, and the party platforms, support of the Kansas&ndash;Nebraska Act. One of the tactics used in the campaign involved lithographs of Wheatland being printed and circulated, primarily in the South, "as a polite way of informing the Southerners that the Democratic candidate, though from the North, had a plantation estate and held a course of life similar to their own."</p><br>
<h3>Post-presidency</h3><br>
<p>During his presidency, Buchanan returned to Wheatland sporadically and never for very long. He retired to Wheatland in 1861, after the election of Abraham Lincoln and the end of his term as President. Buchanan died in a room on the second floor in Wheatland on June 1, 1868. Thousands of people attended Buchanans funeral and the procession from Wheatland to the Woodward Hill Cemetery on June 4. The estate was inherited by Harriet Lane, who used it as a summer house. After both of Lanes sons died&mdash;one in 1881 and the other a year later&mdash;and a few weeks after her husband died, Lane sold Wheatland in 1884 to George Willson.</p><br>
<p>Wheatland was inherited by Mary Willson Rettew, a cousin of George Willson, after he died of a heart attack in 1929. Rettew died in 1934 and, left a will stipulating "the establishment of The Willson Memorial Building" to preserve the family&#39;s heirlooms. Her will also requested that the building be occupied by the Lancaster County Historical Society, which had been founded in 1880. Wheatland, along with 4.25 acre of land, were put up for sale by the executors of the will. The Junior League of Lancaster founded the "James Buchanan Foundation for the Preservation of Wheatland" in 1935 with the purpose of raising funds to buy Wheatland. Wheatland was sold to the Foundation for $40,000 (equal to $ today) on February 27, 1936. It was opened to the public on May 5, 1936 and was dedicated "as a new presidential shrine, taking its place with Mount Vernon, Monticello and The Hermitage," in October 1937. Wheatland was designated a National Historic Landmark on July 4, 1961 and listed on the National Register of Historic Places on October 15, 1966. Wheatland became a contributing property to the Northeast Lancaster Township Historic District on March 20, 1986. The James Buchanan Foundation and the neighboring Lancaster County Historical Society were merged in 2009 to form LancasterHistory.org.</p><br>
<h2>Architecture and decor</h2><br>
<p>Wheatland is a Federal style house made of brick. As no documents on the actual construction are known to exist, the person or persons responsible for the design of Wheatland have remained anonymous. However, the architecture of Wheatland, as well as its location on the property, indicates someone who was skilled in classical architecture. Design elements, like various lunette windows, also show the influence of various architectural guidebooks that were prevalent in the early 19th century.</p><br>
<p>The interior of Wheatland is furnished as it would have been in the mid-19th Century, with most of the furniture being original to the house. As Wheatland has never been significantly altered or remodeled, other than the installation of modern lighting and heating, it provides an accurate view of the lifestyle in the Victorian era.</p><br>
<p>The house is made up of a -story, "bilaterally symmetrical", central section, flanked by two, three-story wings set back from the main facade. The roofs of both wings are flat and sloping towards the rear of the house; the northern wing also a "pent roof", a sloped, shingled roof between the first floor and second floor windows, on the rear. The front entrance to Wheatland is sheltered by a portico supported by Tuscan order columns, while the rear entrance is on a veranda.</p><br>
<h3>Interior</h3><br>
<p>Both of the main entrances into Wheatland open onto a T-shaped hallway. The main portion of the hall is 42 ft long and 8 ft wide, while the cross-hall is 34 x. It is covered with an oilcloth flooring that was decorated with "geometric squares to imitate tile"&mdash;painting one material to resemble another, more expensive one that was popular in the Victorian era. The original cloth was covered with a modern, red carpet up until 1990; it has since been overlaid with an identical, reproduction covering.</p><br>
