<p>The Smith–Harris House, listed on the National Register of Historic Places as the Thomas Avery House, is a -story clapboarded Greek Revival home on Society Road in East Lyme, Connecticut. It is believed that the farmhouse was built in 1845–1846 as a wedding gift for Thomas Avery and Elizabeth Griswold. It remained in the Avery family until 1877, when it was purchased by William H. Smith. By the 1890s, the farm was managed by Smith&#39;s younger brother, Herman W. Smith, and nephew, Frank A. Harris. In 1900, the two married Lula and Florence Munger, sisters, and both resided in the house. In 1955, the house was sold to the Town of East Lyme, and the sisters continued to live in the house until requiring a nursing home. The house was saved from demolition by citizens and restored. It opened on July 3, 1976, as a historic house museum, operated and maintained by the Smith–Harris House Commission and the Friends of Smith–Harris House. It is open from June through August and throughout the year by appointment. The Smith–Harris house was added to the National Historic Register of Places on August 22, 1979.</p><br>
<h2>History</h2><br>
<p>The Smith–Harris House is believed to have been preceded by another dwelling that was used in the original construction. The Avery family was originally in the area from at least 1751, and the property and the surrounding farm were consolidated under Jonathan Avery&#39;s son, Abraham Avery. It is believed, through a newspaper discovered in the wall and other records that the house was built in 1845-1846 as a wedding gift for Thomas Avery and Elizabeth Griswold. The house remained in the Avery family until 1877, when it was sold to William H. Smith.</p><br>
<p>By the 1890s, the farm was managed by Smith&#39;s younger brother, Herman W. Smith and nephew, Frank A. Harris. In 1900, the two married Lula and Florence Munger, sisters, and both resided in the house. William H. Smith deeded the house to his brother and nephew in 1921. Smith died in 1951 and his widow and Frank Harris, shortly before his death, sold the house and the 103 acres (41.6 hectares) of land to the Town of East Lyme for $34,000. The two widows continued to live in the house until they went to a nursing home. The land served as a farm under the Avery family, including a dairy and cattle farm; the dairy farm would continue to operate under the Harris family. Portions of the land were later used for the construction of Interstate 95 and two East Lyme schools. The two schools are East Lyme Junior High School (East Lyme Middle School) and Lillie B. Haines Elementary School.</p><br>
<h2>Design</h2><br>
<p>The Smith–Harris House is a -story clapboarded Greek Revival house with a pedimented gable on the front facade. The house is composed of a -story, 23 by block and a single-story, 10 ft kitchen wing. It retains the original clapboarding with horizontal flush on the facade. The front facade has a typical three-bay design with the entrance supported by pilasters with squared, recessed panels for the main door frame and frieze. The entrance porch is not original, it was replaced as part of the restoration effort and its design originates from previous photographs. The foundation is made of locally sourced granite slabs and includes a full basement. The square gable windows feature small panes in wooden muntins. All windows retain their original double-hung sash with 6-over-6 windows, except for the rear windows on the second floor. The one-story kitchen wing has a pitched lean-to roof. Another part of the restoration was the open porch that replaced an ell. At the time of its National Historic Register of Places nomination, the gable roof was covered with cedar shingles as part of the restoration effort.</p><br>
<p>Passing through the entrance leads to the stairhall, with the on the right stairs side and a doorway leading to the parlor on the left. The back of the stairwell leads to another room that connects to a side-room on the left and into the kitchen. The kitchen features access to the other rooms, a back entrance, a back stairway and a separate kitchen pantry in the rear wing. The interior is designed with the lines and moldings of the Greek Revival styling. The fireplace has a simple projecting mantel, and the walls are plain with plastered walls and cornice moldings. In adherence to fire code standards, the rear chimney was rebuilt, yet "accurately reproduces the large bake oven." The second floor is similar to the first floor except the rear rooms have been converted to bedrooms. Cleary believes that the boards used to finish the attic stairway and part of the attic may come from the replaced ell, which possibly was from a previous house on the site.</p><br>
<h2>Operation as a museum</h2><br>
<p>After the deaths of the widows, the house was boarded up and repeatedly vandalized. The Town of East Lyme considered destroying the house for municipal purposes, but citizens successfully petitioned and restored it. The Smith–Harris House opened as a historic house museum on July 3, 1976. Currently, the Smith–Harris House Commission, created by the town to maintain the property, has incorporated the Friends of Smith–Harris House into the care of the property. The house is open from June through August and throughout the year by appointment. The Smith–Harris House was added to the National Historic Register of Places on August 22, 1979.</p><br>
<p>The Jonathan Hamilton House, also known as the Hamilton House, is a historic house at 40 Vaughan&#39;s Lane in South Berwick, Maine. Built between 1787 and 1788 by a merchant from Portsmouth, New Hampshire, this National Historic Landmark is a little-altered and high quality late Georgian country house. Acquired by preservationist friends of South Berwick native Sarah Orne Jewett at the turn of the 20th century, it is now a historic house museum owned by Historic New England, open for tours between June and October.</p><br>
<h2>Description and history</h2><br>
<p>The Hamilton House is set on 50 acre of land overlooking the Salmon Falls River, the border between South Berwick and Rollinsford, New Hampshire. It is a -story wood-frame building, with a hip roof, clapboard siding, four brick chimneys symmetrically placed in its outside walls, and gabled dormers on all four elevations. It has entrances on its north, south, and east sides, each flanked by pilasters and topped by a gabled pediment; that on the north side has a more elaborate treatment, with sidelight windows and a second pair of pilasters. On the north and east facades, there are Palladian windows above the entrances.</p><br>
<p>The interior of the house follows a center-hall plan, with a wide central hall decorated with wallpaper that is a reproduction (made in 1900) of older wallpaper found in the house. The two parlor chambers and dining room have mahogany window seats, paneled chimney surrounds, and folding inside window shutters. The dining room and south parlor have wallpaper painted in 1900 by George Porter Fernald.</p><br>
<p>In 1783 land for the house was purchased by Jonathan Hamilton, a merchant who had profited during the American Revolutionary War by privateering. Known as Pipe Stave Landing, the property was advantageous for landing goods from his merchant ships. The house he built was, according to tax records, the most valuable in South Berwick. Hamilton died in 1802, and the property was sold out of the family in 1815. For much of the 19th century it was owned by the Goodwin family, who operated a farm on the property, and let the grand house decline in condition.</p><br>
<p>When the Goodwins put the property up for sale in 1898, local author Sarah Orne Jewett convinced her friend Emily Tyson, and Tyson&#39;s stepdaughter Elise, to purchase and restore the house in the then-fashionable Colonial Revival. The Tysons made only modest alterations to the house, and restored some of its fabric, including the wallpaper in the central hall. Their most significant changes were outside, where they built the handsome garden and cottage (the latter now serving as a visitor center) south of the house. After the death of Elise Tyson Vaughan in 1949, the house was bequeathed to the Society for Preservation of New England Antiquities, now Historic New England. It is now operated by them as a historic house museum, with tours offered between June and October.</p><br>
<p>The house was declared a National Historic Landmark and listed on the National Register of Historic Places in 1970. Isabella Stewart Gardner owned a copy of The Tory Lover, a historical romance novel by Jewett, that has an inscription indicating that Hamilton House was the setting for the novel.</p><br>
<p>In 2020, Historic New England was awarded a grant of $165,000 from the Save America&#39;s Treasures program to fund repairs to the house. Historic New England began a fundraising campaign to raise the required matching funds.</p><br>
<p>The Harpswell Meetinghouse is a historic colonial meeting house on Maine State Route 123 in Harpswell, Maine. Built in 1757-59 to provide space for both religious services and town meetings, it is a little-altered and well-preserved example of a once-common form, and is the oldest such surviving building in the state of Maine. It was designated a National Historic Landmark in 1968.</p><br>
<h2>Description and history</h2><br>
<p>The Harpswell Meetinghouse is set on the west side of Maine State Route 123, in the center of Harpswell, about 9 mi south of Brunswick.</p><br>
<p>The interior of the meetinghouse is a single large chamber with a gallery level on three sides. The fourth side, one of the long walls has the pulpit at its center, opposite the entrance. This arrangement was typical in New England meetinghouses until the early 19th century. Also typical of the period are the soffits and sounding board which frame the pulpit area. The walls are finished with wooden wainscoting and plaster over lath. The building was originally filled with box pews, but these were removed in the 19th century.</p><br>
<p>The Harpswell parish was organized in 1751, when the area was still part of Yarmouth. Its first minister was the Reverend Elisha Eaton, was appointed in 1753. Construction of the meeting house was begun in 1757, a job in which Eaton&#39;s son, also named Elisha, assisted, providing sashes and frames. The building was not ready for use until 1759, and was still reported to be unfinished in 1774. It served as both a religious and civic meeting space until 1844, and then stood vacant for 14 years before the town adapted it for its exclusive use.</p><br>
<p>The meetinghouse was designated a National Historic Landmark and was listed on the National Register of Historic Places in 1968.</p><br>
<p>The Central United Methodist Church is located in Downtown Detroit, Michigan. It was designated a Michigan State Historic Site in 1977 and listed on the National Register of Historic Places in 1982.</p><br>
<h2>Congregational history</h2><br>
<p>The Central United Methodist Church&#39;s roots date back to 1804, when the first Methodist circuit riders came to Detroit for a brief visit. On the third visit of the Rev. Nathan Bangs that year, youth of the city put gunpowder in the candlesticks and cut the mane and tail off his horse. He left, "shaking the dust off his feet in testament against them," he wrote in his journal. After that experience, no circuit rider ventured to Detroit until 1809, when the Rev. William Case arrived. Case wrote to Bishop Asbury that he found it difficult to find "any serious people" in Detroit, but did note that there were a few who wanted to form a congregation. When the next circuit rider, the Rev. William Mitchell, came in 1810, the congregation was established as the First Methodist Society of Michigan. Thus Central became the first organized Protestant congregation in what was then the Michigan Territory.</p><br>
<p>Its first building, a log church, was built in 1818 outside the city on the banks of the Rouge River in what is now Dearborn. It had met in the territorial council house up until that time. The church was legally incorporated in 1822. Construction was completed on the congregation&#39;s first building within the city of Detroit in 1826, at the corner of Gratiot and Farmer. This building was replaced in 1833 by a building at Woodward and Congress, and again in 1849 by a building at Woodward and State. A church for a second congregation spun off by Central (the Congress Street Society), was built at Congress and Randolph in 1846.</p><br>
<p>Central has long been known as a "Peace and Justice" church. In 1830 Sheriff Thomas S. Knapp, who was a member of Central, resigned rather than carry out a hanging on the commons right outside the church. Members joined a throng so horrified by the hanging that they threw the flogging post into the river and demanded an end to capital punishment in Michigan. That was the last execution in Michigan, which became the first English-speaking territory in the world to abolish the death penalty.</p><br>
<p>In 1934 the Rev. Dr. Dr. Frederick Bohn Fisher, former bishop of India, became pastor of Central. He had previously been pastor of First United Methodist Church, Ann Arbor. He was a personal friend of Gandhi, and wrote a book about him, published in 1932. In 1936 Woodward Avenue was widened and the church nave shortened to save the steeple and west wall. Dr. Fisher redesigned the now recessed divided chancel to include a pulpit, lectern, and reredos of Appalachian white oak, and a mural of the 12 apostles. He was much criticized for this ostentatious sanctuary, to which Fisher once responded, "I challenge any man or woman who thinks he has found reality because he worships in some crass, unbeautiful church. I believe symbolism is the most beautiful approach to reality. Reality is eternal and therefore this beautiful sanctuary is a symbol of the eternity of God." The sanctuary has been little changed since.</p><br>
<p>Dr. Henry Hitt Crane, senior pastor from 1938 to 1958, was a pacifist in both World Wars I and II. He was summoned to both Sen. Joseph McCarthys committee and the House Unamerican Activities Committee, accused of being a communist. His successor Dr. James H. Laird was hung in effigy for his opposition to the Vietnam War. Central also had a draft counseling center for many years. Central became integrated in the 1950s and was known as a leader in civil rights movement. Dr. Martin Luther King, Jr. preached from Centrals pulpit many times, the last just two weeks before his death.</p><br>
<p>Central has been active in the movement against the war in Iraq, Afghanistan, and Palestine. It is often the gathering place for peace rallies and the starting point for many marches. Central has taken a strong stance for the rights of unions to organize and was the headquarters for the strike against both of Detroits major newspapers in the 1990s. In 2001 it became a Reconciling Congregation, welcoming LGBT people into all aspects of its ministry. Centrals Associate Minister in the early part of the 2000s, Rev. DaVita McCallister, was the first avowed gay or lesbian to serve as a United Methodist pastor in Michigan. When she wanted to get married, she had to leave because of United Methodist Church policy. Central&#39;s congregation supported her and is working to change the churchwide policy that forced her to leave.</p><br>
<p>Central is cosponsor of The NOAH Project (Networking Organizing Advocating for the Homeless), which operates a Community Center, serving lunch four times a week, one-on-one social services, volunteer nurses, a Job Readiness Class, and an arts program for the homeless. Storefront spaces in the church building house the Swords Into Plowshares Peace Center and Gallery and The Value Shop, a resale shop primarily serving the impoverished people of Detroit. Central also houses the National Welfare Rights Organization, a Library of Black Labor History, Westside Mothers, and Moratorium Now, an organization working to ban banks from foreclosing on homes for at least two years. Central celebrated its bicentennial in 2010 with many guest speakers and performers throughout the year including the Rev. Jesse Jackson, Sr. on Sun. Jan. 24, 2010.</p><br>
<h2>Building history</h2><br>
<p>When the church at Congress and Randolph burned down in 1863, the two congregations consolidated and decided to build a church at Woodward and Adams. The cornerstone of Central Church&#39;s sanctuary was laid on July 3, 1866. The original church campus included the sanctuary, a chapel, an office building, and a parsonage on Adams Street. The smaller buildings were demolished in 1916, and a six-story church house was built in their place.</p><br>
<p>In 1936, Woodward Avenue was widened. To reconfigure the church, a thirty-foot section of the nave was torn down and the west wall and steeple rolled eastward 26 ft, thus shortening the nave. Thomas Di Lorenzo painted the ceiling, with 230 panels of symbols of the Christian church. Those symbols were taken from the Temple of Heaven in Peking (China), the Mosque of Omar in Jerusalem, and the Vatican&#39;s Sistine Chapel. Stained glass windows made by the Henry Lee Willett Studios in Philadelphia were installed in 1956.</p><br>
<p>The Our Lady of the Rosary Church is a Roman Catholic church located at 5930 Woodward Avenue in Detroit, Michigan. It was originally built as St. Joseph&#39;s Episcopal Church – from 1893 to 1896 – and is a historic Romanesque Revival church complex. It was added to the National Register of Historic Places on August 3, 1982.</p><br>
<h2>History</h2><br>
<p>The original building in this complex, St. Joseph&#39;s Memorial Chapel, was a gift of Mrs. L.R. Medbury, and was built on the corner or Woodward and Medbury (now the Edsel Ford service drive). The chapel, consecrated in 1884, soon proved too small, and a larger church, completed in 1896, was erected facing Woodward.</p><br>
<p>In 1906, St. Josephs congregation merged with that of the congregation of the nearby St. Pauls Cathedral. The St. Josephs building was sold to Father Francis J. VanAntwerp in 1907, and Our Lady of the Rosary Roman Catholic Church was established. The new congregation altered some of the churchs structure, extending the nave and adding an oversized, gilded statue of the Blessed Virgin Mary atop the south tower&#39;s hipped roof.</p><br>
<p>In 2021, the church became the location of Detroit Catholic Campus Ministry which serves the campuses of Wayne State University, University of Michigan-Dearborn, the College for Creative Studies, and Henry Ford College, along with other surrounding campuses.</p><br>
<h2>Architecture</h2><br>
<p>The church, built from 1893 to 1896, is a massive rock-faced, cross-gable-roofed, sandstone Romanesque Revival structure. The gabled façade is flanked by two towers: a tall, square, pyramid-roofed tower to the south and a round, conical-roofed tower on the north. The entrance between the towers is into a one-story vestibule; it is surmounted by a large rose window.</p><br>
<p>The Park United Presbyterian Church is located at 14 Cortland Street  in Highland Park, Michigan. It was built in 1910 as the Highland Park Presbyterian Church, listed on the National Register of Historic Places in 1982, and designated a Michigan State Historic Site in 1983. It is a member of The Presbyterian Church , and continues to offer services.</p><br>
<h2>History</h2><br>
<p>The Highland Park Presbyterian Church was established in 1893 as a mission church of the First Presbyterian Church of Detroit. Three years later a small chapel was built on the site of the present church. However, the congregation grew to over two hundred members, and the present building was constructed from 1910 to 1911. In 1972, the Highland Park Presbyterian Church merged with the nearby Palmer Park Presbyterian Church to form the Park United Presbyterian Church. The merged congregations met in the Highland Park building.</p><br>
<h2>Architecture</h2><br>
<p>The church is 110 feet long and 85 feet wide, and is constructed in a Tudor Gothic style from red brick with limestone trim and red terra cotta roof tiles. The main section of the church contains an oversized stained-glass window and a square, buttressed, flat-roofed, corner tower with a louvered belfry is located on the south side. A gabled wooden porch covers the entrance. Set back from the main block is the gabled educational wing. A parsonage, built in 1905, sits behind the church on Cortland Street.</p><br>
<p>The First Congregational Church is located at 33 East Forest Avenue  in Midtown Detroit, Michigan. It was designated a Michigan State Historic Site in 1974 and listed on the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>The First Congregational Church of Detroit was established on December 25, 1844. Two church buildings were built near the Detroit River. The third building was constructed at the present site in 1891, and was designed by architect John Lyman Faxon. An addition to the church, known as the Angel&#39;s Wing, was constructed in 1921 by Albert Kahn.</p><br>
<p>Gaius Glenn Atkins served twice as minister of the church in the early 20th century.</p><br>
<h2>Architecture</h2><br>
<p>The church is designed in a blend of the Romanesque and Byzantine styles, using rough-hewn, warm red limestone. The Woodward facade has a five-bay loggia, with a parapeted front gable. Above that are rounded windows with tracery framed by a rounded arch. The church also features a 120-foot campanile with many narrow arcades. The church is topped by an 8-foot copper figure of the Archangel Uriel.</p><br>
<p>The church is patterned after churches found in Venice and Ravenna. The sanctuary, which resembles the lower church of St. Francis of Assisi, boasts carved wood, ceiling portraits, rose windows and sumptuous colors. The interior murals were designed and executed by Lyle Durgin, completed in December, 1891.</p><br>
<h2>Living museum</h2><br>
<p>The church offers exhibits about the historical and architectural aspects of the church, its buildings and activities. Visitors can go on self-guided tours of the historic facilities and buildings.</p><br>
<p>The church also hosts the Underground Railroad Living Museum, a storytelling simulation of the original Underground Railroad.</p><br>
<p>Hampton Park Terrace is the name both of a neighborhood and a National Register district located in peninsular Charleston, South Carolina. The neighborhood is bounded on the west by The Citadel, on the north by Hampton Park, on the east by Rutledge Ave., and on the south by Congress St. In addition, the one block of Parkwood Ave. south of Congress St. is considered, by some, to be included. The National Register district, on the other hand, is composed of the same area with two exceptions:  the northeasternmost block is excluded and  an extra block of President St. is included.</p><br>
