<p>The Westminster Castle, also locally known as "The Pillar of Fire" is a historic landmark located in Westminster, Colorado, northwest of Denver near the intersection of 83rd and Federal. It is listed on the National Register of Historic Places as Westminster University.</p><br>
<h2>Conception to construction</h2><br>
<p>Westminster University was first conceptualized in 1890 by New Yorker Henry T. Mayham who convinced the Denver Presbytery to build a Presbyterian University on land that he owned on Crown Point, the highest point in what was then Arapaho County.</p><br>
<p>Architect E.B. Gregory designed and laid the cornerstone for the universitys main building, which was to be constructed of gray stone from the Coal Creek area. After delays in construction caused by lack of funds, Mayham hired New York architect Stanford White to finish the design and oversee construction. White changed a main design element, the stone, to a red sandstone from the Red Rocks/Manitou area. Whites design was completed by 1893: 160 ft frontage, 80 ft depth, three stories tall, with a distinctive 175 ft tall tower. The building&#39;s architectural style is an excellent example of Richardsonian Romanesque.</p><br>
<h2>The Princeton of the West</h2><br>
<p>Although the construction was completed in 1893, the doors of Westminster University did not open until September 17, 1908 due to the Panic of 1893 and competition from a nearby Presbyterian college. Mayham&#39;s persistent fund-raising paid off when the first 60 students began classes in 1908. Tuition was $50 per year and included indoor plumbing.</p><br>
<p>In 1911, the small farming community around the university, then known as Harris, voted to incorporate as a city. At that time, Harris decided to change its name to Westminster in honor of the university. The school continued in operation until 1917 when enrollment numbers dropped completely due to World War I.</p><br>
<h2>Pillar of Fire</h2><br>
<p>At its peak, the Crown Point property was worth nearly a half a million dollars. But after the devastating closure and three-year abandonment it was purchased by Bishop Alma Bridwell White of the White nationalist Pillar of Fire Church for $40,000 on January 31, 1920. Included in the sale was the main college building, 45 acre of land, a power plant, and two houses (one a students dormitory, the other the Presidents house.)</p><br>
<p>The sale was a good deal, but the state of the buildings left the church with $75,000 worth of repairs. Shattered windows, cracked walls, and broken plaster were the main structural complaints, but the once regal building had also become a glorified barn with thousands of chickens in the basement and farm machinery on the first floor.</p><br>
<p>In spite of the enormity of the work, the new Westminster University opened to students on September 7, 1920, just eight months after the purchase. Within six years of opening, the school, now known as Belleview Schools, had received its educational accreditation and was ready for decades of education.</p><br>
<p>In the late 1920s the campus was frequently used for Ku Klux Klan meetings and cross burnings. In 1997, the Pillar of Fire Church, the school&#39;s owner and parent organization, repudiated its historical association with the Klan.</p><br>
<h2>Today</h2><br>
<p>Belleview Christian Schools still reside on the Westminster University campus which is home to Belleview Christian Childcare & PreSchool (ages 1–4) and Belleview Christian School (K–12). Although most of the teaching happens in newer buildings on the campus, classes continue in the historic main building which was entered on the National Register of Historic Places in 1979. The building is also the home of KPOF AM91 Radio, Colorado&#39;s first station to broadcast in HD Radio.</p><br>
<p>The Bush–Holley House is a National Historic Landmark and historic house museum at 39 Strickland Road in the Cos Cob section of Greenwich, Connecticut. It was constructed circa 1730 and in the late nineteenth century was a boarding house and the center of the Cos Cob Art Colony, Connecticut&#39;s first art colony. From 1890 to 1920, the house was a gathering place for artists, writers and editors, and scores of art students came to study with leading American Impressionists John Henry Twachtman, J. Alden Weir, Theodore Robinson, and Childe Hassam. It is currently operated as a historic site by the Historical Society of the Town of Greenwich, and is open for tours.</p><br>
<h2>History of the Bush and Holley families</h2><br>
<h3>The Bushes</h3><br>
<p>Bush–Holley House was built in stages beginning 1728–1730, with a one-room, two-story structure on a hilltop overlooking the harbor; the main "salt box" house was completed a few years later. In 1738, Justus Bush (originally Bosch), a Dutch Greenwich farmer, purchased the house but did not occupy it. His son David Bush (b. 1733) inherited the house and from 1755 to 1777, made significant changes to it, including joining the two buildings to create an entrance hall, adding wood panelling to the parlor and parlor chamber, and attaching an outbuilding to create the "back kitchen" wing.</p><br>
<p>In 1777 a widowed David Bush married his sister-in-law, Sarah Scudder Isaacs (b. 1742), adding five of her six children to his five, and fathering five more before his death in 1797. His household also included 10 enslaved adults and children, making him the largest slave-owner in town. David Bushs son, Justus Luke Bush, inherited the home and bought out his brother Ralph Isaac Bushs share of his father&#39;s estate.</p><br>
<h3>The Holleys and MacRaes</h3><br>
<p>The Bush–Holley House passed out of the Bush family in 1848 into the hands of Josephine and Edward Holley. The Holleys added new windows and a second-story porch, and in 1882 began operating it as a place of lodging for visiting artists and writers. In the summer of 1896, Elmer Livingston MacRae visited Cos Cob for a class in outdoor painting. While there, he fell in love with Emma Constant Holley, daughter of Josephine and Edward. MacRae moved into the house full-time in 1899, and married Emma on October 17, 1900. She gave birth to twin girls, Constant and Clarissa, on October 31, 1904.</p><br>
<p>MacRae succeeded John Henry Twachtman as head of the Cos Cob Art Colony, and for two decades Elmer and Emma continued to run the boardinghouse, which also served as a studio and showcase for MacRae&#39;s works.</p><br>
<h2>Bush–Holley Historic Site</h2><br>
<p>The Historical Society of the Town of Greenwich purchased the house in 1957 from the widowed Constant Holley MacRae and first opened it as a museum in 1958. and was declared a National Historic Landmark in 1991.</p><br>
<p>Guided tours of Bush–Holley House feature historic interiors related to the Bush and Holley families and an American Impressionist art collection. The William Hegarty Gallery presents historically and artistically significant exhibitions curated by foremost authorities on art and history. Exhibits focus on the art and artists of the Cos Cob art colony, museum collections and aspects of Greenwich history.</p><br>
<p>The Porter Hollow Embankment and Culvert, also known as the Grand Rapids and Indiana Railroad Culvert, is a stone bridge and trestle over the Stegman Creek along the White Pine Trail in Algoma Township, Michigan.</p><br>
<h2>History</h2><br>
<p>The Grand Rapids and Indiana Railroad completed its railway through Algoma Township in 1867. Porter Hollow was an unincorporated community along this route, about 3 miles north of Rockford. At Porter Hollow the railroad built a large wooden trestle over Stegman Creek, then known as Wicked Creek. In 1883 a flood damaged the trestle, and a local farmer, James House, collected field stones to build the current trestle over the creek. The railroad ceased operations in 1985, and in the 1990s the Michigan Department of Natural Resources redeveloped the railroad right-of-way into a paved hiking and bicycling trail known as the White Pine Trail.</p><br>
<h2>Today</h2><br>
<p>That stone bridge withstood the rigors of railroad use for nearly a century, and it is in good condition today. The trestle is listed on the National Register of Historic Places, and is a key bridge along the White Pine Trail. The Algoma Township Trestle Culvert was designated as a Michigan Historic Civil Engineering Landmark by the American Society of Civil Engineers in 2005.</p><br>
<h2>Description</h2><br>
<p>The Porter Hollow embankment is a 1400-foot-long earth structure, which contains a stone arch culvert passing over Stegman Creek. The culvert is made of cut fieldstone, and measures nineteen feet in width, seventy-five feet in length, and passes about nineteen feet above the water level in the creek below. The stonework rises six feet above the top of the arch, and continues onto wingwalls at each end. The top of the culvert is blacktopped as part of the trail. An unusual feature of the culvert is that the bed of the creek below the culvert is lined with wooden planks.</p><br>
<p>The Harrison Courthouse Square Historic District is an area of Harrison, Arkansas. It is known by residents simply as "the Square". The Harrison Courthouse Square Historic District includes the 1911 Boone County Courthouse, two pharmacies, several clothing stores and restaurants, and a Marine Corps Legacy Museum. The District also has a bank and the Lyric Theater. The District is the site of several annual festivals, including Crawdad Days and the Fall Festival. Several war memorials stand on the Courthouse lawn. The Square is known as the site of the shooting of famous outlaw Henry Starr.</p><br>
<p>Most of the square&#39;s buildings were built between 1895 and 1948, earlier buildings having been predominantly wooden in construction. The district that was listed on the National Register of Historic Places in 1999 has 54 historically significant buildings, including most of those facing the 1911 courthouse, and a few on the immediately adjacent city blocks.</p><br>
<p>Bryn Mawr Film Institute is a non-profit, community-supported movie theater located in Bryn Mawr, Pennsylvania, a town on Philadelphias Main Line. It re-opened in March 2005, with Ben Kingsley present, and currently has over 9,100 supporting members. BMFI shows a wide range of films, including foreign, independent and art house films. Film education is an integral part of the theaters mission; BMFI works with area schools and also offers film studies courses for adults.</p><br>
<p>BMFI also offers film discussions and open screen Mondays featuring films from area filmmakers, and also offers community partnerships that provide benefits to participating organizations.</p><br>
<h2>History of the theater</h2><br>
<p>The building began life as the Seville Theater. It was designed by Philadelphia architect William Harold Lee, a designer of over 200 theaters. The Seville was built in 1926, one of six theaters built along the Main Line in the 1920s. Originally a one-screen theater, it was later split into two during the 1980s.</p><br>
<p>In 2002, after the national chain that owned the Seville Theater declared bankruptcy, Juliet Goodfriend, who became the founding president and executive director, led the effort to save the theater. After many fundraising events and zoning appeals, the theater was purchased in 2004 by the Bryn Mawr Film Institute (the name of the group founded in 2002 by academic, business and civic leaders from the area).</p><br>
<h2>Goals</h2><br>
<p>A three-phase restoration of the theater began soon after BMFI purchased it. Phase 1 included refurbishing the lobby, installing new production and sound equipment, modernizing the electrical and heating systems and building a new café. Phase 1 was completed in March 2006 with the installation of the new marquee. Approximately $9 million was raised to complete the theater&#39;s transformation.</p><br>
<p>During Phase II, the Institute finished the restoration of the skylit atrium to its original state, at a cost of $2 million, in March 2009. Other upgrades include classroom space and an elevator. Phase III introduced two additional state-of-the art theaters, and the two previously existing theaters were also renovated.</p><br>
<p>On April 27, 2014, the completion of the 10 million dollar renovation project was celebrated.</p><br>
<h2>Leadership</h2><br>
<p>BMFI was led by its founder and president, Juliet Goodfriend, until April 2017, at which point she stepped down and assumed the role of Chair of the Board. Samuel Scott, formerly the Chairman, became Executive Director, and at present is still in that role as well as being CEO.</p><br>
<p>The Board of Directors of the BMFI is composed of film experts, influential members of the community, leaders, and philanthropists:</p><br>
<p>Board Leadership:</p><br>
<p>Lyn Wiesinger, Board Chair</p><br>
<p>Samuel R. Scott, Executive Director/CEO</p><br>
<p>Christopher Carey, Vice Chair</p><br>
<p>Michael W. Harrington, Treasurer</p><br>
<p>David B. Pudlin, Secretary</p><br>
<p>Directors:</p><br>
<p>Jane Corrigan</p><br>
<p>Scott Fisher</p><br>
<p>Harry Groome</p><br>
<p>Joanne Harmelin</p><br>
<p>Martha Morse</p><br>
<p>Ted Peters</p><br>
<p>Hon. Gene E.K. Pratter</p><br>
<p>Faézé Woodville</p><br>
<p>Bernadette Wheeler</p><br>
<p>Special Representatives and Ex Officio Members:</p><br>
<p>Hon. Amanda M. Cappelletti, Pennsylvania State Senator</p><br>
<p>Hon. Greg Vitali, Ex Officio, Pennsylvania State Representative</p><br>
<p>Hon. V. Scott Zelov, Ex Officio, Lower Merion Township Commissioner</p><br>
<p>Honorary Members:</p><br>
<p>Juliet J. Goodfriend, Founder and Chair Emerita</p><br>
<p>Sir Ben Kingsley, Actor</p><br>
<p>Robert Osborne, Film historian and host of Turner Classic Movies (Deceased)</p><br>
<p>Tyler Arboretum is a nonprofit arboretum located at 515 Painter Road, Middletown Township, Delaware County, Pennsylvania. It is open daily except for major holidays; an admission fee is charged to non-members.</p><br>
<p>The property&#39;s history began in 1681, when William Penn signed a "lease and release" agreement with Thomas Minshall, an English Quaker, for property in Pennsylvania that contained the site now occupied by the arboretum. Between 1681 and 1944, the property was home to eight generations of the same family. The arboretum itself started in 1825 when two brothers, Jacob and Minshall Painter, set aside land to systematically plant more than 1,000 varieties of trees and shrubs. In 1944, descendant Laura Tyler bequeathed the property, in memorial to her husband John J. Tyler, to be a nonprofit arboretum.</p><br>
<p>It was added to the National Register of Historic Places in 2001.</p><br>
<p>Today, Tyler Arboretum attracts 70,000 visitors a year to its 650-acre campus and boasts 17 miles of pathways and hiking trails. The horticultural collections include the following major features:</p><br>
<p>The original Painter Trees: 1. Lebanon Cedar (Cedrus libani), a Pennsylvania state champion; 2. Ginkgo (Ginkgo biloba); 3. Yulan Magnolia (Magnolia denudata), a Pennsylvania state champion; 4. Sugar Maple (Acer saccharum); 5. Red Maple (Acer rubrum) 6. Osage-orange (Maclura pomifera), blown down by a hurricane in 1954, just the rot-resistant trunk remains; 7. Cucumbertree Magnolia (Magnolia acuminata); 8. Baldcypress (Taxodium distichum); 9. Leatherleaf Mahonia (Mahonia bealei); 10. Tuliptree (Liriodendron tulipifera); 11. Yellow Buckeye (Aesculus flava); 12. River Birches - 2 (Betula nigra); 13. Giant Sequoia (Sequoiadendron giganteum), the largest giant sequoia in Pennsylvania and possibly in the eastern United States; 14. White Oaks -2 (Quercus alba); 15. Swamp White Oak (Quercus bicolor); 16. Sweetgums - 2 (Liquidambar styraciflua); 17. Corsican Pine (Pinus nigra spp. laricio); 18. Bald Cypress (Taxodium distichum); 19. American Linden (Tilia americana); 20. Common Pear (Pyrus communis); and 21. Oriental Spruce (Picea orientalis), a Pennsylvania state champion.</p><br>
<p>Ornamentals: collections of flowering cherry (begun in 1951 with 45 plants representing 23 species and varieties); magnolia (begun 1951); crabapple (1951–1953); rhododendron (begun 1959 with more than 500 rhododendrons and 200 azaleas); holly; and lilac.</p><br>
<p>Pinetum (34 ha / 85 acres, begun in 1954), containing pines, spruces, hemlocks, firs, cedars, cypresses and larches.</p><br>
<p>Native Woodland Walk (begun in 1970).</p><br>
<p>Meadow Maze, a recent four-ring labyrinth of meadow grasses based on a classical seven-ringed design.</p><br>
<p>Pink Hill, a serpentine barren of serpentine stone with wildflowers.</p><br>
<p>Uncultivated land (180 ha / 450 acres) that remain natural and contain 32 km / 17 miles of marked hiking trails.</p><br>
<p>Wister Rhododendron Collection, a collection of more than 500 rhododendrons.</p><br>
<p>Bulow Plantation Ruins Historic State Park is a Florida State Park in Flagler Beach, Florida. It is three miles west of Flagler Beach on CR 2001, south of SR 100, and contains the ruins of an ante-bellum plantation and its sugar mill, built of coquina, a fossiliferous sedimentary rock composed of shells. It was the largest plantation in East Florida, and was operated with the forced labor of enslaved Africans and African Americans.</p><br>
<h2>History</h2><br>
<p>The plantation was developed beginning in 1821 by Major Charles Wilhelm Bulow, who acquired 4,675 acres on a tidal creek (later Bulow Creek). He had 2,200 acres cleared by the labor of his enslaved workforce for the cultivation of commodity crops: indigo, cotton, rice, and sugarcane. At his death in 1823, his seventeen-year-old son, John Joachim Bulow inherited the property and managed it. At Christmas 1831 into January 1832, Bulow hosted the artist and naturalist John James Audubon, who explored the area in his continuing study of American birds. About that time, Bulow had a sugar mill constructed on his property. The plantation was destroyed in the Seminole War of 1836.</p><br>
<p>The property and ruins were acquired by the State of Florida in 1945 and dedicated as a State Historic Park in 1957. It was added to the National Register of Historic Places on 29 September 1970.</p><br>
<h2>Fauna</h2><br>
<p>Among the wildlife of the park are bald eagles, swallow-tailed kites, and Florida manatees.</p><br>
<h2>Recreational activities</h2><br>
<p>Activities include hiking, fishing, wildlife viewing, canoeing and kayaking, and picnicking. Amenities include a 6.8 mile hiking trail, a boat ramp, and a screened picnic pavilion. Bulow Creek is recognized as a State Canoe Trail. The park&#39;s interpretive center features original artifacts and exhibits about the Bulow Plantation.</p><br>
<h2>Hours</h2><br>
<p>The park is open between 9:00 AM and 5:00 PM Thursday through Monday. Bulow Plantation Ruins Historic State Park is closed on Tuesdays and Wednesdays.</p><br>
<p>The Waterbury Union Station building is located on Meadow Street in the city of Waterbury, Connecticut, United States. It is a brick building dating to the first decade of the 20th century. Its tall clock tower, built by the Seth Thomas Company, is the city&#39;s most prominent landmark.</p><br>
<p>Designed by the New York City architectural firm of McKim, Mead and White for the New York, New Haven and Hartford Railroad, it handled 66 passenger trains a day at its peak. Later in the 20th century, when the citys rail service had declined to its current level of one commuter route, the buildings interior was closed. Today it is in use again as the offices of the Republican-American, Waterbury&#39;s daily newspaper.</p><br>
<h2>Building</h2><br>
<p>The station building is located just west of downtown Waterbury, where Meadow and Grand streets intersect. To its north and south are other industrial buildings; southwest is the current platform station used by Metro-North and its parking facilities. On the west are 12 tracks, most of which are rarely used; beyond them are industrial buildings, the Naugatuck River and the Connecticut Route 8 freeway. A short distance down Meadow Street are the on-ramps to the Interstate 84 viaduct carrying it over the river, tracks and Route 8.</p><br>
<h3>Exterior</h3><br>
<p>There are four sections to the building, counting the clock tower. The two-story main block has a low hip roof with the clock tower rising from the southeast corner. Two wings with a tiled hip roof project from either side of the main block. All are of brick laid in common bond on a granite foundation; at the roofline is a roll molding of terra cotta.</p><br>
<p>On the east (front) facade of the main block are three two-story round-arched window openings, filled in near the top where a new floor was later added. They are outlined in terra cotta in a stylized vine pattern, bordered by pearl, egg-and-dart and anthemion molding. Spacing them are four round medallions made of two rings of raised radial brick and a raised ring of fasces molding. Above is a course of terra cotta round-arched corbel table topped by egg-and-dart, a frieze with cherubs and projecting leaf molding. The level above has a series of small rectangular windows, three above each arch and one above each medallion. At the roofline is a cornice similar to the one below but more intricate, with carved modillions, a fluted frieze and wide carved cyma molding. The west facade is similar, although smaller windows and awnings have been added.</p><br>
<p>The lower two stages of the square tower have one narrow opening and the same cornices as the rest of the main block. Above its roofline the tower is plain for most of its 240 ft height, except for some rows of small openings. The station clock faces on each side, marked in Roman numerals, are three-quarters of the way to the top. They and the clock hands are in cast aluminum. Above long tapered corbels support a balcony with heraldric shields on its stone rail. Gargoyles project from each corner. The last stage, the belfry, has tall round-arched windows, another set of gargoyles and a tiled hip roof.</p><br>
<p>Both wings are similar. They are narrower than the main building, with east and west facades decorated with an arcade of seven rounded arches. Each is slightly recessed, with a rectangular window. On the north wings east facade, windows have been added to the previously blind arch portion to provide illumination for the second story. A simpler version of the main block cornice, with dentils and cyma molding at the arches springline, give a capital-like appearance to the piers between the arches.</p><br>
<p>A printing press was added to the north wing to support the newspaper. It is small and architecturally sympathetic, lessening the impact of its disruption of the building&#39;s overall symmetry. On the west of the south wing is a gabled remnant of the original platform shelter, supported by iron trusses on center posts and cables from the building. A shed roof on large iron brackets at the south end, formerly the baggage handling area, is now a default waiting area for Metro-North passengers in inclement weather.</p><br>
<h3>Interior</h3><br>
<p>Inside, the Republican-American has made changes to accommodate its purposes. Most prominently, the main block and north wing have had a second story added. In the offices on the new second floor some of the original vaulted ceiling, with large light-colored Guastavino tile in a herringbone pattern. These tiles are the same used at the Boston Public Library, Ellis Island, Grant&#39;s Tomb, the Biltmore Estate and other architecturally significant buildings. The window surrounds have similarly lavish decorations as the exterior, with two bands of terra cotta separated by dentils done in leaves and pearl molding. The buff brick walls likewise has a dentilled cornice with an engaged baluster-and-ring turning and a wide cyma molding done in a stylized floral pattern.</p><br>
<p>The south wing&#39;s interior, originally a restaurant, remained in use as a waiting room. Inside it has some original decor suggesting that purpose. They include brass ticket windows, a long Mission style wooden bench, iron radiator grill and marble baseboards and sills. Its vaulted ceiling and walls are done in plaster.</p><br>
<h2>History</h2><br>
<p>In the early years of the 20th century, the city of Waterbury, then prosperous and growing, began working with the New Haven and other railroads serving it on an urban renewal program to clear the way for a newer, larger station they all needed. Streets were straightened and buildings demolished in the neighborhood to the east. A small park replaced some of them. All grade crossings in the city were eliminated as part of the project.</p><br>
<p>McKim, Mead & Whites design, extravagant in size and decoration, was meant to symbolize the citys prosperity and the railroads importance to it. As many as 66 passenger trains served Waterbury at the peak of its traffic. The firms design is different from its typically academic style in its efforts to unite the interior and exterior through similar materials and decorative themes, as well as the vaulted ceiling echoing the arches of the windows. The light reflecting off the warm interior colors through the large arched windows of the main facade made the building particularly welcoming at night.</p><br>
