<p>Wechsler School is a historic school in Meridian, Mississippi erected in 1894. The school was the first brick public school building in Mississippi built with public funds for African-American children. It originally served primary through eighth grades but was later expanded to include high school as well. The school was named in honor of Rabbi Judah Wechsler of Congregation Beth Israel, who had led and inspired Meridian public to approve a bond issue to raise money for construction of the school. The school was listed on the National Register of Historic Places in 1991 and designated a Mississippi Landmark in 1993.</p><br>
<h2>History</h2><br>
<h3>Original 1894 building</h3><br>
<p>Early public education in Meridian was based on the 1870 Mississippi Constitution. From 1870-1885, trustees appointed by the City Council served on the Board of School Directors, which had authority to operate the schools. The first public school for African Americans in the city was held in facilities rented from St. Paul Methodist Church. The Mississippi legislature amended the city charter in January 1888 to allow the city to maintain its own municipal school district, and in March of the same year $30,000 in bonds was approved for the city to build new public schools.</p><br>
<p>In 1894 when Wechsler was built, 30% of the children in the city were African American. Because of this growing number, $15,000 was used to purchase the grounds on which the building now stands. After the bond was approved in February 1894, the school was named after Rabbi Judah Wechsler, formerly of Congregation Beth Israel, who had helped raise interest in building the school. Though the first brick school for African Americans in the state of Mississippi was Union School in Natchez, Mississippi built in 1872, Wechsler School became the first brick public school built for African Americans in Mississippi with public funding.</p><br>
<p>The original building was a two-story Italianate building. The first floor contained six rooms while the second floor consisted of two rooms and an auditorium. Six pilasters lined each facade of the building, and the main entrance, adorned by a segmented-arched canopy, was located on the north face of the building. The building was originally heated by coal fireplaces, necessitating a small structure (now demolished) on the southwest side of the main building to store the coal. When the building was updated to have steam heating in 1914, the coal house was no longer needed.</p><br>
<h3>Annexation and growth</h3><br>
<p>Also in 1914, a bond issue for almost $75,000 was approved for improvements and additions to all the citys schools. From this bond, the school built a brick annex south of the original building to accommodate a rise in the number of students in Meridians public school system. The annex is also two stories, the second of which is connected to the second floor of the 1894 building via a skywalk. The first and second floors of the annex were used as classrooms, while a boiler room was located in the basement.</p><br>
<p>The school originally housed first through eighth grades but was expanded to twelve grades by 1921. and it remained the only one until 1937, when Meridian&#39;s black high school program was transferred to then new T.J. Harris High School. In the 1920s, the outside of the 1894 building was covered with stucco. Over time, the first floor was remodelled to contain an office, four classrooms, and restrooms, and the floors were covered with linoleum. The second floor contains five classrooms, office space, a library, and restrooms.</p><br>
<p>In 1922 the school added classes for adults, and in the Meridian-State Normal for Teachers moved to the school, allowing under-educated teachers to renew their teaching licenses. In 1929, fifty teachers graduated from the Normal at Wechsler. The highest number of student graduates from Wechsler was eighty-seven in the 1935-36 school year.</p><br>
<h3>Decline of Wechsler</h3><br>
<p>The high school (grades 9-12) moved to T.J. Harris High School in 1937, after which Wechsler served as an elementary and junior high school until 1971. Another addition was added to the campus in 1951 on the east side of the lot. The utilitarian style addition included four classrooms, an auditorium, stage, cafeteria, teachers&#39; rooms, and showers. A staircase connects the 1894 building with the second floor of the addition, and a covered staircase leads to the entrance. Also in 1951, the basement of the 1914 annex was converted into classrooms, and the boiler room was moved to the new addition.</p><br>
<p>From 1971–1983 the school was used as a kindergarten for both black and white children, but was closed down after the 1983 school year. After being taken out of service as a school, the building was used by a theater organization from until 1986. The building then lay vacant for four years before members of the community formed the Wechsler Community Art Center in 1990. The school was listed on the National Register of Historic Places in 1991 and as a Mississippi Landmark in 1993.</p><br>
<p>In 1994 the school board deeded the building to the Wechsler Community Art Center Association. The association has started raising money to develop plans for renovation and reuse. The association hosted dances and parties catered to teens as fundraisers in the late-1990s and early 21st century. In 2000, it received funds from the state under a new program of grants for African-American heritage sites. The first phase provided funding for stabilization and reuse. The association has a multi-year plan to renovate the building for an art center and extended community use. Recently, a local push has been underway to convert the facility into a charter school.</p><br>
<h2>Former principals</h2><br>
<p>Though the building was not completed until 1894, the construction bond passed in 1888, and the first principal was selected to manage the planning for the school. The former principals of the school include:</p><br>
<p>E.H. Triplett (1888–1896)</p><br>
<p>O.C. Garrett (1896–1902)</p><br>