<h2>History</h2><br>
<p>The land upon which the neighborhood is built was rural land until approximately 1900. At about that time, a few streets began being laid out in the northern end of the city. A few small houses were constructed at that time, but most of the land remained undeveloped. In 1912, three large sections of the neighborhood were platted. Those sections roughly correspond to the northwest quadrant, the southwest quadrant, and the southeast quadrant. They were developed by, respectively, the Charleston Building & Investment Co., Hampton Park Terrace Inc., and the Allan family. The final quadrant to the northeast was sporadically developed through the 1930s by the Navy Yard Building & Investment Co.</p><br>
<p>The neighborhood was, at the time, on the very edge of developed Charleston. At first, skeptics claimed that the development would fail, but within a month of the start of selling lots, more than 100 of the 251 original lots had been sold. The development was amid truck farming sites, but it benefitted from its location near the Ashley River and Hampton Park. A newspaper account at the time predicted that its success would start a move to suburban living in Charleston instead of in the lower peninsula because of these advantages: "No more desirable location for a home could be imagined-close to the river, away from the noise and bustle of the city, on the Rutledge avenue car line and close to the King street car line, bordering Hampton Park, beautiful now and to be doubly beautiful when plans now being worked out are completed, within sight of the Ashley River with its fresh salt breezes, and the whole area high and dry, sixteen feet above low water mark, within four blocks of the Mitchell School, the biggest and best of the schools of the city system."</p><br>
<p>The residents of Hampton Park Terrace celebrated the neighborhoods 100th anniversary in March 2012. The event included a performance by The Citadels Regimental Band and Pipes and the unveiling of a state historical marker.</p><br>
<h2>National Register Status</h2><br>
<p>Most of the housing in the neighborhood was constructed between 1912 and 1925. The architecture of the neighborhood follows national trends of the period and represents a distinct break from the local tradition of Charleston&#39;s other historic areas. Nevertheless, because of its largely intact concentration of early 20th century buildings, the neighborhood (other than the northeasternmost portion) was added to the National Register on September 26, 1997. The National Register designation included those blocks that were laid out and whose restrictive covenants were created by one of four related development companies. As a result, the northeast corner of Hampton Park Terrace was not included in the historic district although it is part of the neighborhood.</p><br>
<p>Since the designation, several houses have been restored including one which was given a special award by the Historic Charleston Foundation for the quality of the work at 463 Huger St. In 2009, the Preservation Society of Charleston held its first outreach tour of historic houses and highlighted Hampton Park Terrace.</p><br>
<h2>Gallery of Hampton Park Terrace houses</h2><br>
<p>The Hampton Park Terrace National Register district includes historic structures on the following streets:</p><br>
<p>Ashley Ave. (north of Congress St. to Huger St.)</p><br>
<p>Congress St. (west of Rutledge Ave. to President St. (north side) and west of President St. (both sides))</p><br>
<p>Elmwood Ave. (all)</p><br>
<p>Glenwood Ave. (all)</p><br>
<p>Hagood Ave. (north of Congress St. to Moultrie St. (east side))</p><br>
<p>Huger St. (west of Rutledge Ave. to Ashley Ave. (south side) and west of Ashley Ave. (both sides))</p><br>
<p>Kenilworth Ave. (all)</p><br>
<p>Moultrie St. (west of Ashley Ave.)</p><br>
<p>North Allan Park (all)</p><br>
<p>Parkwood Ave. (all)</p><br>
<p>President St. (north of Sumter St. to Congress St. (west side) and north of Congress St. (both sides))</p><br>
<p>Rutledge Ave. (north of Congress St. to Huger St. (west side))</p><br>
<p>South Allan Park (all)</p><br>
<p>Sumter St. (west of President St. (north side))</p><br>
<p>Sutherland Ave. (all)</p><br>
<p>Sutherland Ct. (all)</p><br>
<p>Wesson Ave. (all)</p><br>
<p>Unless otherwise indicated, the following table shows images of all of the buildings in the district (contributing and non-contributing) in their current condition; the current images do not necessarily reflect the appearance and condition of the structures at the time the National Register district was formed.</p><br>
<p>The Harriet Beecher Stowe House is a historic home and National Historic Landmark at 63 Federal Street in Brunswick, Maine, notable as a short-term home of Harriet Beecher Stowe and Calvin Ellis Stowe and where Harriet wrote her 1852 novel Uncle Toms Cabin. Earlier, it had been the home of Henry Wadsworth Longfellow as a student. It is today owned by Bowdoin College. A space within the house, called Harriets Writing Room, is open to the public.</p><br>
<h2>History</h2><br>
<p>The home was built 1806-1807 and was originally known as the Titcomb House. Henry Wadsworth Longfellow and his brother Stephen Longfellow temporarily rented rooms here while students at nearby Bowdoin College before moving into what is now the campus&#39;s Maine Hall by the fall of 1823.</p><br>
<p>When Calvin Ellis Stowe was hired as a professor by Bowdoin College in 1850, he and his family rented this home. His wife Harriet Beecher Stowe was sent ahead to prepare the housekeeping while he completed teaching the fall 1850 semester at Lane Theological Seminary in Cincinnati. Mrs. Stowe, six months pregnant at the time, set out in April 1850 with the couple&#39;s three oldest children and her aunt Esther. She missed her husband, however, and wrote to him in November, "I am lonesome nights in this rattletrap house where every wind shakes out as many noises as there are ghosts in Hades—screeching snapping cracking groaning."</p><br>
<p>Meanwhile, her husband in Ohio was ill. As Mrs. Stowe reported to her sister, he claimed he was sick "& all but dead" and worried what would happen to his wife if she were left a widow. "I read the letter and poke it into the stove, and proceed", she wrote. Their son Charley Stowe, the last of their children, was born in this house on July 8, 1850. The birth came while she was writing but, as she recalled in a letter, she was "obliged to give previous attention to some other affairs—about noon the household were thrown into commotion by the arrival of a young stranger in these parts—said to be a great beauty—to have excellent lungs & to look just like his pa, three very important items in his collection."</p><br>
<p>Once settled in, Mrs. Stowe wrote for several magazines, including the New-York Evangelist and the National Era in Washington, D.C. Rent for the home, then owned by the Titcomb family, was $125, higher than expected, and Mrs. Stowe wrote to offset that expense. It was here also that Harriet Beecher Stowe wrote her serialized novel Uncle Toms Cabin. The idea first came to her in a vision while sitting in pew 23 in nearby First Parish Church, where she saw the Uncle Tom character wounded from a beating he endured from his enslaver. She is said to have read early drafts of the books chapters to friends, including the college&#39;s future president Joshua Chamberlain and his soon-to-be wife Fanny Adams.</p><br>
<p>While living here, the Stowes supported the Underground Railroad. John Andrew Jackson, a fugitive slave who stayed with the family, wrote of hiding with them as he made his way to Canada in his narrative titled "The Experience of a Slave in South Carolina" (London: Passmore & Albaster, 1862). The Stowes stayed only two years in the home, but Mrs. Stowe later remarked those two years were the healthiest and happiest of her life.</p><br>
<h2>Later history</h2><br>
<p>At some point, the home was altered and became a restaurant and hotel, with the front desk and a gift shop on the first floor with private rooms on the second floor. The house was designated a National Historic Landmark in 1962 and added to the National Register of Historic Places in 1966. It was designated a National Underground Railroad Network to Freedom site in 2016. It was purchased by Bowdoin College in 2001 for $1.3 million (~$ in ). It is currently still owned by Bowdoin College, which opened a public space, Harriets Writing Room in May 2016. Much of the exterior is original to the Stowes time there.</p><br>
<p>The Thomas Brackett Reed House is a historic brick duplex house at 30–32 Deering Street in Portland, Maine. Built in 1876, the house was designated a National Historic Landmark in 1975 for its association with Thomas Brackett Reed , Speaker of the House of Representatives . Reed owned and occupied number 32 from 1888 until his death in 1902. He was notable for significantly increasing the power of the House Speaker, introducing a set of rules known as the Reed Rules that still govern debate in that body today.</p><br>
<h2>Description and history</h2><br>
<p>The Reed House is set on the southeast corner of Deering Street and State Street, one block north of Longfellow Square in Portlands West End neighborhood. It is a -story brick building, with a symmetrically arranged facade facing Deering Street to the north. Matching entrances are located in the central bays, flanked on the outside by triple windows consisting of a tall and wide window with narrower and shorter flanking windows. This window style is repeated on the second and third level outer bays, with progressively simpler decorative stone and brickwork surrounds. The bays above the entrance have simpler sash windows with similar styling to the lintels and sills. Horizontal stringcourses of elaborate brickwork separate the levels. The main block of the house is topped by a hip roof, to which a wide shed-roof dormer was added in the 20th century. A two-story addition extends to the rear of the house, and there have been additional modest alterations to the rear since the period of Reeds ownership.</p><br>
<p>The house was designed by F. H. Fassett & Son and built in 1876, and is surrounded by similar fashionable residences of the period. Number 32 was purchased in 1888 by Thomas Brackett Reed, and remained his home until his death in 1902. Over about the same period, number 30 was owned by William L. Putnam, a lawyer and former mayor of Portland who was appointed to the federal bench in 1891.</p><br>
<p>Thomas Brackett Reeds importance in USA political history lies in fundamental changes he made to the operation of the United States House of Representatives during his tenure as its Speaker (1889–1891 and 1895–1899). Prior to his accession to that office, the body was run by procedures mainly set down in the early 19th century by Thomas Jefferson. They notably included the "disappearing quorum", in which opposition members would refuse to answer a quorum call, even though they were present in the chamber, and thus suspend activity. In 1890 Reed decisively broke this practice by directing the clerk to count members who were visibly present in the chamber. He then successfully introduced to the chamber a set of procedural changes known as the Reed Rules, which still influence the bodys procedures today. These include granting the Speaker the right to reject dilatory motions and tactics at his sole discretion, and reduced the quorum to 100. When Democrats regained control of the House in 1892 they repealed his rules, but Reed was so effective in applying the disappearing quorum in opposition that his rules were reinstated.</p><br>
<p>The McIntire Garrison House is a historic house on Cider Hill Road  in York, Maine. Built in 1712, it is an extremely rare well-preserved example of a New England colonial log garrison house, built by settlers for defense against Native American attacks. The house, possibly the oldest in the state, was designated a National Historic Landmark in 1968.</p><br>
<h2>Description and history</h2><br>
<p>The McIntire Garrison House is set on the south side of Cider Hill Road in a rural section of York, Maine, overlooking a bend in the York River. It is a two-story log structure, sheathed in wooden clapboards, with a side-gable roof pierced by a central chimney. The second floor projects slightly over the first floor on all four sides, one side of which has been fitted with a trapdoor to see below. The walls are constructed out of sawn logs 7.5 in thick, and dovetailed together at the corners. The interior is very plain, with wooden floors, paneled walls, and unfinished ceilings. The extant windows are a later modification, and do not reflect period fenestration.</p><br>
<p>Traditional sources long maintained that the construction date of this house was in 1645. However, architectural analysis in the 20th century has shown that it was built using methods not adopted until the early 18th century. These types of houses were relatively common in southern Maine during the colonial period, when it was regularly subjected to attack by Native American forces (sometimes with French participation). The building would not have been finished in clapboard at that time. The building was subjected to a "restoration" by early architectural preservationists in the early 20th century, and more historically informed restoration later in the 20th century.</p><br>
<p>Kennebec Arsenal is a historic arsenal on Arsenal Street in Augusta, Maine. Largely developed between 1828 and 1838 in part because of border disputes with neighboring New Brunswick, it was designated a National Historic Landmark District in 2000 as a good example of a nearly intact early 19th-century munitions storage facility. The arsenal property was garrisoned until 1901, after which it was turned over to the State of Maine as an expansion of the adjacent Maine State Hospital. The state for many years housed mental health patients there.</p><br>
<h2>Development history</h2><br>
<p>The events of the War of 1812 highlighted the needs of the United States to better defend its coast against potential foreign attacks, so the federal government embarked on a large-scale development of coastal and border fortifications. Maine in particular was singled out, having had some of its communities occupied during the war, along with an ongoing border dispute with neighboring New Brunswick over the northeastern border. Tensions surrounding that border area (now roughly Aroostook County, Maine and Madawaska County, New Brunswick) rose in the 1820s as both sides pressed for development of the area. As a result, the decision was made to build a major arsenal at Augusta. The site, on the east bank of the Kennebec River south of the central business district, was chosen in part for its ready access by boat. Plans were drafted in 1827 and construction began in 1828.</p><br>
<p>Built between 1828 and 1831 were commandant&#39;s and officer quarters, barracks, stables, a carriage shop, and the main armory. Most of the major structures were built out of granite. Between 1832 and 1838 the quarters were enlarged and given their present Greek Revival styling, and the large and small magazines were built, as was a munitions laboratory. A perimeter fence of granite and iron was also added, and the building known as the Office was built, in part from the demolished remains of a stable (which was rebuilt in wood).</p><br>
<p>The border dispute reached crisis proportions in 1838, with both Maine and New Brunswick organizing militia forces to send to the disputed area. The United States sent General Winfield Scott to the arsenal in Augusta, and he negotiated a stand-down of these forces with New Brunswick Lieutenant Governor John Harvey, who was a friend. The border was fixed at its present location by the 1842 Webster–Ashburton Treaty.</p><br>
<p>The arsenal thereafter declined in importance, seeing use for the manufacture of weapons for the Mexican–American War and the American Civil War. Because of its comparatively remote location, it was deemed unsuitable for the large-scale production of weapons, and only relative modest changes were made to it prior to its 1901 closure. The armory and carriage shop were both moved closer to the river bank, and a fire station was added to the property, as were several wood-frame buildings.</p><br>
<p>After the federal government closed the arsenal, the property was transferred to the state, which expanded the adjacent Maine State Hospital, a facility for the mentally ill, onto the property. The wood-frame structures were all torn down, as were the carriage shop and fire station, and the granite buildings were adapted for the hospital&#39;s use. These alterations did not make major alterations to the floor plan of most of the surviving buildings. The Maine State Hospital, later renamed the Augusta Mental Health Institute, closed it doors in 2004, and the arsenal property was sold to a developer, with historic preservation restrictions.</p><br>
<h2>Recent redevelopment</h2><br>
<p>In 2006, the arsenal was slated for renovation, however no work on the landmark was done, and vandals broke windows and sprayed graffiti. The owner, Main Street I LLC, claimed that the poor economy hampered their efforts to renovate and maintain the property.</p><br>
<p>The Maine Attorney General&#39;s office notified the firm in a letter dated September 19, 2012 that it would sue for return of the property to the state if steps were not taken by October 1 to secure the property from vandals, thieves, and the weather.</p><br>
<p>Despite further discussions, few if any steps were taken to protect the property, according to Department of Administrative and Financial Services Commissioner Sawin Millett. He claimed Niemann has failed to provide either a comprehensive plan to maintain the property or a performance bond to guarantee the financial ability to do so per the historical covenants on the property. As a result, the Attorney Generals office filed a lawsuit in 2013, seeking return of the property to the State. The State claims that the lack of maintenance and protection of the property has resulted in over $1 million in damage. Niemann, through his attorney, claimed to be willing to work with the State to improve the arsenal site, and rejected the states claims in court. An Augusta resident employed by Niemann stated that a $12,000 roof was installed on the gatehouse, and that electricity had been restored to at least some of the site, enabling security cameras to function.</p><br>
<p>By November 9, 2013, five of the six buildings on the site had new roofs or were in the process of getting them. Windows were sealed or temporarily boarded up, along with other work. Niemann also revealed some of his plans for the site, including renovating the gatehouse into offices for his firm, and renovating the barracks into two residential units and office space. State officials, while stating they were pleased with the repairs, said the lawsuit will continue. The state agreed to extend deadlines related to the suit as repairs were made, as well as to participate in supervised mediation sessions. Niemann&#39;s Augusta representative stated that the lawsuit was hampering progress with the site.</p><br>
<p>The Winslow Homer Studio is the historic studio and home of the artist Winslow Homer, which is located on what is now Winslow Homer Road on Prouts Neck in Scarborough, Maine. Maine architect John Calvin Stevens altered and expanded an existing carriage house to suit Homers needs in 1884, even moving the building 100 feet for added privacy from his brothers neighboring summer home. The most dramatic element is a balcony the width of the building, from which the artist often painted in winter. The building is 44 x and two stories high, for a total of 2,200 ft&sup2;.</p><br>
<p>The studio was declared a National Historic Landmark in 1965.</p><br>
<p>The Portland Museum of Art acquired the building and surrounding grounds on January 31, 2006, closing both to the public during restoration projects. It was opened to the public in 2012, but may only be visited on a guided tour. The Portland Museum of Art undertook significant restoration of the building. Changes and additions made by members of the Homer family in 1938–39 were undone in order to preserve the studio as Winslow Homer left it in 1910. Some updates were also made to the property to enable it to function as a museum exhibit. The additions included plumbing and a restroom for visitors, electricity, security, and hidden steel reinforcements for the balcony (or piazza).</p><br>
<p>Built in 1835, the William Gunnell House is a contributing property of the City of Fairfax Historic District. The building, at 10520 Main Street, was the location of Confederate John S. Mosby&#39;s raid on Union forces on March 9, 1863.</p><br>
<p>The William Gunnell House has been listed on the National Register of Historic Places since 1987. The house is currently a private residence used for administrative offices of the adjacent Truro Anglican Church. The interior has not been significantly modified since its construction.</p><br>
<p>The Lady Pepperrell House is an American historic house in Kittery Point, Maine. It stands on State Route 103, opposite the First Congregational Church and Parsonage. Built in 1760 by Lady Mary Pepperrell, widow of Sir William Pepperrell, the house is one of the finest examples of Georgian architecture in New England. Pepperrell was the only colonial American to be honored with a baronetcy, awarded by King George II for his leadership of the 1745 expedition against the French Fortress Louisbourg on Cape Breton Island. The house was designated a National Historic Landmark in 1960, but remains in private ownership, subject to preservation restrictions held by Historic New England.</p><br>
<h2>Description and history</h2><br>