<p>A year after construction began, the president of one of the railroads asked for a clock tower, given Waterburys proximity to the Seth Thomas plant. McKim obliged with one based on the 14th-century Torre del Mangia in Siena, Italy. Architectural historian Carroll Meeks, in The Railroad Station: An Architectural History, believes that model was chosen as a deliberate rebuke to architectural amateurs such as the rail executive. The clock tower dominated the citys skyline then</p><br>
<p>when most travelers arrive in the city via interstate highway instead of the train.</p><br>
<p>In summer 1909, the completed station was opened. As intended, it catalyzed development in the neighborhood. A few years later, the American Brass Company, representing another industry identified with the city and region, built new headquarters across Meadow Street from the station. Its architecture closely harmonized in size and material with the station.</p><br>
<p>The station continued to be used for intercity rail service to the city. The New Haven&#39;s Nutmeg and several unnamed trains operated east to Hartford and Boston until 1955. The company also operated trains northeast from New York City, through Waterbury, to New Britain and Hartford. The Naugatuck and other NH trains went north to Winsted and south toward New York City. Service declined and then stopped in the later decades of the 20th century. The last commercial service out the station was by the Penn Central railroad company.</p><br>
<p>In the 1970s one of the two newspapers that later became the Republican-American moved into the building, modifying it on the inside and out for that purpose. Republican-American Publisher William J. Pape purchased the building because of its status as a local landmark. At that time the south wing was still being used by Metro-North commuter rail passengers as a waiting area; since then that portion of the interior has been closed off and a new platform built. In 1973, Pape assigned company machinist John A. Correia to restore the original mechanisms of the station clock tower, which had been replaced by an electrical tower clock in 1963. The original mechanism is still functioning, on display in the lobby of the station.</p><br>
<p>Christ Church is a historic Episcopal church in Lancaster County, Virginia, north of Irvington. Built in 1732-35, it is notable for its unique Georgian design, and is one of the best-preserved colonial churches in the southern United States. The church is the only colonial Virginia church that still has its original high-backed pews and one of two that has maintained its original three-tiered pulpit.</p><br>
<h2>History</h2><br>
<p>The first church erected at the site was a wooden building, the construction of which was funded by powerful landowner John Carter in 1670. Carter died before the construction was completed, but was buried on the church grounds alongside four of his five wives.</p><br>
<p>John Carters son Robert, a wealthy vestryman and planter, decided that the parish deserved a more substantial place of worship and, in 1730, funded and supervised the construction of a brick building on the approximate foundations of the old wooden church. Christ Church was connected to Robert Carters Corotoman mansion by way of a cedar-lined road, in order to emphasize the importance of the benefactor and his family.</p><br>
<p>The church thrived until the disestablishment of the Anglican church in Virginia in 1786. This event, coupled with the Glebe Act of 1802, which authorized the state to seize church property, crippled the Anglican (now Episcopal) church in the state, and Christ Church lost both money and parishioners. Operating only intermittently in the 19th century, the church fell into disrepair; the Carter family tombs in the yard were subject to weathering and neglect, and vandals stole bricks from the exterior. Still, the church fared better than many other colonial churches, and in 1927 the Association for the Preservation of Virginia Antiquities began work on restoration of the site.</p><br>
<h2>Architecture</h2><br>
<p>The unknown original architect endowed the structure with many of the hallmarks of the Georgian style, including a formal, symmetrical layout, pedimented facades, and classical detail.</p><br>
<p>Among the more noted features of the churchs interior are its high-backed box pews, which held entire families at service. Its unique wineglass pulpit is located in the buildings center and the three levels of lecterns were intended to show the relative importance of the readings delivered there. The bottom tier was for community announcements, the middle for the gospel, and the top tier was reserved for the delivery of the sermon.</p><br>
<h2>Current use</h2><br>
<p>Today, Christ Church is owned and operated as a museum by the non-profit Foundation for Historic Christ Church, which has almost completely restored its 18th-century appearance. The church was designated a National Historic Landmark in 1961. Religious services are still held at 8:00 a.m on Sundays in the summer months in cooperation with nearby Grace Church.</p><br>
<p>Christ church lancaster pulpit photo.jpgPulpit of Christ Church</p><br>
<p>Christ Church - Lancaster.jpgChrist Church with graveyard and restored brick wall in foreground</p><br>
<p>Christ church lancaster walkway.jpgCedar-lined road to Robert Carter&#39;s Corotoman plantation</p><br>
<p>Christ church lancaster doorway.jpgMain entrance, showing decorative brickwork</p><br>
<p>Christ church lancaster soundboard.jpgIntricate woodwork on the sounding board above the pulpit</p><br>
<p>The Airtight Bridge is a steel bridge spanning the Embarras River in Coles County, Illinois, in the United States 8 mi north of Charleston, Illinois. The bridge is a Pratt through truss bridge with a steel structure, a wooden deck, and concrete piers. The bridge was built in 1914 by the Decatur Bridge Company and designed by engineer Claude L. James. It was added to the National Register of Historic Places in 1981. It reportedly got its name from the unnatural stillness encountered when crossing it.</p><br>
<p>In 1980, a dismembered corpse was found on the east bank of the river 30 yards downstream from the bridge, leading to significant local press attention. Police investigated for years, but were unable to determine the identity of the victim until 1992, when DNA testing produced a match to a missing person from Kankakee, Illinois. Once a cold case investigated by the Illinois State Police, the victim&#39;s husband was charged with the murder on March 2, 2017.</p><br>
<p>The Logan Utah Temple  is a temple of the Church of Jesus Christ of Latter-day Saints. It was completed in 1884 and is the fourth temple built by the church. Located in the city of Logan, Utah, it was the second temple in Utah, after the St. George Temple. It was built on a 9 acre plot selected by church president Brigham Young.</p><br>
<p>The temple was announced on October 6, 1876, by Young during the churchs general conference. The Salt Lake Temple had been announced in 1847, but construction was still underway and would not be completed until 1893, so the Logan and St. George temples were built to satisfy the churchs need for temples. A groundbreaking ceremony was held on May 18, 1877, conducted by Orson Pratt with John W. Young breaking the ground.</p><br>
<p>The temple has a castellated exterior, a style it shares with the Manti Utah Temple.</p><br>
<h2>History</h2><br>
<p>The temple in Logan was announced by Brigham Young on October 6, 1876, with its groundbreaking taking place on May 18, 1877. This ceremony was presided over by Orson Pratt and attended by local church members and community leaders. At the time of the groundbreaking, the nine-acre temple site had not actually been purchased by the church. The church did not officially acquire the land until April 24, 1878–a year after ground had been broken and construction had begun.</p><br>
<p>The site for the temple was selected by Brigham Young based on the view it offered of the surrounding valley and the suitability of the ground. The temple site had been held in reserve for many years. It was used as a park and public grounds before being dedicated as the temple site.</p><br>
<p>The preliminary plans called for a five-story structure of more than 59,000 square feet. While it was initially believed that the temple could be built in three years using only volunteer labor, in actuality it took seven years to build. A combination of hired hands and volunteers were used with wards providing quotas of volunteers. Donations to the temple could be made in the form of labor, materials or money. More than 25,000 people worked on the temple&#39;s construction. Timber for the building was hauled from the Temple Fork area of Logan Canyon. Lime and quartzite were quarried out of nearby Green Canyon. The sandstone for water tables, caps and window ledges came from Franklin quarry in Idaho. Most of the quarried materials were extracted during winter when farm duties were low and because transporting material was easier on sled than wagon. As completion of the temple neared, women in the area were asked to make carpets for the temple. The women spent two months working to hand make 2,144 square yards of carpet.</p><br>
<p>The temple was dedicated on May 17, 1884 by John Taylor. It was the only temple Taylor dedicated during his tenure as church president.</p><br>
<p>In 1896–97 the Logan Temple Barn was built to house the animals belonging to members of the Church who were working at or attending the nearby Logan Temple. The temple barn fell into disuse after automobiles began to bring worshipers to the temple and was sold in 1919.</p><br>
<p>A $50,000 renovation project was undertaken from July 9, 1915, to January 11, 1916. As part of this project electricity was installed in the temple. In 1917, a fire started in a closet under the grand staircase in the central north part of the main building. It completely destroyed the oval staircase which connected the first through the third floors. It caused approximately $40,000 in damage and took about three months to repair.</p><br>
<p>The Logan Temple was placed on the National Register of Historic Places on November 20, 1975.</p><br>
<h2>Design and architecture</h2><br>
<p>The temple was the second temple to be completed in Utah and is the church&#39;s sixth largest. The temple has a total floor area of 115,507 ft&sup2; with 4 ordinance rooms, 11 sealing rooms (used to perform marriages), and one baptistry. Because the upper room occupies the entire floor, 6 trusses were used across the width of the building to secure it. Due to the height of the building and inclement weather during construction, many of the doors, windows, door frames, sashes, etc. were made offsite in a carpentry shop, then installed later.</p><br>
<p>Architect Truman O. Angell’s design had two towers and was based on the same pattern as the Salt Lake Temple, with a large assembly hall and other similar rooms. The building’s architectural form is a combination of Gothic Revival and French Renaissance styles, along with traditional Latter-day Saint temple design.</p><br>
<p>Site</p><br>
<p>The temple sits on a nine-acre plot, and the landscaping around the temple features a pioneer-inspired oval reflecting pool. These elements are designed to provide a tranquil setting that enhances the sacred atmosphere of the site.</p><br>
<p>Exterior</p><br>
<p>The structure stands five stories tall and is primarily constructed with dark siliceous limestone. Buff-colored limestone was used for the more intricate carved details. Initially the dark siliceous limestone was painted a pinkish color, but after 1900 the paint was allowed to fade. The castellated exterior is characterized by two domed cupolas and two octagonal towers, each chosen for their symbolic significance and alignment with temple traditions. The design incorporates elements that are reflective of both the local culture and the broader church symbolism.</p><br>
<p>Interior</p><br>
<p>Initially, the interior featured muraled ordinance rooms for live-action presentation of temple ceremonies. However, these murals were removed during the 1976 renovation to allow for a motion-picture presentation of the ceremonies, like other temples, and were replaced with 1970s-style interior design. The temples four ordinance rooms are each decorated in a different color scheme, and the celestial room features a large crystal chandelier. The layout is designed to create a spiritually uplifting environment which represents ones journey through life. In addition to the ordinance rooms and the celestial room, the temple includes a baptistry and 11 sealing rooms. Symbolic elements are integrated into the design, providing deeper meaning to the temple&#39;s function and aesthetics.</p><br>
<p>Symbols</p><br>
<p>Incorporated into the design are symbolic elements which are typical of both Latter-Day Saint architecture and medieval religious architecture, providing spiritual meaning to the temple&#39;s appearance and function. Symbolism is an important subject to members of the Church.</p><br>
<p>One of the most prominent symbols incorporated into the temple’s design is the towers to the east and west, which represent the Melchizedek and Aaronic priesthoods, respectively. Additionally, five-pointed stars can be seen on the exterior of the temple, a common religious symbol in the Middle Ages, representing the five wounds of Christ. The specific version of the five-pointed star used on the temple is called the "Star of the Morning", which is used in the book of Revelations as a title for God. The star points downward, with an elongated bottom ray which represents that “the Savior has descended from heaven to earth.”</p><br>
<p>The temple not only serves as a place of worship but also stands as an architectural landmark in Logan. This was the first temple to have muraled ordinance rooms for the endowment.</p><br>
<h2>Renovations</h2><br>
<p>In 1949, the temple was remodeled and received updated lighting, heating, air conditioning, elevators, and other modern conveniences. Over the years, the temple has undergone several renovations to preserve its structural integrity, update facilities, and enhance its spiritual and aesthetic appeal. The most significant renovation project commenced in 1976 and the interior was completely gutted and redone. The roof was also removed, and at one point only the exterior walls were left standing. The renovation expanded the temple’s original 59,130 square footage to 115,507 square feet. New electrical, heating, and AC systems were added. One of the notable aspects of the renovation was the removal of pioneer-era murals from the interior. The muraled ordinance rooms were replaced with separate ordinance rooms which were equipped for motion-picture versions of temple ceremonies. These changes were made to ensure the temple&#39;s compliance with contemporary building standards and to accommodate the evolving needs of the church and its members. After remodeling, the temple was rededicated on March 13, 1979, by church president Spencer W. Kimball.</p><br>
<p>The temple grounds were renovated in 2009. Heated sidewalks were added to help with heavy snowfall, and an oval reflecting pool replaced a 1970s-style water feature.</p><br>
<p>On April 7, 2019, Russell M. Nelson stated during the church’s general conference that the temple would be renovated alongside the Salt Lake Temple and other pioneer-era temples. As of May 2024, no closing dates or renovation plans have been announced.</p><br>
<h2>Cultural and community impact</h2><br>
<p>In the early days of the temple, it housed the Logan Temple Association (LTA) School. The dedicatory prayer for the temple mentioned the importance of education, and the Kirtland Temple had previously housed a school, so it was decided that the Logan Temple would be a place of learning as well as a house of the Lord. The wards and stakes from the area surrounding the temple selected delegates to form the LTA. The Association decided to establish a “School of Science for the promotion of learning,” which would teach a variety of subjects but refrain from teaching anything that might deny the existence of God. Books were donated to the school by the local community, and the school opened with 155 students on September 5, 1885. School attendance declined over the years, and the LTA was disbanded in 1912.</p><br>
<p>After construction many of the volunteers became skilled in their work and were eventually able to open their own businesses in masonry, woodwork, etc. Remnants of the temple construction, such as 500 tons of rock from Green Canyon quarry and sandstone from Franklin quarry were sold to construct Brigham Young College and Smithfield Tabernacle.</p><br>
<h2>Temple presidents</h2><br>
<p>Since its dedication in 1884, the temple has been overseen by a series of temple presidents, each typically serving for a term of three years. The temple president oversees the administration of temple operations and provides spiritual guidance for both patrons and staff.</p><br>
<p>Logan&#39;s first temple president was Marriner W. Merrill, who served from 1884 to 1906. Other notable presidents include: William Budge (1906–18); ElRay L. Christiansen (1943–52); and W. Rolfe Kerr (2008–11). As of September 2023, Jeffrey R. Burbank is the temple president.</p><br>
<h2>Admittance</h2><br>
<p>Like all temples of the church, the temple is not used for Sunday worship services. To members of the church, temples are regarded as sacred houses of the Lord. Once dedicated, only church members with a current temple recommend can enter for worship.</p><br>
<p>The Manti Utah Temple  is the fifth constructed temple of the Church of Jesus Christ of Latter-day Saints. The temple construction was completed in 1888. Located in the city of Manti, Utah, it was the third Latter-day Saint temple built west of the Mississippi River, after the Mormon pioneers trekked west.  The Manti Temple was designed by William Harrison Folsom, who moved to Manti while the temple was under construction. The temple dominates the Sanpete Valley and can be seen from many miles. Like all Latter-day Saint temples, only church members in good standing may enter. It was previously one of only two remaining Latter-day Saint temples in the world where live portrayal was used in the endowment ceremony . All other temples use a film in the presentation of the endowment, a practice that will also be used in Manti beginning in 2024 following renovation. It is an early pioneering example of four rooms representing the journey of life.</p><br>
<h2>History</h2><br>
<p>Church president Brigham Young announced the decision to build a temple in Manti on June 25, 1875, and dedicated the site on April 25, 1877. On the day of the dedication, Young took Warren S. Snow to the southeast corner of the temple site and told him, "Here is the spot where the Prophet Moroni stood and dedicated this piece of land for a Temple site, and that is the reason why the location is made here, and we can&#39;t move it from this spot."</p><br>
<p>The Salt Lake Temple had been announced in 1847, but construction was still underway and not finished until 1893. The Manti Temple was built, along with the St. George and Logan temples, to satisfy the church&#39;s immediate need for these structures. The site for the temple was the Manti Stone Quarry, a large hill immediately northeast of town. Early pioneer settlers in the area prophesied that this would be the site of a temple. When Young announced the building of the temple, he also announced that the 27 acre plot would then be known as "Temple Hill."</p><br>
<p>The temple was completed in 1888, and a private dedication was held on May 17, 1888, with a prayer written by Wilford Woodruff. Three public dedications were held on May 21&ndash;23, 1888, and were directed by Lorenzo Snow.</p><br>
<p>A 1966 study found that 52 percent of temple work was being done in either the Salt Lake, Logan, or Manti temples, even though there were 13 operating temples by that time. This led to the building of the Ogden and Provo temples to relieve the strain on the older pioneer-era temples.</p><br>
<h2>Art</h2><br>
<p>The temple includes murals by several Latter-day Saint artists, including C. C. A. Christensen (Creation Room, 1886–87), Minerva Teichert (World Room, 1947, assisted by Frank Stevens Some of the original murals, having been damaged and unable to be saved, had sail canvas placed over them in order for new murals to be painted. The temple houses the only pioneer-era mural to survive inside a of a temple. For instance, Weggelands Garden Room mural still exists underneath Shepherds original.</p><br>
<p>The temple is also filled with other paintings. The mix of paintings has changed over time, but among the paintings originally intended for the building include two by Christensen. One of those depicts the hill where the temple would later sit with a Native American encampment in the foreground, with the other being the temple itself and its landscaped grounds.</p><br>
<h3>Minerva Teichert&#39;s work on the World Room</h3><br>
<p>Minerva Teichert was commissioned to create the World Room mural by church president George Albert Smith. She was the first woman in the church to be commissioned to paint. She was given $4,000 for the project. At the time of creating the murals, Teichert was suffering from the effects of lead poisoning, which can cause difficulties including nausea, abdominal pain, and optic neuritis. She created a deadline of a month to finish the project, and would occasionally give a whole day just to a specific section. She was known to ask for prayers for her health and would pray extra during times of difficulty working on the painting.</p><br>
<p>Frank Stevens provided assistance with moving scaffolding and creating sketches under Teichert&#39;s supervision. Much of the work of painting took place high up on scaffolding stretching up to 28 feet, and both Stevens and Teichert faced fears about working so high. While working on the Tower of Babel scene, she fell off a scaffold and hurt her arm. At the end of the process, she related that she worked ‘very fast’ and that “No mural decorator in America ever beat that – nearly 4,000 ft&sup2; in 23 days.”</p><br>
<p>It was said of Teichert that her goal was to please the general authorities of the church, and after finishing the mural, she wrote in a letter about meeting apostle John A. Widtsoe, who was ‘incredulous’ about her completing the mural in 23 days, and that he was wondering how many years it would take her. More work remained on the temple, and she returned at different times to continue touching up the mural, which ended up being about 28 days in total, with the last of the touch ups ending in March 1948.</p><br>
<h2>Renovations</h2><br>
<p>The Manti Temple has undergone various remodeling and renovations. Construction of a great stone stairway leading up the hill to the west temple doors began in 1907. In 1935, the temple was fully lit at night for the first time. In 1940, the stone stairs were removed and work began to beautify the grounds. Between 1944 and 1945 the annex, chapel, kitchen, Garden Room, and mens and womens areas were remodeled. There was once a tunnel beneath the east tower of the temple through which wagons and cars could pass, but it was closed off in the 1960s. Because of that, it was once said that "the Manti Temple is the only temple you can go through without a recommend."In 1981, church officials decided that the interior of the temple needed extensive remodeling. The renovation took four years, during which murals and original furniture were restored, offices were enlarged and remodeled, a separate door was made to the baptistry, water and weather damage were repaired, an elevator installed, and locker rooms were improved among many other projects. In June 1985, Gordon B. Hinckley, then a counselor in the First Presidency, directed the rededication ceremonies. Exterior preservation efforts have also occurred since that time.</p><br>
<h3>Removal of murals</h3><br>
<p>In March 2021, the First Presidency announced significant renovations for the Manti and Salt Lake temples, including ending the live endowment. The decision to end live endowments was rooted in the need for the temples to offer more sessions throughout the day and in different languages; live endowment sessions were only available in English in either temple. To accommodate these changes, it was announced the interiors of the temples would be reconfigured for single-room, multimedia-based endowment sessions as done in other temples, which would also involve the removal of historic artwork in the temples, including Minerva Teichert&#39;s murals in the Manti temple. A week following the initial announcement, the church issued an updated statement on the plans for the Manti Temple, stating it would consult with art preservationists about the best way to remove part or all of the Teichert murals, which are canvas affixed to plaster, and preserve them for public display.</p><br>
<p>On May 1, church president Russell M. Nelson announced that upon reconsideration, although the temple would be updated to use film, care would be taken to preserve the temple&#39;s interior, including its art. To increase temple capacity for the area, he announced that an additional temple would be built in Ephraim, Utah.</p><br>
<h2>Style</h2><br>