<p>On the first floor are located the parlor, the library, two dining rooms, and the kitchen. One of the dining rooms is located in the western wing, off of the hallway, and was used primarily used by the family for smaller meals like breakfast or tea. The kitchen is also in the wing, directly adjacent to the dining room. The other dining room, located in the front western side of the main house, was used only for formal dinners and as the sitting room where the men would converse after dinner. The fireplace in the room was enclosed in marble when Buchanan bought Wheatland and had a furnace installed. Across the hall, on the other side of the main house is the parlor, where the women guests would congregate after dinner. The library is located off the hallway in the east wing. The woodwork, doors, a bookcase, and a bookshelf built into the wall were grained to resemble oak. The shelves in the bookshelf no longer exist; but, the backboard of the bookshelf is visible, as is the plaster wall made to resemble wood. Two mahogany bookcases, flanking the fireplace in the library, were furnished by Jenkins and having been sold to each successive owner by the previous one. The library was primarily used by Buchanan as the place to meet with guests.</p><br>
<p>The second floor is reached by means of an elliptical stairway in the cross-hall. Embedded into the newel post at the base of the stairs is glass "peace stone", symbolizing the owners "peace of mind" after having paid off the mortgage. The living quarters for the inhabitants of Wheatland were located on the second floor. A bathroom, complete with bathtub, shower and a bidet, was installed in the west wing when the Willsons bought Wheatland in 1884. The third floor was primarily used as servants quarters and has been left unrestored.</p><br>
<h3>Grounds</h3><br>
<p>Originally constituting 22 acre, the grounds surrounding Wheatland were incrementally sold until only 4.25 acre remained when it was listed on the National Register of Historic Places. The merger in 2009, however, included the 5.75 acre given to the historical society in 1934; the total of the two parcels is almost half of Wheatland&#39;s original property.</p><br>
<p>On the grounds, behind Wheatland, stand a privy, a smokehouse, and a carriage house. A stable used to stand on the property but was replaced by the carriage house in the late 1880s; an icehouse also no longer exists. The carriage house, today, houses meeting and reception space.</p><br>
<p>Wheatland is open to the public Monday-Saturday from mid-January through mid-November, with tours available hourly.</p><br>
<p>The First Unitarian Society of Madison  is a Unitarian Universalist congregation in Shorewood Hills, Wisconsin. Its meeting house was designed by Frank Lloyd Wright and built by Marshall Erdman in 1949–1951, and has been designated a USA National Historic Landmark for its architecture. With over 1,000 members, it is one of the ten largest Unitarian Universalist congregations in the United States.</p><br>
<h2>Beliefs</h2><br>
<p>The First Unitarian Society of Madison is part of the Unitarian Universalist Association and affirms the Seven Principles and Six Sources. The Society also adheres to the Continuing Bond of Union established at their founding in 1879 and reaffirmed in 1980: "We whose names are hereunto inscribed, desiring a religious organization in the spirit of Jesus of Nazareth, which shall make integrity of life its first aim and leave thought free, associate ourselves together as the First Unitarian Society of Madison and accept to its membership those of whatever theological opinion who wish to unite with us in the promotion of truth, righteousness, reverence, and charity among all. As part of a non-creedal tradition, the First Unitarian Society of Madison welcomes all regardless of creed, religion, sexual orientation, gender identity, race, ethnicity, and ability."</p><br>
<h2>History</h2><br>
<p>The First Unitarian Society of Madison was established in 1879 shortly after the 1878 Session of the Wisconsin Conference of Unitarian & Independent Churches led to a resurgence of the Unitarians in Madison. Influenced greatly by the Reverend Jenkin Lloyd Jones, a prominent Unitarian minister (and Frank Lloyd Wright&#39;s uncle), the early members held that an ethical rather than theological agreement was the hallmark of Unitarianism.</p><br>