<p>The Lady Pepperrell House is a two-story wood-frame structure, five bays wide, with a hip roof and four chimneys, two placed symmetrically on each side. The center bay of the main facade projects, and is topped by a low-pitch fully enclosed gabled pediment. This projecting section is finished in flushboard, while the rest of the house clapboarded. It has fluted pilasters with Ionic capitals rising its full height, and the gable, like the rest of the roofline, is modillioned. The main entry is on the first level of this projecting section, and it is also flanked by fluted pilasters, which support curved brackets and a slightly projecting architrave. The building&#39;s corners have flush-boarded quoining. A Colonial Revival porch, sympathetic in styling to the main block, extends to its left. This porch was added in 1922 along with a matching one to the right, which has since been removed. A two-story kitchen ell extends to the rear of the house.</p><br>
<p>The interior has a fairly typical Georgian center-hall layout, with two rooms on either side of a large central hall. The public spaces feature elaborate and high-quality woodwork, which has been well preserved.</p><br>
<p>Lady Pepperrell was born Mary Hirst in 1704 to a merchant in Boston, Massachusetts. She married Captain William Pepperrell, a merchant and major landowner in what is now southern Maine (but was then part of Massachusetts), in 1723, and settled into his family home in Kittery Point. Pepperrell was appointed by Governor William Shirley to lead the 1745 expedition against Fortress Louisbourg, and was awarded a baronetcy by King George II for his success in that endeavour. When Sir Pepperrell died in 1759, he was one of the wealthiest men in Massachusetts.</p><br>
<p>In 1760 Lady Pepperrell commissioned the construction of this house, hiring English craftsmen to ensure the high Georgian style then popular. She made the house her home until her death in 1789, after which it went through a succession of owners. In 1942 the house was given to the Society for the Preservation of New England Antiquities (now Historic New England), which restored the house and operated it as a museum. In 1985, the organisation sold the house into private hands, retaining preservation and conservation easements to limit alterations to its historic fabric. It remains in private hands, but is open to the public several times a year.</p><br>
<p>The house was designated a National Historic Landmark in 1960, and was listed on the National Register of Historic Places in 1966.</p><br>
<p>The Pentagoet Archeological District is a National Historic Landmark District located at the southern edge of the Bagaduce Peninsula in Castine, Maine. It is the site of Fort Pentagoet, a 17th-century fortified trading post established by fur traders of French Acadia. From 1635 to 1654 this site was a center of trade with the local Abenaki, and marked the effective western border of Acadia with New England. From 1654 to 1670 the site was under English control, after which it was returned to France by the Treaty of Breda. The fort was destroyed in 1674 by Dutch raiders. The site was designated a National Historic Landmark in 1993. It is now a public park.</p><br>
<h2>History</h2><br>
<p>This district forms part of the traditional homeland of the Abenaki Indians, in particular the Penobscot tribe. The location at the tip of the Bagaduce Peninsula, where the Bagaduce River enters Penobscot Bay, was where Claude de Saint-Etienne de la Tour established a small trading post to conduct business with the Tarrantine Indians (now called the Penobscots). The site was later seized by Englishmen from the Plymouth Colony, who operated there from 1629 to 1635. The territory was returned to France as part of the 1632 Treaty of Saint-Germain-en-Laye, and in 1635 the fortified trading post was established by Charles de Menou d&#39;Aulnay. Abenakis frequented the fortified trading post, bartering moosehides, sealskins, beaver and other furs in exchange for European commodities.</p><br>
<p>dAulnay contested the fur trade with Claude de la Tours son Charles in what has been called the Acadian Civil War. This conflict was won by la Tour after dAulnay died and la Tour married his widow. La Tour and successive French governors managed the trading post until 1654, when Acadia was seized by English forces. It remained in English hands until 1670, but the trading post apparently continued to be managed by French traders. The post was returned to France by the 1667 Treaty of Breda. In 1674 the post was completely destroyed by Dutch raiders. Subsequent resettlement of the area was long delayed, due in part to King Philips War, a major Native American uprising in New England (1675–78).</p><br>
<h2>Archaeology</h2><br>
<p>The location of the fort underwent a major series of excavations in the early 1980s, in which about half the inner compound of the fort was identified. A number of major features, including barracks, a church, a military magazine, a workshop, and what is believed to be dAulnays residence, have been identified, either by direct examination or by ground-penetrating radar.</p><br>
<p>The district was designated a National Historic Landmark District and was listed on the National Register of Historic Places in 1993.</p><br>
<p>The McLellan-Sweat Mansion  is a historic house museum on High Street in Portland, Maine. It forms the rear component of the Portland Museum of Art complex. Built in 1800–01, the house was designated a National Historic Landmark in 1970 as a well-preserved Federal style brick townhouse.</p><br>
<h2>Description and history</h2><br>
<p>The McLellan-Sweat Mansion is set at the corner of High and Spring Streets in downtown Portland, but is accessed via the main entrance of the Portland Museum of Art at Congress Square. It is a three-story brick structure with a low-pitch hip roof and a granite foundation. The brick of the walls is laid in Flemish bond. The main facade, facing Spring Street, is five bays wide, with a central entrance sheltered by a semicircular portico supported by Doric columns, and topped by a balustrade. The entry is flanked by sidelight windows and topped by a fanlight window. Above the entry on the second level is a Palladian window. The roofline has a bracketed cornice, and there is a low balustrade ringing the roof whose posts are surmounted by urns. The interior has a central hall plan, with high-quality woodwork in the public rooms of the first floor.</p><br>
<p>Constructed in 1800-1801 for shipping magnate Major Hugh McLellan, the brick mansion was designed by John Kimball Sr. (1758-1831), an architect/housewright originally from Ipswich, Massachusetts. The cost was $20,000. After a change of owners, the property was purchased in 1880 by Lorenzo De Medici Sweat. In 1908, his widow bequeathed it to the Portland Society of Art (now the Portland Museum of Art). The L. D. M. Sweat Memorial Galleries, designed by John Calvin Stevens, were added in 1911 behind the house, to which they connected by corridor.</p><br>
<p>In 1957, two mantelpieces salvaged from the 1805 Commodore Edward Preble House, designed by Alexander Parris, replaced originals lost during a Greek Revival remodeling of the drawing and dining rooms. In 1970, the house was added to the National Register of Historic Places and was designated a National Historic Landmark. The Charles Shipman Payson Building by Henry N. Cobb of Pei, Cobb, Freed & Partners opened in 1983, extending the length of the museum to its new entrance on Congress Square Plaza. After an extensive restoration, The McLellan House reopened in 2002.</p><br>
<p>The Edwin Arlington Robinson House is an historic house at 67 Lincoln Avenue in Gardiner, Maine. A two-story wood-frame house, it was designated a National Historic Landmark in 1971 for its association with Edwin Arlington Robinson  one the United States&#39; leading poets of the late 19th and early 20th centuries.</p><br>
<h2>Description and history</h2><br>
<p>The Robinson House is set on the west side of Lincoln Street, just north of its junction with Danforth Street in a residential area south of Gardiner&#39;s central business district. It is a -story wood-frame structure, with a side-gable roof, two interior chimneys, and clapboard siding. A single-story porch, supported by square posts with decorative sawn arched woodwork between, wraps around the (east-facing) front and left side. The front is five bays wide, with a center entrance flanked by full-length sash windows, with four shorter sash windows on the second level. A two-story bay window projects to the north, and a -story ell extends to the rear of the house.</p><br>
<p>The first floor of the house is divided into two double parlors by a central staircase, with the dining room and kitchen in the ell. The second floor is divided into bedrooms, one of which has been converted into a bathroom, with a small study at the north side bay window that was used by Robinson for his writing. His bedroom was a small chamber located just to the west of the staircase. The attic space has been finished in the 20th century with a bedroom and bathroom.</p><br>
<p>Robinson&#39;s parents moved into this house in 1870, when he was about one year old. He grew up in this house, leaving in 1891 to attend Harvard College. He studied there for two years as a special student, and returned here in 1893. By this time he had already begun writing poetry, and had apparently decided to make it his profession. His first work, The Torrent and the Night Before, was published in 1896, the year he moved out of the house, ultimately dividing his time between Gardiner, New York City, Boston, and the MacDowell Colony in New Hampshire. The house remained in the family until 1903, and is still privately owned.</p><br>
<h2>Significance</h2><br>
<p>Robinson was a leading American poet of the late 19th and early 20th centuries, and was honored with three Pulitzer Prizes for his work. His work was appreciated by Theodore Roosevelt, who acquired for him a sinecure posting at the custom house in New York. Robinson&#39;s work was a study of the human condition, often quite dark, but with revealing aspects of light. In addition to his early works, he also won acclaim for his 1916 The Man Against the Sky. Robinson died in New York in 1935, and is buried in the cemetery behind this house.</p><br>
<p>Grand Central Airport is a former airport in Glendale, California. Also known as Grand Central Air Terminal , the airport was an important facility for the growing Los Angeles suburb of Glendale in the 1920s and a key element in the development of United States aviation. The terminal, located at 1310 Air Way, was built in 1928 and still exists, owned since 1997 by The Walt Disney Company as a part of its Grand Central Creative Campus . Three hangars also remain standing. The location of the single concrete 3,800 ft runway has been preserved, but is now a public street as the runway was dug up and converted into Grand Central Avenue.</p><br>
<p>The terminal building was added to the National Register of Historic Places on March 27, 2017.</p><br>
<h2>Beginnings</h2><br>
<p>The concept for the airport probably began with Leslie Coombs Brand (1859–1925), a major figure in the settlement and economic growth of the Glendale area. He had purchased land on the lower slopes of Mount Verdugo overlooking the city, and built an imposing residence that became known as Brand Castle (which today houses the Brand Library) in 1904. Just across the mostly dry Los Angeles River he could see the Griffith Park Aerodrome&#39;s grass field, built in 1912. Just three years later he decided to build his own grass airstrip below his mansion. He built his first hangar in 1916, put together a fleet of planes, and held fly-in parties. The only requirement was that guests had to arrive in their own planes and bring passengers.</p><br>
<p>From this modest beginning, plans were soon hatched by local entrepreneurs to establish an airport with commercial possibilities a little further down below his field. In 1923 the 112 acre Glendale Municipal Airport opened with a 100 ft-wide paved runway 3,800 ft long, and came to be renamed "Grand Central Air Terminal" when it was purchased by other venture capitalists, who expanded it to 175 acre. On February 22, 1929, a terminal with a control tower had been built, and was opened to much fanfare. Designed by Henry L. Gogerty, the intention was to construct an air terminal along the lines of a classic railroad terminal. It combined a style consisting of Spanish Colonial Revival with Zig-zag Moderne influences (Art Deco). GCAT became a major airport of entry to Los Angeles and provided the first paved runway west of the Rocky Mountains.</p><br>
<p>Within a year, the entire enterprise was sold to the Curtiss-Wright Flying Service, managed by C. C. Moseley, a co-founder of the future Western Airlines. It became the city&#39;s largest employer. It was also at Grand Central that Moseley established the first of his private flying schools, Curtiss-Wright Technical Institute (later renamed Cal-Aero Academy).</p><br>
<h2>Pioneering people at GCAT</h2><br>
<p>Many famous aviation pioneers made their home and their mark at GCAT, as pilots, designers, mechanics, teachers, salesmen, and airplane/power-plant builders, often serving in some combination, including:</p><br>
<p>Charles Lindbergh, who piloted the nations first regularly scheduled coast to coast flight from Grand Centrals runway as organizer of Transcontinental Air Transport which, after merging with Western Air Express, came to be Transcontinental and Western Air, later renamed Trans-World Airlines.</p><br>
<p>Amelia Earhart used the airport and bought her first plane there.</p><br>
<p>Laura Ingalls became the first woman to fly solo across the country when she landed at Glendale in 1930.</p><br>
<p>Albert Forsythe and Charles Anderson were the first African American pilots who made the transcontinental flight, completed at Glendale in 1933. Their achievement paved the way for the black Tuskegee Airmen who fought in World War II.</p><br>
<p>Thomas Benton Slate built an all-metal dirigible and hangar in 1925. It was 212 ft long, and supposedly fireproof. He named it "City of Glendale". It left the ground briefly in 1929, popped some rivets, and crashed.</p><br>
<p>Howard Hughes built his record-setting H-1 Racer in a small building at 911 Air Way in 1935, thus beginning the Hughes Aircraft Company. The building burned to the ground in the late 1990s.</p><br>
<p>Jack Northrop started his Avion Aviation company on the field in 1927, where he built multi-cellular metal structures.</p><br>
<p>William Boeing bought the business from Northrop, and moved it to Burbank&#39;s United Airport (now Hollywood Burbank Airport).</p><br>
<p>C. C. Moseley established overhaul facilities there, and operated a flight academy whose pilot and mechanic graduates traveled to Europe as the all-volunteer Eagle Squadron who flew against Hitler at the Battle of Britain before America entered the war.</p><br>
<p>Actor Robert Cummings was an active pilot and flight instructor who used this airport.</p><br>
<p>Airlines originating at GCA included TWA, Varney, Western, and Pickwick Airlines (1928–30).</p><br>
<h2>Movies and movie stars</h2><br>
<p>The airport was the setting of several films, including Howard Hughes Hells Angels (1930), Shirley Temple&#39;s Bright Eyes (1934), Lady Killer (1933) starring James Cagney, Sky Giant (1938) with Joan Fontaine, Hats Off (1936) with John Payne, the musical Hollywood Hotel (1937) with Dick Powell, and the adventure film Secret Service of the Air (1939) starring Ronald Reagan. Episodes of the 1941 movie serial Sky Raiders show the terminal and other GCAT structures. The terminal was a favorite shooting location.</p><br>
<p>The airport was also known for stunt flying and supplying planes for use in the movie industry by people like Paul Mantz. Just about every airplane design flying during the 1920s, 1930s and 1940s could be seen at GCAT for use in movies, or there to be serviced.</p><br>
<h2>Wartime</h2><br>
<p>When Pearl Harbor was attacked on December 7, 1941, Grand Central Airport (like all other west coast airports) was immediately closed to private aviation. (The remaining airlines had already moved to Burbank.) The government moved in, heavily camouflaged the place, and converted it into an important defense base for Los Angeles. In 1942, the runway, which originally ended at Sonora Avenue, was extended North to Western Avenue, giving it a 5,000&#39; length to accommodate large airplanes and future jet aircraft.</p><br>
<p>Training of United States Army Air Forces flying cadets began under contract to Grand Central Flying School, Cal-Aero Training Corporation, and Polaris Flight Academy. The facility was assigned to West Coast Training Center (later Western Flying Training Command) as a primary (level 1) pilot training airfield, which also instructed Royal Air Force flying cadets. Some who would go on to become members of the Eagle Squadrons. (71 Squadron: Bob Sprague, J.J. Lynch, 121 Squadron: Kenneth Holder, Don McLeod, Jim Peck, Forrest Cox, John Lynch. 133 Squadron: James Coxetter, Hugh Brown). The Fairchild PT-19 was the primary flight trainer, along with Vultee BT-13s. The Grand Central Flying School (GCFS) started out at the airfield and evolved into the Cal-Aero Flight Academy (CAFA).</p><br>
<p>A P-38 training base was built on the west side near the river which prepared the 319th Fighter Wing for action in Europe. Hundreds of P-51s, C-47s, B-25s and others transitioned Grand Central Airport in Glendale for refurbishment and reconditioning. Larger aircraft, like the B-29, were sent to the Grand Central Service Center in Tucson, Arizona.</p><br>
<p>On April 14, 1944, a fire destroyed three buildings, burned seven aircraft, and injured five workmen, one of them seriously.</p><br>
<h2>Postwar</h2><br>
<p>In 1947, the runway was cut back to 3,800 (southeast of Sonora Ave) due to pressure from local government. The airport was returned to private use, renamed Grand Central Airport, ceased to be profitable, and was closed in 1959 to make way for the development of the Grand Central Business Park. Before its closing, the airport hosted a SCCA National Sports Car Championship race on November 13, 1955, that attracted 6,000 spectators. The closed airport was then used as a private heliport for the Los Angeles Police Departments fleet of police helicopters, some Bell 47s ("recips") and some Bell 206s ("Jet Rangers"), until the new LAPD Hooper Heliport opened on top of the Piper Tech Building in downtown Los Angeles in 1983.</p><br>
<p>In 1961, WED Enterprises then a part of Retlaw Enterprises, opened a creative workshop in the business park.</p><br>
<p>Major Corliss C. Moseley established the Grand Central Rocket Company in the vicinity of Grand Central Air Terminal in 1955. It was there that the third stages of early Vanguard rockets, including the first two to reach orbit, were built.</p><br>
<h2>Grand Central Creative Campus</h2><br>
<p>Plans were announced for the Grand Central Creative Campus redevelopment of the Grand Central Business Park in September 1999. Additional details were released in March 2000 indicating that it would have 3.6 million square feet in several four- to six-story buildings for office, production and sound stages and hold 10,000 employees. In 2001, The Walt Disney Co. was planning to expand at the location from a single building to a campus of 6 million square feet. In early May 2004, the Disney Company received design approval for its first phase of this redevelopment. This expected to spearhead the redevelopment of the San Fernando corridor of Glendale. This phase consisted of two 125,000-square-foot office buildings on a company owned 100-acre lot at 1101 and 1133 Flower St. which were to fit in with the Art Deco motif design of the KABC-TV studio facility nearby the campus (KABC had relocated from their previous home base at The Prospect Studios, formerly the ABC Television Center West). Disney&#39;s Pixar sequel unit, Circle 7 Animation, was started in a converted warehouse on Circle 7 Drive in 2004, only to be closed in 2006.</p><br>
<p>The campus&#39; second phase began construction in September 2010 on a 338,000-square-foot six-story building with a five-story wing and a parking structure. 1,200 employees were expected to be working in the new building. In mid-November 2018, the Disney Stores USA headquarters moved out of the Royal Laundry Complex to G3C.</p><br>
<p>Disney units on the campus are:</p><br>
<p>Circle 7 Animation (2004-2006)</p><br>
<p>Disney Television Animation</p><br>
<p>Disneytoon Studios (1990-2018)</p><br>
<p>Marvel Animation, 623 Circle Seven Drive</p><br>
<p>The Disney Children&#39;s Center, Inc.</p><br>
<p>Walt Disney Animation Studios (1985-1995)</p><br>
<p>Walt Disney Imagineering (1961–present)</p><br>
<p>Disney Store headquarters</p><br>
<p>Mickey&#39;s of Glendale, Imagineering exclusive store</p><br>
<p>The KABC-TV studios are adjacent to the campus, but not a part of it.</p><br>
<p>The Religious Structures of Woodward Avenue Thematic Resource  is a multiple property submission to the National Register of Historic Places which was approved on August 3, 1982. The structures are located on Woodward Avenue in the cities of Detroit and Highland Park, Michigan.</p><br>
<h2>History</h2><br>
<p>In the early part of the 19th century, residential growth in Detroit occurred primarily east and west of Woodward, along Fort Street and Jefferson Avenue. Woodward Avenue was first developed as a residential district during the Civil War, as the downtown district became more business-oriented. By the turn of the century, Woodward was developed as far north as the present location of Interstate 94 as an upperclass residential section; mansions of society&#39;s elite were interspersed with architecturally significant churches. Although only a few of the mansions along Woodward remain (of the handful still extant, the David Whitney House, Col. Frank J. Hecker House, and Samuel L. Smith House are all on the National Register), many of the churches are represented in this TR.</p><br>
<p>After the turn of the century, and as the automobile expanded the scope of the city, Woodward rapidly changed character from an upscale residential area to a mix of commercial and multiple-family dwellings. Heirs to the 19th century mansions lining Woodward were already ensconced in their own homes in Boston-Edison, Arden Park-East Boston, or Virginia Park, and as the owners of the Woodward properties died, their homes were broken into apartments or razed. As congregants moved northward, more churches were established north of Grand Boulevard to serve people in the area. A string of churches were constructed in the 1920s and 1930s in this area.</p><br>
<p>In 1909, the Highland Park Ford Plant was completed in Highland Park, and a substantial population increase occurred in that city. More churches were constructed in Highland Park near this time to meet their needs.</p><br>