<p>The Manti Temple combines the Gothic Revival, French Renaissance Revival, Second French Empire, and Colonial architectural styles. The temple has 100,373 ft&sup2; of floor space, eight sealing rooms, four ordinance rooms, and a Celestial room. The exterior is made of fine-textured, cream-colored oolite limestone from quarries in the hill on which the temple stands. The two towers of the temple are 179 ft tall, and the open center spiral staircases inside the towers are marvels of pioneer ingenuity.</p><br>
<h2>Temple presidents</h2><br>
<p>Notable temple presidents include: Daniel H. Wells (1888–91); Anthon H. Lund (1891–93); John D. T. McAllister (1893–1906); Robert D. Young (1933–43); Jack H. Goaslind Jr. (2000–03); and Ed J. Pinegar (2009–12). As of February 2024, the temple president and matron are Richard W. and Linda N. Wheeler.</p><br>
<p>The Rowland Theater , located at 127 North Front Street, Philipsburg, Centre County, Pennsylvania, United States, is an historic single screen movie theater, built in 1917 by Charles Hedding Rowland. The theater is owned by the borough of Phillipsburg.</p><br>
<h2>History</h2><br>
<p>The site of the Rowland Theatre building was previously occupied by the Pierce Opera House. Owned by Philipsburg business man J.H. Pierce and built sometime before 1889, this three story building was destroyed by fire, along with several other downtown buildings, on December 30, 1910. Then the Rowland family purchased the Opera House property on December 31, 1915, and immediately began making plans for the construction of a building which could house live theatrical performances as well as conventions and public meetings. The theatre is currently owned by Philipsburg Borough and leased to Rowland Theatre, Inc. a 501(c)3 non-profit. It was added to the National Register of Historic Places in 1979. It is located in the Philipsburg Historic District.</p><br>
<h3>Charles Hedding Rowland</h3><br>
<p>USA Congressman Charles Hedding Rowland, born December 20, 1860, was one of several enterprising businessmen who engaged in coal mining operations in the Philipsburg Area. He was president of both the Moshannon Coal Mining Company and the Pittsburg and Susquehanna Railroad Companies during the late 19th century. He was later elected as a representative of the Republican Party to the 64th and 65th Congress. His terms of office as a USA Congressman began in March, 1915, and ended in March, 1919. He declined a re-nomination in 1918, serving out his remaining term before retiring.</p><br>
<h3>Construction</h3><br>
<p>Construction then was carried out under the direction of architect Julian Millard, designer, with W. A. Hoyt, serving as the construction engineer. Planning began in 1915, with construction starting in 1916, and completed in mid 1917</p><br>
<p>After completion of the construction of the theater, Rowland released this statement in a brochure distributed to the public on opening night in June, 1917:</p><br>
<p>“The people of Philipsburg have long indulged the hope of a comfortable and commodious place of amusement and entertainment. For years we have had no suitable place for public meetings, entertaining conventions, or any auditorium large enough for the varied necessities of a community as large as ours. Such a building is a public necessity. The town needs it in order to keep pace with sister communities. Community growth would be retarded without such a public convenience.</p><br>
<p>"I have felt that we should have a theatre building in Philipsburg of size, safety and perfection of appointment that would anticipate the future, maintain our best past traditions, reflect a progressive spirit, while affording us a place to spend a delightful evening at home. It is proposed to stage only plays and moving pictures of class and quality. I trust the people of Philipsburg, together with those who come from surrounding towns, may enjoy the playhouse now dedicated to their use and pleasure. I wish to take this occasion to say to the theatre going public that it has been a source of some gratification to have been the one permitted to open to the general public a place for its comfort and entertainment.”</p><br>
<h2>Architecture</h2><br>
<p>The building itself is a brick and ferro-concrete structure measuring sixty-six by two-hundred-twenty-two feet in plan. The first story of the front part of the building contains the theatre&#39;s entrance way, outer lobby, and two commercial stores. A suite of offices is found on the second floor and a meeting/rehearsal hall and miscellaneous rooms are on the third floor. The second and third floors are not currently used, as they do not comply with modern fire codes in providing adequate fire exits.</p><br>
<h3>Façade</h3><br>
<p>As a whole, the façade is a symmetrical composition with classically inspired detailing. Despite the volumetric effects of the projecting marquee, recessed theatre and shop entrances, and bracketed cornice, the image is predominantly two-dimensional. However, the use of decorative patterns in the brickwork, contrasting color and texture of materials, and architecture ornamentation contribute to a masterful composition. Horizontal emphasis is provided by simple, bold lintels about the store fronts, a belt course at the base of the third story windows, a projecting cornice, and caps which line the top of the parapet wall. Vertical emphasis is given by the effect of pilasters defining the three bays of the first and second stories. A rectangular concrete plaque inscribed with the word “THEATRE” and the marquee/theatre entrance defines a central axis.</p><br>
<h3>Lobby and foyer</h3><br>
<p>The outer lobby of the Rowland theater features plate marble on the lower half of the walls, and murals depicting both Native American and local historical scenes on the upper halves. Lighting is provided by two large hanging fixtures.</p><br>
<p>The inner foyer is large, expansive, and lavishly decorated. It features a stained glass skylight, crimson red carpet, marble plate lower walls and ornate cloth hangings on the upper walls. Two staircases, one on each side wall, lead upstairs, converging at the entrances of the main office and board room, and ending in a ramp up to the balcony. The restrooms are also located here, as well as storage for some concession supplies.</p><br>
<h3>Main hall</h3><br>
<p>The main hall of the Rowland theater houses the majority of seating available. Approximately 400 seats, as well as handicap-accessible areas, adorn the main floor up to the edge of the orchestra pit. The ceiling is vaulted where it meets with the steel support structure (a successful attempt to blend form and function, adding to the appealing look of the building), and once contained various ornate murals, which have since been mostly covered by white paint during restoration. Some original parts of the mural, as well as examples of restoration efforts conducted in 1930, have been left exposed.</p><br>
<p>The frame of the stage is ornately decorated, and once featured similar murals to the ceiling (some examples are left exposed here as well). Still visible are original, hand-carved wood accents over the doors leading up to the stage&#39;s side areas.</p><br>
<h3>Balcony</h3><br>
<p>Only 18 and older allowed in the balcony due to insurance policy.</p><br>
<h3>Stage and screen</h3><br>
<p>The stage in the theater is fifty feet in width, thirty-four feet deep, and has approximately 50 feet of vertical space, with eleven dressing rooms in the basement below. The front curtains are motor driven, and three additional layers of curtains run to the back wall of the stage, giving it multiple depth options for stage productions.</p><br>
<p>The screen is the largest movie screen in central Pennsylvania, measuring 29 feet wide and 15 feet tall. It can be converted to handle both Flat and Scope aspect films. It is suspended from the stage ceiling, and can be raised and lowered via a pulley system located offstage to allow for quick transition between motion picture and stage events.</p><br>
<h3>Projection and sound systems</h3><br>
<p>The Rowland Theater updated its projection system to digital in October 2013. The projector itself supports both Flat and Scope aspect films.</p><br>
<p>Sound is provided by a Dolby Processor. Speakers are located on stage behind the screen (center, left and right channels), in the Orchestra Pit (subwoofer), and along the sides of the theater walls (surround channels) on both the ground floor and balcony.</p><br>
<h2>Operation</h2><br>
<p>The Rowland Theater is currently owned by Philipsburg Borough and run by the non-profit Rowland Theater, Inc. Its governing body consists of a volunteer Board of Directors. Concessions and other jobs are staffed by volunteers from the local community, and volunteer hours can be used as credit towards a variety of local programs which have community service requirements.</p><br>
<h3>Seating</h3><br>
<p>The theaters seating was replaced with new seats to better match the original seats. The theatre can seat approx. 400 on the main floor and 200 in the lower balcony and 270 in the upper balcony. This is due to the seats in the back portion of the balcony being originals, and therefore off-limits to the general public. They can be opened when needed, but this hasnt happened during modern operation.</p><br>
<h3>Ticket prices</h3><br>
<p>Prices for movies shown at the Rowland remain among the lowest in the United States. Ticket prices are as follows:</p><br>
<p>$7 - Adult 12+</p><br>
<p>$6 - Children 4–11, Seniors 55+</p><br>
<p>Free - Children 3 and younger</p><br>
<h3>Stage productions</h3><br>
<p>The theaters stage can be used for a variety of events, including plays, choirs, and smaller orchestras. In front of the stage is an orchestra pit which can hold approximately 30 musicians and instruments. Minimal on-stage lighting and several spotlights, located throughout the theaters main hall, are available. A house sound system, separate from the system used for motion pictures, is also available.</p><br>
<p>Crystal River State Archaeological Site is a 61 acre Florida State Park located on the Crystal River and within the Crystal River Preserve State Park. The park is located two miles  northwest of the city of Crystal River, on Museum Point off USA 19/98.</p><br>
<p>Under the title of Crystal River Indian Mounds, it is also a USA National Historic Landmark (designated as such on June 21, 1990).</p><br>
<h2>History</h2><br>
<p>The park contains a six-mound complex, occupied from the Deptford period through Santa Rosa-Swift Creek culture and up to the Late Fort Walton period. This timespan makes it one of the longest continually occupied sites in Florida, believed to have been occupied for 1,600 years. Native Americans traveled long distances to the complex to bury their dead and to engage in trading activities. An estimated 7,500 people may have visited the complex annually when it was occupied. The complex contains burial mounds, temple/platform mounds, a plaza area, and a midden. The earliest burials at the site are believed to be located in the conical mound and date back to about 250 BC. Many of the people buried in this mound had copper tools and ornaments buried with them. The copper artifacts came from the Ohio River area through a trade network developed by the Hopewell culture that existed at the time. There seemed to be indirect trading between the people who lived here and the Hopewell culture. People that were buried later did not have this type of artifacts buried with them and some burials do not contain artifacts. This tells us that over the 2,000 years that ancient people used the site, burial practices and ceremonies changed. It also tells us that trading with the northern portions of North America changed. The shell and sand ring also contains burials some of which were placed between layers of shells while others were not. It is not clear why this occurred or whether it was related to status or just a change in the burial customs. The platform was constructed as burials filled in the gap between the ring and the cone. It is estimated that about 1,200 to 1,500 people are buried in this complex.</p><br>
<p>Over a period of approximately 1,900 years, beginning about 500 BC, the Native Americans at the Crystal River Site threw away great quantities of materials that would form the middens that adorn the site. This "midden material" contained various kinds of woodland animal bones, fish bones, turtle shells, broken pottery, broken hand tools and arrowheads. By the time of abandonment, the midden area had reached 1,300 ft in length, 100 ft in width, 7 ft in depth, and was formed into a crescent shape. Two large platform mounds are believed to have been used primarily for ceremonial purposes. A 1/2 mi paved loop trail passes by each mound, with signs interpreting the mounds. A 55 step observation deck atop the park&#39;s largest mound, Temple Mound, provides a panoramic view of the area. The park contains coastal marsh and is part of the Great Florida Birding Trail.</p><br>
<p>The park is also home to a limestone slab, possibly a "stele", on which is a crudely carved human face and torso. This is odd because the slab is one that is not found on other mound sites except in locations such as the Caribbean, South America, and Central America. At this particular site there were at least four of these large stones placed by the inhabitants in their ancient time. This carving shows that the person represented possessed long hair in a plume over the left shoulder. There has been debate as to how strongly this inscribed stone slab was influenced by the monumental stelae of Mesoamerica. Although there may be some evidence for contact between the Huastec Culture of the Mexican Gulf Coast and the American Southeast, those claims which suggest the most direct connections are probably unfounded. The slab is today housed on the site within a metal cage.</p><br>
<h2>Roberts Island</h2><br>
<p>A complex of mounds and middens on Roberts Island, 0.5 km downstream on the Crystal River from the park, was added to the park in 1996. The Roberts Island complex succeeded the Crystal River site as a ceremonial center in the 9th and 10th centuries.</p><br>
<h2>Recreational activities</h2><br>
<p>Activities include salt and fresh water fishing, picnicing, bird watching and a boat tour of Crystal River. Amenities include a small picnic area. The visitor center/museum features an open captioned video about the tribes that once lived in the area, and houses a collection of artifacts from the site, including arrowheads, pottery, jewelry, stone and bone tools. A centerpiece diorama dominates the interior of the museum, depicting a scale model of the site as it may have looked centuries before its abandonment.</p><br>
<p>Camp Release State Monument is located on the edge of Montevideo, Minnesota, United States, just off Highway 212 in Lac qui Parle County, in the 6-acre Camp Release State Memorial Wayside. The Camp Release Monument stands as a reminder of Minnesota&#39;s early state history. The Minnesota River Valley and Montevideo were important sites in the Dakota War of 1862.</p><br>
<p>On September 26. 1862, a few days after the USA victory at the Battle of Wood Lake, 269 prisoners who had been taken captive during the conflict were released to Colonel Henry Hastings Sibley at a spot that became known as Camp Release, which was located on a bluff overlooking the valley and the present-day site of Montevideo.</p><br>
<p>The Camp Release State Monument was the sixth of 23 state monuments erected by the Minnesota legislature between 1873 and 1929. It was the first property added to the state park system and was listed on the National Register of Historic Places in 1973.</p><br>
<h2>Monument dedication and inscription</h2><br>
<p>The Camp Release Monument was dedicated on July 4, 1894, commemorating "the surrender here of a large body of Indians, and the release of 269 captives, most of them women and children" on September 26, 1862.</p><br>
<p>The inscription on the northern side of the monument states that the release was "The result mainly of the signal victory over the hostile Sioux at Wood Lake by Minnesota troops under command of General Henry H. Sibley, all being incidents of the Great Sioux Indian Massacre."</p><br>
<p>The southern side of the monument simply says "Camp Release".</p><br>
<p>The other two sides of the 51-foot granite monument are inscribed with information about:</p><br>
<p>The dates of battles that took place along the Minnesota River during the conflict (Eastern side)</p><br>
<p>Erection of the monument by the State of Minnesota in accordance with an act of Legislature approved on April 11, 1893, and supervised by named committee members (Western side)</p><br>
<h2>Monument marker</h2><br>
<p>Erected in 1989 by the Minnesota Historical Society, the Camp Release Marker states that on September 26, 1862, "91 whites and about 150 mixed-blood captives, some of who had been captives of the Dakota Indians for over a month" were released.</p><br>
<p>It goes on to state, "In the next few days, additional captives were freed, bringing the total to 107 whites and 162 mixed-bloods – 269 in all."</p><br>
<p>The marker also goes on to acknowledge the role played by the Dakota "peace faction":</p><br>
<p>The Camp Release Marker concludes by explaining that the Dakota who "surrendered" included members of the peace faction:Many of the peace faction who surrendered to Sibley&#39;s army at Camp Release were among the Dakota exiled from Minnesota the following year.The Minnesota Historical Society has since revised the estimated total of captives released at Camp Release to 285.</p><br>
<p>The Germantown State Bank Building is a historic bank building located in the village of Garland, Nebraska in the United States of America. The bank is no longer in operation. The building is listed in the National Register of Historic Places.</p><br>
<p>The first owner on record was August C. Beckman, who acquired the bank from another in 1900. The original bank building was wooden and painted white with the word "Bank" on the front. The bank was incorporated as the Germantown State Bank in 1904; before that, it had operated as a private banking house, the Bank of Germantown.</p><br>
<p>The current stone building was built in 1920, two years after Garland changed its name from Germantown due to anti-German sentiment in the United States after its entry into World War I. Local residents apparently did not object to the bank&#39;s name, which was never changed.</p><br>
<p>The bank closed in the 1930s due to the many natural disasters affecting the area. Wm. Barrett Jr. took ownership of the bank in October 1939. The next recorded owner was Joe Pankoke, from 1978 until about 1989, when it was sold to Bob Rashel of California. Rashel died in 1998, and the bank was donated to the village of Garland in his memory.</p><br>
<p>The Germantown State Bank Building was added to the National Register of Historic Places in 1987. Work continues on its restoration.</p><br>
<p>Dade Battlefield Historic State Park is a state park located on County Road 603 between Interstate 75  and USA Route 301 in Sumter County, Florida. The 80 acre park includes 40 acre of pine flatwoods and a live oak hammock. Also called the Dade Massacre site, it preserves the Second Seminole War battlefield where tribal Seminole warriors and Black Seminole allies fought soldiers under the command of Major Francis L. Dade on December 28, 1835. Each year, on the weekend after Christmas , the Dade Battlefield Society sponsors a reenactment of the battle that started the Second Seminole War.</p><br>
<p>Under the title of Dade Battlefield Historic Memorial, it is also a United States National Historic Landmark (designated as such on April 14, 1972).</p><br>
<h2>History</h2><br>
<h3>The Second Seminole War</h3><br>
<p>The United States government negotiated the Treaty of Moultrie Creek in 1824, placing the Seminoles on a reservation that included the site of the future battle. A combination of white settlers moving onto public land in violation of the Treaty of Moultrie Creek, slave hunters trespassing onto the reservation to capture maroons without proof of ownership, and the governments implementation of the Indian Removal Act and the Treaty of Paynes Landing to move the Seminoles over the protests of Seminole chiefs infuriated the Seminoles.</p><br>
<p>At around 8:00 AM on the morning of December 28, 1835, around 130 Seminoles, led by Chief Micanopy, ambushed Major Dade and over 100 men along a segment of the Fort King Road as they marched to reinforce the troops stationed at Fort King (present-day Ocala, Florida). Dade, another commanding officer, and the entire left flank, consisting of one-half of the troops, were killed in the first volley. Over the next six hours, Dades remaining troops and the Seminoles exchanged gunfire; the gunfire ceased as all but three of Dades men and their guide Louis Pacheco were killed. Privates Joseph Sprague and Ransom Clarke returned to Fort Brooke (present-day Tampa, Florida); Sprague later served until the end of the Second Seminole War, and Clarke died from his injuries five years later. The Dade Massacre began the Second Seminole War.</p><br>
<p>In 1836, General Thomas Sidney Jesup ordered a regiment of Tennessee militiamen led by Major Robert Armstrong, to build a supply depot at the site of Dades Massacre named Fort Armstrong. From Fort Armstrong, Brigadier General Richard Keith Call led an attack on the Seminoles living in the Wahoo Swamp a few days after the forts construction ended. Later in 1837, Major Thomas Childs took over command of the post. During his tenure, one "Colonel Dill", claiming that he was seeking escaped slaves, was detained and was ordered to return to his residence. General Jesup ordered that all government employees and express riders were barred from passing through Fort Armstrong for the purpose of looking for runaway slaves. This was to allow black Seminoles to enter the fort and to be eventually deported to reservations west of the Mississippi River. In 1984, after several years&#39; work, the Sumter County Historical Society would place a marker at the site of Fort Armstrong.</p><br>
<h3>Early 1900s</h3><br>
<p>Attempts at preserving the Dade massacre site began in 1897 with a bill introduced in the United States Congress which called for the creation of a national park on the Dade massacre battleground and its inclusion in a national park system. Florida congressman Stephen Sparkman began efforts to preserve the Dade Massacre site on January 27, 1904, with the introduction of another bill in the United States House of Representatives seeking to create a national park on the battle&#39;s site. In 1907 and again in 1912, Sparkman re-introduced legislation that provided funding for a marker and for the preservation of the battleground. In 1919, United States representative Henry Jackson Drane of Florida, who had visited the Dade Battlefield area in 1884, introduced another bill for the creation of a memorial at the site.</p><br>
<h3>1920s</h3><br>
<p>In 1910, two Florida newspapers, the Leesburg Commercial and the St. Lucie Tribune, encouraged legislators to place a marker on the site of the massacre. At the state level, an attempt to create a memorial park on the site of the Dade Massacre was made in the early 1920s. Before his term in the Florida Legislature, Lake County judge J. C. B. Koonce held pre-trial hearings at the park&#39;s site. Fascinated by the battle, Lake County judge Koonce began to develop the area into a park in 1908. In 1921, as the Sumter County representative in the Florida House, Koonce, state senator W. M. Igou of Eustis, state representative L. D. Edge of Groveland, state representative T. G. Futch of Leesburg, and United States Senator Duncan Fletcher urged the Florida legislature to preserve the site.</p><br>
<p>In 1921, the state of Florida appointed Koonce, Fred C. Cubberly (the author of the book The Dade Massacre), and Mrs. A. M. Roland as commissioners of the Dade Memorial Park and authorized them to purchase 80 acres of land at and surrounding the site of the massacre from three local families and a local company for $2,000 (USD). The Florida Legislature also appointed the board to maintain and operate the park.</p><br>
<p>After the passage of the bill, Sumter County residents cleared the land to form the park. During the 1920s, Koonce sculpted statues of the soldiers and Seminoles involved in the battle, ordered a bronze statue to portray Dade, built the gazebo, and constructed the monuments indicating where the officers fell. Koonce and his son O. B. Koonce maintained the landscape. In 1922, Representative Drane and Chief Clerk Nathan Hazen of the Ordnance Department arranged to have two guns shipped to the Dade Memorial Park. A portrait of Chief Micanopy hung in the lodge and a statute of Osceola close to the lodge honored the two leaders.</p><br>
<h3>Centennial of the Dade Massacre</h3><br>
<p>In 1935, Koonce promoted the idea to conduct a ceremony commemorating the 100th anniversary of the Dade Massacre. To mark the centennial of the Dade Massacre, organizers planned a reenactment of the battle. The Seminoles were to be invited to join and to formally sign a peace treaty with the United States government. Plans eventually changed to include a parade, a barbecue, concerts, addresses by dignitaries, and a full reenactment. On December 28, 1935, over 5,000 people, including Florida&#39;s governor attended the ceremony.</p><br>
<h3>World War II</h3><br>