<p>The Reverend Henry M. Simmons was called as the Societys first settled minister shortly after its founding, but departed within two years. Shortly after his departure, the Reverend Joseph Henry Crooker took over as the called minister and led the congregation in establishing their first building in 1885 which was designed by Peabody and Stearns of Boston. During Crookers tenure, the congregation experienced significant growth in their Sunday School program, in addition to establishing the Women&#39;s Alliance, the Channing Club (a university student group), the Lend-A-Hand Club, and the Contemporary Club (a current topics discussion group).</p><br>
<p>By 1910 there were 105 pledging units on the roster (a pledging unit can be an individual donor or a family donor), but by 1940 only 48 pledging units were recorded with the decline attributed to dissent among members. In 1941, the Reverend Kenneth Patton was called to serve as minister and the Society&#39;s membership nearly doubled in a few years.</p><br>
<p>In 1945, the Society elected to sell their original buildings after receiving a substantial offer for the property originally located downtown Madison, WI. The following year, after much debate, the Society commissioned Frank Lloyd Wright to design the new Meeting House. Four acres of land in Shorewood Hills, surrounded by few structures and overlooking the University of Wisconsin agricultural fields, was purchased as the new site. The new building opened in 1951. Today, the University of Wisconsin hospital and a busy University Avenue surround the Meeting House.</p><br>
<p>The Reverend Max D. Gaebler served as the settled minister for 35 years. In 1988, the Reverend Michael A. Schuler was called as the settled minister and retired in 2018 after 30 years of dedicated service. Under the leadership and tenures of both the Reverend Gaebler and Schuler, the Society experienced significant growth and presently registers over 1,500 Members and Affiliates. In 2008, a gold-level LEED Certified Atrium addition was built on the campus to accommodate the increase in membership.</p><br>
<p>In 2021, the congregation chose to move from a hierarchical leadership model to a shared ministry model. Rooted in justice and Unitarian Universalist values, this model places equal weight on all aspects of congregational ministry. In May 2021, the congregation called the Rev. Kelly Weisman Asprooth-Jackson to join the Rev. Kelly J. Crocker. Together, they each serve as Co-Senior Minister.</p><br>
<h3>Shaarei Shamayim</h3><br>
<p>Since 2008, the Shaarei Shamayim congregation, which adheres to Reconstructionist Judaism, has shared the building with the 1952 First Unitarian Society.</p><br>
<h2>Architecture</h2><br>
<p>The society is housed in the historic Unitarian Meeting House, which was designed by Frank Lloyd Wright, one of its members and the son of two of its founders. Wright was commissioned to design the Meeting House in 1946. The dramatic result has been variously interpreted as the prow of a ship, a plow cutting through the prairie, and hands folded in prayer.</p><br>
<p>Construction began in 1949 and was completed in 1951. Wright initially estimated $60,000 to build the church, but it cost three times that. To cut the cost, members of the congregation hauled limestone blocks for the walls. The churchs "upper meeting house", the original Wright design, is characterized by its prow-like roof, covered with a blue-green standing seam copper, set with a combination of vertical and horizontal seams to emphasize the roofs shape. The roof is supported by an innovative series of hinged-arch trusses built out of two-by-four and two-by-six framing members. There is no ridge pole, although there is the appearance of one both inside and outside; the roof is effectively supported by the main roof section being counterbalanced by the extended eaves. The system allows for an interior span of 64 ft without supports.</p><br>
<p>The church building is recognized as one of the most innovative examples of church architecture. In 1960, the American Institute of Architects designated it one of 17 buildings to be retained as an example of Wright&#39;s contribution to American culture. The Meeting House was placed on the National Register of Historic Places in 1973, before the traditional 50-year cutoff for historic buildings. In 2004, it was designated a National Historic Landmark by the National Park Service.</p><br>