<p>In 1935-1936, Woodward was substantially widened just north of downtown Detroit, and nearly every building on the east side of the street between downtown and Forest Avenue was torn down; many of the churches in this TR were required to rebuild their facades. In the 1950s and 60s, most of the rest of the early homes in the area were torn down.</p><br>
<h2>Significance</h2><br>
<p>The structures in this TR are diverse in age and architectural style. Broken into age and style, there are:</p><br>
<p>three High Victorian Gothic churches (1859-1887)</p><br>
<p>two Richardson Romanesque structures (with two others already on the Register) (1889-1896)</p><br>
<p>two neo-classical synagogues (1902-1922)</p><br>
<p>five Gothic style, central-plan churches (1909-1926)</p><br>
<p>seven neo-Gothic churches (1908-1930)</p><br>
<p>However, the structures are unified in that all are of stone (or brick with stone strim) construction. Most structures occupy corner lots, and most contain, in addition to the main church, a parich house, rectory, and/or smaller chapel. All structures sit well back from the streetline, save for those affected by the 1935-36 widening of Woodward.</p><br>
<p>These structures represent significant work by notable architects. Albert Kahn, who was best known for his concrete-reinforced industrial buildings, designed both of the Temples Beth-El (he was a congregant), as well as a portion of the First Congregational Church. Sidney Rose Badgley designed the Woodward Avenue Presbyterian Church as well as the Highland Park Presbyterian Church. The former is an excellent example of Badgleys trademark auditorium church style with steel-framed octagonal lantern dome atop. Ralph A. Cram designed the St. Paul Cathedral, and it is a major work early in the architects career. Gordon W. Lloyd, who designed the Central United Methodist Church, was one of Michigans most prominent late 19th century church architects. Likewise, William E. N. Hunter, who designed the Highland Park First United Methodist Church and the Metropolitan United Methodist Church, was one of Michigans most prominent early 20th century church architects.</p><br>
<h2>Structures</h2><br>
<p>The submission includes nineteen architecturally and historically significant structures, stretching over six miles along Woodward Avenue from Grand Circus Park in Detroit to just south of McNichols. The structures included, in order from south to north, are:</p><br>
<p>In addition, three other religious structures along Woodward were listed on the National Historic Register before the Religious Structures of Woodward Ave. TR was approved. These three are:</p><br>
<p>The Amistad Gymnasium is a historic gymnasium located in Amistad, New Mexico. The gymnasium was proposed in 1935 by the Works Progress Administration; construction was completed in 1937. The WPA built many gymnasiums in rural New Mexico during the Great Depression, as these projects provided jobs and a community meeting place to residents. The gymnasium in Amistad was no different, as it created roughly 50 construction jobs and hosted community dances, gatherings, and sporting events. The building has a Pueblo Revival style design with Art Deco influences, reflecting the WPA&#39;s tradition of incorporating local styles into modern designs. Two Zia sun symbols on the front of the building denote its year of completion.</p><br>
<p>The gymnasium was added to the National Register of Historic Places in 1996.</p><br>
<p>The Louis Brandeis House is a National Historic Landmark on Judges Way, a private way off Stage Neck Road  in Chatham, Massachusetts. It stands on a neck of land near the Oyster Pond River. It received its landmark designation in 1972 as the principal summer residence of Louis Brandeis, an Associate Justice of the United States Supreme Court, who summered here from 1922 until his death in 1941.</p><br>
<p>The main block of the -story wood-frame house was probably built in the early decades of the 19th century, and exhibits typical vernacular Cape architecture. It has a five-bay facade, with a steeply pitched roof and a central chimney. Both slopes of the gable roof have shed dormers that run most of the houses length; these were probably added in the 20th century before the Brandeises bought the property. Two ells project from the rear of the house: a two-story kitchen and dormitory wing, and a single-story wing containing a maids room, laundry, additional guest rooms, and a garage. A rustic cottage northwest of the main house provides additional sleeping quarters. The house&#39;s water was traditionally supplied by a windmill which was destroyed by a hurricane in 1944. A porch once extended across the front and side of the house, but this was removed later in the 20th century, replaced by a brick patio.</p><br>
<p>The interior of the house has seen a number of alterations, both during and after Brandeis time. It has an early two-stage staircase between the front entry and the chimney, leading to a number of simple bedrooms on the second floor. To the right of the entry a door leads the main bedroom, and to the left is the living room. Both of these rooms have doorways to a narrow dining area at the back of the main block. Brandeis study, a glassed-in space, lay just off the main bedroom off the north end of the porch.</p><br>
<p>Louis Brandeis was appointed to the Supreme Court in 1916 by President Woodrow Wilson. His nomination was controversial, in part because he was the first Jew appointed, and because of his socially liberal views. During his time on the court, the Brandeises lived in an apartment in Washington, D.C. They fell in love with the Chatham area on a visit to the Cape in 1922, and purchased this property. They returned here every summer. Brandeis would work on cases, spend time with his family, and entertain guests. He retired from the court in 1939, and died in Washington in 1941. At the time of its National Historic Landmark designation in 1972, the property remained in the hands of his descendants.</p><br>
<p>Hancock Shaker Village is a former Shaker commune in Hancock and Pittsfield, Massachusetts. It emerged in the towns of Hancock, Pittsfield, and Richmond in the 1780s, organized in 1790, and was active until 1960. It was the third of nineteen major Shaker villages established between 1774 and 1836 in New York, New England, Kentucky, Ohio and Indiana. From 1790 until 1893, Hancock was the seat of the Hancock Bishopric, which oversaw two additional Shaker communes in Tyringham, Massachusetts, and Enfield, Connecticut.</p><br>
<p>The village was closed by the Shakers in 1960, and sold to a local group who formed an independent non-profit. This organization now operates the property as an open-air museum. It was added to the National Register of Historic Places and declared a National Historic Landmark District in 1968.</p><br>
<h2>Organization and governance</h2><br>
<p>At its peak in population in the 1830s and 1840s, Hancock consisted of six communal orders, known as "families": The Church Family, Second Family, East Family, West Family, South Family, and North Family. Overseeing each family was two men and two women, known as elders and eldresses. Overseeing the entire collective of Hancock families were two elders and two eldresses who served as the Ministry of the Hancock Bishopric. This ministry also oversaw the Tyringham, Massachusetts and Enfield, Connecticut Shaker communities. The Hancock Bishopric in turn was overseen by the Ministry in the New Lebanon commune one town over, on the New York side of the state border. The various industries and tasks within each family at Hancock were managed by deacons and deaconesses, with the deacons of finance and legal affairs later becoming known as Trustees. In 1893, the Hancock Ministry was dissolved and the remaining members of the Hancock and Enfield villages overseen directly by the Ministry of Mount Lebanon, which was now called the Central Ministry.</p><br>
<h2>History</h2><br>
<h3>Background</h3><br>
<p>The Shaker religion began in Manchester, England around the year 1747. A group of dissident Christians, they practiced ecstatic worship and egalitarianism. A young woman named Ann Lee gradually emerged as the primary leader of the group. In 1770, she experience visions and revelations taught her that only by renouncing sexual relations could humankind ever achieve entrance into heaven. After enduring persecution in England, the small group of Shakers, led by Lee, set sail for the New York colony in 1774. By 1776, they settled within Watervliet, New York, establishing what became Watervliet Shaker Village. In the winter of 1779–1780, a brief religious revival swept through Baptist and Presbyterian congregations in Columbia County, New York and Berkshire County, Massachusetts. After the revival dissipated in the summer of 1780, many ministers and congregants from these churches investigated the Shakers and began converting. Invigorated by this influx of new converts, the Shakers expanded through missionary trips from 1780 through 1784 throughout the Northeast. Ann and William Lee died in 1784, and their friend and co-minister James Whittaker died in 1787. The movement was then re-organized and institutionalized by the American converts Joseph Meacham and Lucy Wright. Shaker converts were gathered into communal villages, where all property was jointly owned.</p><br>
<h3>Formation of the Hancock community</h3><br>
<p>After the conversion of the prominent local ministers Joseph Meacham and Calvin Harlow from Canaan and New Lebanon, New York, and then subsequently Valentine Rathbun and much of his family from West Pittsfield, Massachusetts, many farmers in New Lebanon, Hancock, West Pittsfield, and Richmond, began joining the Shaker faith starting in the 1780s. This included numerous members of the Goodrich family, Lucy Wright (the wife of Elizur Goodrich), John and Sarah Deming, Hezekiah Osborne, members of the Hammond family, Samuel Fitch, numerous members of the Talcott family, Luther and Joshua Cogswell, John Wright, Johsua Boyington, and Sarah Harrison. Others further afield, such as Samuel Johnson in West Stockbridge, Zipporah Carey and her mother in Cheshire, and Olive Miller of Hinsdale, also were drawn to the Shakers.</p><br>
<h3>Subsequent history</h3><br>
<p>The Hancock Shakers supported themselves primarily through farming. The raising and sale of garden seeds was the most lucrative of their early businesses. Land acquisition and conversion continued for decades, and by the 1830s some 300 Hancock Shakers owned about 3,000 acre. After reaching peak membership in the 1840s, the Shaker movement gradually dwindled, partially due to the urban migration that accompanied the Industrial Revolution, and by the westward migration of New England&#39;s youth. By the early twentieth century, the population of the village had fallen to around 50, most of whom were children. The remaining Shakers sold off their excess land, and many buildings were destroyed. The decision was eventually made in 1960 to close the village and sell the property and buildings.</p><br>
<p>Non-Shakers were impressed by the Hancock Shaker property—scrupulously clean, neat, and well-tended—and their innovations in farming, such as the round barn that attracted much attention (see description below). Visitors also praised Hancock Shakers&#39; products, including boxes "of beautiful workmanship" and garden seeds. Before 1820, the village was prosperous and the Shakers were respected as good neighbors.</p><br>
<h2>Architecture</h2><br>
<h3>1826 Round Stone Barn</h3><br>
<p>One of the most notable buildings in the village is the "Round Stone Barn" built in 1826. That barn was built in a circular shape for several reasons, the primary one being that it was the most functional. It is one of few surviving round barns in the state.</p><br>
<p>Inside the barn there are four rings. The innermost ring provides ventilation. This ventilation is necessary to help draw the moisture up and out of the hay which prevents mold from growing and the hay from eventually spontaneously combusting. The next ring out is where the hay was stored. It was tossed in from an upper level balcony that was accessible by ox-drawn wagon via a ramp outdoors. Because the barn was round, the wagons could enter, unload the hay and then exit the barn without ever having to back up. The third ring out was where the Shaker brothers would walk to distribute the hay from the second ring to the cows standing in the fourth (outermost) ring. The barn could hold up to 70 cows at a time. They would go to the barn twice a day: once in the morning and once in the evening to be milked. Inside the barn they were put into wooden stanchions. Standing there, the cows could eat while the brothers milked them. The floor of the outermost ring is split level, with the inner part raised up 3 in. This was to prevent the unsanitary situation of having the milk buckets on the same level as the manure. In addition, the Shakers developed a way of efficiently removing the manure from the complex to use it for compost. Approximately every four feet around the outermost ring was a trapdoor which was used to quickly scoop the manure from the floor into a pit beneath the barn. Other workers would then access this pit to transport the manure to their gardens to be used as fertilizer.</p><br>
<h3>1830 Brick Dwelling</h3><br>
<p>The other iconic building is the large red-brick dwelling the Hancock Shakers built in 1830 served as dormitory housing to more than one hundred brothers and sisters. The dwelling, like the barn, shows the Shakers&#39; prosperity, as well as their appreciation of the benefits of space, ventilation, and labor-saving modern conveniences such as water piped indoors. The dwelling was a good advertisement for the creature comforts the society provided to its members. In modern times, the visitors to the Hancock Shaker Village can experience authentic Shaker meals in the dining room in the Brick Dwelling. Though the guests are no longer required to separate by sex while they eat, the event maintains its authenticity with its use of sermons, songs, hymns and reliance on natural and candle light.</p><br>
<p>The dwelling also shows how the sexes lived apart under one roof. Wide hallways separate the brethrens rooms from the sisters rooms; separate doors and stairways for men and women meant that a sister never had to pass a brother going through those openings. Men and women ate at opposite ends of the dining room. The dwelling also has features unusual in habitations of their era; interior windows for borrowed light to illuminate an otherwise-dark stairwell, built-in cabinets and cases of drawers, dumb-waiters for moving food and dishes between the downstairs kitchen and the dining room on the floor above, an abundance of windows for light and ventilation. All of the windows in the building, rather than having a 90-degree angle with the wall, form a 45-degree (approx.) angle in the wall, which allows approximately 30 percent more light into the building—something that significantly keeps the electrical bills low while allowing the people to experience more natural light.</p><br>
<h2>Museum</h2><br>
<p>In 1960, the Shaker Central Ministry closed the Hancock community, and sold its buildings and land. Purchasers formed the not-for-profit Hancock Shaker Village, Inc. to preserve the historic site. The museum opened on July 1, 1961, and was added to the National Register of Historic Places in 1968. The museum&#39;s mission statement is "to bring the Shaker story to life and preserve it for future generations."</p><br>
<p>Over 60,000 people a year visit the museum between April and October. It has 20 historic buildings with over 22,000 artifacts, extensive gardens, a working farm, and hiking trails, and runs craft demonstrations. Several special celebrations take place throughout the season, including Baby Animals on the Shaker Farm in the spring and Country Fair in the fall.</p><br>
<h2>As film location</h2><br>
<p>Hancock Shaker Village was included in Bob Vila&#39;s A&E Network production Guide to Historic Homes of America. On May 4, 2012, The Berkshire Eagle reported that Hancock Shaker Village was one of several local sites chosen for shooting in a low-budget thriller film, The Secret Village, with a climax at Hancock Village. The film crew shot scenes on-site on May 3, 2012.</p><br>
<p>The Henry Cabot Lodge House is a National Historic Landmark at 5 Cliff Street in Nahant, Massachusetts. It was designated as the only known residential building associated with United States Senator Henry Cabot Lodge . Lodge was a leading Republican politician who was a longtime associate of President Theodore Roosevelt, and an influential figure who led the successful opposition to the ratification of the Treaty of Versailles that ended World War I.</p><br>
<p>It is unclear exactly when and for whom the Henry Cabot Lodge House was built. It was known to be owned by Lodges grandfather Henry in 1850, Stylistically the house is unusual for New England, and is based on a type of plantation house popular in the West Indies in the late 19th century. The house was used by the Lodge family as a summer house after the main Lodge residence (since torn down) was built at Nahants East Point, and both Lodge and his like-named grandson reported spending childhood years at the house. The house was sold out of the Lodge family after the elder Lodge&#39;s death.</p><br>
<p>The house is a two-story brick structure measuring about 50 ft by 48 ft, resting on a brick foundation that is set in a low artificial earthen mound. The exterior walls have been stuccoed, and the roof is a low pitch hip roof pierced by four slender chimneys. The building is encircled by a two-story veranda, which is sheltered by the roof and supported by twelve latticework pillars (four at the corners and two additional ones on each side). On the western corner of the first floor the veranda has been closed in to provide a sun room.</p><br>
<p>The house was designated a National Historic Landmark and listed on the National Register of Historic Places in 1976.</p><br>
<p>The Joseph Story House is a historic house facing the Salem Common in Salem, Massachusetts. Built in 1811, this house was home from then until his death of United States Supreme Court Associate Justice Joseph Story , a leading jurist of the time, and an influential figure in the early years of Harvard Law School. A well-preserved example of Federal architecture executed in brick, it is a National Historic Landmark.</p><br>
<h2>Description and history</h2><br>
<p>The Story House is a three-story brick structure with a hip roof and two interior chimneys. The walls are laid in Flemish bond, with granite trim above and below the windows. The windows are six-over-six sash windows, with those on the third floor shorter than those on the lower floors. A three-story addition, narrower in depth than the main block and set back, extends to the left. The main entrance, centered on the main block, is sheltered by a portico that is probably early 20th century. The front of the ell has a bay window of similar vintage and styling. The interior is very well preserved, retaining original woodwork, plasterwork, and other decorative elements.</p><br>
<p>The house was built in 1811 for Joseph Story, who was in that same year named an Associate Justice of the United States Supreme Court by President James Madison; just 32 at the time, he was its youngest-ever justice. During his distinguished career on the bench, he made groundbreaking jurisprudence, particularly in the area of admiralty law, and was known for his erudite and thoroughly-thought opinions. He also rendered opinions important in establishing and defining the relationship between the federal government and the states.</p><br>
<p>Story owned the house until his death in 1845. His most notable guests included James Madison (in 1817) and the Marquis de Lafayette. The house is also the birthplace in 1819 of Story&#39;s son William Wetmore Story, a well-known sculptor.</p><br>
<p>The house is located in the Salem Common Historic District (Salem, Massachusetts) and was designated a National Historic Landmark and listed on the National Register of Historic Places in 1973.</p><br>
<p>The Daniel Webster Law Office and Library, also known as Daniel Webster Law Office, is a National Historic Landmark on the grounds of the Isaac Winslow House at 64 Careswell Street in Marshfield, Massachusetts. The office was built in 1832 for Daniel Webster as part of his expansive Marshfield estate. It housed part of his collection of law and agricultural books, and served as a retreat from the main house. It was designated a National Historic Landmark in 1974, and is listed on the National Register of Historic Places.</p><br>
<p>The law office is a small, single-room, single-story wood-frame structure with a gable roof. It is sheathed in clapboards, and has 12-over-12 sash windows on two sides, with the door on a third side. The fourth side has two windows framing a central fireplace. The office stands on ground that was once part of Websters large (more than 1,200 acre) "Green Fields" estate, which he made his home from 1832 until his death in 1852. Websters main house burned down in 1878, although it was rebuilt by the family, making this the only building associated with Webster on his estate to survive. In 1966 the local historical society rescued the law office, then in poor condition, from demolition, and moved it to its present location. Its original location is on the grounds of the Thomas–Webster Estate, a town-owned property that is also open to the public. The building may be seen as part of the Winslow House museum. As of May 2015 The Law Office has been return to the grounds of the Daniel Webster Estate. The Marshfield Historical Commission is responsible for Daniel Webster&#39;s law office, a National Historic Landmark owned by the town. This is the original building used as an office by Webster at his Green Harbor estate.</p><br>
<p>The law office will be open to the public after much needed renovation.</p><br>
<p>The John Whipple House is a historic colonial house at 1 South Green in Ipswich, Massachusetts. Built in the seventeenth century, the house has been open to the public as a museum since 1899 and was the subject of some of the earliest attempts at the preservation of colonial houses. It was designated a National Historic Landmark in 1960, one of the earliest properties to receive that honor.</p><br>