<p>During World War II, Dade Memorial Park served as a United States Army installation. The United States Army Air Corps unit trained personnel in Morse code and radio communications from January 1944 to June 1944. On May 29, 1944, members of the 622nd Signal Aircraft Warning Company were transferred to a base in Ocoee, Florida.</p><br>
<p>The park also served as base housing for soldiers operating at the Bushnell Army Airfield. Tents and a supply room lined the area in front of the breastworks while a mess hall, an office, the motor pool, and a shower room flanked the living quarters. Other buildings were also built in other areas of the park.</p><br>
<h3>1950s</h3><br>
<p>In 1949, the Florida Legislature dissolve the Dade Memorial Park Commission and moved the park under the care of the then Board of Parks and Historical Memorials. Several facilities were built at this time. In 1957, construction on the recreation lodge was completed. The museum opened on July 4, 1957. By 1959, the park had built a children&#39;s playground, two tennis courts, a baseball field, courts for shuffleboard and horseshoes, several picnic shelters, and a barbecue shed.</p><br>
<p>In an effort to restore the park to the conditions at the time of the battle, the Division of Natural Resources removed the archway, the monuments, and the statue of the pelican. At a public hearing about the park, the Division of Natural Resources officials faced strong opposition from long-time Sumter County residents who felt that the changes made to the park dishonored Koonces vision for the park. Residents recovered the discarded monuments and placed them back in the park. When district naturalist John Dodrill realized that the statue portraying Dade was that of a Union soldier, agency officials attempted to raise money to replace the statue. Feeling that the state was dictating the parks design, county residents opposed the measure. In 1983, Dodrill designed a plaque explaining to visitors that the statue represented all fallen Sumter County soldiers.</p><br>
<h3>1960s</h3><br>
<p>About 1968, Sumter County employees found several cylinders measuring 12 in long and about 3/4 in in diameter on the Dade Battlefield Historic Site grounds. Suspecting that the vials were munitions that had been buried on the park grounds during World War II, the workers turned the vials over to a state agency. According to former Sumter County civil defense director Vernon Berry, the agency stated that one vial exploded while the agency was analyzing it.</p><br>
<h3>1970s</h3><br>
<p>On January 22, 1973, Ney Landrum, Chief of the Division of Recreation and Parks, nominated Dade Battlefield to be placed on the National Register of Historic Places. On November 7, 1973, the National Park Service issued national register number 72000353 to Dade Battlefield, listing the park on the National Register of Historic Places. In 1994, the National Park Service listed the park as a National Historic Landmark. To facilitate the study of the park, the National Park Service placed the park under the themes Political and Military Affairs, 1783–1860—Jacksonian Democracy, 1828–1844 and Westward Expansion of the British Colonies and the United States, 1763–1898—Military-Aboriginal American Contact and Conflict—East of the Mississippi, 1763–1850s.</p><br>
<p>In 1976, the state of Florida selected the Dade Battlefield State Historic Site to be a Florida Bicentennial Trail site. To emphasize the park&#39;s historical significance, the Division of Recreation and Parks attempted to remove the playground, the baseball field, the tennis courts, and the shuffleboard and horseshoe courts. The south end of the road dividing the park was cut off, making it safe for visitors, and culverts were placed in the ditch that was dug in the park at some time after the battle. In addition, park officials planned to obtain a cannon for the battlefield. As of 2004, one tennis court and two shuffleboard courts remained of the recreational facilities.</p><br>
<h3>1980s</h3><br>
<p>Although members of the Florida Historical Society and several Sumter County veterans organizations sponsored a commemorative day held on December 28, 1966, the first reenactment of Dades Massacre was held on December 28, 1980, for the battles 145th anniversary. Dade City historian and Dade Massacre expert Frank Laumer, dressed as Private Ransom Clarke, retold the story of the battle to 300 attendees. Park rangers from Dade Battlefield and Fort Foster, dressed in period uniforms, staged a camp similar to Dade&#39;s.</p><br>
<p>The first two-hour-long reenactment since 1935 occurred on December 28, 1985. In 1987, the state constructed a 5 ft high and 150 ft long berm on the baseball fields outfield to enhance visitors view of the reenactment. A Tampa television station aired segments about a commemorative hike led by Laumer from the Hillsborough River to the park from December 27, 1988, to the day of the reenactment on January 1, 1989. A record crowd of 4,500 people attending the reenactment on January 1, 1989, prompted the Dade Battlefield Society to consider the construction of an amphitheater. The Florida Department of Natural Resources granted approval for the amphitheater. For the December 28, 1989, reenactment, the Dade Battlefield Society expanded the event to a two-day event with full reenactments on both Saturday and Sunday.</p><br>
<p>Also on December 29, 1989, an officers sword belonging to an artillery officer in Dades command on loan from the Smithsonian Institution arrived at the park. Upon seeing a description of the sword in the magazine Smithsonian, Dr. Ray Giron, a former Santa Fe Community College and Central Florida Community College professor who collects swords, and Laumer contacted the organization. They learned that the sword had been in the Smithsonians collection since 1880. Giron and Laumer requested that the sword be loaned to the Dade Battlefield museum. The sword was placed on display in a case containing a money belt and a sash that belonged to Lt. William Basinger, one of Dades officers.</p><br>
<h3>1990s</h3><br>
<p>In 1996, the Dade Battlefield State Historic Site hosted the first annual World War II Commemorative Day. Since the first event, the commemoration has grown to include reenactors representing both the Allies and the Axis, vendors, music, encampments, vehicles, and food.</p><br>
<h3>2000s</h3><br>
<p>Over 70 children and 100 adults from the Seminole Hollywood Youth Conference visited the Dade Battlefield State Historic Site as part of the "Looking Back at the Seminole Trail" tour on July 8, 2003. Organized by Holly Tiger and Jo Motlow North the trip was a way for Seminole adults and children to visit Seminole battlegrounds as most of them had never visited the sites as children. Although Seminoles had portrayed their ancestors during the annual reenactments, the "Looking Back at the Seminole Trail" tour was the first time that members of the Seminole Tribe formally visited the park. During the visit, elders Billy Cypress and Bobby Henry and park ranger Chuck Wicks explained both sides of the conflict to the group. The conference members then walked along the trails and visited the museum.</p><br>
<p>In January 2011, the Florida Department of Environmental Protection (DEP) listed the Dade Battlefield State Historic Site as one of 53 parks that would be closed to the public to reduce the agencys budget by 15% as mandated by the Florida legislature. DEP stated that parks such as the Dade Battlefield State Historic Site were selected for their visitation numbers and their lack of camping facilities. Residents and state Senator Paula Dockery were outraged. In February 2011, Florida Governor Rick Scott met with DEP officials and expressed his disapproval of the DEPs plan, stating, "As you know, weve gotten two gold medals for our parks. I think we have 20 million-plus visitors. So, no, weve got great parks, and we&#39;ve got to make sure we preserve them and take care of them."</p><br>
<p>In April 2013, the park hosted the first annual Swallow-tailed Kite and Wildlife Festival. Swallow-tailed kites had visited the park, and the Dade Battlefield Society decided to create a festival to educate the public about the birds. The festival&#39;s activities included a lecture on swallow-tail kites, kite building and flying, birdhouse construction, and watching the swallow-tailed kites.</p><br>
<h2>Facilities and recreational activities</h2><br>
<p>Monuments indicating the locations of the officers deaths stretch from the parks entrance to about 300 ft south. The museum which details the Seminole War lies 49 ft from the replica of the breastworks and about 600 ft from the northernmost commemorative monuments. The reenactment takes place in a cleared area in the pine woods about 200 yards (meters) from the site of the actual battle.</p><br>
<p>Activities include picnicking, viewing exhibits at the visitor center, and wildlife viewing. A 3,499 ft long nature trail winds through the pine flatwoods. In addition, there is a gazebo, a lodge that seats 96 people and has a kitchen, outdoors areas that can be rented for weddings and outdoor events, a tennis court, two shuffleboard courts, six picnic shelters, a barbecue shelter, and restrooms. Several geocaches are hidden in the park. The park is open between 8 a.m. and sundown every day of the year (including holidays) while the visitor&#39;s center is open between 9 a.m. and 5 p.m.</p><br>
<h2>Climate</h2><br>
<p>The average low for the month of January is 45.5 &deg;F while the average high is 70.9 &deg;F. In July, the average high is 91.5 &deg;F while lows average 70.5 &deg;F. The average precipitation from April 1, 1918, to April 30, 2012, was 50.04 in. No snow fell during that period.</p><br>
<h2>Natural history</h2><br>
<h3>Geology</h3><br>
<p>Considered to lie in the Central Highlands, the park is generally flat, with an average elevation of 69 ft above sea level. The lowest point is a dug-out 0.6-acre pit that has been historically used as a vegetation burn pit. The primary rock under the park is limestone. The Florida Crushed Stone Company once considered mining limestone near the park, but they deemed the quality of the limestone to be a commercially poor product.</p><br>
<p>The soil under Dade Battlefield consists of two types of sand: Kanapaha sand and Sparr fine sand.</p><br>
<p>Kanapaha sand is a gray soil that is poorly drained and slowly permeable. It was formed in marine sediments that contained sand and loam. Kanapaha sand supports forest areas. Sparr fine sand is a dark gray sand that occurs in sandy and loamy areas that had been at marine areas. It is poorly drained and slowly permeable. Sparr fine sand supports pine, oak, magnolia, dogwood, and hickory trees. These sands formed from the Middle Eocene to the Holocene period.</p><br>
<p>The city of Bushnell supplies the parks drinking water. The park also has a ditch that connects two ponds, Center Pond, located south of Bushnell, and Webbs Pond (called the "Death Pond" in records related to the battle), a pond located on private property adjacent to the park. Four bridges throughout the park cross the ditch. Although it normally drains into the swampy areas near the park, water has flowed in the ditch three times before, in 1994, 1995, and 1998, all when heavy rains fell in the area.</p><br>
<h3>Ecology</h3><br>
<p>The area of the battlegrounds was originally pine barrens, a habitat dominated by pines and palmettos. (It is currently known as longleaf pine mesic flatwoods.) Land use made several changes to the land. In 1828, soldiers and slaves constructed the Fort King Road by cutting the understory and pine trees, leaving a 20 ft wide road. At the turn of the century, the remaining pine strands were used to produce turpentine and for logging. By 1927, oaks dominated the community. During World War II, pine stumps were removed from the park. In the 1970s, the Florida DEP prescribed controlled burns to prevent the parks pine flatwoods from succeeding into an oak hammock. In the 1950s, officials from the Department of Natural Resources proposed to let the grass and scrub habitat return to its natural state, but residents opposed the measure. In 1976, as a part of the states Bicentennial Trail preparations, removed several nonnative Florida plants and planted longleaf pines in the park. In 2012, the Sumter County Master GardenerCommunity Beautification Committee designed and replanted several of the park&#39;s landscapes in the public areas with native and endemic plants.</p><br>
<p>Forty five acres of the original longleaf pine (Pinus palustris) habitat remain today. Five acres of slash pine (Pinus elliottii) has been planted in the flatwoods. The rare Florida anise or yellow star anise (Illicium parviflorum) has been reported in the park. Among the wildlife of the park are woodpeckers, songbirds, and hawks, and indigo snakes. Several gopher tortoises (Gopherus polyphemus) live in the park, and Eastern indigo snakes (Drymarchon corais couperi) have been sighted in the park. Live oaks (Quercus virginiana) cover the rest of the park.</p><br>
<h2>Dade Battlefield Society</h2><br>
<p>The Dade Battlefield Society is a non-profit organization created to preserve the Dade Battlefield State Historic Site. It was created on June 8, 1987, to raise public awareness of Dades Massacre. Since the creation of the organization, the Dade Battlefield Society has sponsored the annual reenactment of Dades massacre. It also has made information about the battle available to the public and has created two videos, a thirty-minute video which details the battles events and a short film that is shown in the Dade Battlefield Visitors Center. In addition, the Society rebuilt the cement log breastwork and corrected the breastworks orientation as the breastwork faced west and not east. In 2002, the society purchased a six-pound long barrel cannon similar to the one Dade&#39;s men used in the battle.</p><br>
<p>The annual reenactment begins at 2:00 PM on both Saturday and Sunday. An actor portraying Private Ransom Clarke narrates just before the battle starts. The battle begins as the Seminoles, portrayed by Seminoles from the Big Cypress Seminole Reservation, and Dade&#39;s men exchange gunfire. After "Taps", the reenactors rise and talk to the public. During the day, there are demonstrations, lectures, folk music, musket shooting contests, tomahawk throwing contests, and a trade fair.</p><br>
<h2>Nearby</h2><br>
<p>The city of Bushnell lies to the north and the east of the Dade Battlefield Historic State Park.</p><br>
<p>The town of Wahoo lies 6 mi to the west of town. The Wahoo area served as a sheltered area for the Seminoles during the Second Seminole War. The United States Army and the Seminoles fought the Battle of the Withlacoochee River near the town on December 29, 1835. In addition, the army searched the area several times during the Second Seminole War. Today, the town is a populated area within Sumter County, and the battle site is protected by the state of Florida as a part of the Florida Forever Priority List.</p><br>
<p>Old Central, historically known as the College Building, is the oldest building on the Oklahoma State University campus in Stillwater, Oklahoma. Originally built in 1894, it was the first permanent building on the Oklahoma A&M campus. Old Centrals bell clapper once served as a traveling trophy in the Bedlam Series athletics rivalry between Oklahoma State University and the University of Oklahoma. The new "Bedlam Bell" is a crystal trophy modeled after Old Centrals bell and is awarded to the winner of each individual athletics contest in addition to the overall series winner for each year.</p><br>
<h2>History</h2><br>
<p>The construction contract for Old Central was awarded on June 20, 1893. Many students, wanting their own building as soon as possible, assisted the fifty-man construction crew. Students received ten cents per hour for menial jobs, such as carrying bricks and water to the masons.</p><br>
<p>Dedication ceremonies were held on June 15, 1894. Classes began in the structure on September 15, with 144 students in attendance. The College Building, as it was originally known, was the only permanent campus building until 1900. The Chemistry Department, which had occupied the basement, moved into a new building west of "The College."</p><br>
<p>Shifting red Permian clay soil and Old Central&#39;s native sandstone foundation proved to be an unfortunate combination. The shifting clay movement against the soft sandstone foundation caused serious structural cracks. In 1914 two large tie-rods were installed in an effort to stabilize the building. Condemnation of Old Central became official in 1925, but space on campus was badly needed; so the building continued to be used until early 1927 when falling plaster slightly injured a student.</p><br>
<p>Major work in 1930 put the building back into use until 1969 when the last regular classes were held. Oklahoma State University leased Old Central to the Oklahoma Historical Society in July 1971; the building was also placed on the National Register of Historic Places. Exterior restoration which began in 1973, was completed in 1989 with the installation of a metal shingle roof to duplicate the original roofing.</p><br>
<p>On October 10, 2007, a new construction project began that gave the 113-year-old building a $7 million restoration and renovation. Oklahoma state and university officials, including Oklahoma State University System CEO and Interim President Marlene Strathe and Oklahoma Historical Society Executive Director Bob Blackburn, were on hand to ring the Old Central bell to mark the start of construction. The project would give Old Central a new foundation and place students in the building once again. When the renovation was completed in July 2009, the building became the home of the OSU Honors College and continues to house the Oklahoma Museum of Higher Education. The renovation was funded by the Oklahoma State Regents of Higher Education capital lease program.</p><br>
<p>The Eagleswood Military Academy was a private military academy in Perth Amboy, in Middlesex County, New Jersey, United States, which served antebellum educational needs.</p><br>
<p>The Eagleswood Military Academy was started by Rebecca Spring (1812–1911) and Marcus Spring (1810–1874) in 1861 in the vicinity of the Route 35/Smith Street intersection. The Springs initially started the Raritan Bay Union, as a utopian community in 1853, but the Union closed in 1860.</p><br>
<p>Rebecca had the bodies of A.D. Stevens and A.E. Hazlett, from John Browns raid on Harpers Ferry, buried on her property. In 1899 the bodies were disentereed and moved, with the bodies of other raiders (see John Browns Raiders) to the John Brown Farm State Historic Site, near Lake Placid, New York.</p><br>
<p>The grounds, approximately 260 acres, were recorded in the largest survey conducted by Henry David Thoreau. The Eagleswood Mansion was located on the grounds. The house was listed on the New Jersey Register of Historic Places and the National Register of Historic Places as the George Inness House and was demolished in 1993.</p><br>
<p>The start of the American Civil War caused many of the Academy&#39;s teachers to join the war effort and the school was forced to close, having inadequate staff and enrollment to continue its existence. Several years later, the site became the Eagleswood Park Hotel until 1888, when the Eagleswood estate was sold by the Mutual Benefit Life Insurance Company to Calvin Pardee. He built a ceramic tile company on the site.</p><br>
<h2>Notable students</h2><br>
<p>Ralph Munroe</p><br>
<p>Louis Comfort Tiffany</p><br>
<p>The Steuben Memorial State Historic Site is a historic location in the eastern part of Steuben, Oneida County, New York, that honors Baron von Steuben, the "Drillmaster of the American Revolution". The land in this part of Oneida County was part of a 16,000 acre land grant made to von Steuben for his services to the United States. He used the land for his summer residence, and is buried at the memorial, a "Sacred Grove".</p><br>
<p>The site includes the memorial tomb and reconstructed log cabin (1937) and several smaller elements, including a stone bearing a memorial plaque, a series of historic markers, and a landscaping structure.</p><br>
<p>Note: This includes</p><br>
<p>and The site also offers a picnic area, scenic views, tours, re-enactments, educational assistance, and demonstrations.</p><br>
<p>It was listed on the National Register of Historic Places in 2009.</p><br>
<p>The Newberry Opera House, located in Newberry, South Carolina, is a fully restored historic building that is a live-performance space for popular artists, touring theatre companies, and local organizations. It is listed on the National Register of Historic Places in 1969.</p><br>
<p>Designed in the French Gothic style, the first floor of the building was used by the town government for offices, a jail, and the fire company, which had one engine there. The upper floor was designed as a theater and supporting spaces. For years it attracted national touring companies, individual performers and a variety of theatre acts. It later was adapted also for use as a movie theater, but showed its last movie in 1952. It was restored beginning in 1998, in a project that included an addition to enable its use for full theatrical productions.</p><br>
<h2>History</h2><br>
<p>The building was designed in the French Gothic style as both a place of entertainment and as a seat of government for the city. The building, completed in 1881 and dedicated in 1882, had a clock tower 130 ft topped with a garfish weather vane.</p><br>
<p>The original design called for the first floor to house the fire engine room, town council chambers, a clerk&#39;s office, a police officer, and three jail cells. The second floor contained a hall with 426 seats, 53 by 52 ft in size. Also on this floor were a ticket office, a "green room", a cloakroom, and three dressing rooms. Drop curtains and seven scenes or sets for the stage were available. One scene, a landscape, survived to the late 20th century.</p><br>
<p>The Opera House quickly became known as "the entertainment center of the Midlands". Touring companies of New York City plays, minstrel and variety shows, famed vocalists and lecturers, magicians and mind readers, novelty acts and boxing exhibitions all were featured there. It was used not only by professional performers, but also by the community for meetings, dances, college commencement exercises, and musicals. Notable artists, such as Edwin Booth, John Barrymore and his family, and Tallulah Bankhead are known to have performed there.</p><br>
<p>The first film shown there was The Birth of a Nation (1915), a silent movie, and others followed. The early Edison "Talkies," using a phonograph record for sound, were introduced in the 1920s. Slowly, movies replaced the stage shows. In the 1920s, the Opera House was remodeled as a movie theater.</p><br>
<p>In 1952, after the showing of The Outlaw, the Opera House was closed as a movie theater. During the movie era, the original horseshoe-shaped balcony was reduced in size, this restricted seating across the back of the auditorium to blacks only; the state had racial segregation in facilities. The city added an outdoor open stairway which they required blacks to use for entry. Since the mid-1960s, such public facilities have been integrated.</p><br>
<p>By 1959, there was talk about tearing the building down, but the hall was still used for community purposes, and the city used the first floor. In 1969, the Newberry Historical Society promoted the preservation of the Opera House, as did several other community groups. In 1970, the building was placed on the National Register of Historic Places.</p><br>
<p>After the City of Newberry vacated the building in the mid 1990s, the Newberry Opera House Foundation was established to assess restoration. Recognizing the lack of performance spaces in the Midlands, it consulted with experts about a proposed project. Since proceeding with a restoration plan, it has managed fundraising and operations of the facility, which it leases from the city.</p><br>
<p>The exterior restoration and window replacement was completed in 1994, and the interior renovation began in 1996. It included restoration of the horseshoe-shaped balcony. An additional 10,000 ft&sup2; was added to the original building in order to create a full theatrical production facility: a new loading dock, an elevator, a second stage for rehearsal, and dressing rooms. The total cost of the renovation was approximately $5.5 million. Architects for the renovation and addition were of Greenville, South Carolina.</p><br>
<p>A variety of theatrical touring companies and live-performance artists from Willie Nelson to Michael Bolton, the Newberry Ballet Guild, South Carolina Opera Company and Asheville Lyric Opera have all performed there, keeping the hall busy. It has a maximum capacity of 426. It is also used for performances by Newberry College and other community institutions.</p><br>