<p>Additions to the building designed by Taliesin Associated Architects were added in 1965 and 1990. Construction of a major expansion of the FUS campus, designed by Kubala Washatko Architects, was completed in 2008, adding a second, 500-seat auditorium and community spaces. Extensive repairs and restoration were also done on the historic building. This expansion conforms to strict guidelines to leave the historic parts of the grounds unaltered.</p><br>
<p>Wright designed the structure around triangles, and after it was built he wrote: "As the square has always signified integrity and the sphere universality, the triangle stands for aspiration. Here is a church where the whole edifice is in the attitude of prayer."</p><br>
<p>In the early 1970s, the "Friends of the Meeting House" was created in order to manage preservation of the facility. Friends of the Meeting House, Inc. is a 501(c)(3) non-profit, non-stock organization. Its purpose is education, assisting the congregation with preservation projects, and advocating for preservation of the building&#39;s unique features.</p><br>
<p>Friends of the Meeting House has its own website, which focuses on the building&#39;s history:</p><br>
<p>UM 1.jpg</p><br>
<p>UM 2.jpg</p><br>
<p>First Unitarian Society Meeting Atrium Walkway - panoramio.jpg</p><br>
<p>First Unitarian Society Meeting House - panoramio (1).jpg</p><br>
<p>First Unitarian Society Meeting Landmark Building - panoramio.jpg</p><br>
<p>First Unitarian Society Meeting Office Hallway - panoramio.jpg</p><br>
<p>First Unitarion Society of Madison Interior & Furniture.jpg</p><br>
<p>Interior of First Unitarian Meeting House Atrium - panoramio.jpg</p><br>
<p>First Unitarian Society of Madison Wisconsin Interior.jpg</p><br>
<p>Green Spring Plantation in James City County about 5 mi west of Williamsburg, was the 17th century plantation of one of the most unpopular governors of Colonial Virginia in North America, Sir William Berkeley, and his wife, Frances Culpeper Berkeley.</p><br>
<p>Sir William Berkeley, who served several terms, is perhaps the best-known of Virginia&#39;s colonial governors. Contrary to popular belief the well-known Berkeley Plantation in nearby Charles City County was not named in his honor.</p><br>
<p>Today, a section of the land that formed the core of Green Spring Plantation is part of the Colonial National Historical Park. It also lends its name to the section of the multi-use Virginia Capital Trail that extends from Governor Berkeley&#39;s capital at Jamestown, past many former great plantations (including Berkeley plantation) to the current state capital at Richmond, Virginia.</p><br>
<h2>History</h2><br>
<p>The name Green Spring Plantation originated from the natural spring on the site, which continues over 350 years later to produce huge quantities of very beautifully clear, ultra cold water. The Green Spring produced a flow "so very cold that &#39;twas dangerous drinking the water thereof in Summer-time," wrote a visitor in the 1680s."</p><br>
<p>The plantation house at Green Spring was built in 1645. The plantation originally encompassed a 2,090 acre experimental farm.</p><br>
<p>Seeking alternative export products to supplement tobacco, which had become the Colony&#39;s mainstay, Green Spring produced flax, fruits, potash, rice, silk, and spirits, which were shipped to markets in North America, the West Indies, Great Britain, and Holland.</p><br>
<p>The plantation was owned by Governor William Berkeley until his death in 1677. When Berkeley&#39;s widow Lady Frances married Philip Ludwell, ownership passed to him, and then to his son Philip Ludwell II and grandson Philip Ludwell III.</p><br>
<p>On March 13, 1683, the Council determined that Greenspring windmill was to be the site of the building of the King&#39;s storehouse.</p><br>
<p>Green Spring Plantation witnessed many historic events, including the beginnings of slavery in Virginia, Bacon&#39;s Rebellion in 1676, the Battle of Green Spring during the American Revolutionary War in 1781, and the emancipation of its slaves in 1804, by the will of William Ludwell Lee, son of William Lee. In 1862, the property was also involved in the Battle of Williamsburg during the Peninsula Campaign of the American Civil War. A second mansion on the site was burned during the Civil War.</p><br>
<h2>Preservation</h2><br>