<h2>History</h2><br>
<p>Construction of the three-story wood-frame First Period house was begun by Captain John Whipple in 1677 at the corner of Saltonstall and Market Streets. This initial construction consisted of a half-house timber frame with a chimney on the right side. In 1690, his son Major John Whipple added a second half-house to the right of the entryway. By 1705, a series of 3-sided 1-story timber frame additions (lean-tos) had been added on the west side of the house, including a kitchen (the third chimney), a buttery, and sleeping quarters for the household slaves and servants. Circa 1710, the west roof of the primary house was raised and extended over the lean-tos creating 4 additional slope-ceiling rooms. The total room count was then 14, not including the fully usable 3rd-floor attic above the primary structure. This was a very large house then (and now), with high ceilings in all rooms except the lean-tos, a prominent location near the mills and with land abutting the Ipswich River. It became known as "The Mansion", a title it retained for more than a century.</p><br>
<p>In the 1720s, a daughter who had inherited the house from Major John Whipple altered the facade and some of the interior to reflect the new and fashionable Georgian-style architecture. This required the removal of gables from the east facade and the replacement of diamond-paned leaded-glass casement windows with the new-style sash windows. The main entry timbered door was replaced with a paneled door with a window above.</p><br>
<p>The interior rooms received plastered ceilings and walls, and discreet camouflaging of the exposed timber frame members. The house and room configuration remained in this state until 1898 when it was purchased by the Ipswich Historical Society. The property had fallen into decline, after serving for a few years as the Mill managers&#39; home, then a boarding house for mill workers and finally as a veritable tenement.</p><br>
<p>The Historical Society restored some of the interior to the assumed 17th-century style and replaced the Georgian windows and exterior doors with reproductions of the 17th-century originals. It was opened to the public as a House Museum in 1899. In 1927, it was moved to its current location, on the opposite side of the river, surrounded by 10 acre of woods, field, and garden. The house is sited on the same compass points as it was originally.</p><br>
<p>When extensive termite damage was found in the east façade in the 1950s, the house was closed and extensive restoration was begun. The exposed interior skeleton of this facade revealed the prior existence of 2 gables, which were then included in the restoration project. All new casement windows with hand-blown glass set in hand-leaded frames were installed and the house was re-opened to the public. It was declared a National Historic Landmark in 1960, the first year such designations were made, and added to the National Register of Historic Places in 1966. In 2002 the house was definitively dated to 1677 using dendrochronology.</p><br>
<p>The house features oak, tamarack, pine and chestnut framework, and original plasterwork. Some remaining sash windows in lean-to rooms date to the 1690s. The Ipswich Historical Society is now the Ipswich Museum and offers house tours for the public from late May to late October, Thursdays – Sundays.</p><br>
<p>The General Rufus Putnam House  is a National Historic Landmark at 344 Main Street in Rutland, Worcester County, Massachusetts, US.</p><br>
<h2>History</h2><br>
<p>The two-story wood-frame house was built between 1760 and 1765 by John Murray, a Scots-Irish immigrant. Murray became a Mandamus Councillor, who enforced the tax laws and was only responsible to the governor and king. On August 24, 1774, an angry mob forced him to flee his home. He escaped to Boston and later to New Brunswick, never to return.</p><br>
<p>On May 24, 1781, General Rufus Putnam purchased the property from the government for 993 pounds and lived there until 1788. He left to settle the Northwest Territories as a leader of the Ohio Company of Associates. There he helped found Marietta, Ohio and built a new home, also NRHP listed.</p><br>
<p>The house was listed on the National Register of Historic Places and designated a National Historic Landmark in 1972, in recognition of its association with Putnam. The home is currently operated as a bed and breakfast.</p><br>
<h2>Description</h2><br>
<p>The house is a wood-frame two-story house sheathed in clapboard, with a hipped roof and two interior brick chimneys. A two-story addition was added to the rear of the house early in the 20th century. The house front is five bays wide, with a center doorway that is flanked by pilasters and topped by a transom window and flat pediment. The interior of the main block consists of four rooms on each floor, surrounding a central hallway with stairwell. The second-floor bedrooms have retained much of their original woodwork, including pine wainscoting and paneling. Some of the first-floor rooms have had floors replaced using floorboards taken from the attic.</p><br>
<p>The Fort Meade Historical Museum is housed in the Fort Meade Academy Fort Meade, Florida, and is located on the corner of Tecumseh Avenue and Broadway St. The structure is not the first indoor school. Records show children held classes at the Fort, in businesses and homes. The first dedicated school building was "The Little White School House," which was located at 700 E. Broadway St. where the current water tower is located.</p><br>
<h2>History</h2><br>
<p>The schoolhouse, built-in 1885, was originally located on the N.E. corner of S. Oak Ave. And E. 1st St.</p><br>
<p>When the Fort Meade High School was built on that block facing E. Broadway, the Academy closed and was moved to Magnolia at Lanier.</p><br>
<p>Later, the structure was donated to the City of Fort Meade and moved from corner of South Lanier Avenue and Magnolia St.to the present location in 1989.</p><br>
<p>Following its tenure as a school, this building served as a private residence and then a boarding house. The extensive renovation took place in 1990 and 1991 on the first floor. The building was then inactive until 1998, when a small group of volunteers took an interest and started to put some of the collection artifacts into place.title=Fort Meade 1849-1900 Canter Brown, Jr.History of Fort Meade, Florida 1849-1960 Robert M. White</p><br>
<p>In 1999 refurbishing of the second floor began to accommodate the extensive collection of the Historical Society and in September 2000, the museum was opened to the public. Many of the treasures within the museum were donated by descendants of the pioneer families of the community. The museum also holds a pictorial collection of the historic homes that can be found throughout Fort Meade.</p><br>
<h2>Location</h2><br>
<p>The Old Fort Meade School House is located within the bounds of the Fort Meade Historic District which is a USA historic district (designated as such on July 29, 1994) located in Fort Meade, Florida. The district is bounded by North 3rd Street, Orange Avenue, South 3rd Street and Sand Mountain Road. It contains 151 historic buildings.</p><br>
<p>The Francis Parkman House is a National Historic Landmark at 50 Chestnut Street, on Beacon Hill in Boston, Massachusetts. Speculated to be designed by Cornelius Coolidge and built in 1824, it is one of a series of fine brick townhouses on Beacon Hill. Its significance lies in its ownership and occupancy by noted historian and horticulturalist Francis Parkman  from 1865 until his death. While living here, Parkman produced a significant portion of his landmark work, France and England in North America, a multi-volume epic history recounting the conflict for control of North America in the 17th and 18th centuries.</p><br>
<h2>Description</h2><br>
<p>The Francis Parkman House is located on Chestnut Street, a residential side street which parallels Beacon Street west of the Massachusetts State House. The street was laid out in the early 19th century, and was one of the places where architect Cornelius Coolidge designed and built townhouses. The Parkman House was built in 1824 by John Hubbard, a builder who often collaborated with Coolidge.</p><br>
<p>It is a three-story brick structure, set on the south side of the street on a lot that extends to Branch Street, and includes a small garden in the back. It is one of a series of buildings characterized by flat fronts and stone trim. The facade is two bays wide, with the left bay narrower than the right. The left bay has the entrance on the first floor, recessed under a round arch whose exterior is faced in stone and whose interior walls are finished in wood paneling. The doorway is flanked by sidelight windows and topped by a fanlight window. The windows above the door are six-over-six sash windows. On the right side, the windows on the lower two floors are six-over-six sash windows flanked on both sides by two-over-two windows, with double-width shutters. The windows at each level are slightly shorter than those on the level below, and the third floor right-side sash window has no flanking windows.</p><br>
<p>The interior of the house is organized with the stairwell on the left, and three rooms on each level, with the kitchen originally located in the basement. The building was converted into four apartments in 1956, but much of the original woodwork and plasterwork was retained in this process.</p><br>
<p>The house was designated a National Historic Landmark in 1962, and listed on the National Register of Historic Places in 1966. This house is not to be confused with the George Francis Parkman Mansion, 33 Beacon Street, which is owned by the city, and was also a Coolidge design.</p><br>
<h2>Francis Parkman</h2><br>
<p>Francis Parkman (1823–1893) was born in Boston and educated at Harvard University, where he studied under historian Jared Sparks. When Parkman purchased this house in 1853, he had already published the first volume of what would become France and England in North America, a monumental work about the conflict between Great Britain and France for control of North America that cemented Parkman&#39;s reputation as a gifted writer and a leading historian of second half of the 19th century. Beset by medical problems, Parkman temporarily abandoned that work, and became and expert in the field of horticulture, serving as a professor at Harvard and as president of the Massachusetts Horticultural Society. Parkman eventually returned to his historical writing, working in a study at the front of the third floor of this townhouse.</p><br>
<p>The Frederick Ayer Mansion is a National Historic Landmark on 395 Commonwealth Avenue in the Back Bay neighborhood of Boston, Massachusetts.</p><br>
<p>The mansion was the home of Frederick Ayer, owner of the American Woolen Company, and features well preserved design work by Louis Comfort Tiffany. The house was added to the National Register of Historic Places in 2005.</p><br>
<h2>Historical significance</h2><br>
<p>The Ayer Mansion was built in 1900, designed by Louis Comfort Tiffany in a partnership with Alfred J. Manning. It is one of three surviving examples of Tiffany designed interiors. The other two sites are the Samuel L. Clemens (Mark Twain House) in Hartford, Connecticut (1881), and the Ferry House in Seattle, Washington (1903–1906). What makes the Ayer Mansion so unusual is that Tiffany also designed exterior mosaics for the property. The only other building known to have included this feature by Tiffany was his private residence, Laurelton Hall, which was destroyed in a fire in the 1950s. Individual components from Laurelton Hall survive in museums, but the Ayer Mansion is now the only place that has intact in situ interior and exterior components designed by Tiffany.</p><br>
<p>The mansion was sold by the family after Frederick&#39;s death in 1918 and converted to office space. The Trimount Foundation and, affiliates of the Roman Catholic Opus Dei organization, purchased the Ayer mansion and adjacent buildings in 1964. They are currently operated as private residential facilities for area college students, although tours are occasionally given of the public spaces where Tiffany-designed elements have been preserved.</p><br>
<h2>Preservation</h2><br>
<p>Since its purchase by the Trimount and Bayridge Residence and Cultural Center, several renovations have been done to the buildings. The first renovation occurred in 1971–72 when the two buildings were joined. In 1999, Jean Carroon Architects conducted an assessment of the building&#39;s preservation needs as well as a detailed proposal on how to achieve it. The first of the projects outlined was the restoration of a 24-foot lay light which had been concealed for fifty years. Also renovated was the front living room in 2000. The drop ceiling installed when the building was converted into offices was removed to reveal the original floral-patterned ceiling, and the parquet floor was also restored. The mosaic on the interior hall was restored in 2002.</p><br>
<p>Currently, efforts are being made to restore the exterior of the building. The project will include repairing 4 out of the 7 mosaics on the exterior balcony which have been damaged or lost due to water infiltration; recreation of the two missing stained-glass screens on the first floor; restoration of the remaining window on the first floor; and recreation of the missing stained-glass screen along the top floor.</p><br>
<p>The Enoch Kelsey House is a historic house museum at 1702 Main Street in Newington, Connecticut. Built about 1799, it is a well-preserved example Federal period residential architecture. Originally located near the New Britain line, it was moved to its present site in 1979 to save it from demolition. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Enoch Kelsey House stands about 0.5 mi south of Newington center, facing south onto Copper Beech Lane at its junction with Main Street. It is a -story wood-frame structure, with a gabled roof, central chimney, and clapboarded exterior. Its main facade is five bays wide, with a center entrance flanked by pilasters and topped by a transom window and a corniced entablature.</p><br>
<p>The house was built by Enoch Kelsey and his son, David Kelsey, probably c. 1799. Enoch was a farmer and tinsmith. Enoch was born August 12, 1717, in Wethersfield, Connecticut. He married Mary Bidwell, and together they had twelve children. David was his second, born in 1760. The house was originally located on the western end of Kelsey Street, across from Christian Lane. The home features rare, freehand painted wall decorations, basement to attic paneling, a beehive oven and fireplaces.</p><br>
<p>In 1979 the house was scheduled for demolition, and the Newington Historical Society gained permission to first go inside and inspect some of the artwork that was rumored to be inside. When the volunteers entered the house and found the artwork, they began fundraising in order to perform the renovations needed to make the building into a museum. The house was moved to its current location at the intersection of Main Street and Copper Beech Road. It is now a historic house museum run by the Newington Historical Society. It is open to the public May–September on the first Sunday of every month.</p><br>
<p>The home of Enoch&#39;s brother Ezekiel Kelsey is also a historic home in Berlin, Connecticut.</p><br>
<p>The Samuel Gridley and Julia Ward Howe House is a historic rowhouse at 13 Chestnut Street in the Beacon Hill neighborhood of Boston, Massachusetts, United States. It was designated a National Historic Landmark in 1974 for its association with the social reform couple, Julia Ward Howe and Samuel Gridley Howe. The Howes lived in the house, which was likely designed by renowned Boston architect Charles Bulfinch, from 1863 to 1866. It has served as the temporary official residence of the British Consul General to New England since 2016.</p><br>
<h2>Description and history</h2><br>
<p>The building is a four-story brick row house, one of three adjoining "Swan Houses" built by Hepzibah Swan, a wealthy widow, between 1804 and 1805 for her daughters. They are now accepted to have been designed by the noteworthy architect Charles Bulfinch, although documentary evidence supporting this notion is lacking, and the attribution has been attended with controversy. The house has a Georgian recessed doorway, windows recessed in arches on the first floor, and wrought iron railings on the second-floor windows.</p><br>
<p>Samuel Gridley Howe (1801–1876) was a medical doctor and an early champion of support for the physically handicapped. He was a founder and the first head (for 44 years) of what is now called the Perkins School for the Blind. In 1843 he married Julia Ward (1819–1910), the daughter of a wealthy New York City banker. The two were influential forces in the social reform movements of the mid-to-late 19th century, working to advance the causes of the abolition of slavery, including actively heading the Boston Vigilance Committee, which assisted fugitive slaves in the 1850s. Julia Ward Howe became nationally famous after writing "The Battle Hymn of the Republic" while visiting Washington, D. C. not long after moving into this house. She was a supporter and organizer of reform movements which long outlived her, notably those that supported women&#39;s suffrage.</p><br>
<p>The Howes lived for many years after their marriage at "Green Peace", a house which no longer stands, in South Boston. Thereafter they lived at a number of Boston addresses, of which this is the most significant. The house was designated a National Historic Landmark in 1966 and added to the National Register of Historic Places in 1974. It is a private residence and is not open to the public.</p><br>
<p>The W. E. B. Du Bois Boyhood Homesite  is a National Historic Landmark in Great Barrington, Massachusetts, commemorating an important location in the life of African American intellectual and civil rights activist W. E. B. Du Bois . The site contains foundational remnants of the home of Du Bois&#39;s grandfather, where Du Bois lived for the first five years of his life. Du Bois was given the house in 1928, and planned to renovate it, but was unable to do so. He sold it in 1954 and the house was torn down later that decade.</p><br>
<p>The site is located on South Egremont Road (state routes 23 and 41), west of the junction with State Route 71. Plans to develop the site as a memorial to Du Bois in the late 1960s were delayed due to local opposition. The sites proponents attributed this in part to racism, but opposition opinions were generally expressed in terms of rejecting Du Boiss more radical politics in later life. He left the US for Ghana in 1961 and did not return. On May 11, 1976, the site was declared a National Historic Landmark and listed on the National Register of Historic Places. The site was donated to the state in 1987, and is administered by the University of Massachusetts Amherst.</p><br>
<h2>History</h2><br>
<p>The Burghardt family (of Dutch origin) was present in the vicinity of Great Barrington, Massachusetts in colonial times, with documented ownership of land in the area from the 1740s. Tom Burghardt was an African American slave of the family and had Dutch, English, African and Native American ancestry. He likely earned his freedom by participating in the American Revolutionary War. Among his descendants was Mary Silvinia Burghardt, the mother of W. E. B. Du Bois, born in 1868. He became a leading African American intellectual, civil rights activist, and co-founder in 1909 of the National Association for the Advancement of Colored People (NAACP).</p><br>
<p>By the early 19th century, the "Black Burghardts" had settled in the Egremont Plain area a few miles outside the center of Great Barrington. After being abandoned by Du Bois&#39;s father, his mother moved with her infant son to the house of her parents, Othello Burghardt and his wife. In his 1928 article, "The House of the Black Burghardts", Du Bois described the house as "a delectable place &mdash; simple, square and low, with the great room of the fireplace, the flagged kitchen, half a step below, and the lower woodshed beyond. Steep strong stairs led to Sleep, while without was a brook, a well and a mighty elm."</p><br>
<p>When Du Bois was five years old, his grandfather died, and his widowed grandmother was forced to sell their house to settle debts. Du Boiss mother moved the family into Great Barrington, where she struggled to support her son. A gifted student, Du Bois attended Fisk University on scholarship and with funds raised by members of his First Congregational Church in town. He completed a second bachelors degree at Harvard, as well as graduate work there and in Berlin, becoming the first African American to earn a doctorate at Harvard. He embarked on a distinguished career.</p><br>
<p>Du Bois&#39;s birthplace was torn down around 1900. Over the next decades, Du Bois periodically returned to Great Barrington. His two children were born there (in the homes of maternal relatives). His son Burghardt (1897–1899) died as an infant, and he was buried in the local Mahaimea Cemetery. Du Bois also had his wife Nina (d. 1950) buried there. In 1906, after the Atlanta Race Riot, Du Bois sent his family (including his daughter Yolande, born 1890) to Great Barrington from where he was working at Atlanta University.</p><br>
<p>Du Bois expressed interest in purchasing his grandfather&#39;s property on a visit to Great Barrington in 1925. Three years later the brothers Joel and Arthur Spingarn, both civil rights activists involved in the NAACP, raised funds and purchased the old Burghardt homestead as a gift to Du Bois for his sixtieth birthday. Du Bois had plans to develop the property as a middle-class summer retreat. But his financial difficulties and move in 1934 from New York City to Atlanta made it too difficult to accomplish that. Du Bois finally sold the property to a neighbor in 1954, who had the house (by then dilapidated) torn down.</p><br>
<h2>Conversion to memorial</h2><br>
<p>In 1967 Walter Wilson and Edmund W. Gordon purchased two parcels of the old Burghardt lands, including the site of the former Burghardt house, that form a U shape around a private residence. They announced their intention to develop the property as a park to commemorate Du Bois, who died in Ghana in 1963. This plan met with local opposition. Wilson and Gordon were both outsiders: Wilson was a controversial area real estate developer originally from Tennessee, and Gordon was from New York City.</p><br>