<p>South Carolinians Marshall Tucker Band (from Spartanburg) (in 18), Edwin McCain (from Greenville), Josh Turner, Maurice Williams and the Zodiacs, and Chubby Checker have all performed at the Newberry Opera House in the 2010s. The Oak Ridge Boys (from Tennessee) performed there in 77, Kyuss with QOTSAs Josh Homme in 94, Glen Campbell in 99, Joan Baez performed there in 00, and the Beach Boys played there in 2000. Christopher Cross played there in 10, Ricky Skaggs in 11, BJ Thomas in 11, Glenn Miller Orchestra in 12, Starship in 12, Janis Ian and Tom Paxton in 2012, Olivia Newton-John in 12, Travis Tritt (from Georgia) in 12, Willie Nelson in 13, The Charlie Daniels Band (from North Carolina) in 13, John Anderson (from Orlando) in 13, Eddie Money in 13, Michael Bolton in 14, Tommy Emmanuel in 14, Art Garfunkel in 14, Mary Chapin Carpenter in 14, Kansas in 15, Arlo Guthrie in 16, Graham Nash in 16, Los Lonely Boys in &#39;16; Puddle of Mudd with Tantric and Saliva (from Memphis, in 2018) have also performed at the Opera House in the 2010s. In 2019, it hosted 90s bands Fastball from Austin, and Everclear, and Blue Öyster Cult. https://www.setlist.fm/search?page=8&query=Newberry+Opera+House</p><br>
<p>Lubbock Lake Landmark, also known as Lubbock Lake Site, is an important archeological site and natural history preserve in the city of Lubbock, Texas, United States. The protected state and federal landmark is 336 acres. There is evidence of ancient people and extinct animals at Lubbock Lake Landmark. It has evidence of nearly 12,000 years of use by ancient cultures on the Llano Estacado. It is part of the Museum of Texas Tech University.</p><br>
<p>Visitors can watch active archeological digs. Volunteers from around the world help with the ongoing excavations each summer, and local people can volunteer also, making the site accessible for non-scientists. There are both guided and self-guided tours offered throughout the year.</p><br>
<p>The site is listed on the National Register of Historic Places, and is a designated National Historic and State Archeological Landmark.</p><br>
<h2>History</h2><br>
<p>Lubbock Lake is in a meander of the Yellow House Draw also known as "Punta de Agua", a tributary of the Brazos River, near ancient springs. People on the Llano Estacado used the water resources in the draw until those resources went dry in the early 1930s. In 1936, the City of Lubbock dredged the meander in an effort to make it a usable water supply. These efforts were unsuccessful, but brought to light the archeological significance of the site. There is very little standing water and no lake at the site.</p><br>
<p>The first explorations of the site were conducted in 1939 by the West Texas Museum, now the Museum of Texas Tech University. In 1936, Clark Kimmel and Turner Kimmel found projectile points from the Firemen&#39;s Reservoir. In the late 1940s, several Folsom Period (10,800-10,300 years ago) bison kills were discovered. At one location of an ancient bison kill from a then unidentified Paleo-Indian group, charred bison bones produced the first ever radiocarbon date, which is still the most accurate form of dating for Paleo-Indian material (about 9,800 years old).</p><br>
<h2>Geology</h2><br>
<p>The bedrock of Lubbock Lake is part of the Blanco Formation, which is a subset of Pleistocene deposits. Here, it is composed mostly of a large deposit of lake sediments about two million years old. Above the Blanco Formation is the Blackwater Draw Formation, a sheet of wind-deposited sediment that covers most of the region. This deposit slowly accumulated between 1 million and 50,000 years ago. The dune, in the northeastern section of Lubbock Lake, contains sediments and buried soils from at least 36,000 years ago. Yellow House Draw had developed by 20,000 years ago, cutting through the Blackwater Draw Formation and into the Blanco Formation. By about 12,000 years before the present (10,000 BC), the draw had cut a bend about 15 meters (49 feet) deep in the area of the Landmark.</p><br>
<p>Evidence points to a drying trend occurring at Lubbock Lake over the last 11,000 years. The geologic record begins with stream deposits, followed by lake sedimentation, and finishes between 6,500 and 4,500 years ago with the deposit of windblown sediments during a period of severe drought. After 4,500 years ago, the climate became much like it is now, with only minor changes in the past 2,000 years.</p><br>
<h2>Archaeology</h2><br>
<p>The site clearly shows many levels of cultural deposits that can be dated accurately due to the presence of clear geological stratigraphy (layers of various sediments representing different periods of time). From these deposits, nearly 175 radiocarbon dates are available. The Lubbock Lake Landmark exhibits a virtually complete cultural sequence from the Clovis Period to historic times. These periods are easily distinguished due to the separation of sediment layers containing cultural material by sterile layers where sediment lacks artifacts.</p><br>
<p>Each layer represents a different time period, water regime, group of plants and animals, group of peoples, and climate and environment covering the past 12,000 years of history and prehistory. The time of people in North America generally is divided into five cultural periods, all of which are represented at Lubbock Lake Landmark.</p><br>
<p>Paleolithic Cultural Periods:</p><br>
<p>The Paleo-Indian Period:</p><br>
<p>Clovis (11,500-11,000 years ago)</p><br>
<p>Folsom (10,800-10,300 years ago)</p><br>
<p>Plainview (10,000 years ago)</p><br>
<p>Firstview (8,600 years ago)</p><br>
<p>Neolithic to Modern Cultural Periods:</p><br>
<p>Archaic (8,500–2000 years ago)</p><br>
<p>Ceramic (2,000–500 years ago)</p><br>
<p>Protohistoric (500–300 years ago)</p><br>
<p>Historic (300 years ago to modern times)</p><br>
<h2>Cultural periods represented</h2><br>
<p>Paleo-Indian</p><br>
<p>Material from the Clovis Period has been found on a gravel bar of the once active stream in the ancient river valley. Excavations have uncovered the remains of several extinct animals: mammoth, two types of horse, camel, ancient bison, giant short-faced bear, and giant armadillo-like Pampatheriidae. This material has been recovered from an area where secondary butchering of parts of carcasses took place and mammoth bones were broken to secure pieces to use or make into tools. Folsom and later Paleo-Indian peoples hunted and killed ancient bison around the ponds and marshes in the draw. Locations where bison were both killed and butchered are called kill/butchering locales. Hunters were known to disguise themselves as wolves, and slowly creep up on the bison before springing up and attacking.</p><br>
<p>Archaic</p><br>
<p>The Archaic Period of the Llano Estacado is poorly understood. Several bone beds containing bison and pronghorn remains have been found in the windblown and stream deposits of this stratum at the Landmark. A bison kill dating from the Early Archaic and a baking "oven" dating to the Middle Archaic have been discovered. This oven actually was a large oval pit that contained burned rock and ash. The absence of bone has led researchers to believe it was used for processing vegetal matter. Radiocarbon dating has determined the oven to be about 5,000 years old. Several Late Archaic camps have been uncovered. A camp generally is represented by hearths (campfires), scattered hearthstones, discarded tools, and scattered remains of small animals consumed as food.</p><br>
<p>Ceramic</p><br>
<p>Broken Puebloan and Mogollon tradeware pottery have been found in the Ceramic levels. Archaeological features include camp sites with scattered stone tools, flakes (small segments of stone that are the result of tool making), broken bones, and hearths. Excavation of processing stations from this period have produced the remains of modern bison, coyote, wolf, and pronghorn.</p><br>
<p>Protohistoric</p><br>
<p>The Protohistoric Period is a transitional one. It extends from the time just prior to contact through first contact with Europeans. Spanish explorers were in the area during the later Protohistoric Period, but their presence had no detectable influence on the native cultures or archaeological remains. The Apaches are known to have been in the area from at least 1450 to the mid-18th century.</p><br>
<p>Historic</p><br>
<p>The Historic Period begins when contact with Europeans was established. Excavated Historic deposits indicate the presence of modern horse, as well as metal and glass. The Apache were displaced from the area by the Comanches who roamed the Llano Estacado from the mid-18th century to the 1870s. Information derived through excavation of sites from these time periods can be compared to historical records to provide a clearer understanding of the lifeways and population movements of these native peoples.</p><br>
<p>Evidence of Anglo-American habitation has been found in the most recent archaeological deposits. Some of these artifacts reflect the use of this area by the buffalo hunters in the 1870s. Artifacts such as rifle cartridges, metal hardware, square nails, buttons, and a ginger beer bottle represent George Singer&#39;s store and home of the early 1880s. The Singer Store was the first commercial business for the area. Located at the edge of what was then called Long Lake and the crossing of two military trails, the store was built near the springs as a trading post for early settlers and cattle ranchers in the area. It was in operation from 1881-1886 when it burned down; the store was rebuilt further downstream. The Singer Store was the beginning of the modern city of Lubbock.</p><br>
<p>The Oscar Anderson House Museum is a historical museum at 420 M Street in downtown Anchorage in the USA state of Alaska. Located in Elderberry Park, the structure was built in 1915 by early Anchorage resident Oscar Anderson. Anderson claimed to be the 18th person to set foot on what is now Anchorage. The structure was the first wood-frame house in Anchorage, and was occupied by Anderson until his death in 1974. The house was completely restored to a 1915 appearance between 1978 and 1982, and is now open as a historic house museum.</p><br>
<p>It was listed on the National Register of Historic Places in 1978.</p><br>
<p>Trinity Evangelical Lutheran Church is a Victorian Gothic-style Lutheran church built in Milwaukee, Wisconsin in 1878 - then claimed to be "the finest church edifice within the Missouri Synod." Today it is listed on the National Register of Historic Places and is a designated State Historic Site. The building was also declared a Milwaukee Landmark in 1967, and today is the oldest church associated with the Lutheran Church–Missouri Synod in the city.</p><br>
<h2>Description</h2><br>
<p>Trinitys congregation was founded by German immigrants from Pomerania who began to arrive in Milwaukee in the late 1830s, looking for freedom to practice their traditional Lutheranism without the interference of the Prussian state. They initially followed a pastor from the Buffalo Synod (chiefly fellow Prussian immigrants), but a controversy in 1847 triggered the formation of Trinity congregation, which requested a pastor from the Missouri Synod, also with German roots and language. The Missouri Synod sent E.G.W. Keyl. He set up Trinitys parish structure and established admission policies that were a key factor in the dispute that produced the Wisconsin Synod. Members of the Trinity Church established St. Stephen Lutheran Church in 1853, in order to serve parishioners south of the Menomonee River. These two churches, along with members of St. John&#39;s Evangelical Lutheran Church, helped to seed a number of other Lutheran churches in the area.</p><br>
<p>Trinity&#39;s first building was on 4th Street between Wells and Kilbourn starting in 1847. In 1851 they built a larger frame church at 4th and Wells. In 1869 they moved that church to the site of the current church and built a school. Concordia College began in the school in 1881.</p><br>
<p>By 1878 the congregation needed a larger building. Architect Frederick Velguth designed the building in a combination of High Victorian Gothic with German Gothic styles, with its hallmark the emphasis on vertical, with towers, spires, and lancet windows all pointing toward heaven. Exterior walls are clad in Cream City brick, a distinct light colored brick manufactured locally, along with sandstone details on the façade. The cruciform structure is 145 ft long, 89 ft wide, and 54 ft tall, with an apse on the east end. It features three towers, the tallest of which is a landmark 200 ft spire. Notable of the church&#39;s interior is the historic Schuelke organ in the rear gallery, containing some 1,600 pipes. The total cost was $43,500, of which $3,500 was for the organ. The goblet-shaped pulpit is the highlight of the craftsmanship exhibited in the carved woodwork, which was produced by the Wollaeger Brothers woodworking company</p><br>
<p>German architecture of this type is typical of the historic structures found in and around downtown Milwaukee, including parts of the neighboring Pabst Brewery complex.</p><br>
<p>Construction of a new church office building and conference center began in September 2005, after the old office (the former parsonage) was razed the previous year. This addition to the grounds was completed in 2006.</p><br>
<h2>2018 fire</h2><br>
<p>On May 15, 2018, the church caught on fire while construction work was going on, spurring a four-alarm response from the Milwaukee Fire Department and causing $17 million worth of damage to the structure, including the collapse of the entire roof and the shorter southern steeple. No one was injured, but the damage was so catastrophic that it was initially unclear whether the structure was structurally sound to rebuild; an investigation concluded that there was "no structural damage to the brick at all" and rebuilding commenced. Worship was held at the Krause Funeral Home chapel during repairs.</p><br>
<p>The Jeremiah Curtin House is a stone building built in 1846. It was the boyhood home of noted American linguist and folklorist Jeremiah Curtin  and is part of the Trimborn Farm estate in Greendale, Wisconsin. The house is owned by the Milwaukee County Historical Society and listed on the National Register of Historic Places.</p><br>
<p>The house is a two-story building with 18 in thick walls of Milwaukee County limestone and stucco. It is about 24.5 ft by 19 ft in plan. The house was restored in the 1930s in a Works Project Administration project but later was vandalized heavily. It was acquired by the Milwaukee County Historical Society in 1952.</p><br>
<p>In addition to its association with Jeremiah Curtin, it was deemed notable as it was believed to be the first stone dwelling in Greenfield Township and the oldest surviving structure in the area. It is also significant as a tangible representation of Irish immigration to the rural areas of Milwaukee County.</p><br>
<p>The NRHP nomination for the house asserts incorrectly that it was the birthplace for Jeremiah Curtin, but in fact he was born in Detroit in 1840.</p><br>
<p>The Guaranty Building, formerly called the Prudential Building, is an early skyscraper in Buffalo, New York. It was designed by Louis Sullivan and Dankmar Adler and completed in 1896. The building has been declared a National Historic Landmark and is located within the Joseph Ellicott Historic District.</p><br>
<h2>Building context</h2><br>
<p>The 13-floor building, 167 ft high, was the of idea Buffalonian businessman and entrepreneur Hascal T. Taylor. He planned to construct a speculative office building called "The Taylor Building" in the developing downtown district. The site Taylor chose was strategically located adjacent to the then County and City Municipal building and near a number of institutional structures. The intention was to attract high quality tenants such as lawyers through proximity, desirable amenities, and the captivating design of an avant garde architect like Sullivan. The Guaranty Construction Company was contracted to build. Hascal Taylor unfortunately died as the project was nearing construction, which resulted in the Guaranty&#39;s decision to take on the project alone.</p><br>
<p>The Guaranty Building however was not alone among major private building projects in Buffalo at the time. Two blocks away, the Ellicott Square Building was being built to be the largest retail building in the world. This structure, still extant today, exhibits an alternate exploration in the possibilities of new commercial urban architecture by Charles B. Atwood and Daniel Burnham.</p><br>
<p>As Buffalo&#39;s downtown rose above Lake Erie, further engineering feats were achieved including securing the future of the city and the built environment. Although earlier attempts had harnessed the power of nearby Niagara Falls, it was just after the Guaranty building was constructed in 1896 that the power was sent to Buffalo, illuminating the city with hydroelectricity.</p><br>
<p>Buffalos rise to prominence in the built environment was matched in the political. As the Guaranty building was being drafted, Grover Cleveland was re-elected 22nd president of the United States. A former Erie County Sheriff, Cleveland had quickly risen from mayor of Buffalo, to governor of New York and then the presidency within five years. His platform of reform against entrenched political machines, bossism, and patronage was desperately needed, especially in major urban centres such as New York and Chicago. Clevelands fiscal policies had resulted in his loss of the presidency in 1888, but the results of Benjamin Harrisons interim term brought him back to the office in 1892. The panic of 1893 which ultimately destroyed the firm of Adler & Sullivan had not only destroyed Clevelands first presidential term, but also resulted in Cleveland&#39;s return to office and the final commission of Adler & Sullivan in Buffalo.</p><br>
<h2>Design</h2><br>
<p>Like many Chicago School of architecture buildings, the Guaranty building is a U-shaped plan above the lower levels so that each office could have light and fresh air. The internal portion of the "U" faces south. "In order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles." The elevators and staircases were enclosed not by walls, but metal cages permitting light into the hallways.</p><br>
<p>Sullivan&#39;s design for the building was based on his belief that "form follows function". He and Adler divided the building into four zones: 0) The basement containing the mechanical and utility area; 1) The lower levels which were public areas for street-facing shops, public entrances and lobbies; 2) The office floors with identical office cells clustered around elevator shafts; and, 4) The attic consisting of elevator equipment, utilities and water tanks.</p><br>
<p>The supporting steel structure of the building was embellished with terra cotta blocks. Different styles of block delineated the three visible zones of the building. Writing in his Kindergarten Chats, Sullivan said that a tall building "must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line."</p><br>
<h2>Ornamentation</h2><br>
<p>Although Sullivan told his fellow architects that "we should refrain entirely from the use of ornament for a period of years," he paradoxically gave the Guaranty building a rich program of floral terracotta ornament. Tom Beeby described Sullivan as the "high-priest of controlled natural ornament."</p><br>
<p>Sullivan&#39;s ornament, unmistakably original, is the subject of much scholarship. Vincent Scully analyzed the ornament of the Guaranty Building and found "a physical drama of compression, tension, and vertical continuity is made physically manifest to the observer." Likewise, William J.R. Curtis wrote that the Guaranty expressed "the idea of a tall building as a living organism, whose weight, pressure, tension and resistance might be experienced through empathy in a direct, almost physical way."</p><br>
<p>Paul Edward Sprague found that the Guaranty Building indicated Sullivans evolution as an artist: "From 1885 through 1889 Sullivans ornament lost much of its former angularity and became more sophisticated and luxuriant." He also argued Sullivan&#39;s ornament was influenced by that of Frank Furness.</p><br>
<p>The Guaranty Building and Sullivan&#39;s preceding Wainwright Building share many traits: Simplicity of form, plan similarity, and richness of detail. Yet the Guaranty is said to be a radical departure from the Wainwright because the expression "of the underlying steel-frame construction behind the red terra-cotta tiles is more apparent here than in the Wainwright."</p><br>
<h2>Reception</h2><br>
<p>The Guaranty Building received strong critical reception upon opening. The critic Barr Ferree in 1895 opined, "though possibly the most richly decorated commercial building in America, the skill of the artist has produced a design of structural sobriety with great richness of effect. This unity of structure and aesthetics has been attained he diagnosed, by the long unbroken vertical lines of the superstructure. Montgomery Schuyler knew of no steel-framed building in which the metallic construction is more palpably felt through the envelope of baked clay."</p><br>
<h2>Decline and restoration</h2><br>
<p>As was true of many older office buildings, the Guaranty Building was "modernized" during the mid-20th century. Fluorescent lighting, wood paneling and a dropped ceiling were installed in the historic lobby. The exterior storefronts were sheathed in Fiberglass. A fire occurred in 1974, and by that time the building was dilapidated and threatened with demolition.</p><br>
<p>Efforts to save the building, including the support of Senator Daniel Patrick Moynihan, secured its restoration. This restoration, undertaken in the early 1980s by architects CannonDesign was part funded from the federal preservation tax credit program.</p><br>
<p>In 2002, the building was purchased by law firm Hodgson Russ. In 2008, after a further rehabilitation, it became the firm&#39;s headquarters.</p><br>
<p>The building underwent a further series of restorations in the mid-to-late 2000s. The restoration, which totalled $15.6 million, was designed by Gensler Architects of Washington, D.C; M/E Engineering of Buffalo; and Flynn Battaglia Architects of Buffalo.</p><br>
<h2>Landmark status</h2><br>
<p>The building was declared a National Historic Landmark in 1975.</p><br>
<p>The Wawona Hotel, located in southern Yosemite National Park, California, is a historic late Victorian mountain resort and one of the largest intact hotels of its kind within a national park.</p><br>
<p>Designated a National Historic Landmark in 1987 and listed on the National Register of Historic Places, the Wawona Hotel is notable for its cohesive architectural integrity, much of which predates World War I. Located just 4 mi from Yosemite’s southern entrance, it sits between the Mariposa Grove of giant sequoias and Yosemite Valley.</p><br>
<p>Owned by the National Park Service and operated through a concessionaire contract, the Wawona Hotel has endured over a century of operation, with only a brief closure during World War II before reopening in 1947. On December 2, 2024, the hotel will close indefinitely for repairs while the National Park Service conducts a "comprehensive condition assessment."</p><br>
<h2>History</h2><br>
<h3>Clark&#39;s Station</h3><br>
<p>In the late 1850s, Galen Clark expanded his modest homestead into Clark&#39;s Station. Situated 25 miles from both Mariposa and Yosemite Valley, it became an essential waypoint for travelers. With no other place to stay, Clark took in anyone passing through, aiming to make Yosemite accessible to all, rich or poor. Even when he was away, he left the door open with a sign that read: "Walk in and help yourselves, but please close and fasten the door."</p><br>
<p>After the transcontinental railroad was completed in 1869, Yosemite saw a boom in tourism. In 1870, Galen Clark partnered with Edwin Moore to expand the lodge, adding new sleeping and dining facilities to accommodate the surge in visitors. Despite the expansion of their business, now known as Clark & Moore’s Station, financial woes and escalating costs pushed Clark into a cycle of debt. He was forced to sell the property on December 26, 1874.</p><br>
<h3>Washburn&#39;s Wawona Hotel (1876–1927)</h3><br>
<h4>Stagecoach Era</h4><br>
<p>The Washburn brothers operated the Yosemite Stage and Turnpike Company, a stagecoach line connecting Yosemite&#39;s key destinations to the San Joaquin Valley. The Wawona Hotel served as a central hub, providing lodging for travelers heading to Yosemite Valley and Mariposa Grove of giant sequoias. The first wagon road from Wawona to Yosemite Valley was completed on April 18, 1875, coinciding with the Washburns’ first season operating Clark’s Station.</p><br>
<p>By 1876, they added the Clark Cottage and the Long White building, starting its transformation from a modest way station to a premier resort destination.</p><br>
<p>In 1881, the Yosemite Stage and Turnpike Company created the Wawona Tunnel Tree in Mariposa Grove, an 8-foot-wide and 26-foot-long passage that quickly became a popular tourist attraction, which drew visitors to the Wawona Hotel. The company operated stagecoaches from Wawona to Mariposa Grove, holding a monopoly on stagecoach visits to the grove. Stagecoaches departed daily from the Wawona Hotel, carrying up to eight passengers on three bench seats. Lunch stops were held at Galen Clark’s cabin.</p><br>
<h4>Name Change to Wawona</h4><br>
<p>In 1884, Jean Bruce Washburn renamed the town Wawona, believing it meant "Big Tree" in the language of the indigenous tribes of the area. The Wawona Hotel was also renamed accordingly. However, it was later discovered that "Wawō&#39;na" actually translates to evening primrose in the Miwok language.</p><br>
<h4>Thomas Hill studio</h4><br>