<p>In the 21st century, about 200 acre of the original plantation are preserved by the National Park Service (NPS) as part of the Colonial National Historical Park, which acquired the property in 1966. The site includes archaeological and architectural remnants of the manor house and ancillary structures. It was listed on the National Register of Historic Places on December 29, 1978. It has been argued by historian Virginia B. Price that numerous Virginia county courthouses, including Hanover, King William, and Nelson, are, “arguably, the Green Spring house’s architectural legacy.”</p><br>
<p>The Benson Portland, Curio Collection by Hilton is a 287-room historic hotel in downtown Portland, Oregon, United States.</p><br>
<p>It is owned and operated by Coast Hotels & Resorts. It was originally known as the New Oregon Hotel, and is commonly known as "The Benson". It has a reputation as one of Portland&#39;s finest hotels. The hotel is named after notable businessman and philanthropist Simon Benson. The Benson is the seventh largest hotel in Portland based on the number of rooms.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<p>The first hotel on the site was the Hotel Oregon, which was located on the southern half of the current hotel&#39;s location. Originally designed as an office building, it was constructed by local Chinese businessmen Moy Back Yin and Goon Dip. With the Lewis and Clark Centennial Exposition expected to draw massive crowds in 1905, the Wright-Dickinson Company, based in Washington state, leased the structure during construction and completed it as a hotel, which opened early that year. The Hotel Oregon was an immediate success, and an annex was soon added in the rear.</p><br>
<h3>Current building</h3><br>
<p>With the citys population booming, Wright-Dickinson partnered in 1911 with local businessman Simon Benson to construct a modern tower wing addition to the Hotel Oregon on the northern half of the block. The firm of Doyle, Patterson & Beach designed the building in the French Second Empire style, with Chicagos Blackstone Hotel serving as a design inspiration.</p><br>
<p>The new wing opened on March 4, 1913, timed to coincide with the inauguration of President Woodrow Wilson. A telegram was sent from Washington, so the hotel&#39;s doors could be opened just as he took the oath of office. The new wing was known as the New Oregon Hotel for the next 16 months, and operated jointly with the existing hotel.</p><br>
<h3>Benson Hotel</h3><br>
<p>In 1914, Simon Benson assumed direct operation of the new wing and renamed it the Hotel Benson, operating it now as a separate business. Benson sold the hotel to William Boyd and Robert Keller in 1919. The adjoining Hotel Oregon closed in 1924, due to the economic effects of prohibition in the United States, but reopened in 1932, still operated by Wright-Dickinson.</p><br>
<p>Boyd and Keller sold the Hotel Benson to Seattle-based Western Hotels in 1944. The 1905 Hotel Oregon building was purchased and demolished by Western in 1957, to make way for a 200-room annex to the Hotel Benson, built at a cost of $3,000,000, which doubled the hotels size. Designed by Jones, Lovegren, Helms and Jones, it opened in 1959 and contained a Trader Vics on the ground level.</p><br>
<p>Western International Hotels was renamed Westin Hotels in 1981, and the hotel became The Westin Benson. The Westin Benson was added to the National Register of Historic Places in 1986. Westin Hotels sold the hotel to WestCoast Hotels (now Coast Hotels & Resorts) in 1988 and it returned to its original name.</p><br>
<p>El Gaucho Restaurant is on the ground floor of the 1959 wing, where Trader Vic&#39;s was once located.</p><br>
<p>The Jimi Hendrix Experience drummer Mitch Mitchell died in his hotel room at the Benson Hotel on November 12, 2008.</p><br>
<p>On October 6, 2021, the hotel was rebranded as part of Curio Collection by Hilton, a division of Hilton Hotels.</p><br>
<p>Trimborn Farm is a Victorian era estate located in Greendale, Wisconsin, United States, and owned by Milwaukee County. Spanning 7.5 acres  and nine buildings, it is listed on the National Register of Historic Places. The farm is also a State Historic Site and designated Milwaukee County Landmark.</p><br>
<h2>History</h2><br>