<p>Opposition was generally couched as criticism of Du Bois for his Communist sympathies and his alleged renunciation of American citizenship for that of Ghana late in life. (He never renounced his US citizenship, but did accept it in Ghana.) He died and was buried there. This was a period in the United States of growing controversy related to the Vietnam War and tumultuous social changes, and Du Boiss position was resented by veterans organizations such as the Veterans of Foreign Wars.</p><br>
<p>Wilson worked to explain Du Bois&#39;s complex legacy and support for civil rights. He noted that Benedict Arnold was memorialized at Saratoga for his role in the 1777 Battles of Saratoga despite his later treason during the Revolution. Some supporters of the memorial suspected the FBI was behind the opposition (Du Bois having been under its scrutiny because of his communist views). The FBI was found to have considered planting a critical news story, but it concluded that local opposition was sufficient and did not intervene. Wilson felt that many opponents were motivated by racial issues, but no opposition was expressed in racial terms. After the achievements of the Civil Rights Movement in gaining national legislation, including the Voting Rights Act of 1965, the movement was changing. Some people felt threatened by the rise of the Black Power movement and racial riots in several cities in the summer of 1967.</p><br>
<p>Wilson and Gordon established the Du Bois Memorial Foundation to take ownership of the property. Funded in part by high-profile donors including Ruby Dee, Ossie Davis, Sidney Poitier, and Norman Rockwell, the foundation received the property in September 1969 and dedicated it to Du Bois later that year. Local hostility continued; the Berkshire Courier, while counseling against violence, suggested the site be vandalized. The town briefly threatened to prevent the dedication ceremony, suggesting there was a question as to whether the intended use of the site met local zoning regulations.</p><br>
<p>Over the next ten years, the Foundation did not develop the property in any significant way. Its members were reluctant to place permanent markers and displays on it for fear of vandalism or theft. In 1976, a decade after Du Bois&#39;s death, the site was designated as a National Historic Landmark, and listed on the National Register of Historic Places.</p><br>
<p>In 1983 the University of Massachusetts, Amherst, with the permission of the Foundation, began a series of archaeological excavations on the property, seeking to research the history of the "Black Burghardt" family. It already had amassed a collection of Du Bois papers, which were transferred to it by Herbert Aptheker, whom Du Bois designated as his literary executor. In 1987 the Foundation turned the property over to the state, with the university as its steward. The university paid for construction of a parking area and the installation of interpretive signs.</p><br>
<h2>Today</h2><br>
<p>Since the late 20th century, the two parcels of land that form the 5 acre site have been planted with a thick grove of pine trees. A path leads north from the parking area to an informational kiosk about Du Bois and his life. From there another path leads west, into a small depression where a memorial boulder was installed with a commemorative plaque. Near the southwest corner of the property are the remnants of the original house&#39;s stone foundation. Although Great Barrington residents have come to support the Du Bois legacy and have marked other places in town important in his life, the site has occasionally been a target of vandalism. The site is considered part of the Upper Housatonic Valley National Heritage Area.</p><br>
<p>The Oliver Wendell Holmes House is a historic house at 868 Hale Street in the Beverly Farms section of Beverly, Massachusetts. Built c. 1880, this modest Victorian wood-frame house was designated a National Historic Landmark in 1972, as the only surviving structure associated with the life of Associate Justice of the United States Supreme Court Oliver Wendell Holmes Jr. , whose summer home it was from 1909 until his death.</p><br>
<h2>Description and history</h2><br>
<p>The Holmes House is a 2-1/2 wood-frame structure, with a steeply-pitched gable roof, and three brick chimneys. Its exterior is sheathed in wooden clapboards, with shingles in the front-facing gable end and on the sides of a shed-roof dormer. The house is roughly T-shaped, with a porch that originally wrapped around two sides, but has since been partly enclosed. The rear of the house is a full-height service ell, and a carriage house stands behind the main house. A gravel drive leads from the street, around the north side of the house, to the carriage house.</p><br>
<p>The house was built between 1875 and 1880 by Asa Obear Marshall, and was sold by his widow to Justice Oliver Wendell Holmes Jr. in 1909. The Holmeses divided their time between this house and a residence in Washington, D.C., generally staying here between June and October. While here, Holmes would continue to work on cases, and would entertain judges and politicians, including Louis Brandeis, Henry Cabot Lodge, and Albert Beveridge. It was here that he was introduced to Harold Laski, a British politician and economist with whom he maintained a long correspondence.</p><br>
<p>After Holmes&#39; death in 1935, the house was sold and its contents dispersed. It remains in private hands.</p><br>
<p>Hamilton Hall is a National Historic Landmark at 9 Chestnut Street in Salem, Massachusetts. Designed by noted Salem builder Samuel McIntire and built in 1805–1807, it is an excellent instance of a public Federal style building. It was built as a social space for the leading families of Salem, and was named for Founding Father and Federalist Party leader Alexander Hamilton. It continues to function as a social hall today: it is used for events, private functions, weddings and is also home to a series of lectures that originated in 1944 by the Ladies Committee.</p><br>
<p>Hamilton Hall is a three-story brick structure at the corner of Chestnut and Cambridge Streets, with its gable end front facing Cambridge Street. The brick is laid in a Flemish bond pattern. The entrance facade is five bays wide, with a center entry consisting of double doors sheltered by a Greek Revival porch added c. 1845. This rectangular portico has a flat roof, supported at each corner by two Doric columns. The first floor of the long side (facing Chestnut Street) consists of six bays, of which five are windows and one is a door. The upper level (equal in height to the upper two levels on the front facade) consists of five large Palladian windows set in a slightly recessed arch. Above each of these is a panel with decorations carved by McIntire. The outer four have a swag design, while the central one features an eagle and shield.</p><br>
<p>Construction of the hall was funded by a group of Salem&#39;s Federalist merchant families, and cost $22,000. Originally, retail spaces at the entrance on the ground floor housed vendors who sold goods for use in the events held in the upstairs function space. The second level ballroom features an unusual curved balcony and a sprung floor suitable for dancing.</p><br>
<p>The building was declared a National Historic Landmark and listed on the National Register of Historic Places in 1970. It is a contributing property to the Chestnut Street District, and part of the local McIntire Historic District, in which a high concentration of McIntire&#39;s works are found.</p><br>
<p>The Edward Bellamy House is a National Historic Landmark at 91–93 Church Street in the Chicopee Falls section of the city of Chicopee, Massachusetts, United States. Its landmark designation was in honor of journalist and Utopian writer Edward Bellamy , whose home it was for most of his life.</p><br>
<p>Built in 1852, Bellamys father moved the family into the house after its construction. Bellamy grew up in the house, and returned there after completing his studies and a brief stint of work in New York City. He did much of his writing (both journalistic and otherwise) in his fathers study until the latters death in 1886, after which Bellamys family took over the entire house. It was in these years that Bellamy wrote Looking Backward, the work that brought him fame. His principal absences from Chicopee were made in a quest to improve his tubercular health, which eventually claimed his life.</p><br>
<p>The property had only two private owners after the Bellamys before it was acquired in the 1970s by the Edward Bellamy Memorial Association and restored. The association operates part of the property as a historic house museum, and rents out office space in the remainder. The building is not architecturally distinguished, and has undergone a variety of alterations.</p><br>
<h2>Architecture</h2><br>
<p>The main part of the house is two stories high, with a gable end facing the street. It is three window bays wide, with the front door occupying the righthand bay. A single story porch extends across the width of this part of the house. The pediment of the street-facing gable end has a small circular window in it.</p><br>
<p>The house has three additions. A single story addition extends from the rear of the house, and a two-story addition extends to the main house&#39;s right, with its roof gable perpendicular to that of the main house. A single story ell extends further to the right from the second addition. The main house is numbered 91 Church Street, while a separate entrance from the second addition is numbered 93.</p><br>
<p>Inside the main house, a stairway leads up from the front entry, with a parlor occupying the space to the left. The dining room is behind the parlor, with the kitchen occupying the first addition. The parlor and dining room have matching fireplaces with black marble mantels. The upstairs of the main house has three bedrooms, one of which has a builtin desk and bookcases, and may have been used as a study.</p><br>
<p>The two story addition and the ell to its right effectively form a second dwelling space. Accessible via an outside entrance and a door in the main houses entry hall, this space has seen multiple uses over the course of the houses history.</p><br>
<h2>History</h2><br>
<p>The house was built in 1852. Rufus and Maria Bellamy moved there from a nearby house when their son Edward was still a baby. Edward Bellamy likened his wealthy neighbors to "the feudal baron dwelling among the people".</p><br>
<p>Edward Bellamy was the third of four children. In 1867 he attended Union College in Schenectady, New York, and from 1868 to 1869 he lived in Germany with a cousin. From 1871 to 1872 he worked for a time in New York City as a journalist.</p><br>
<p>From 1872 to the end of his life, Bellamy, with three exceptions, made the house his home. In 1876, in a quest to improve his health (he suffered from tuberculosis, which would eventually kill him), he went on an extended tour to the Sandwich Islands (now Hawaii). In 1882 he married Emma Sanderson, a ward of his father&#39;s since 1874. When the couple were expecting their second child, they lived in the house next door for a time in 1886. Rufus Bellamy died in November 1886, and Edward and his family promptly moved back in. In 1887 he published Looking Backward, a utopian novel that was instantly popular, and brought Bellamy wide notice. In 1895 Bellamy traveled to Denver, Colorado in another bid to improve his failing health. After unsuccessful attempts at treatment, he returned to Chicopee in April 1896, and died at home one month later.</p><br>
<p>According to a neighbor, Bellamy at first used his father&#39;s study for his writing. In his later years Bellamy would also use other areas of the house for his work, leaving chaotic piles of manuscript paper lying about. When Bellamy helped found the Penny News (later the Springfield Daily News), it began publication in the house.</p><br>
<p>The house remained in the family until 1905, when Emma Bellamy sold it to a photographer named Hanniman. He divided the house, using the right-hand side as a professional space. Hanniman was also responsible for enlarging the fourth addition, and replacing a barn on the property with a garage. In 1965 the house was sold to Joseph Lavallee, whose only significant alteration was to update the kitchen.</p><br>
<p>The house was added to the National Register of Historic Places and designated a National Historic Landmark in 1971.</p><br>
<p>The Edward Bellamy Memorial Association purchased the property in 1974,</p><br>
<h2>Bellamy and Chicopee</h2><br>
<p>Despite Bellamy&#39;s lifelong association with Chicopee, he was a detached observer of the social changes unfolding in the growing industrial areas of the town. He was not widely known within the town. When it was suggested that Bellamy move to Boston to facilitate the production of the journal A New Nation (begun to support and promote the social and political movements established in the wake of the publication of Looking Backward), Bellamy demurred, writing "I have the deepest aversion to change."</p><br>
<p>Bellamy did, however, draw on the community for inspiration in his writings. The last name of Julian West, the protagonist of Looking Backward, is that of one of his neighbors. Elements of his historical novel The Duke of Stockbridge, based on the events of the 1786–87 Shays&#39; Rebellion, are set in a town resembling Chicopee, and characters in his short story "A Nantucket Idyll" are based on local women. Biographer Arthur Morgan notes that many of his other stories are set in towns based "quite obviously the village of Chicopee Falls".</p><br>
<p>The General John Glover House is a National Historic Landmark at 11 Glover Square in Marblehead, Massachusetts. It is a -story gambrel-roofed colonial built in 1762 by John Glover , a local merchant, politician, and militia leader who gained fame for his military leadership in the American Revolutionary War. The house was declared a National Historic Landmark and added to the National Register of Historic Places in 1972, for its association with Glover, who lived here during the war years.</p><br>
<h2>Description and history</h2><br>
<p>The Glover House is a -story wood-frame structure, five bays wide, with a gambrel roof and two symmetrically placed interior chimneys. A two-story kitchen ell extends to the rear of the house. The front entry is centered on the west-facing main facade, with a four-light transom window above, and is framed by pilasters and pediment with entablature. The inside of the house is a variant of the typical Georgian center-hall plan, with a single large parlor on the right, and a smaller dining room on the left, behind which is a hallway opening to a secondary stairwell and side door. The parlor and dining room have elaborately carved fireplace surrounds, and the parlor also has a carved wooden cornice. The upstairs has three bedrooms.</p><br>
<p>John Glover was born in Salem, Massachusetts in 1732, moved to nearby Marblehead early in his life, and rose to become a merchant of wealth and substance. He joined the local militia in 1759. In 1762 he built this house, which became his home until 1782. By the time the American Revolutionary War broke out in 1775, Glover had already been active in resistance activities. He quickly rose in importance in the Continental Army, providing marine logistics during the New York and New Jersey campaign of 1776–77. He notably oversaw the transport of the Continental forces from a besieged position on August 29–30, 1776, after they lost the Battle of Long Island, without any significant losses, and was again involved in the same role in Washington&#39;s crossing of the Delaware River on the night of December 25–26, which preceded the Battle of Trenton. Promoted to brigadier general after these actions, he led a division in the Battles of Saratoga in September and October 1777. He was given a brevet promotion to major general at the end of the conflict.</p><br>
<p>In 1782 Glover purchased the Marblehead estate of the Loyalist William Browne, which had been confiscated by the state. That house and farm served as his home until his death in 1796. The Glover Farm house and property still stands, but has been significantly altered having been converted into an Inn and then later restaurant before closing in the later 1990s. Glover continued to be active in local affairs, and served in the Massachusetts convention which ratified the United States Constitution in 1788.</p><br>
<p>The property was designated a National Historic Landmark and listed on the National Register of Historic Places in 1972,</p><br>
<p>The John Ward House is a National Historic Landmark at 9 Brown Street in Salem, Massachusetts, United States. With an early construction history between 1684 and 1723, it is an excellent example of First Period architecture, and as the subject of an early 20th-century restoration by antiquarian George Francis Dow, it is an important example of the restoration techniques. Now owned by the Peabody Essex Museum, it is also one of the first colonial-era houses in the United States to be opened as a museum. It was designated a National Historic Landmark in 1968.</p><br>
<h2>History</h2><br>
<p>The Ward House was built in three distinct phases. John Ward, a currier by profession, built the first portion of the house in 1684. This consisted of a two-story structure with one room on each floor, and a large chimney at one end. This portion was extended by Ward to the right-side of the chimney, giving the house a typical colonial five-bay facade, with center entry and chimney. The last addition to the house was the lean-to at the rear, which gave the house a saltbox appearance, and was apparently added not long before Ward&#39;s death in 1734. By this time he was apparently sharing the house with his son Benjamin, who inherited the property. The house remained in the hands of the Ward family until 1816, when it was sold at auction as part of an estate.</p><br>
<p>The buyer at auction was Temple Hardy, who lived in the house for forty years, and operated a bakery on the premises. The house was then converted to a multi-unit residential tenement, which it remained until 1910. At some point in the 19th century a wing was added to the east end of the building; this was removed before 1905. Originally located on Prison Lane (now St. Peter Street), the house was moved to its present site in 1910 by splitting it into two and rolling it on ox-drawn logs from its original site three blocks away. In 1912 the house underwent a careful restoration under the direction of antiquarian George Francis Dow. Dow&#39;s work included decorating the space to meet his conception of the use of the house c. 1700.</p><br>
<p>In 1911, parts of the house were opened to the public, becoming the first outdoor museum of architecture in the country. The Peabody Essex Museum now offers guided tours of the house. Rooms on the first floor feature 17th-century furnishings and displays in the lean-to on retail premises of the period.</p><br>
<h2>Description</h2><br>
<p>The house is a -story wood-frame structure, five bays wide, with a large central chimney and a side-gable roof. The roof of the main facade has two large cross gable sections, each with a single window; these gables were removed at some time in the history of the house, and rebuilt at the time of its restoration. The windows on the first two floors of the main facade are doubled casement windows with diamond panes (all of the house&#39;s windows are diamond-paned), except that above the doorway, which is a single window. The exterior is finished in clapboards, with very simple cornerboards and trim. The second floor extends over the first floor by a modest amount.</p><br>
<p>The first floor interior is a somewhat typical center-chimney plan, with chambers on either side, and a narrow stairway rising to the second floor directly inside the front door. Both the front door and the staircase are restored elements. The room left of the chimney is the parlor, and is finished in pine. Traces of whitewash and paint are evident on the main beams, and the summer beam and posts are chamfered. The floor and some of its joists are partly original, and partly the work of the 1912 restorers. The only major structural member to have restorative work done was a post supporting the chimney girt. The right-side room, considered the kitchen, exhibits similar restorative work.</p><br>
<p>On the second floor, the left chamber is the finer of the two, but is framed in oak instead of pine. The right-side chamber was left unrestored by the 1912 work, and exhibits faded wallpaper and a plastered ceiling, much as it would have at that time. The roof, although many of its framing elements are numbered in a traditional way, shows evidence of having been extensively reworked during the restoration.</p><br>
<p>Cole&#39;s Hill is a National Historic Landmark containing the first cemetery used by the Mayflower Pilgrims in Plymouth, Massachusetts in 1620. The hill is located on Carver Street near the foot of Leyden Street and across the street from Plymouth Rock. Owned since 1820 by the preservationist Pilgrim Society, it is now a public park.</p><br>
<h2>Description</h2><br>
<p>Coles Hill rises steeply from the shore of Plymouth Bay, near Plymouth Rock, the traditional landing site of the Pilgrims in 1620. It is now bounded by Water, North, Carver, and Leyden Streets. The hill is landscaped with grassy areas, low shrubs, and some trees, and trails wind their way around the hill. A granite staircase rises from Water Street to the summit of the hill. A number of monuments and memorials are on the hill, most of which date to the tercentenary (300-year anniversary) celebration of the Pilgrim landing in 1920. These include a Cyrus Dallin statue of the Wampanoag sachem Massasoit (c. 1581–1661), whose support was critical to the Pilgrims survival. At the southern end of the hill stands a granite sarcophagus erected by the General Society of Mayflower Descendants in 1920. It contains skeletal remains accidentally disinterred from the hill in the 18th and 19th centuries, which are believed to be those of Mayflower settlers buried here in the winter of 1620-21 when 52 out of 102 died. Two stone benches, one placed by the Pennsylvania Society of New England Women, the other by the Society of the Daughters of Colonial Wars, face seaward.</p><br>
<h2>History</h2><br>