<p>Thomas Hill (painter), a renowned landscape painter of the Hudson River School, established his studio at the Wawona Hotel in the early 1880s. The studio was completed by January 1884 and became a significant cultural attraction for hotel guests, showcasing Hills depictions of Yosemites grandeur. Hill continued to use this studio until his death in 1908.</p><br>
<h4>Automobile Era</h4><br>
<p>Clarence Washburn, who took over the Yosemite Stage and Turnpike Company after his father John’s death in 1917, played a pivotal role in reshaping tourism in Yosemite. In 1913, when automobiles were legalized in the park, Washburn capitalized on the influx of visitors by modernizing the Wawona Hotel. He added upscale amenities, including tennis courts, croquet lawns, fountains, and a swimming tank by 1917. Washburn also brought a first for California: a mountain golf course at Wawona Meadow, designed by pro golfer Walter Fovargue, solidifying the hotel’s reputation as a premier destination.</p><br>
<p>The Wawona Hotel began operating year-round in 1918 to accommodate winter sports, supported by substantial infrastructure improvements including an upgraded water system in 1922 and a new electrical system in 1923. These enhancements allowed the hotel to offer continuous, year-round service to its guests.</p><br>
<p>By the 1915 season, the Washburn&#39;s Yosemite Stage and Turnpike Company had replaced horse-drawn carriages with automobiles, and by 1924, a garage and filling station had been added to cater to the growing number of motorists. In 1925, Wawona Meadow saw the addition of an airfield, which facilitated daily flights from Merced, delivering mail and newspapers, and offering sightseeing flights over Yosemite Valley, a service now prohibited by law.</p><br>
<h3>Federal Purchase</h3><br>
<p>In August 1932, the federal government purchased 2,665 acres from the Washburn family, acquiring the historic Wawona Hotel complex and surrounding land for $150,000. The Yosemite National Park Company, the park concessionaire, contributed half of the purchase price and, in return, secured the right to operate the hotel for the next 20 years. Clarence Washburn remained as manager through the 1934 season.</p><br>
<p>The sale ended decades of Washburn family ownership. Though the Yosemite National Park Company had previously shown interest in buying the property, the Washburns had resisted selling. However, the Great Depression strained the family’s finances, making it increasingly difficult to maintain the land.</p><br>
<p>The Park Service had long viewed the Wawona Basin as a natural addition to Yosemite, with its lands bordering the park. The 1932 acquisition finally brought the Wawona Hotel and its surrounding area under public ownership, preserving this scenic and historic site within the park’s boundaries.</p><br>
<h3>Since the 1930s</h3><br>
<p>The hotel is featured prominently in the 1964 World War II thriller 36 Hours, starring James Garner and Eva Marie Saint, in which the hotel serves as a USA military hospital in Waldshut, Germany.</p><br>
<p>On March 1, 2016, the Wawona Hotel was renamed Big Trees Lodge due to a legal dispute between the USA government, which owns the property, in conjunction with the new concessionaire, Aramark, and the outgoing concessionaire, Delaware North, which claimed rights to the trademarked name. The hotel regained its historic name on July 15, 2019, when a settlement was reached in the dispute.</p><br>
<h2>Features</h2><br>
<p>The Wawona Hotel, the largest existing Victorian-era hotel complex within a USA national park, is a landmark of 19th-century resort architecture. Recognized for its remarkable integrity, it is listed on the National Register of Historic Places, reflecting national significance in art and regional importance in commerce, conservation, and transportation.</p><br>
<p>The main building was constructed in 1879, with the dining room and Annex added in 1917.</p><br>
<h3>Architecture</h3><br>
<p>Built over four decades, the Wawona Hotel exemplifies the architectural unity uncommon in Victorian-era resorts. Wraparound porches and verandas integrate the design with its natural setting, while elements of Greek Revival, Stick-Style, and Eastlake architecture add sophistication. Signature details include the Washburn Cottage’s classical accents and the Moore Cottage’s Palladian-inspired cupola. Despite the loss of the Sequoia Hotel to a 1977 fire, the Wawona has preserved its pre-World War I exterior, maintaining its status as a serene retreat and a rare showcase of 19th-century resort architecture.</p><br>
<h3>Grounds</h3><br>
<p>Situated on a forested hillside north of Wawona Road, the hotel’s seven main buildings are arranged in a structured, orderly layout that aligns with the four cardinal directions, creating distinct outdoor spaces. The western forecourt includes the main entrance, a swimming tank, parking, the Wawona Fountain, and a tennis court, while the eastern courtyard is enclosed by structures like the Long White and Long Brown buildings. The Wawona Hotel was originally oriented to greet travelers arriving on the Chowchilla Mountain Stage Road, which was the main route to the hotel grounds.</p><br>
<h3>Amenities</h3><br>
<p>Most of the Wawona Hotels 104 guestrooms open onto one of the hotels deep verandas, which wrap around the first and second floors; they have open views of the gardened and natural landscapes. The rooms are furnished with antiques, period pieces, and vintage elements, and have no telephones or televisions in them. Outdoor recreation choices include quiet nature walks or scenic drives, and when snow arrives, nearby cross-country and downhill skiing and snowshoe routes.</p><br>
<h4>Golf Course</h4><br>
<p>The nine-hole, par-35 golf course spans 3,035 yd and is the only golf facility in Yosemite National Park, as well as one of the few located within any USA national park. Operating since 1918, it is the oldest golf course in the Sierra Nevada and remains open daily from spring through fall, weather permitting.</p><br>
<h2>Notable Guests</h2><br>
<p>The hotel has welcomed numerous notable guests, including Presidents Teddy Roosevelt, Ulysses S. Grant and Rutherford B. Hayes, as well as film and television stars like Robert Redford and Brad Pitt.</p><br>
<p>The J. J. Walser Jr. residence in the Chicago, United States, neighborhood of Austin was designed by Frank Lloyd Wright for real estate developer Joseph Jacob Walser Jr. The cruciform two-story house is typical of Wright&#39;s Prairie School period.</p><br>
<h2>History</h2><br>
<p>Joseph J. and Grace Walser purchased the lot at 417 South Central Avenue (re-designated 42 North Central Avenue in 1909) in Austin, Chicago on February 20, 1903. Walser worked for his father, Jacob Walser, a real estate developer who focused on the Austin market. At the time, Central Avenue was undeveloped, despite its location near a Lake Street Elevated Railroad station. The Walser family grew up in a house one block to the north and Jacob still lived there.</p><br>
<p>It is not known how the Walsers came in contact with architect Frank Lloyd Wright. As developers, the Walsers were more knowledgeable about local architectural trends and probably were aware of Wrights rising status. A permit for Walsers house was approved on May 22, 1903. The house cost $4,000 and was completed by the end of the year. It is not certain who was tasked with building the structure, as C. Iverson is listed on the permit but later sources attribute it to Elmer E. Andrews. After completion, the house appeared in "Plaster Houses and their Construction", an article in House Beautiful in September 1905. The house was also part of Wright&#39;s Wasmuth Portfolio. The Walsers lived in the house for seven years. In 1910, when the Walsers moved six blocks east, the house was sold to George Donnersberger. Since then, the house has had a dozen owners, although it has remained in the hands of the Teague family since 1970. The house was recognized by the City of Chicago as a Chicago Landmark on March 30, 1984, and recognized by the National Park Service with a listing on the National Register of Historic Places on April 23, 2013.</p><br>
<h2>Architecture</h2><br>
<p>The east (main) facade of the Walser House faces Central Avenue. Today, it is one of the few single-family homes in the neighborhood, as most of Central Avenue is now walk-ups and apartment buildings. The exterior of the house is mostly white stucco. A two-story living room and bedroom block dominated the main facade. Typical of the Prairie School, it has a low-pitched hipped roof with deep overhanging eaves. Along the second story, immediately under the roof-line, is a horizontal band of five square casement windows with dark wood frames. The first floor has a centered, large window assembly with a picture window flanked with narrow casement windows. Flanking the main section are one-story porches, recessed from the front of the house. These porches were enclosed some time after 1903. The main entrance is to the west of the southern porch; like many of Wrights designs, it is hidden from street view. An addition, one room deep, was constructed on the west some time after 1903. The garage in the rear of the property was built at or near the time of the house construction. The design of the house served as the basis for Wrights Barton House in Buffalo, New York.</p><br>
<p>The James Charnley Residence, also known as the Charnley-Persky House, is a historic house museum at 1365 North Astor Street in the near northside Gold Coast neighborhood of Chicago, Illinois. Designed in 1891 and completed in 1892, it is one of the few surviving residential works of Adler & Sullivan.</p><br>
<p>The house is owned and operated as a museum and headquarters of the Society of Architectural Historians (SAH). It was designated a National Historic Landmark in 1998, and is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>The Charnley Residence is located in Chicago&#39;s Gold Coast neighborhood at the southeast corner of North Astor Street and East Schiller Street. It is three stories in height, with a raised basement of stone and stories of largely austere Roman brick masonry. The façade is divided vertically into three parts, the center portion housing the main entrance in a stone surround flanked by paired sash windows. Above it is a projecting ornate wooden balcony that obscures the fact that the wall behind it is recessed. The flanking sections each have single sash windows set on large expanses of brick, in deep rectangular openings with splayed soldier brick lintels. The third level is separated from the lower levels by a stone stringcourse, and has two deeply recessed square windows in each section.</p><br>
<p>The interior of the house is a marked contrast to its relatively plain exterior. It has high-quality woodwork throughout, with built-in bookcases featuring doors with glass of varying shapes and sizes. The main library features a fireplace of African rose marble, and the dining room has extensive use of mahogany, a favorite wood of Louis Sullivan&#39;s.</p><br>
<h2>History</h2><br>
<p>The house was completed in 1892 for Charnley, a Chicago lumberman who lived in the house with his family for about a decade. It is a distinctive and original design by Sullivan, in which a modern aesthetic was brought to an essentially Classical symmetrical form. Charnley and Sullivan were friends prior to the commission, and Sullivan had previously designed neighboring vacation homes for Charnley and himself in Ocean Springs, Mississippi.</p><br>
<p>Following several years as a rental property, the house was purchased in 1918 by real estate investor James B. Waller, Jr., for his personal residence. Waller extended the house to the south with a porch addition that was later removed during restoration. Following Waller&#39;s death in 1949, the house was owned by his son James B. Waller III. The house was later purchased by architectural firm Skidmore, Owings and Merrill in 1986 and restored for use by the SOM Foundation. Chicago philanthropist Seymour Persky purchased the house in 1995 and donated it to the SAH which renamed it in his honor as the Charnley–Persky House to commemorate his role in preserving the architectural landmark.</p><br>
<p>Four Mile Tree is the name of a plantation near Jamestown, Virginia that once encompassed two thousand acres , it was situated on the south bank of the James River opposite Jamestown, four miles  further north. On a hill near the waters edge a handsome old house overlooks the river. This plantation, was the seat of the Browne family for two hundred years. The first owner, Colonel Henry Browne, was a member of Sir William Berkeleys Council in 1643. The plantation house constructed circa 1745 remains well-preserved in its original historical state.</p><br>
<h2>Description</h2><br>
<p>The Four Mile Tree Plantation House is a brick structure, one-and-one-half-stories with hip-on-gambrel roof, pedimented dormers and four interior end chimneys. The brick is laid in Flemish bond above the beveled watertable raith English bond below. The entire brick surface was stuccoed and scored in imitation ashlar in the nineteenth century but the stucco has deteriorated on portions of the facade and fallen off. All openings on the five-bay facade, except for the central entranceway, were altered in the late nineteenth century or early twentieth century and have two-over-two sash; the entranceway, sheltered by a nineteenth-century Roman Ionic porch, consists of a transom over three-paneled double doors, the top panel of each being scrolled. A modillioned cornice is used on the eaves.</p><br>
<p>Four Mile Tree&#39;s oldest interior woodwork is in the central stairhall where the turned balustrading on the stair, the heavy hand rail and the high dado place the date in the first half of the eighteenth century. The southwest room, which probably dates from the early nineteenth century, has two framed niches flanking a simple mantel and overmantel topped by an architrave, frieze and cornice; only the cornice and a paneled dado ornament the other walls of the room. The remaining rooms have mantels which seem to date from the first half of the nineteenth century but only in the southeastern room is there a paneled room.</p><br>
<p>Four Mile Tree is a successor to two of the earliest plantations in Virginia ("Burrows Hill" and "Paces Paines"). It is "ancient" in its own right having been founded in the first half of the seventeenth century; its grave-site contains the oldest legible tombstone in Virginia (1650). Four Mile Tree was the seat of the Brownes, a leading Surry family, from the Reign of Charles I until the death of their last male heir in 1799.</p><br>
<p>The plantation, named for its distance from Jamestown, was one of Surry Countys more prosperous; its owners served as viewers of tobacco and had slaves from an early period. The Brownes were regularly Justices of the County Court throughout the colonial period. Several members of the family served on the Governors Council or in the House of Burgesses during the seventeenth century. During the War for Independence, William Browne was a member of the Surry Committee of Safety and Lieutenant Colonel of Militia. His son, the last of his name to be Master of Four Mile Tree, was a lieutenant in the revolutionary militia. The British sacked the plantation during the War of 1812 according to the then Colonel of county militia. In 1815 the plantation passed to William Browne, Jr.&#39;s granddaughter, Sally Elizabeth Bowdoin, and her husband, General Philip St. George Cocke. The Cockes lived at Four Mile tree until 1840 when they moved to another plantation, Belmeade, in Powhatan County, Virginia.</p><br>
<p>After the Cockes&#39; departure no significant changes were made to the house until the late 20th century when a modern addition was added to the south side of the house. Four Mile Tree was added to the National Register of Historic Places in 1970. The plantation is a private residence.</p><br>
<p>Jubilee College State Park is an Illinois state park located west of Peoria, Illinois. It contains Jubilee College State Historic Site, a frontier Illinois college active from 1840 to 1862.</p><br>
<p>The entire Jubilee College site is still owned by the state of Illinois. The 90 acre grounds are operated by the Illinois Historic Preservation Agency (IHPA), and the surrounding 3,100 acre of open space are operated by the Illinois Department of Natural Resources (DNR).</p><br>
<h2>Jubilee College Historic Site</h2><br>
<h3>Jubilee College</h3><br>
<h4>Founding</h4><br>
<p>Jubilee College, and the frontier community that supported it, was founded in 1839 by Episcopal bishop Philander Chase. He named it after his expression of thankfulness and joy: "If you ask me for the reason why I call my Illinois institution Jubilee College, I answer: That name of all others suits my feelings and circumstances. I wish to give thanks and rejoice...". Earlier in his career, Chase had founded Kenyon College in Ohio.</p><br>
<p>This was one of the earliest educational institutions in Illinois, and the earliest educational enterprise by the Episcopal Church west of Ohio.</p><br>
<p>Chase strove to isolate the college from the nuisances and temptations of towns or villages. He also attempted to keep the administration under his own control, and there were no trustees appointed during his lifetime. Chase acquired 3,910 acres and held all structures in his name.</p><br>
<p>The cornerstone of Jubilee chapel and schoolhouse was laid on April 3, 1839. It is made of native sandstone.</p><br>
<p>The collegiate and theological departments were operational by 1841.</p><br>
<p>In 1836, Chase lived about a mile to the east in a home called Robins Nest, a log cabin "made of mud and sticks and filled with young ones". The site originally had other buildings, including a sawmill, a grist mill, a small hand printing press for the periodical "The Motto", a store, a blacksmith shop, a shoemakers shop, and cottages for teachers and laborers who lived on the property. The sawmill and flour mill were constructed on Kickapoo Creek, two miles south of the college, and used both steam and water power. However, fire destroyed the sawmill and grist mill in September 1849. In 1857, fire also destroyed the west wing of the main building.</p><br>
<h4>Closure</h4><br>
<p>After the Bishop&#39;s death in 1852, the college closed in 1862. In 1876, the church sold parts of the property and leased out the main property for use as schools.</p><br>
<p>In 1926, the Circuit Court of Peoria annulled the charter due to non-performance and ordered the property to be liquidated within two years. The remaining land was publicly auctioned on July 8, 1931. Dr. George Zeller bought the property. In October 1932, the property transferred to private ownership and eventually to the state of Illinois.</p><br>
<h3>Historic site</h3><br>
<p>In the 1930s, the Civilian Conservation Corps repaired the building, but it remained dormant until major restorations in the 1970s.</p><br>
<p>In 1933 the college and grounds, then consisting of 93 acre, were presented to the state of Illinois. The site has since been expanded to 3,200 acre and includes the original Chase residence and church.</p><br>
<p>The State of Illinois occasionally offers guided tours of the centerpiece of Jubilee College, the 1840s building that housed the schools Episcopal chapel, classrooms, and dormitory facilities. Restored in the 1970s, one wing contains the recreated schoolmasters office and library, which also features a video theater and museum exhibits about the college.</p><br>
<p>The Jubilee College site was added to the National Register of Historic Places in 1972. Public tours started in 1986.</p><br>
<p>Though the state park remained open, the historic site was closed on October 1, 2008. Jubilee College State Historic Site, as well as 17 other historic sites and state parks, were closed by Governor Rod Blagojevich to help close Illinois multimillion-dollar budget deficit. The park was reopened by Blagojevichs successor, Pat Quinn, but closed again on October 9, 2009 due to staffing and budget shortages. In September 2022, the historic site reopened to the public.</p><br>
<h2>Flora and fauna</h2><br>
<p>Jubilee College State Park is situated in the Illinoisan drift-plain. It has many near-level ridgetops, floodplains, and steep slope ravines, as well as a large restored prairie. Bedrock exposures include shale, sandstone, limestone, and coal.</p><br>
<p>Jubilee Creek is a tributary to Kickapoo Creek and runs through the park from northwest to southeast. The average width is 40 feet and average depth is four inches.</p><br>
<p>Many animals native to Illinois can be sighted in the park, including: deer, rabbits, squirrels, foxes, coyote, raccoons, wild turkeys, mink, muskrat, and beavers. Over 160 species of birds can be spotted.</p><br>
<h2>Recreation</h2><br>
<p>The natural area of Jubilee College State Park contains over 40 miles of multi-use trails maintained by volunteer user groups. The trails were originated by equestrians but are shared with hikers and mountain bikers. The state park also contains various camping areas, for which reservations are suggested.</p><br>
<p>St. Paul&#39;s Episcopal Church is a Richardsonian Romanesque-styled church built in 1882 in Milwaukee, Wisconsin in the Episcopal Diocese of Milwaukee. Noted for its Tiffany windows, it is listed on the National Register of Historic Places and is a designated Milwaukee Landmark.</p><br>
<h2>Description</h2><br>
<p>Founded in 1838, St. Paul&#39;s parish is the oldest Episcopal parish in Milwaukee and the third established in Wisconsin. It is located in the wealthy downtown east neighborhood of Juneautown. Members included many prominent citizens of the time, which helped the church to become the most influential Episcopal congregation in the state.</p><br>
<p>The building was designed by local architect Edward Townsend Mix in Romanesque Revival/Richardsonian Romanesque style and built in 1884 using Lake Superior Sandstone, a dark red sandstone found near the Apostle Islands in Lake Superior. It features wrought iron by Master Blacksmith Cyril Colnik.</p><br>
<p>St. Pauls Church also has the largest collection of Tiffany stained glass windows in the state. This includes the largest window ever made by Tiffany Studios of New York City. Spanning 30 feet long, 24 feet high and up to two inches thick, it is a copy of Gustave Dorés masterpiece "Christ Leaving the Praetorium."</p><br>
<p>It is believed that the building closely resembles one which was designed by architect Henry Hobson Richardson, whose plans were published in the Architectural Sketch Book in 1873, but never built.</p><br>
<p>A committee appointed by the church established Forest Home Cemetery on Milwaukees south side, the final resting place of many of the citys famed beer barons and social elite. When the land was selected it was located nearly two miles outside of the city limits. At the time this was believed to be far enough from urban development to remain rural.</p><br>
<p>It was documented by the Historic American Buildings Survey in 1969 and was designated a Milwaukee Landmark in 1972.</p><br>
<p>Rosenberg Library, a public library located at 2310 Sealy Street in Galveston, Texas, United States, is the oldest continuously operating library in Texas. It serves as headquarters of the Galveston County Library System, and its librarian is also the Galveston County Librarian.</p><br>
<h2>History</h2><br>
<p>Henry Rosenberg set aside a portion of his estate to establish a library in his name. The 1900 Galveston Hurricane postponed this project. The following year, the trustees of the estate announced a design competition for the library, and Eames & Young of St. Louis submitted the winning proposal.</p><br>
<p>The library was established in 1900, and the building constructed a few years later.</p><br>
<p>The Rosenberg Library added the Moody Memorial Wing in 1971, doubling the size of the building and re-orienting the entrance to the Sealy Avenue side. The new wing houses the Galveston and Texas History Center. The Rosenberg Fountains were added north of the library in 1995.</p><br>
<h3>Segregation</h3><br>
<p>Like many institutions in the American South, during segregation the library maintained a separate branch for African Americans. This new library, built in 1905, was added to the western wing of Central High School, the city&#39;s high school for African Americans.</p><br>
<h2>Galveston and Texas History Center</h2><br>
<p>The Galveston and Texas History Center collects materials relating to Galveston and early Texas. Major manuscript collections include the papers of Samuel May Williams, Gail Borden, John Grant Tod Jr., and James Morgan; the records of several 19th and early 20th century businesses, including those of I.H. Kempner, Harris Kempner, Henry M. Trueheart, and J. C. League; the records of several organizations and churches in the area; and 20th-century collections reflecting recent events and activities in Galveston and the upper Gulf Coast. The map collection includes maps and charts of Texas, the Gulf of Mexico, the Caribbean Sea, and adjacent coasts dating from the 16th century to the present. Holdings of the museum department include historical artifacts pertaining to Galveston or early Texas, paintings of Galveston subjects or by local artists including Julius Stockfleth and Boyer Gonzalez, and a sizable collection of Russian and Greek icons. The rare book collection contains incunabula, first editions, and examples of fine printing.</p><br>