<p>Around 1846 Jeremiah ODonnell built lime kilns at the farm. In 1851, Werner Trimborn and Jacob Kier purchased ODonnell&#39;s lime-production business which covered ten acres (25 ha) on site. Kier left soon after, but Werner and his family continued on to become one of the largest producers of high quality lime in Wisconsin. At its height in the 1870s, the business held over 500 acres (1.2 km²; 1200 ha) of land and employed nearly 40 people.</p><br>
<p>With the 1900s came a drastic change in building materials, including the introduction of Portland cement. The estate was soon subdivided and sold off, with much of it going to the Theodore Vollmer family for use in dairy farming.</p><br>
<p>In 1919, the Froemming family purchased a large tract of land to build greenhouses on, a portion of which was later donated to Whitnall Park.</p><br>
<p>In 1935, the farm, along with 3,400 acres (8.4 km²; 8400 ha) of surrounding land, was purchased by the federal government as part of a planned agricultural community known as the Greendale Project. It is now the village of Greendale, Wisconsin.</p><br>
<p>After the Great Depression, the remaining farmland passed into private ownership, where it became home to crop dusters and a riding stable.</p><br>
<h2>Attractions</h2><br>
<p>The nine historic buildings and land which remain are part of the Milwaukee County Parks System. With the assistance of the Milwaukee County Historical Society, a variety of community events and activities are scheduled year-round.</p><br>
<p>Property highlights include:</p><br>
<p>Farmhouse &mdash; Constructed in Greek Revival style during the 1850s using Cream City brick, a distinctive, light colored brick made locally.</p><br>
<p>Granary &mdash; Built in the 1850s using a technique on the interior called brick noggin to protect against air infiltration. This building functioned as a bunkhouse and granary.</p><br>
<p>Lime Kilns &mdash; In the 1840s and 1850s four lime kilns were constructed to heat limestone taken from the nearby quarry and turn it in to lime powder.</p><br>
<p>Stone Barn &mdash; Beginning in 1858 it was built in three phases, using limestone from the quarry. Two concrete silos were added in 1920.</p><br>
<p>Threshing Barn &mdash; Built in 1858, using vertical board and batten siding. The barn was used to store grain and house animals.</p><br>
<p>Also part of the farm complex is the neighboring Jeremiah Curtin House, built in 1846, which is a unique stone house that was the boyhood home of noted American linguist and folklorist Jeremiah Curtin; it was later sold to the Trimborn family.</p><br>
<p>The Pioneer Courthouse is a federal courthouse in Portland, Oregon, United States. Built beginning in 1869, the structure is the oldest federal building in the Pacific Northwest, and the second-oldest west of the Mississippi River.</p><br>
<p>Along with Pioneer Courthouse Square, it serves as the center of downtown Portland. It is also known as the Pioneer Post Office because a popular downtown Portland post office was, until 2005, located inside. The courthouse is one of four primary locations where the United States Court of Appeals for the Ninth Circuit hears oral arguments. It also houses the chambers of the Portland-based judges on the Ninth Circuit.</p><br>
<h2>History</h2><br>
<p>Built in stages between 1869 and 1903, it was first occupied in 1875 by judge Matthew Deady. At that time the building was named the United States Building. It was declared a National Historic Landmark in 1977.</p><br>
<p>In March 1933, city engineer Olaf Laurgaard proposed tearing down the building to open a parking garage. John C. Ainsworth asked Oregon representative Charles Martin and Charles L. McNary to see if President Franklin D. Roosevelt would consider giving the structure and property to the city of Portland. Portland would then renovate the structure for the Oregon Historical Society and The Colonial Dames of America to use. Martin immediately replied that the timing was bad since Oregon was asking for funding of the Bonneville Dam, and it was likely illegal to donate a post office to a city. Ainsworth quickly came up with a new scheme: demolish the Pioneer Courthouse and build an office building for the Historical Society, the Boy Scouts, a theater, and a museum. A. E. Doyle, his architectural firm, the local chapter of the American Institute of Architects, the Colonial Dames, and The Oregon Journal sharply opposed destroying the building.</p><br>