<p>The Pilgrims built their first houses on Leyden Street rising from the side of Coles Hill to Burial Hill, and the hill was used in 1620–1621 as a burial ground during their first winter in New England. It is not known whether Coles Hill was used again as a burying ground between that winter and 1637 when the main town cemetery was established at what is now called Burial Hill. Among those whose remains may have been interred on Cole&#39;s Hill are John Carver, Elizabeth Winslow, Mrs. Mary Allerton, Rose Standish, Christopher Martin, Solomon Powers, William Mullins, William White, Degory Priest, Richard Britteridge, John and Edward Tilley and Thomas Rogers. The total burials may have been between 45 and 50.</p><br>
<p>Coles Hill was later deeded to Samuel Fuller (c. 1580–1633), a church deacon and the colonys physician. It afterward became the property of James Cole, who arrived in 1633 and kept a tavern on the hill in the 1640s. It is from him that the hills name derives: "Coles Hill" first appears in town records in 1698. Older oral tradition, however, maintained that the first burying ground of the Pilgrims was here. The hill soon lost its identity as a cemetery. Its commanding view of Plymouth Harbor made it a natural site for defensive works. In 1742, the General Court of Plymouth granted a sum of money to the town to erect a battery here. In 1775, the old defense having gone to seed, a new one was built and manned and continued to be kept up during the Revolutionary War. In 1814 still another fort was thrown up here and its commander was placed in charge of companies of soldiers who were billeted in the town.</p><br>
<p>In the 18th and 19th centuries, various remains were uncovered at Coles Hill and attributed to the victims of the winter of 1620–21. This seemed to substantiate the earlier oral tradition. Between 1735 and 1883, the remains of at least 11 people were recovered. A summary of these was provided by John A. Goodwin: In a storm of 1735 a torrent pouring down Middle Street made a ravine in Coles Hill and washed many human remains down into the harbor. In 1809 a skull with especially fine teeth was exposed. In 1855 these graves were exposed in laying the public conduit on Coles Hill. In one grave lay two skeletons, pronounced by surgeons male and female. The man had a particularly noble forehead; and it was fondly surmised that here were the remains of Mr. and Mrs. Carver. These found a new grave on Burial Hill; but the other relics, with barbaric taste, were placed in the top of the stone canopy over Forefathers Rock. In 1879, during some work on the southeast side of the hill, many more bones were unearthed, and some, with questionable taste, were carried away by the spectators in remembrance of their "renowned sires"... The fact that some of the skeletons were laid out on an east–west axis with heads to the west—a long-standing tradition with Christian burials—is taken as evidence that these were not Wampanoag Indian remains. Additionally, the fact that no personal items were buried with the bodies further suggests that they were European burials. (Photographs of some of the bones, circa 1920, are on display at the nearby Pilgrim Hall Museum).</p><br>
<p>Meanwhile, Cole&#39;s Hill had been acquired by the recently founded Pilgrim Society in 1820. There was once a granite slab on the hill at the foot of Middle Street, describing the discovery of the bones and the location where they had been found. (This slab is now stored at the Town Farm.) An inscription stated: About 1920, the layout of Carver Street at the foot of Middle Street was moved somewhat to the west, which necessitated the purchase and removal of buildings. This was done to permit the erection of the present sarcophagus on the place where some bones had been found, as nearly as it could be determined. At this time the hill was transformed into a public park as part of the preparations for the tercentenary celebration. The existing buildings having been removed from the hill, paths and plantings were added.</p><br>
<p>Cole&#39;s Hill was declared a National Historic Landmark in 1960, and was listed on the National Register of Historic Places in 1966.</p><br>
<p>The William Morris Davis House is a National Historic Landmark on 17 Francis Avenue in Cambridge, Massachusetts. An architecturally undistinguished Queen Anne-era house, probably built in the 1890s, it is notable as the home of William Morris Davis between 1898 and 1916. Davis  was a professor of geology at Harvard University, and an influential figure in the development of meteorology and geomorphology as scientific disciplines. His textbook Elementary Meteorology was a standard of that field for many years. The house was declared a National Historic Landmark in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Davis House is a -story wood-frame house with irregular massing. The main block is roughly square, and has a gable roof, but there is a large ell of matching height in front of it which has a gambrel roof. The main entrance is on the side, under a porch supported by round columns resting on shingled piers, with a simple balustrade in between. The front of the house has a single-story polygonal bay, and an oriel window at the top of the gambreled gable. The exterior is clad in shingles. The building is architecturally undistinguished, and is classified by local historians as a Queen Anne-Shingle style structure. Based on the architectural and stylistic evidence, its construction date is estimated to be in the 1890s.</p><br>
<p>William Morris Davis (1850-1934) purchased this house around 1898, the date of his appointment as the Sturgis Hooper Professor of Geology at nearby Harvard University, and lived here until 1916. Davis had studied geology under Nathaniel S. Shaler at Harvard in the 1870s, and was offered a teaching position there in 1878. In 1894 he published Elementary Meteorology, a textbook that was the first to unite and organize a previously uncoordinated body of knowledge in that field. Davis&#39; most profound contribution to scientific knowledge came in his publication in 1912 of a treatise entitled A Reasoned Description of Landforms, in which he provided a template for outlining the genesis, development, and classification of landforms on a global scale. In later publications he described the erosion cycle and other important concepts in understanding the development and lifecycle of landforms. Davis was recognized by his peers in the scientific community with numerous awards and recognition.</p><br>
<p>Lamar Porter Athletic Field is located at West 7th and Johnson Streets, in the Stifft Station neighborhood of Little Rock, Arkansas. It is a Works Progress Administration-built baseball field placed on the National Register of Historic Places on December 6, 1990. Hall of Fame third baseman Brooks Robinson started his career at Porter Field.</p><br>
<p>As described in its National Register nomination form, the construction of the ball field was "one of the bell weather events of the early years of the Little Rock Boys&#39; Club." When it was built, the 10 acre site was in what was then regarded as "west" Little Rock in an area identified as desirable for park and playing field development by John Nolen, a nationally renowned city planner and landscape architect who was dismayed by the lack of recreational facilities in Little Rock.</p><br>
<p>Nolen observed that although school grounds offered the "opportunity for the sand boxes and apparatus used by small children, there remained a demonstrable need for two classes of playgrounds where boys between ten and sixteen and from sixteen upwards can have the opportunity for more seriously organized games."</p><br>
<p>Construction of just such a field began in the fall of 1934 and employed workmen with the federal Works Progress Administration. The project took 18 months to complete. Tennis courts, playgrounds, and other recreational spaces complement the ball field.</p><br>
<p>Lamar Porter was the son of Mr. And Mrs. Q. L. Porter of Little Rock, born August 17, 1913. He was educated in Little Rock&#39;s public schools, attended Little Rock High School, and graduated from Sewanee Military Academy in Tennessee in 1931. Porter was a junior at Washington and Lee University in Virginia when he was killed May 12, 1934, in an automobile accident between Lexington and Staunton, Virginia.</p><br>
<p>It was the family of Lamar Porter, in attempt to memorialize his life, who provided the land and money required to build the eponymous baseball field. His mother; aunt, Mrs. J.D. Jordan; and his brother, Jim S. Porter made the donation on the first anniversary of Porters death, which coincidentally fell on Mothers Day.</p><br>
<p>When the complex was complete, it held a lighted softball diamond with underground wiring, four lighted tennis courts, a regulation baseball diamond, a 1,500-seat grandstand complete with club rooms, shower and locker rooms, rest rooms, and a concession stand. It was first used by Boys&#39; Club teams in the summer of 1936; by 1937, it was also being used by city leagues and American Legion teams.</p><br>
<p>The property also held an apparatus area with swings, slides, and jungle gyms; a small children&#39;s play area that included hammocks, small slides, and kindergarten tables; a play area for older children with facilities for handcrafts and quiet games; and other areas for shuffleboard, marbles, horseshoes, handball, volleyball, and table tennis, as well as picnic areas and a "stage for dramatics."</p><br>
<p>Lamar Porter Athletic Field opened to the public in 1937 at the corner of Seventh and Johnson streets where it eventually became home to Pewee League, Midget League, Little League, Pony League, American Legion, and semi-pro baseball teams. The Little Rock Doughboys were the only Legion team in town until they were replaced by an eight-team Legion league in 1954.</p><br>
<p>The baseball sequence from the 1984 film A Soldier&#39;s Story was filmed at the historic field.</p><br>
<h2>History</h2><br>
<p>Just after the American Civil War, the area developed as a large Methodist summer campground with open air Christian revivals. This meeting style became popular around the United States at the time, and many other similar camps were founded using similar models, such as Ocean Park, Maine, Merrick, Long Island, and Ocean Grove, New Jersey. Colorful, ornate, gingerbread cottages were built in an oak grove around a central church tabernacle.</p><br>
<p>The grove was added to the National Register of Historic Places in 1978, recognized in 2000 by the National Trust for Historic Preservation and</p><br>
<p>declared a National Historic Landmark by the US Department of the Interior in 2005.</p><br>
<h3>The early years</h3><br>
<p>The first so-called campmeeting in what became known as Wesleyan Grove was held in 1835. Over subsequent years, participants began arriving early and staying after the revival. Nine tents provided shelter for the first campers in 1835, but as the campers grew in number, families chose to pitch tents of their own; there were 100 tents in 1851 and that increased to 320 by 1858, located around the preaching ground. During one Sunday in summer 1858, there were a full 20,000 people listening to a sermon.</p><br>
<p>In subsequent years the congregations grew enormously, and many of the thousands in attendance were housed in large tents known as "society tents." A congregation from a church on the mainland would maintain its own society tent. Conditions were cramped, with men and women sleeping dormitory-style on opposite sides of a central canvas divider. Society tents were arranged in a semicircle on Trinity Park. Over time, families began leasing small lots on which to pitch their own individual tents. "Between 1855 and 1865 the campmeetings began to change in character. They continued to be religious in nature, but the participants also began to enjoy the benefit of the sea air and social interaction as they revived both mind and body."</p><br>
<h3>Gingerbread cottages</h3><br>
<p>In the 1860s and 1870s, the family tents were rapidly replaced with permanent wooden cottages. There were 40 cottages in 1864 and 500 by 1880. As of 2019, there were approximately 318 cottages remaining. They are referred to as the gingerbread cottages. One source provides this description of the original buildings: between 11 and 16 feet in width, with wide, double-door entrances and tall roofs with steep gables pitched at 90 degrees. They were one and a half stories in height, and generally twice as tall as they were wide. The wooden platforms over which the tents had been erected morphed into the wide front porches of the cottages.</p><br>
<p>Today the Campground is a community of summer residents and a smaller number of year-round residents who own the cottages (often fully modernized) or rent them from the owners. Some of these folks are descendants of early Holiness revivalists although Wesleyan Grove is no longer a revivalist camp. Sunday services are still held in the summer, but the Grove has been non-denominational since the 1930s. Nonetheless, a Grand Illumination takes place on a Wednesday evening in summer (Illumination Night), with illuminated paper or silk lanterns, continuing a 150 year tradition. (The 2020 event was canceled due to the COVID-19 pandemic in the United States.)</p><br>
<p>A National Geographic report in 2019 described the Illumination as follows:During this spectacle, now celebrating its sesquicentennial, residents and guests gather in the Oak Bluffs Tabernacle for a twilight sing-along, followed by the ceremonial candle lighting of one of the lanterns. The residents then light their own lanterns until the whole village is illuminated by the colorful paper and silk designs.</p><br>
<h3>Religious aspects</h3><br>
<p>Many eminent members of the clergy from across the country have preached at the campmeetings in Wesleyan Grove. That tradition continues today, although services are no longer held day and night as they were in the early years. Over time, the Martha&#39;s Vineyard Camp Meeting Association has become increasingly interdenominational, and the current members of the Board of Directors are affiliated with a wide variety of religious groups. The religious services and special programs of the Association all have a strong ecumenical spirit. "Whereas the MVCMA was established by Methodists, and, for much of its history, was governed exclusively by Methodists, it has always been an autonomous organization and was never formally affiliated with the New England Conference of the United Methodist Church."</p><br>
<h3>The Tabernacle</h3><br>
<p>The open-air Tabernacle, made of cast iron, with seating for over 2,000, is the physical and spiritual center of the Campground. It was built in 1879 by John W. Hoyt of Springfield, Massachusetts. Church services are held weekly in the Tabernacle during the months of July and August, and a variety of cultural events are held there each summer. The first event of the season is the graduation ceremonies of the Martha&#39;s Vineyard Regional High School. Architecturally, the Tabernacle is a unique structure, with wrought iron arches and supports, two clerestories with dozens of colored glass windows, and an octagonal cupola.</p><br>
<p>From the first camp meeting in 1835 until 1859, ministers preached from a crudely constructed stand. In 1859, Perez Mason built a larger and more aesthetically pleasing preachers&#39; stand. It was large enough to seat 30, and it included lattice screen supports, movable rear shutters for ventilation, and a roof that was angled to amplify the voice of the speaker. Seating for congregations of up to 4,000 was constructed during that period. In 1869, a huge tent was raised over Wesleyan Grove to protect the congregation from the heat and the rain. The tent was used each season until the erection of the current iron Tabernacle in 1879. Since 1999 a major fundraising campaign has been undergoing, with the money used to restore the Tabernacle.</p><br>
<p>Much of the work was completed by 2019, including stabilization of the columns, removal of lead paint and repainting, the addition of new lights that were historically accurate, restoration of the cupola and replacement of the cross and the rebuilding of the upper clerestory. Plans for the final phase of the work included restoration of the seating and the stage, the addition of AV equipment and the replacement of the roof.</p><br>
<p>The Scales Mound Historic District is a historic district in the small Illinois village of Scales Mound. The district encompasses the entire corporate limit of the village and has more than 200 properties within its boundaries. The district was added to the USA National Register of Historic Places in 1990.</p><br>
<h2>History and boundaries</h2><br>
<p>Scales Mound has always been a small, agricultural community and development of the village and the buildings in the historic district was closely tied to the arrival of the railroad. Most of the few commercial businesses in Scales Mound were concentrated around the railroad right-of-way. The Scales Mound Historic District is roughly bounded by the corporate limits of the village itself. The district includes the original 1854 limits of the village plus three additions to the village that were platted later.</p><br>
<h2>Properties</h2><br>
<h3>General</h3><br>
<p>Properties within the historic district include residential, commercial, civic, and a few industrial buildings. There is also one structure, a fire siren, that is considered a contributing resource to the district. There is a total of 290 properties within the boundaries of the Scales Mound Historic District; 185 of those are considered historic, and thus, contributing properties.</p><br>
<p>Of those properties considered part of the district there are 89 houses, 52 garages, two barns, 15 commercial buildings, eight wash houses/sheds, seven churches, four privies. Only outbuildings of special interest were included in the district, others were ignored.</p><br>
<h3>Non-contributing</h3><br>
<p>The 105 non-contributing buildings include, 57 houses, 25 garages, 20 commercial buildings, three civic buildings and one apartment building. Some of the non-contributing buildings are 19th-century structures that have lost their integrity due to alterations. Some of these would be contributing if alterations, such as siding, were removed. Most of the non-contributing buildings in Scales Mound are less than 50 years old.</p><br>
<h2>Specific historic properties</h2><br>
<h3>Allan Warehouse</h3><br>
<p>The Allan Warehouse is located near the railroad tracks and is a wood-framed two-story building with board and batten siding. The warehouse sits on a stone pier foundation and has large double hung sash windows with curved window hoods. It was constructed around 1864.</p><br>
<h3>Commercial buildings</h3><br>
<p>Scales Mound has always been, largely, an agricultural community. What little industry that did spring up in town has been concentrated on the railroad tracks&#39; south side. The more upscale commercial enterprises were always located along North Railroad Street. Through the years Scales Mound has been home to such businesses as: grain and produce warehouses, stock yards, lumber yards, a creamery, three hotels and a bank.</p><br>
<h3>Churches</h3><br>
<p>The 1883 United Methodist Church is built in rectangular plan and has a large spire on its front elevation. The building has a stone foundation and an attached parsonage. The windows are a Gothic style and feature stained glass. Scales Mound Holy Trinity Catholic Church has had two additions, the first altered the front facade c. 1915 and the second was a large rear addition in c. 1970. The building, a contributing property despite its alterations, is a gable-front design with a side tower. The church is of brick construction and has stained glass windows with curved window hoods. The First Presbyterian church is another example of a gable-front church in Scales Mound. It was built between 1875–90 and features an offset tower. Its foundation is of stone and rusticated block. It has Gothic style stained glass windows and was added onto the rear one time.</p><br>
<h3>Residential</h3><br>
<p>The majority of the houses in Scales Mound were constructed between 1880 and 1925 and most are painted white. The houses are mostly moderated-sized, one and one half to two story homes with spacious yards. Some houses have common alterations, which include the addition of shed dormers and various types of siding. Very few houses built after 1930 are present within the historic district, there are some but they are mostly concentrated in clusters.</p><br>
<h3>Public Square</h3><br>
<p>The Public Square is a city park that houses a pavilion and the village hall. It is located in the heart of the village&#39;s residential district. The Scales Mound Village Hall was built around 1875–90. It has a false front design and stands one and one half stories tall. It sits on a stone and concrete foundation and has an early-20th-century addition at the rear. The Scales Mound Village Hall is now available to rent for events.</p><br>
<p>Also in the public square is one of Scales Mounds&#39; many outbuildings. A gable roof shed within the park was declared neither contributing or non for the purpose of the historic district. The park has a pavilion/bandstand that was erected between c. 1900–25. It is of steel-frame construction, has a pyramidal roof and a concrete pier foundation. The pavilion was declared a contributing property to the district.</p><br>
<h3>Outbuildings</h3><br>
<p>There are a large number of extant, original outbuildings associated with the various houses in Scales Mound. Gable and hip roof garages are commonly found in the village. In addition there are several extant carriage houses and stables, privies, and barns still standing around town. The architectural survey undertaken in 1989 concurrent with the National Register nomination noted dozens of such outbuildings. Even then, there were a large number of outbuildings that were declared neither contributing or non-contributing properties and simply not documented.</p><br>
<h3>Rail Corridor</h3><br>