<p>The Auburn University Chapel is the second-oldest building and oldest building in its original location on the campus of Auburn University in Auburn, Alabama.</p><br>
<h2>History</h2><br>
<p>The chapel was built in 1851 as a Presbyterian church, using slave labor, in the Greek Revival style. During the Civil War, the building briefly served as a Confederate hospital for wounded soldiers, and later in the century was temporarily divided into classrooms when the main building of the nearby Alabama Agricultural and Mechanical College burned in 1887.</p><br>
<p>Around 1900, the church was renovated in a Gothic style. The building was sold to the college in 1921, where it became the YMCA/YWCA center for a few years. From 1927 to 1973, it housed the Auburn Players Theater, the college&#39;s acting troupe. Between 1973 and 1976, the structure underwent a significant renovation for conversion to the Auburn University Chapel, an interdenominational, multipurpose building, a function it still serves today. The building was added to the National Register of Historic Places as Auburn Players Theater on May 22, 1973.The Auburn University Chapel is believed to be the oldest public establishment in Auburn. It often held weddings and dinners on the lawn. Between 1850 and 1976, the Auburn University Chapel has transitioned from church, to hospital, to classroom, to theatre, and then finally back to a church.</p><br>
<p>The Auburn University Chapel is believed to be haunted. While treating war soldiers, death was inevitable. One death that particularly stands out is the death of Sydney Grimlett. Grimlett was fighting in the Civil War when he suffered an injury and had a procedure to amputate his leg; he did not survive this procedure. The Troupe Theatre group took over in the 1920s, soon audience members began noticing orbs near actors, during state productions. Performers in the group soon noticed objects and props missing from the set. However, Grimlett gained a reputation as a kind ghost and obeys when given candy as an incentive. When the Troupe Theatre group moved they invited Sydney Grimlett to come with and has resided wherever the Troupe may travel.</p><br>
<p>The Ebenezer Missionary Baptist Church is a church on the National Register of Historic Places in Auburn, Alabama. Ebenezer Baptist Church was the first African American church built in the Auburn area after the end of the Civil War in 1865. Over the next few years, the church members built the church out of hand-hewn logs, transported from miles away by mules. The church was completed around 1870 and served the Ebenezer congregation until 1969. The building was restored in 1970 by the Auburn Heritage Association, and currently houses the Auburn Unitarian Universalist Fellowship.</p><br>
<p>The Ebenezer Missionary Baptist Church was placed on the National Register of Historic Places on May 21, 1975.</p><br>
<p>The Cullars Rotation is a soil fertility experiment on the Auburn University campus in Auburn, Alabama and is listed on the National Register of Historic Places. The Cullars Rotation experiment, which started in 1911, is the oldest ongoing cotton fertility experiment in the United States, the oldest soil fertility experiment in the Southern United States, and the second oldest continuous cotton experiment in the world.</p><br>
<h2>History</h2><br>
<p>In the late 19th century, the land on which the Cullars Rotation sits was used in a number of agricultural experiments, including one that established the disease cotton rust was caused by a deficiency of potassium. In 1911, the Alabama Legislature set aside money for an experiment to study the long-term effects of fertilization on a three-year rotation of cotton, corn, and wheat and soybeans. The Cullars site was chosen for this study and the experiment has continued unabated since. In 1938, the site was purchased by the Alabama Polytechnic Institute, which administered the study. In 2001, the portion of the Cullars site not occupied by the Cullars Rotation was landscaped as the grounds of the Jule Collins Smith Museum of Fine Art; however, a 40-foot buffer is maintained between the museum grounds and the rotation to ensure experimental integrity.</p><br>
<h2>Experiment</h2><br>
<p>The Cullars Rotation consists of three sets of 14 soil treatments, with one set of treatments for each of the three crops (cotton, corn, and wheat and soybeans) in the rotation. Each treatment fills a roughly 2000 square foot (184 m²) plot, with a two-foot (60 cm) buffer between plots. The 14 soil treatments are:</p><br>
<p>Legumes planted, but no nitrogen fertilizer</p><br>
<p>No legumes or nitrogen fertilizer</p><br>
<p>Nothing added to soil</p><br>
<p>Nitrogen fertilizer added, but no winter legumes</p><br>
<p>No phosphorus added</p><br>
<p>No micronutrients added</p><br>
<p>Excess potassium added</p><br>
<p>Rock phosphate added</p><br>
<p>No potassium added</p><br>
<p>Two-thirds of regular amount of potassium added</p><br>
<p>No lime added</p><br>
<p>No sulfur added</p><br>
<p>Complete fertilization with micronutrients</p><br>
<p>One-third of regular amount of potassium added</p><br>
<p>Continuous farming of the plots which have not been given treatments have made certain sections of the Cullars Rotation some of the most nutrient poor soil in the United States.</p><br>
<h2>Miscellaneous</h2><br>
<p>The Cullars Rotation is located east of the grounds of the Jule Collins Smith Museum of Fine Art at the corner of College Street and Woodfield Drive in Auburn. As an ongoing experiment, the Rotation is not open to the public, but can be viewed from the museum grounds. The Rotation was placed on the National Register of Historic Places on May 18, 2003.</p><br>
<p>The Old Rotation is a soil fertility experiment on the Auburn University campus in Auburn, Alabama. The Old Rotation experiment, which started in 1896, is the third-oldest ongoing field crop experiment in the United States and the oldest continuous cotton experiment in the world. It was the first experiment to show that a cotton/legume crop rotation would allow soil to support a cotton crop indefinitely. The Old Rotation is listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>For much of the latter part of the 19th century, cotton yields in the Southern United States suffered declines caused by planting the same crop on the same land year after year, a process which caused significant soil nutrient loss. In 1896, Professor J. F. Duggar of the Alabama Agricultural and Mechanical College set up the Old Rotation experiment on a one-acre (1,600 m²) plot of land one mile (1.6 km) south of the campus to test whether soil nutrient levels could be maintained by growing a crop of legumes on the same land as cotton, but in the winter months when cotton doesn&#39;t grow. This rotation of cotton and soybeans has continued uninterrupted since. In addition to the cotton/legume rotation, additional rotations have been added in adjacent plots consisting of a cotton/corn, cotton/corn/legume and cotton/corn/legume/soybean rotation. It became evident within a few years that adding the winter legume crop as a rotation was sufficient to restore adequate nutrients to the soil to maintain a yearly cotton crop indefinitely.</p><br>
<h2>Experiment</h2><br>
<p>The Old Rotation consists of 13 plots of six planting systems:</p><br>
<p>A control test where cotton is planted without rotation or fertilizer</p><br>
<p>Cotton rotated with winter legumes but not fertilized</p><br>
<p>Cotton just fertilized</p><br>
<p>Cotton rotated with corn and winter legumes</p><br>
<p>Cotton rotated with corn, winter legumes, and fertilizer</p><br>
<p>Cotton rotated with corn, winter legumes, and soybeans</p><br>
<p>After 110 years of continuous plantings, cotton yields remain high for the rotated plots, producing nearly three times the yield of the unrotated plots.</p><br>
<h2>Miscellaneous</h2><br>
<p>The Old Rotation is located adjacent to the Donald E. Davis Arboretum on Lem Morrison Drive in Auburn. The Rotation was placed on the National Register of Historic Places on February 14, 1988.</p><br>
<h2>Photo gallery</h2><br>
<p>Noble Hall, also known as the Frazer-Brown-Pearson Home, is a historic Greek Revival style plantation house in Auburn, Alabama. It was listed on the National Register of Historic Places on March 24, 1972.</p><br>
<h2>History</h2><br>
<p>Noble Hall was built in 1854 as the main residence of a 2,000 acre (8 km) cotton plantation. The house was constructed utilizing rock masonry, with eight rooms featuring 12 foot (3.7 m) ceilings and 18 inch (46 cm) thick exterior walls. The front and rear both feature full-width cantilevered balconies and four monumental Doric columns, for a total of eight. Built behind the home were the exterior kitchen, carriage and smokehouse, and overseer&#39;s house. As with most of the larger plantation houses in the antebellum South, Noble Hall was built with slave labor, though the owner brought in a contractor from Kentucky to manage the construction.</p><br>
<p>During the American Civil War, the home housed a number of sick and injured Confederate soldiers. Toward the end of the war, Union troops came to ransack the mansion, but were persuaded to take only the horses and mules when one of the residents showed a Masonic sign.</p><br>
<p>The home remained in the hands of the original owners, the Frazer family, until cotton prices collapsed in 1922. In 1932, Noble Hall was purchased by J.V. Brown, who restored the home and grounds to their original condition. In 1941, Brown sold the house and surrounding lands to Alabama Polytechnic Institute president Luther Noble Duncan. His daughter inherited the home in 1951, and named it Noble Hall, after her father. Noble Hall was placed on the National Register of Historic Places in 1972, making it the first structure in Lee County to be listed.</p><br>
<p>Pebble Hill, also known as the Scott-Yarbrough House, is an antebellum cottage in Auburn, Alabama listed on the National Register of Historic Places. The property has undergone multiple ownerships over the decades. Pebble Hill currently serves as the location of the Caroline Marshall Draughon Center for the Arts & Humanities in the College of Liberal Arts at Auburn University.</p><br>
<h2>History</h2><br>
<h3>Treaty of Cusseta (1832)</h3><br>
<p>Pebble Hills location used to reside in the Creek Tribes territory. The Creeks signed the Treaty of Cusseta, or the Treaty of Washington, on March 24, 1832. This treaty entailed the Creeks giving up a portion of their land in Alabama in exchange for allotments–320 acres for families and 640 acres for chiefs. Despite the treatys promises of maintaining the Creeks land ownership, multiple loopholes allowed fraud and violence against the Creeks. The Creek Nation struggled to possess their land, and in 1836, the United States suspended the Treaty of Cusseta due to ongoing violence. The land where Pebble Hill stands used to belong to Nelocco Harjo, a Creek native. Later, Creek Tribe translator Paddy Carr would receive the allotment.</p><br>
<h3>The Scotts and the Civil War (1846-1865)</h3><br>
<p>In the 1830s, Colonel Nathaniel J. Scott and Mary K. Scott migrated to east Alabama with a group of settlers. The Scotts are credited with helping Auburn, Alabama develop at the beginning of its growth period. Nathaniel Scott was even Auburn&#39;s town commissioner in 1839. Around 1846, about 100 acres–the land where Pebble Hill stands–sold for $800. Scott built Pebble Hill in 1847 at the center of a 100 acre plantation. The structure was built in the Greek Revival style with hand-hewn heart of pine floors and joists and rafters held together by wooden pegs.</p><br>
<p>Most of Pebble Hill&#39;s upkeep and maintenance resulted from enslaved African Americans. The Scotts had an estimated 40-60 slaves before the end of the Civil War. After the Civil War, the emancipated African Americans resided south of Pebble Hill.</p><br>
<p>During the Civil War, Wilson&#39;s Raiders looted the home. The raiders were unsuccessful in finding many valuables due to the items buried near a spring on the property. At the end of the Civil War, Mary K. Scott sold Pebble Hill.</p><br>
<h3>Mary Virginia Riley (1876-1907)</h3><br>
<p>Absentee owners managed Pebble Hill until Mary Virginia Riley purchased the land in 1876. She was a widow when she acquired Pebble Hill, and there were very few records of how she used the land. Riley lived at Pebble Hill until her death in 1907.</p><br>
<h3>The Yarbrough Family (1912-1974)</h3><br>
<p>In 1912, the home was purchased by Cecil S. Yarbrough, a state representative and three-time mayor of Auburn. Bertha Mae Yarbrough, his wife, was born and raised in Auburn, AL. Bertha Mae was also a recent graduate of the Alabama Polytechnic Institute (Auburn University). The couple had a total of five children. Pebble Hill would remain within the Yarbrough family until Clarke S. Yarbrough, one of the children, sold the property in 1974.</p><br>
<p>Throughout the 70 years of ownership, the Yarbrough family rented parts of the house to students. The size of the property would decrease over time. Pebble Hill comprised 95 acres at the beginning of the familys ownership. As Auburn grew in population, parts of Pebble Hills land would be sold for commercial development. When the land was sold in 1974, apartments and housing surrounded Pebble Hill.</p><br>
<h3>Renovations</h3><br>
<p>The Auburn Heritage Association purchased Pebble Hill from the Yarbrough family for restoration in 1974. The property was placed on the National Register of Historic Places on May 16, 1975. After the restoration period, Pebble Hill was donated to Auburn University in 1985.</p><br>
<p>In the mid-2010s, Pebble Hill would undergo more renovations because of a philanthropic donation. As a result of recent renovations, Pebble Hill now has an additional house on the property that neighbors the main settlement; the building is used for assembly events. The main house&#39;s interior contains multiple 19th and 20th-century artifacts, ranging from portraits and art to old Alabama maps.</p><br>
<h2>Present-Day</h2><br>
<p>Auburn University&#39;s College of Liberal Arts recognizes the structure of Pebble Hill as the Caroline Marshall Draughon Center for the Arts & Humanities. The location hosts tours and programs covering art, history, and literature.</p><br>
<p>Evergreen Cemetery, located at William and University Streets in Fayetteville, Arkansas, is one of the largest early historic cemeteries in the region, with burials dating to 1838. Evergreen is included in the National Register of Historic Places for its age, and because numerous important historical figures are buried there. These include Senator J. William Fulbright, Governor Archibald Yell, educator Sophia Sawyer, industrialist Lafayette Gregg, and many others.</p><br>
<p>The cemetery was founded as a private cemetery by John Thomas in the late 1830s or early 1840s. Later it was owned by the local Masonic Lodge and Independent Order of Odd Fellows chapter. These organizations deeded the cemetery to the city in 1871. It is currently owned and operated by the Fayetteville Evergreen Cemetery Association.</p><br>
<h2>Internments</h2><br>
<p>Walter J. Lemke, journalist and artist who led University of Arkansas&#39; journalism program and for whom it is named</p><br>
<p>Sophia Sawyer, missionary and educator who found Fayetteville Female Seminary. She was re-interred at the cemetery</p><br>
<p>The Plaza Hotel, formerly the Hilton Hotel, is a landmark skyscraper located at 106 Mills Avenue in El Paso, Texas, USA.</p><br>
<h2>History</h2><br>
<p>The hotel was constructed on the site of the Sheldon Hotel, which burned down on April 9, 1929. The Sheldon served as the unofficial headquarters for many of the participants in the Mexican Revolution (1910-1920s) from both sides of the border.</p><br>
<p>In the fall of 1929, Conrad Hilton began construction. Nineteen days later the stock market crashed and the Great Depression began, yet construction continued. On November 30, 1930, the Hilton Hotel opened. At 239 feet (73 m) it surpassed the O. T. Bassett Tower to become the tallest building in El Paso; it is still the city&#39;s fifth tallest building. Designed by Trost & Trost, the hotel is an Art Deco styled 19-story reinforced cast-in-place concrete structure with setbacks at the 16th and 17th floors. It is faced with brown brick and concrete and crowned with a Ludowici clay tile pyramidal roof. The exterior remains largely unaltered from its original form.</p><br>
<p>Conrad Hilton lived in the hotel for many years, as did his mother. Elizabeth Taylor, at the time married to Conrad’s son, Nicky Hilton, lived in the penthouse in 1955 while filming the classic movie Giant (1956).</p><br>
<p>Hilton sold the hotel in 1963, and it was renamed the Plaza Hotel. The hotel closed in 1991. In 2008, El Paso businessman Paul Foster purchased the property. In 2019 it was renovated at a cost of $78 million. The architecture firm for this renovation was Cooper Carry. It reopened in June 2020 as The Plaza Hotel Pioneer Park.</p><br>
<h2>Historical markers</h2><br>
<p>Historical markers located on the Plaza Hotel include the First Kindergarten in Texas and The Woman’s Club of El Paso. Historical markers located in the vicinity of the hotel include Chinatown and the Anson Mills Building. Both markers are located across Mills Avenue at El Paso Street.</p><br>
<h2>About the hotel</h2><br>
<p>The Plaza hotel has 130 rooms with an adjacent car parking garage.</p><br>
<p>Plaza Hotel El Paso.jpgNortheast side of building</p><br>
<p>The Historic Caddo Lake Drawbridge, also known as the Mooringsport Bridge, is a vertical-lift bridge that is listed on the USA National Register of Historic Places. It was built in 1914, to replace a ferry, by the Midland Bridge Company of Kansas City, Missouri, under authority of the Caddo Parish Police Jury. The lift span has been inoperable since the 1940s.</p><br>
<p>This vehicular bridge illustrates the "Vertical-Lift" design of John Alexander Low Waddell of the firm of Waddell & Harrington. This design allowed the entire center span to lift in a vertical direction to allow tall oil equipment to pass through, especially Gulf Oil Company&#39;s pile driver. This design was invented in 1893 and was successfully introduced in Chicago with the South Halsted Street Bridge. The Caddo Lake Drawbridge is a direct descendant of this structure.</p><br>
<p>In the summer of 1941, just prior to World War II, the United States Army held maneuvers in and around Mooringsport as a means of preparing the soldiers for war. During the maneuvers, Generals Dwight D. Eisenhower and George S. Patton came to Mooringsport and led the Red and Blue armies in the "capture" of the bridge. They also bombed the bridge with sacks of flour.</p><br>
<p>In the mid-1940s, ownership of the bridge was transferred away from Caddo Parish to the Louisiana Department of Highways (LA Department of Transportation & Development, abbreviated as DOTD). Shortly after the transfer, the Department of Highways realized that there was no longer a need for the bridge to open. Consequently, the concrete counterweights were removed from the bridge&#39;s tower and dropped in the lake.</p><br>
<p>In the late 1970s, due to the narrow width of the bridge, the flow of vehicular traffic was changed to one alternating lane. At this time, the DOTD determined that the useful life of the bridge had been exhausted and it was time to consider its replacement. In 1989, the DOTD received funds from the Federal Highway Administration for a bridge replacement project. The project called for the construction of a new two lane bridge approximately fifty feet to the east of the old bridge. The construction proposal also called for the old bridge to be destroyed when the new one was completed. A citizen&#39;s campaign was launched with involvement of Local, State and Federal officials and political leaders. The objective was to save the Historic Caddo Lake Drawbridge and convert its use into a pedestrian walkway, landmark, and tourist attraction. After two years of negotiations, the DOTD and the Federal Highway Administration agreed to use the funds appropriated for removing the structure to refurbish the bridge instead. This agreement was made with the stipulation that Caddo Parish agrees to assume ownership and liability. On June 26, 1991, the Caddo Parish Commissioners voted to accept the bridge into the Caddo Parish Department of Parks and Recreation.</p><br>
<p>On July 24, 1991, The Historic American Engineering Record (USA Dept. of the Interior/National Park Service) rendered their evaluation of the bridge. The evaluation indicated that the bridge is nationally significant due to its designer, its unique design, and the fact that it is the sole surviving example of this bridge type in the State of Louisiana. With this determination, the bridge was eligible to be presented for listing on the National Register of Historic Places. Due to a unique state law that forbade the application process, this was delayed until ownership changed.</p><br>
<p>After the bridge was cleaned, painted and barricaded to vehicular traffic, ownership of the bridge was transferred back to the Parish of Caddo on October 3, 1995. A rededication ceremony was held in Mooringsport later that month to mark the saving of the towns chief landmark and to honor those who had contributed to the endeavor. On June 4, 1996, a public hearing was held in Baton Rouge by the States Review Committee regarding nomination of the bridge to the National Register of Historic Places. On October 18, 1996, the Historic Caddo Lake Drawbridge was officially entered into the National Register of Historic Places under the provisions of the National Historic Preservation Act of 1966.</p><br>
<p>Five Flags Center is a multi-purpose facility in downtown Dubuque, Iowa. It is named for the five flags that have flown over Dubuque; the Fleur de Lis of France , the Royal Flag of Spain , the Union Jack of Great Britain , the French Republic Flag of Napoleon  & America&#39;s Stars and Stripes .</p><br>
<h2>History</h2><br>
<p>The site&#39;s first theater was the Athenaeum Theater, built in 1840, which became the City Hotel (also a theater) in 1846 and later the Peosta House.</p><br>
<p>A second theatre was originally built in 1864 or 1877, but then was destroyed by fire in 1910. It had been purchased then renovated during 1909-1910 by local prominent businessman Harker Brentnal Spensley Sr. and his partner, C. H. Eighmey.</p><br>
<p>The current Great Five Flags Theater was constructed as the Majestic Theater in 1910. The rebuilt theater was designed by George L. Rapp, who eventually became one of the nations premier theater architects. It was converted to a movie house in 1920 and renamed Spensley Theater&#39; in 1929. Constructed in a Renaissance Revival style with French influences, it was later renamed the RKO Orpheum and used to show movies. Eventually, it fell into disrepair and was slated for demolition during urban renewal in 1969.</p><br>
<p>A committee made up of concerned citizens began a fund drive to save the theater, which was incorporated in the Five Flags Center project in 1972. Restoration was begun in 1975, and the theater was reopened in 1976 as the Five Flags Theater. It is currently the home of the Dubuque Symphony Orchestra, high school musicals, and occasional concerts and ballet productions.</p><br>
<h2>Arena</h2><br>
<p>Five Flags Arena was conceived as part of a project to rehabilitate the Five Flags Theater. Construction began in 1976, and the facility opened in 1979. The first event was a concert by Bob Hope.</p><br>
<p>The arena can seat up to 5,200 for basketball, although in its former primary use, ice hockey, actual seating capacity is only about 2,500.</p><br>
<p>It features one side of permanent seating; the other three sides are bleachers, some for Loras College basketball, and most of Dubuque&#39;s major concerts.</p><br>
<p>High school graduation ceremonies for Hempstead High School and Senior High School have been held at the center.</p><br>
<p>The Five Flags Center was formerly the main convention center in Dubuque, but construction of the Grand River Event Center in 2003, moved many events away from Five Flags.</p><br>
<p>It was also the former home of the Dubuque Fighting Saints (1980-2001) of the United States Hockey League from 1980–2001 and the home of the Dubuque Thunderbirds hockey team of the Central States Hockey League from 2001–2010.</p><br>
<p>Dubuque opened a new Ice Arena, the Mystique Ice Center, which opened in Fall of 2010, and now hosts the expansion Dubuque Fighting Saints.</p><br>
<p>SMG took over operations of the arena in 2004, which were formerly handled by the City of Dubuque.</p><br>
<p>In 2005, the arena was closed during the summer for concession, entrance, and concourse renovation.</p><br>
<p>The Iowa Power, an indoor football team, started negotiations to play at the arena in August 2024.</p><br>
<p>The Somerset County Courthouse is located in Somerville, the county seat Somerset County, in the USA state of New Jersey.</p><br>