<p>In 2003, plans for renovating the courthouse sparked an unusual conflict between Portland Democratic congressmen Earl Blumenauer and David Wu. Wu, whose district contains the courthouse, supported a plan that included removing the post office from the courthouse, and adding five parking spaces in its basement. Wus plan was ultimately adopted, and the $23.4 million renovation of the building was completed in December 2005. The work included the addition of base isolators to protect the historic structure from earthquakes, the secure judges parking area under the building, and the renovation of the lobby where the post office had been.</p><br>
<h2>Notable trials</h2><br>
<p>The trials of the Oregon land fraud scandal were held in the courthouse, beginning in 1904. These trials were documented at length in Stephen A. Douglas Puter&#39;s book Looters of the Public Domain.</p><br>
<p>The Andrew Johnson National Cemetery is a United States National Cemetery on the grounds of the Andrew Johnson National Historic Site in Greeneville, Tennessee. Established in 1906, the cemetery was built around the resting place of Andrew Johnson, the 17th President of the United States, and holds more than 2,000 graves.</p><br>
<h2>History</h2><br>
<p>Amidst some kind of dispute with his neighbors in 1847, Johnson wrote, "If I should happen to die among the damn spirits that infest Greeneville, my last request before death would be for some friend I would bequeath the last dollar to some Negro to pay—to take my dirty stinking carcass after death out on some mountain peak, and there leave it to be devoured by the vultures and wolves or make a fire sufficiently large to consume the smallest particle that it might pass off and smoke and ride upon the wind in triumph over the God-forsaken and hell-deserving, money-loving, hypocritical, backbiting, Sunday-praying scoundrels of the town of Greeneville." It seems that Johnson more or less kept this vow. Andrew Johnson acquired twenty-three acres outside Greeneville on "Signal Hill" in 1852. According to Robert W. Winston&#39;s Plebian and Patriot (1928), "Though little given to sentiment, he pointed out this spot to a friend, saying that there he wished to rest and to take his final sleep. Searching out the owner, he acquired this property, and took a deed to the same."</p><br>
<p>It became known as Signal Hill due to being an excellent place for soldiers to signal to friendly forces. When Johnson died, he was buried on the property on August 3, 1875. The funeral was performed by Freemasons. On June 5, 1878, a 28 ft tall marble statue was placed by Johnson&#39;s grave. The monument was considered so dominant that the place came to be known as Monument Hill.</p><br>
<p>Andrew Johnson&#39;s daughter Martha Johnson Patterson willed on September 2, 1898, that the land become a park. She further pushed in 1900 to make the site a national cemetery, so that instead of the Johnson family maintaining it, the federal government would. The United States Congress chose to make the site a National Cemetery in 1906, and by 1908 the United States War Department took control of it. By 1939 there were 100 total graves in the cemetery. On May 23, 1942, control of the cemetery went to the National Park Service.</p><br>
<p>When the National Park Service was given jurisdiction of the cemetery in 1942, they ruled to allow no more interments, in order to preserve the historic nature of the cemeteries. Due to efforts by the American Legion and the Daughters of the American Revolution, the cemetery once again accepted new interments, making the national cemetery one of the few controlled by the National Park Service to contain soldiers of the World Wars, Spanish–American War, Korean War, Vietnam War, and the Gulf War. Aside from Andersonville National Cemetery, it is the only National Cemetery controlled by the United States Department of the Interior to accept new burials.</p><br>
<h2>Johnson monument</h2><br>
<p>At the time of Johnsons death in 1875, a Knoxville paper wrote that the burial place was called Johnsons Hill, located about southeast of town, and could be seen "the right of the railroad as you approach Greeneville from the west."</p><br>