<p>Along the railroad tracks through Scales Mound are five properties, four of them historic in nature. There are two shed/pump houses, both dating from c. 1910–40. One is a gable roof building with a concrete foundation and the other has a flat roof and metal siding. A rectangular feed warehouse dating from c. 1915–20 is also located along the rail corridor. The one story, gable roof feed warehouse stands on a concrete pier foundation. A pyramidal roof garage/warehouse, built c. 1915–25, stands on concrete foundations near the tracks as well. Associated with the garage are bulk oil storage tanks and a pump shed constructed by Trachte Brothers Company of Madison, Wisconsin. The only one of the five buildings not considered contributing to the district is a c. 1949–50 rail loading platform of pole construction.</p><br>
<h3>William Allan House</h3><br>
<p>The William Allan House is located along North Railroad Street in the middle of the central business district in Scales Mound. The Allan House is an I-house of stone construction, built upon a stone foundation around 1859. The two-story house has a rear addition and features double hung sash windows.</p><br>
<h3>William Allan Store</h3><br>
<p>The William Allan Store has long been one of the focuses of the Scales Mound central business district. It is located along North Railroad Street immediately adjacent the railroad tracks that pass through the village. The Allan Store stands next to the Allan House and is a two-story gable-front structure. Wood-framed, like nearly all buildings in Scales Mound, the store is fronted by a two-story porch with a pedimented roof. There is a fanlight in the gable front and a one-story addition to the side of the structure. The William Allan Store was built around 1859.</p><br>
<h2>Architecture</h2><br>
<p>Most of the residential architecture in Scales Mound is of traditional 19th-century forms: I-house, gable-front, cottages or T- and L-shaped plans. Homes from the early 20th century also adhere to traditional forms with American Foursquare style being prevalent. None of the houses in Scales Mound appear to be architect-designed and generally contain scaled down elements of Stick style, Eastlake and Queen Anne styles, often on the same house. The most ornamented and architecturally impressive houses are found on North Main Street and are classified as Queen Anne style.</p><br>
<p>Concrete construction is prevalent among the homes and buildings in Scales Mound. Adam Rittweger constructed numerous distinctive concrete porches, garages, and foundations between 1908 and his death in 1933. There are several surviving examples of poured concrete constructed buildings in Scales Mound including the 1923 one story electrical generating plant, and Lewis Richards 1911 restaurant. There is one surviving example in Scales Mound of a stucco clad and poured concrete construction combination, Louis Durrsteins implement dealership. It is presumed that Rittweger also introduced stucco finishes to Scales Mound between the late 1900s and early 1910s.</p><br>
<h2>Historic significance</h2><br>
<p>The district is interesting because of the large number of wood-framed outbuildings still remaining from the district&#39;s main period of significance (1855–1930). The district is also significant for the large number of mid-19th-century vernacular homes and commercial buildings which remain intact and retain a large amount of their architectural integrity. The buildings contribute to the understanding of the agricultural, social, and commercial history of late-19th-century and early-20th-century northern Illinois. Together the structures and their lots convey the feeling of a small and active pre-Great Depression farming community. The Scales Mound Historic District was added to the National Register of Historic Places on September 5, 1990.</p><br>
<p>The Gregory House is a historic hotel in central New London, Ohio, United States. Erected soon after a fire that devastated the community, it has occupied a significant place in the community since its construction, and it has been named a historic site.</p><br>
<p>John Corey built the first cabin in present-day New London in 1816, and within a few years he was joined by several additional families. The village was incorporated in 1853 and grew rapidly, but its growth was checked by two major fires; the latter, which occurred on 17 November 1872, destroyed more than forty thousand dollars of property. One year later, village blacksmith Charles Gregory erected his namesake hotel, two-thirds for himself and one-third for local lawyer Albert Porter. Its height was taller than that of other Main Street buildings in the community.</p><br>
<p>Like many Ohio small-town hotels constructed in the years after the Civil War, the Gregory House was built of local materials and typifies the commercial vernacular architecture of the Firelands. Three stories tall with an irregular floor plan, the brick hotel rests on a stone foundation, and sandstone is employed for the coping, the lintels, and the keystones. In its earliest years, the hotel possessed a ten-bay facade with arched windows, topped with corbelling that formed a simple cornice, and display windows filled the first story.</p><br>
<p>In 1984, the Gregory House was listed on the National Register of Historic Places, qualifying both because of its historically significant architecture and because of its important rôle in local history. It is one of seventeen Huron County locations on the Register, although the only one in New London.</p><br>
<p>Bethel Methodist Church is a congregation and the building located at 57 Pitt St. The congregation organized in the late eighteenth century and originally built a smaller wooden church on the site. It served both white and black Methodists.</p><br>
<p>This Greek Revival building was designed by E. Curtis in 1852 and completed in 1854. It was reserved for white members only. It was added to the National Register of Historic Places in 1975.</p><br>
<h2>Description</h2><br>
<p>The new Greek Revival building, designed by E. Curtis, was dedicated on August 7, 1853, and completed in 1854. It cost $18,000. Inside were galleries supported by Doric columns, occupying one end and the two sides of the church.</p><br>
<p>The congregation moved its former building to the back of the lot, where it was used by black members. Only whites used the new church.</p><br>
<p>The new church was designed with a modern pulpit platform and carpeted chancel instead of the high pulpit and sounding board design of older churches. An article dated August 19, 1853, said that a large window was directly behind the pulpit and was flanked by richly ornamented pilasters of the Corinthian order.</p><br>
<h2>History</h2><br>
<p>Methodists in Charleston purchased a half-acre lot at the southwest corner of Pitt and Calhoun streets in 1795 for use as a burial ground. They soon decided to construct a wooden church there called Bethel, and completed it about 1797–1798.</p><br>
<p>Following a dispute over use of the black burying ground and segregated seating, numerous black members followed Morris Brown and left this church. In 1817 he founded Hampstead Church, later known as Emanuel AME Church. Another leading member of that church was Denmark Vesey, who was convicted and executed in 1822 of a conspiracy for a slave uprising. Emanuel AME was suppressed, and whites burned it. Other blacks left this church in 1834, tired of being segregated to gallery seating. That year independent black congregations were prohibited by state law, following the Nat Turner&#39;s Rebellion of 1831 in Virginia.</p><br>
<p>With growth in the congregation, in 1852 they commissioned design and construction of a new building, the current Bethel Methodist Church, which was completed in 1853. Bethel Church was the only Methodist church in Charleston to remain open throughout the Civil War. The church leaders had the first wooden building relocated to the rear of the lot. It was used by remaining black members of this church.</p><br>
<p>In April 1882 following the Reconstruction era, the congregation donated the wood church to a nearby independent black congregation. This congregation moved it across the street, to 222 Calhoun Street. After this move, they added the portico. The older structure is known today as Old Bethel United Methodist Church. In the late nineteenth century, the Bethel Methodist congregation undertook a thorough renovation of their church in 1886. The fourteen-foot wide side galleries were removed and other work was in progress when the earthquake of August 31, 1886 hit. It caused damage that made further repairs necessary.</p><br>
<p>During the 1886–87 period, an alcove was added behind the chancel for a pipe organ, carpet and pew cushions were put in, and stained glass windows were installed. The tin coved ceiling was placed in the building during repairs following the hurricane of 1893. The unusual stenciling was applied to the interior walls in the late nineteenth century and is renewed each time the building is painted.</p><br>
<p>Old Bethel United Methodist Church is located at 222 Calhoun Street, Charleston, South Carolina. It is the oldest Methodist church still standing in the city.</p><br>
<p>Originally built about 1797/1798 for the Bethel Methodist congregation, after 1854 this structure was moved from its first place on the site and reserved for its black members. The white members took control of the new church completed that year on the site. In 1882 officials of Bethel Methodist gave this wooden church building to the black church members; they moved it across to the north side of Calhoun Street (earlier known as Boundary Street) in April 1882.</p><br>
<p>Both churches were listed separately on the National Register of Historic Places in 1975.</p><br>
<h2>History</h2><br>
<p>This building was originally built at 55 Pitt St. at the corner of Calhoun Street (then called Boundary Street) in 1797-1798 for the Bethel Methodist Church, a white-dominated congregation. It was a plan meeting house with a simple rectangular plan. Black members were restricted to sitting in the galleries, although the Methodists accepted both free and enslaved blacks as members and licensed some as preachers. They were sometimes allowed to have separate worship services at times alternate to the white congregation.</p><br>
<p>In 1818 some blacks withdrew from the congregation, affiliating with Rev. Morris Brown and the Hampstead Church (later known as Emanuel AME Church), established about that time in Charleston after a dispute with whites at Bethel. It was built on the north side of Calhoun Street. They had protested a structure being placed on the black burial ground at the Bethel Methodist plot. Emanuel AME Church was suppressed in 1822 following the uprising planned by Denmark Vesey, a leader in that church, after he and others were arrested, convicted, and executions. Brown was imprisoned for about a year, although he was never convicted of a crime.</p><br>
<p>In 1834 some blacks at Bethel Methodist protested being limited to sitting in the galleries. When nine members were expelled, 165 left the church in protest. A nineteenth-century minister and church historian described these events as "the heaviest blow Methodism ever received in Charleston."</p><br>
<h2>New church</h2><br>
<p>With growth, the congregation of Bethel Methodist commissioned a new Greek Revival building, which was completed in 1854. Before that construction, they moved this older wooden building to the back of their lot. It was reserved for use by black members who remained affiliated with this church. The new church was used exclusively by whites.</p><br>
<h2>Old Bethel Methodist Church</h2><br>
<p>After the Civil War, this black congregation was led for a period by Henry Cardozo, a pastor who later became a politician. One of his brothers was Francis Lewis Cardozo, who was elected as Secretary of State of South Carolina during the Reconstruction era. Henry Cardozo also served in political office, first as County Auditor of Charleston County. Later he was elected as a Republican state senator from Kershaw County, South Carolina, serving 1870 to 1874.</p><br>
<p>Following the Reconstruction era, in April 1882 the white congregation formally transferred this wooden building to the black congregation. They moved it across the corner to Calhoun Street, giving it a new address, and renamed it as Old Bethel Methodist Church.</p><br>
<p>After the structure was relocated, the congregation had a portico added, supported by four fluted columns. The columns have modified Corinthian-type capitals. The galleried interior is plainly finished.</p><br>
<p>Following the 1968 unification of the Methodist Church and the Evangelical United Brethren at a national meeting in Dallas, Texas, this church was renamed as Old Bethel United Methodist Church. The church was renovated in the 1970s. In the 21st century it continues to be us by a congregation of about 200 persons.</p><br>
<p>Both this building and the 1854 Bethel Methodist Church were added to the National Register of Historic Places in 1975.</p><br>
<p>Litchfield Villa, or Grace Hill, is an Italianate mansion built in 1854–1857 on a large private estate now located in Prospect Park, Brooklyn, New York City. It is located on Prospect Park West at 5th Street. The villa was designed by Alexander Jackson Davis, America&#39;s leading architect of the fashionable Italianate style, for railroad and real estate developer Edwin Clark Litchfield.</p><br>
<h2>Description</h2><br>
<p>The structure is considered to be Davis&#39; greatest Italianate villa, and is currently the Brooklyn borough headquarters of the New York City Department of Parks and Recreation. Davis also designed a coach house, greenhouse, and chicken house for the property, none of which is extant. Davis created blueprints in several different styles, including the Gothic Revival and Italianate styles, before eventually selecting the Italianate blueprint.</p><br>
<p>The villa is located on raised ground behind a short stone retaining wall. The facade is made of brick that is painted to mimic stone. The front of the villa, facing west, contains a square four-story-high tower attached to an octagonal three-story pavilion. The first and third floors of the octagon contain curved bay windows with balconies. On the first floor, there are porches on the north and south sides of the villa, covered by canopies that are supported by columns of the classical order. A pair of cylindrical turrets adorn the north side of the building.</p><br>
<p>On the first floor inside the octagon, there is a rotunda that is lit by a skylight. A double staircase branches off the south end of the rotunda, rising to the second-floor, and an elaborately decorated drawing room on the first floor is located past the staircase. Past the rotunda and the drawing room there is a reception room that is also shaped like an octagon, and behind that is a dining room. The first floor also contains a circular library, a map room inside the western turret, and chambers for Edwin Clark Litchfield&#39;s wife Grace Hill Hubbard, who was reportedly partially disabled.</p><br>
<p>The second floor has balconies around the rotunda. A chamber above the first floor dining room contains a skylight and a ticket room. There are also servants quarters on the villas north end. On the third floor, there are a chapel and a billiard room, and on the fourth floor, there is a roof terrace.</p><br>
<p>There was a kitchen and storage rooms in the basement.</p><br>
<h2>History</h2><br>
<p>Litchfield purchased the land in 1852, and the structure was built in 1854–1857 at a cost of $150,000. It predates the construction of Prospect Park, which opened in 1867. The original plans for the park called for it to be built around Litchfield Villa, since Litchfield was loath to sell his property.</p><br>
<p>The Litchfields leased the property from the city until 1882, and the following year, the Brooklyn Park Commission started using the house as its headquarters. Subsequently, Frank J. Helmle designed an annex at the back in 1911–1913.</p><br>
<p>The villa was listed on the National Register of Historic Places in 1977.</p><br>
<p>After years of neglect, an extensive renovation was funded by an anonymous descendant of the Litchfield family. The renovation, under the direction of architect Ralph Carmosino, was completed in 2008. The original stucco was removed from the house, and many of the interior details, including the elaborately painted ceiling murals, were lost.</p><br>
<p>The Paul Cuffe Farm is a National Historic Landmark on 1504 Drift Road in Westport, Massachusetts. The house was traditionally and incorrectly believed to be owned by Paul Cuffe , a prominent farmer and merchant of African American and Native American ancestry. Cuffe was active in promoting the idea of returning African Americans to Africa, making a voyage to what is now Sierra Leone in 1811 to support a fledgling colony there. The farm was designated a National Historic Landmark in 1974.</p><br>
<h2>Description and history</h2><br>
<p>The farmstead is located in rural southern Westport, on the western bank of the East Branch Westport River. It is reached from Drift Road by a long drive, and is set in a landscaped clearing overlooking the river. It is a -story wood-frame structure, resting on a granite foundation, with two interior brick chimneys rising from the gabled roof. Construction of the house is estimated to have been around 1780, based on architectural analysis of its chimneys. The property also has evidence of wooden-pile wharves of similar antiquity, and submerged granite blocks which suggest a stone pier may have once been located there.</p><br>
<p>Although the house was believed to belong to Paul Cuffe at the time of its National Historic Landmark designation in 1974, subsequent research by local historians has cast doubt on this attribution. Although Cuffe was known to own land in this area, and may have used the wharves on this property in his merchant business, the documented ownership history of this parcel does not include him. Between 1748 and 1884 the property was under the continuous ownership of members of the Tripp family. It is possible that Cuffe&#39;s son-in-law lived here briefly.</p><br>
<p>Paul Cuffe (1759–1815) was born to an African father and a Wampanoag mother on Cuttyhunk Island. From poor beginnings, he went to sea, rising to become a ship&#39;s captain and then owner. His work promoting efforts to resettle former slaves to Africa brought him an international reputation, including contact with high-profile Americans such as Albert Gallatin and James Madison. Cuffe was also active in the promotion of civil rights in his native Massachusetts, petitioning the state for tax relief because he was not allowed to vote.</p><br>
<p>The Mary Fiske Stoughton House is a National Historic Landmark house at 90 Brattle Street in Cambridge, Massachusetts. Henry Hobson Richardson designed the house in 1882 in what is now called the Shingle Style, with a minimum of ornament and shingles stretching over the buildings irregular volumes like a skin. The house drew immediate notice in the architectural community, and was a significant influence in the growth in popularity of the Shingle style in the late 19th century. Richardsons masterful use of space in its design also foreshadowed the work of major 20th century architects, including Frank Lloyd Wright. The house was designated a National Historic Landmark in 1989.</p><br>
<h2>Ownership history</h2><br>
<p>In 1882 Mary Fiske Stoughton, the widow of Edwin W. Stoughton, commissioned the construction of a house in Cambridge, Massachusetts, to be nearer her son, John Fiske, a philosopher and historian who made his home there. Stoughton commissioned the house from the well-known architect Henry Hobson Richardson, and the building was completed in 1883. Fiske made major alterations in 1900: expanding the kitchen wing westward, and the whole rear of the house southward. A 1925 alteration created a new kitchen as a projecting bay to the front facade, and a 3rd story was added to the east facade&#39;s bay window. Sometime after 1969, the kitchen wing was altered again, with the 1900 and 1925 kitchens merged and converted into a garage.</p><br>
<h2>Description</h2><br>
<p>As designed by Richardson, the house was a two-story L-shaped wood-frame structure, with its main entrance to the left of a recessed porch facing Brattle Street. A side entrance is on the east side of the house, facing Ash Street. The exterior, in a departure from Victorian forms featuring sometimes extensive and elaborate decorative sawn woodwork, is restrained, with most surfaces covered with wooden shingles. The entry leads into a central hall at the crook of the L, which includes a sweeping semicircular staircase leading to the upper floors. From this hall access is gained to most of the public rooms on the ground floor, including a drawing room, music room, study, and dining room. The dining room is to the right of the entrance, with access to the formerly-recessed porch, which has been glassed in. Beyond the dining room to the right is the service wing, including the kitchen and laundry, later converted into a garage, and then again merged into the house proper. Behind the dining room, now filling in the crook of the L, is a conservatory.</p><br>
<p>The left side and center of the second floor are occupied by bedrooms and bathrooms, and the wing to the right is taken up by Fiske&#39;s large library. Servant bedrooms are in the attic space above. A third floor addition on the east side of the house has a small apartment with modern facilities.</p><br>
<p>The property was, according to older photographs, curbed by a low wall on its street-facing sides. This has been replaced with a higher brick wall, obscuring much of the view of the house. A brick-paved carport is located on the right side of the property, in front of the house.</p><br>
<h2>Influence</h2><br>
<p>Soon after its completion, art critic George William Sheldon wrote, "few cottages of equal dimensions were ever planned, in this country or abroad, which show better results in point of convenience, spaciousness, and architectural purity." In 1982 century, architectural historian Henry-Russell Hitchcock wrote, "This is one of his most successful works and is, perhaps, the best suburban wooden house in America. It is comparable only to the finest of Frank Lloyd Wrights."</p><br>
<p>Architectural historian Vincent Scully observed that Richardsons use of space in the houses design is a clear forerunner of the work of Wright, comparing adjacent houses in Buffalo, New York, one a virtual replica of this house, built in 1897, the other a Wright design built in 1905: "Both are classically coherent forms, but the Wright house obeys a more inexorable architectural discipline than does the Richardson House."</p><br>