<p>Constructed in between 1907 and 1909 in the Neo-classical style Palladian style and is faced with Sylacauga marble. It had once been considered for demolition for not being large enough to accommodate the growing county. A much larger, modern masonry and glass structure behind it (left side of photo), now serves its judicial functions. The courthouse underwent a $6 million renovation between 1989 and 1996.</p><br>
<h2>Historic district</h2><br>
<p>Attached to the courthouse is the First Reformed Dutch Church and Cemetery, built in 1898, which has served as the county&#39;s Jury Assembly Room since it was renovated around 1985.</p><br>
<p>The courthouse, church, and grounds comprise the Somerset Courthouse Green, which added to the National Register of Historic Places on September 7, 1989.</p><br>
<h2>History</h2><br>
<p>When Somerset County was chartered in 1688 most, if not all, judicial affairs were subject to the jurisdiction of the Middlesex County. This all changed in 1714 because the growing community was in need of its own court. The Colonial Assembly passed an act allowing for the building of a court house in Somerset County. County Freeholders chose Six Mile Run (in Franklin Township), as the site to build the new courthouse and jail. In 1737, the jail and courthouse caught fire and burned to the ground. Everything was destroyed. The Freeholders then decided, due to the fire and due to the inaccessibility of the courthouse, to move its location to present-day Millstone. This courthouse served the county until about 1779. This is when invading British forces burned down the courthouse and again most of the records were lost. A committee was appointed by the county in 1782 to build a new courthouse. The Committee met with members of the Dutch Reformed Church (the Consistory of the Church of Raritan) and voted to join and build a courthouse. This association between the court and the church lasted until 1788 when the Dutch Reformed Church relinquished its previous agreements for use of the courthouse, located in Somerville.</p><br>
<p>Hall–Mills murder case was tried in the court in 1926.</p><br>
<p>On 24 September 2010 at 10:23 a.m. a bomb threat was called in evacuating the court house and nearby buildings.</p><br>
<p>Fort Pocahontas was an earthen fort on the north bank of the James River at Wilson&#39;s Wharf, in Charles City County, Virginia which served as a Union supply depot during the American Civil War. The fort was constructed by African-American soldiers of the United States Colored Troops under the command of Brig. Gen. Edward Augustus Wild.</p><br>
<h2>History</h2><br>
<p>On May 24, 1864, in the Battle of Wilson&#39;s Wharf, the partially completed fort was attacked by an estimated 2,500 Confederate cavalry under Maj. Gen. Fitzhugh Lee. The attack was successfully repulsed by approximately 1,100 troops under General Wild, aided by naval gunfire from the USS Dawn. According Ed Besch`s research, a Virginia military historian who is credited with much of the rediscovery of the "lost" site of the fort, Fitzhugh Lee was humiliated by defeat at the hands of black Union soldiers at a time when he was a candidate to replace J.E.B. Stuart (who had been killed May 11) as head of the cavalry corps of the Army of Northern Virginia. After completion, Fort Pocahontas served as a refuge for escaped slaves and was used to hold suspected Confederate sympathizers during the Siege of Petersburg until hostilities ended in April 1865.</p><br>
<p>The remote site had been largely forgotten and untouched by development for 130 years when, following Besch&#39;s research, it was purchased in 1996 by Harrison Ruffin Tyler. Tyler, born in 1928, and who lived nearby at Sherwood Forest Plantation, was the grandson of President John Tyler, and a descendant of John Rolfe, Pocahontas, President William Henry Harrison and Edmund Ruffin. The site has since been placed on the National Register of Historic Places. The William and Mary Center for Archaeological Research of the College of William and Mary in nearby Williamsburg has done extensive work at the site and about the events which took place there. More recently, annual Civil War reenactment events have been held at Fort Pocahontas. In 2005, many scenes of the motion picture The New World were filmed on-location at Fort Pocahontas, as well at other places nearby along the James and Chickahominy Rivers.</p><br>
<p>The Pitot House is a historic landmark in New Orleans, Louisiana, and is listed on the National Register of Historic Places.</p><br>
<p>The Pitot House is an 18th-century Creole colonial country home located at 1440 Moss Street in New Orleans, Louisiana. The Pitot House is currently owned by the Louisiana Landmark Society, which uses the building as its headquarters. The house is situated on Bayou St. John and was moved several blocks from its original site in order to prevent its demolition.</p><br>
<h2>History</h2><br>
<p>The Pitot House was initially constructed in 1799 by Don Bartólome Bosque as a country retreat along Bayou St. John. It is speculated that Bosque&#39;s house was a raised cottage on brick pillars. Bosque was a Spanish colonial official, whose daughter Suzette married Louisiana Governor William C.C. Claiborne.</p><br>
<p>NOTE: The 1790 in architecture article states that the house was finished in 1790 and was built by Don Santiago Lorreins.</p><br>
<p>It is also believed that during the ownership of Madame Rillieux (1805–1810), Edgar Degas&#39; great-grandmother, the ground floor was enclosed with masonry walls of soft brick. Rillieux was also responsible for adding the southern gallery and several outbuildings, which are no longer extant.</p><br>
<p>The house is named for James Pitot, the fourth owner of the house who resided there from 1810 to 1819. Pitot is considered to be the first "American" mayor of New Orleans (1804&ndash;1805); for although he was a native of France, he became a naturalized American citizen before arriving in New Orleans in 1796. Inside are American and Louisiana antiques from the early 19th century, but the antiques are not original to the home. A portrait of Sophie Gabrielle, James Pitot&#39;s daughter, is the only artifact owned by any past resident of the house.</p><br>
<p>Other notable owners of the house include Felix Ducayet and Mother Cabrini, America&#39;s first named saint.</p><br>
<h2>House</h2><br>
<p>The home is within yards of the site of the "bayou bridge" which Governor Claiborne ordered the military "to permit no Negroes to pass or repass the same" during the events known as the 1811 German Coast Uprising. This event, said by some historians to be the largest slave uprising on American soil (a theory not recognized by all) caused white families living upriver in January 1811 to stream into New Orleans along Metairie Road. That road was the "highland" road which crossed the bridge at Bayou St. John, providing access to the traditional "back of town" entrance along Bayou Road into the city.</p><br>
<p>The house was saved from destruction by the Louisiana Landmarks Society in 1964 and restored to its original splendor, showing the double-pitched hipped roof, and the plaster-covered brick-between-post (briquette-entre-poteaux) construction. The wooden posts act as structural support, the brick offers thermal insulation, and the plaster protects this medley from dampness and rot.</p><br>
<p>The style of the Pitot House is ensuite—with no hallways and an outdoor stairway. The house was designed with hot summers and insects in mind. The doors were positioned across from each other to keep cool air moving. The extended galleries on both the bottom and top levels of the house keep the sun off the walls and offer outdoor breezeways.</p><br>
<p>The Pitot House was also designed to withstand floods and was able to survive the floods of Hurricane Katrina due to brick floors on the bottom level of the house which would have originally been caulked with a dry mix of sand and lime, allowing flood waters to drain through. The gallery, back loggia, and sleeping porch were used for outdoor entertaining, dining, and sleeping; they were fitted with shutters to provide relief from the intense Louisiana sun.</p><br>
<h2>Garden</h2><br>
<p>The garden at the Pitot House grows plants traditional to the time period when the Pitot House was built. These plants include indigenous flowers, citrus trees, perennials, bulbs, antique roses, camellias, herbs, and vegetables. The garden is a traditional parterre garden, designed to be viewed from the above gallery, with the boxwood hedges recently restored.</p><br>
<p>A native plants garden showcases Louisiana wildflowers and shrubs along the perimeter of the parterre. Next to the house is a 10,000 ft&sup2; yard, where parties and events are held.</p><br>
<p>Town Hall Arts Center, formerly the Littleton Town Hall, is located in downtown Littleton, Colorado and has been a local professional theatre, producing comedies, musicals and plays to the Denver metropolitan area for over 30 years. The building was designated a National Register of Historic Places on September 4, 1980.</p><br>
<h2>Littleton Town Hall (1920–1977)</h2><br>
<p>Designed by Colorado architect Jacques Benedict and built in 1920 as a new center for civic activities, the Italianate building contained the treasurer&#39;s office, council chambers, fire truck and hose rooms, and a large second-floor auditorium. The design was inspired by the Palazzo della Ragione in Vicenza, northern Italy, yet it has American elements like an eagle in the lunettes over the second story windows and the Colorado state flower, the Columbine on the facade.</p><br>
<p>The floor plan was modified beginning in the 1950s to add offices. The Town Hall was one of the first buildings designated under the historic preservation ordinance in 1972. A new office building was occupied by the City of Littleton in 1977. Through fundraising and other efforts, it opened as a performing arts center and art gallery in 1983.</p><br>
<h2>Town Hall Arts Center (since 1983)</h2><br>
<p>Town Hall Arts Center is now a live theater, cultural center, and art gallery, offering six main stage musicals or comedies and seven to eight concerts during the September through June production season. The theater program for children produces two shows annually with professional actors. Classes are held throughout the year for students aged seven to seventeen in stage craft, acting, and creative dramatics.</p><br>
<p>Andrews Methodist Episcopal Church, the "mother church" of Mothers Day, was incorporated as the International Mothers Day Shrine on May 15, 1962, as a shrine to all mothers.</p><br>
<p>It is best known for being the place that Anna Jarvis conceived of the idea of Mother&#39;s Day.</p><br>
<p>The church building is dedicated to Edward Gayer Andrews, a bishop of the Methodist Episcopal Church, who presided over the dedication service on 16 March 1873. The International Mothers Day Shrine was designated a National Historic Landmark October 5, 1992. Its location is approximately one mile south of the junction of USA Route 50 and USA Route 119. The shrine holds a Mothers Day liturgy annually and is open by appointment, as well as being available for wedding services and tour groups.</p><br>
<h2>Dedication of Andrews Methodist Episcopal Church</h2><br>
<p>Andrews Methodist Episcopal Church is dedicated to Edward Gayer Andrews, a bishop of the Methodist Episcopal Church, who presided over the dedication service on 16 March 1873. In 1903, stained glass windows supplanted the plain glass windows installed when the church was constructed. Christian sacred art by George Blaney that portrays the Agony in the Garden of Gethsemane furnishes the chancel.</p><br>
<h2>The Founding of Mother&#39;s Day</h2><br>
<p>Andrews Methodist Episcopal Church is most noted for holding the first official celebration of Mothers Day in 1908. Anna Jarvis, the founder of Mothers Day, conceived the idea as a way to venerate "a mothers private service to her family." This reflected Annas desire to use Mothers Day as a sentimental way to remember her own mother, Ann Maria Reeves Jarvis, following her mothers death in 1905. Following the original celebrations of Mothers Day in 1908 in Grafton, West Virginia and Philadelphia, Pennsylvania, Jarvis holiday quickly gained support across America. Jarvis campaigned for recognition of Mothers Day as an official holiday. Anna chose the second Sunday in May as the annual date for the holiday because, in 1908, it had marked the anniversary of her mothers death. The white carnation became a symbol of the day, and was selected by Jarvis to honor her mother&#39;s favorite flower.</p><br>
<p>The celebration also extended to many foreign countries within only a few years of its conception. In 1914, President Woodrow Wilson proclaimed that flags be flown "on the second Sunday in May as a public expression of our love and reverence for the mothers of our country." The 1914 proclamation by Wilson represents a victory for Jarvis, since it recognized her holiday and mothers across America. The year 2014 represents the 100th anniversary of Wilsons proclamation and the official national recognition of Mothers Day as a holiday. The International Mother&#39;s Day Shrine in Grafton, West Virginia holds special commemorations and events in recognition of this anniversary.</p><br>
<h2>International Mother&#39;s Day</h2><br>
<p>The adoption of Mothers Day spread quickly internationally. By the third call for a Mothers Day celebration by Anna Jarvis in 1909, "forty-five states, Puerto Rico, Hawaii, Canada, and Mexico" participated with celebrations on the second Sunday in May. The rapid adoption of Mothers day by other nations surprised Jarvis, who stated, "Where it will end must be left for the future to tell. That it will girdle the globe seems now certain." Jarvis foresaw the international appeal of Mothers Day and believed the celebration and honor would be adopted around the globe. In May 1932, Mothers Day was even adopted in Japan, after 19 years of observance by Christians, showing the wide reach of Anna Jarvis and the embracement of Mothers Day internationally. The international spread and adoption of Mother&#39;s Day creates a larger international connection for the Shrine.</p><br>
<p>The Rookery Building is a historic office building located at 209 South LaSalle Street in the Chicago Loop. Completed by architects Daniel Burnham and John Wellborn Root of Burnham and Root in 1888, it is considered one of their masterpiece buildings, and was once the location of their offices. The building is 181 ft in height, twelve stories tall, and is considered the oldest standing high-rise in Chicago. The lobby was remodeled in 1905 by Frank Lloyd Wright. From 1989 to 1992, the lobby was restored to Wright&#39;s design.</p><br>
<p>The building was designated a Chicago Landmark on July 5, 1972, and was added to the National Register of Historic Places on April 17, 1970, and listed as a National Historic Landmark on May 15, 1975.</p><br>
<h2>Name</h2><br>
<p>The name is a reference to the temporary city hall building that occupied the land before the current structure.</p><br>
<h2>Construction</h2><br>
<h3>Burnham & Root</h3><br>
<p>The Rookery was built in 1886 by the architectural partnership of Daniel H. Burnham and John Wellborn Root, known as Burnham and Root. In the architectural boom that followed the Great Chicago Fire, architects in what would become known as the Chicago School of commercial architecture competed with each other to create the world&#39;s first true skyscrapers. By mixing modern building techniques, such as metal framing, fireproofing, elevators and plate glass, together with traditional ones, such as brick facades and elaborate ornamentation, Burnham and Root sought to create a bold architectural statement. At the same time, they intended their buildings to be commercially successful. This building is one of the few results of their partnership that is still standing.</p><br>
<p>As the master artisan, Root drew upon a variety of influences in designing the interior and exterior spaces, including Moorish, Byzantine, Venetian and Romanesque motifs. He also provided the architectural innovations that brought together many contemporary cutting edge building techniques. Of particular note was a "floating" foundation—a reinforced concrete slab that provided the buildings weight with a solid platform atop Chicagos notoriously swampy soil. The term for the type of foundation that Root designed is grillage foundation, a foundation where iron rails and the structural beams are combined in a crisscross pattern and encased in concrete to support the building&#39;s immense weight without heavy foundation stones. This construction is particularly useful when structural loads are high compared to the natural bearing capacity of the soil.</p><br>
<h3>Light court</h3><br>
<p>Making prodigious use of light and ornamentation, Root and Burnham designed a central light court to serve as the focal point for the entire building and provide daylight to interior offices. Rising two stories, the light court received immediate critical acclaim. "There is nothing bolder, more original, or more inspiring in modern civic architecture than its glass-covered court", wrote Eastern critic Henry Van Brunt. At a time when Chicago&#39;s bold experiment in architecture was looking eastward for affirmation, this was welcome praise. The light court provides natural illumination for the interior offices.</p><br>
<p>Frank Lloyd Wright was a young architectural assistant working with Adler and Sullivan at the time the Rookery was finished in 1888. Architect Daniel Burnham was a friend of Wright patron Edward C. Waller. Waller managed the Rookery; Wright had his offices in the building in 1898&ndash;1899. In 1905 Wright received the commission to redesign the lobby in the building; at the time considered the grandest in Chicago. Wright&#39;s work on the Rookery is his only work on any building within the downtown cityscape.</p><br>
<p>Among Wrights most significant alterations was the addition of white marble with Persian-style ornamentation. The marble and decorative details added a sense of luxury to the lobbys steel-laden interior, marked by Burnham and Roots skeletal metal ribbing. The entire interior space is bright and open. A double set of curving, heavily ornamented stairs wind upward from the lobbys second floor into the building&#39;s interior. A wrap-around balcony on the second floor enhances the feeling of being within the interior of a "clockwork." The Wright remodel opened the building up to more of the available light.</p><br>
<h3>Load bearing walls and steel structure</h3><br>
<p>The red marble and granite, terra cotta and brick façade of the building is a combination of Roman Revival and Queen Anne styles that embraced Richardsonian Romanesque architecture. The building, which is a combination of cast and wrought iron framing and masonry bearing walls, marked a transitional moment in a switch from masonry to steel skeleton structures. The Landmarks Commission citation commends "development of the skeleton structural frame using cast iron columns, wrought iron spandrel beams, and steel beams to support party walls and interior floors". Aside from the first two floors of metal-framed perimeter walls, the walls are all masonry. The building is known for its semi-circular staircase west of the light court.</p><br>
<h3>Renovations</h3><br>
<p>While much of the Loop&#39;s 19th-century architecture has been lost to demolition and redevelopment, the Rookery has been spared this fate through a series of well executed renovations. The building remains a commercially successful rental office building, as it was when it was first built.</p><br>
<p>Beginning in the early 20th century, the building underwent three major renovations. In the first, from 1905 to 1907, Frank Lloyd Wright was retained to remake the interior spaces. In keeping with contemporary tastes, Wrights design covered Roots elaborate wrought iron finishes with white carved Carrara marble surfaces. Wright was highly regarded by the public at this point, and his changes brought enhanced status to the building, making the Rookery one of the most sought after buildings of Chicago. Some of Wright&#39;s other changes included incorporating simplified ironwork and adding his trademark style planters and light fixtures.</p><br>
<p>The second renovation, completed August 24, 1931, by former Wright assistant William Drummond, modernized many of the interior elements, including new elevators, and brought period touches to the building, such as Art Deco detailing. The third renovation, in 1992 by Daprato Rigali Studios, brought the building back to much of its original splendor, reopening the light court ceiling after it had been covered over to protect against leaks.</p><br>
<p>After their purchase of the Rookery in October 2007, the new owners announced plans for an extensive renovation of the building&#39;s common areas. In 2011, Office for Visual Interaction completed the lighting design for the facade, illuminating the architectural features of the building with state-of-the-art LED technology. The Rookery achieved LEED Gold certification in 2014. In 2015 the restrooms were upgraded and a full-featured bike room was added. Additionally, a full elevator modernization was completed, inclusive of a destination dispatch and visitor system in 2017.</p><br>
<h3>Tenants</h3><br>
<p>Burnham & Root had their offices at the Rookery for a while upon its completion, and at one time Frank Lloyd Wright had an office in the building as well. Current tenants include Perkins Eastman and Interactive Brokers Group.</p><br>
<h2>Current ownership</h2><br>
<p>The building was purchased in October 2007 for $73 million by an investment group controlled by a European family, and advised by Zeb Bradford of Metzler North America Corp. The seller was Broadway Real Estate Partners of New York, which had bought the Rookery for $56 million in April 2006. BREP was reported to have increased occupancy of the building&#39;s 281,000 ft&sup2; from 80% in January 2007 to 96% at the time of the sale.</p><br>
<h2>Visiting</h2><br>
<p>The Frank Lloyd Wright Trust offers tours inside Mondays through Fridays. Inside Chicago Walking Tours offers daily walking tours that explore the interior of the Rookery in addition to many other historic Chicago buildings. The Chicago Architecture Foundation also provides tours twice a month.</p><br>
<h2>In popular culture</h2><br>
<p>The Rookery Building was featured in the film Home Alone 2: Lost in New York, in which the exterior and one of the lower levels were modeled as the toy store Duncan&#39;s Toy Chest.</p><br>
<p>The Rookery was used by Frank Norris in his novel The Pit as the site of the office of fictional financial speculator Curtis Jadwin.</p><br>
<p>The Rookery was featured prominently in the 1987 film The Untouchables as the police headquarters of Eliot Ness.</p><br>
<p>SunWatch Indian Village / Archaeological Park, previously known as the Incinerator Site, and designated by the Smithsonian trinomial 33-MY-57, is a reconstructed Fort Ancient Native American village next to the Great Miami River. The dwellings and site plan of the 3 acre site are based on lengthy archeological excavations sponsored by the Dayton Society of Natural History, which owns and operates the site as an open-air museum. Because of its archaeological value, the site was listed in 1974 on the National Register of Historic Places. Since that time, as the many years of archaeological research at the site have led to important findings about the Fort Ancient culture, SunWatch Indian Village was designated in 1990 as a National Historic Landmark.</p><br>
<h2>History</h2><br>
<p>Amateurs had found some prehistoric materials at the site in the 1960s. Professional excavation began in 1971 as a salvage operation when the city planned a sewage treatment plant. With the discovery of significant artifacts and the remains of a stockaded village, the city changed its plans to preserve the site. Excavations continued through 1988 and are generally completed, although additional small studies have been done. The studies have revealed much about the original people&#39;s dwellings, social organization, diets, burial practices and other aspects of their lives at the site. The circular village, surrounded by defensive palisades, was occupied for about 20 years, with a total population of about 250. They depended on farming and hunting.</p><br>
<p>Scholars have named it Sun Watch because, since studies of the 1980s, they believe that a complex of posts in the plaza is related to astronomical measurements. The Fort Ancient culture people, whose society was based on agriculture, would have planned rituals around a solar calendar.</p><br>
<p>With reconstructed dwellings, a plaza and gardens, and an interpretive center, the village was opened in 1988 to the public as an open-air museum. Interpretive tours are offered as well as a variety of educational programs and special events developed in collaboration with Native American and other groups. Archaeological excavations are ongoing in the area, with special opportunities for school groups, graduate students, and adult learners.</p><br>
<p>Additional artifacts and exhibits are held in the related Boonshoft Museum of Discovery in Dayton. These help interpret the history and culture of the people, and show more of the artifacts recovered at the site than can be displayed at SunWatch.</p><br>