<p>When the area was made into a cemetery following the death of Andrew Johnson, two of Andrew Johnson&#39;s sons were reinterred: Charles Johnson, who had originally been buried in Nashville, Tennessee, and Robert Johnson, originally buried elsewhere in Greeneville. Several other members of the Johnson family, including grandchildren, would later be buried in the cemetery. Amongst these are his daughter Martha and her husband, former Tennessee United States Senator David T. Patterson.</p><br>
<p>The -tall monument was made in Philadelphia and was paid for by the three surviving Johnson children, Martha, Mary, and Frank. The cost was said to be with the carving of the eagle costing on its own.</p><br>
<p>Johnsons grave marker is inscribed "his faith in the people never wavered." One newspaper account of Andrew Johnsons life, published in 1891, stated "There is something singularly enigmatic in the epitaph, for no one ever knew precisely what is meant by His faith in the people never wavered."</p><br>
<h2>Additional images</h2><br>
<p>Mickeys Dining Car is a classic diner in downtown Saint Paul, Minnesota, United States. Designed to resemble a railroad dining car, the prefabricated building was constructed in 1937 by the Jerry OMahony Diner Company of Elizabeth, New Jersey, then shipped to Saint Paul by rail, opening in 1939. Its unusual architecture made it a local landmark. It was listed on the National Register of Historic Places in 1983 for having local significance in the themes of architecture and commerce. It was nominated for being "a beloved, longstanding and unique social institution," an unaltered example of railroad car-style diners, and one of the few surviving examples of its type in the American Midwest. The diner ran in continuous operation at the same location from 1939 until the COVID-19 pandemic in 2020. The diner remained closed from this point until it reopened on the morning of October 3, 2024.</p><br>
<h2>Description</h2><br>
<p>50 ft long and 10 ft wide, Mickey&#39;s has distinctive red and yellow porcelain-enameled steel panels and Art Deco-style lettering on the exterior. A row of 10 train-style windows graces the front. The interior features floor-mounted round stools along a well-worn counter.</p><br>
<p>Mickey Crimmons and Bert Mattson opened Mickeys Diner in 1939. Such diners had gained popularity early in the 20th century as inexpensive, often all-night, eateries. Mickeys Diner has been operating as a family-owned business since the year it opened.</p><br>
<p>Besides its architecture, Mickeys is known for its all-day (and all-night) breakfast menu. The menu features such staples as eggs, pancakes, and hash browns. It also includes Mickeys homemade mulligan stew, hamburgers, and ice cream floats, milkshakes, and malts. The diners website includes Mickeys schedule ("Open 24 hours a day, 365 days a year") and its "House Rules" ("No smoking, no checks, no take out").</p><br>
<h2>Media appearances</h2><br>
<p>Mickeys is famous beyond Minnesota. It was named one of Americas Top Ten Diners by Jane and Michael Stern in Gourmet magazine. It also has been featured on travel and food television series like Unwrapped, Roker on the Road, Rachael Ray&#39;s Tasty Travels, Feasting on Asphalt, and Man v. Food. The unusual diner has been showcased in magazines such as Smithsonian, National Geographic, and Sports Illustrated.</p><br>
<p>The diner also has appeared in movies that include The Mighty Ducks series of the 1990s and Jingle All the Way (1996). The opening and closing scenes of the 2006 Robert Altman film A Prairie Home Companion were shot at Mickey&#39;s.</p><br>
<p>During the 2008 Republican National Convention in Saint Paul, photographs of the diner appeared in local and national newspapers for a different reason. Police confronted about 200 protesters in front of Mickey&#39;s Diner. They dispersed them with tear gas, pepper spray, and flash grenades.</p><br>
<h2>Mickey’s by Willy</h2><br>
<p>A distinct Mickeys restaurant location under different ownership is located at 1950 West 7th Street in Saint Pauls Sibley neighborhood, Mickey’s by Willy. It is decorated in the manner of a 1950s-style diner rather than the original location which is representative of the Great Depression and World War II eras of the 1930s and 1940s. The secondary location opened in 1960. The menu differs at the second location though there are overlaps. At one time, there were twelve locations under the original ownership.</p><br>