<p>William Hopkins (1902–1916)</p><br>
<p>R.S. Groosley (1916–1918)</p><br>
<p>Thomas J. Harris (1918–1937)</p><br>
<p>Lydia Carr (1937–1945)</p><br>
<p>Jennie Ruth Crump (1945–????)</p><br>
<p>The Dunaway House is an historic house at 2022 Battery in Little Rock, Arkansas. Designed in the Craftsman Style, it is located on a boulevard on Battery Street. The two-story brick house is in the Central High School Neighborhood Historic District. It was designed by architect Charles L. Thompson of Little Rock in 1915. The Dunaway House features a terra-cotta gable roof with a portico over an arched entrance. It has a south-facing two-story wing with a hip roof.</p><br>
<p>The house was listed individually on the National Register of Historic Places in 1982.</p><br>
<p>The Publicity Building is a historic Class-B commercial office building located at 40-44 Bromfield Street in downtown Boston, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The nine-story, brick and limestone office building was designed by Arthur H. Bowditch and built in 1916. It is noted for its Beaux Arts styling and its largely intact cast-iron storefronts. Its name is supposedly derived from an early concentration of press and media-related businesses which occupied its upper floors. It underwent renovations in 1975.</p><br>
<p>The building was listed on the National Register of Historic Places on August 20, 2003.</p><br>
<p>Publicity Building 100914.jpg2014 photo of the Publicity Building, from Bromfield Street</p><br>
<p>Temple Place Historic District is a national historic district at 11-55, and 26-58 Temple Place in Boston, Massachusetts. The district encompasses a set of fifteen well-preserved 19th and early-20th century buildings representing the increasing commercialization of the area, which was a fashionable upper-class address in the late 18th century. The earliest buildings date from the 1830s and are Greek Revival in style. Three buildings  were designed by noted Boston architect Nathaniel J. Bradlee, and are rare surviving examples of his work which predate the Great Boston Fire of 1872; one building  was designed by Peabody and Stearns.</p><br>
<p>The district was added to the National Register of Historic Places in 1988. Among the former tenants: Ritz & Hastings, photographers (1860s-1880s).</p><br>
<p>The Ocean Park Historic Buildings are a group of four religious community structures in the center of the Ocean Park area of Old Orchard Beach, Maine. Also known as Temple Square, they form the heart of the summer camp meeting established in 1881. The buildings include The Temple, one of the only octagonal church buildings in the state. The buildings were listed as a historic district on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The idea for the Ocean Park camp meeting arose during an 1880 meeting of Free Will Baptists at Weirs Beach, New Hampshire, a resort area on Lake Winnipesaukee in central New Hampshire. An association was formed, land was purchased in Saco, Maine (later separated as part of Old Orchard Beach), and the first building of the institution, The Temple, soon followed. Between then and 1915 three additional buildings were added on either side of that one, on land in the development reserved by the association for its buildings. The four buildings are described here from west to east.</p><br>
<p>Porter Hall, built in 1902, is a fine example of Greek Revival architecture. It has a colonnaded temple front, matchboard siding, and gable roof. Four Corinthian columns support a frieze with words "Hall in the Grove", above which the fully pedimented gable end has the words "Porter Hall" above a lamp motif. The facade is three bays wide, with a center double-door flanked by sash windows. This building houses the association&#39;s library and research facilities.</p><br>
<p>The Temple is a large octagonal structure, two stories in height, with a hip roof topped at the center by a cupola. At the front of the building a two-story gabled vestibule projects, with the main entrance on the first floor and a double window on the second. The east and west facades are three bays wide, with a center projecting section. The north facade has a storage area projecting from it; the other sides have two windows each. The interior of the hall is a large open space, with a platform at the north wall. Original chairs and pews are still in use. Just east of the Temple stands a square structure known as the Bell Tower, built in 1882. This is a gazebo-like structure, with a deck accessed by a flight of steps, and a roof with decorated sides that resemble clock faces.</p><br>
<p>The B. C. Jordan Memorial Hall, built in 1915, forms the eastern end of the group. It is a two-story wood frame structure, with clapboard siding. Its entrance is recessed behind a colonnade of four smooth Doric columns. The building entrances (the main one on the west side and a secondary one on the north side) are capped by gabled pediments, a detail repeated on first floor windows.</p><br>
<p>Jardinette Apartments, now known as Marathon Apartments, is a four-story apartment building in Hollywood, Los Angeles, California, designed by modernist Richard Neutra. It was Neutras first commission in the United States. In his book Key Buildings of the Twentieth Century, Richard Weston called the Jardinette Apartments "one of the first Modernist buildings in America." It has also been called "Americas first multi-family, International-style building."</p><br>
<h2>Construction</h2><br>
<p>The construction of the building was announced in a November 1927 article in the Los Angeles Times: "The Jardinette, a Class B apartment-house now under construction at Marathon street and Manhattan Place, is being erected on a site 71 by 130 feet. This house will contain forty-three apartments and will be built at an estimated cost of $225,000." The site is one block west of Western Avenue, and one block north of Melrose Avenue.</p><br>
<p>While the building was being constructed, architect Harwell Hamilton Harris saw it and found it "unlike any building he had ever seen."</p><br>
<h2>Critical reception</h2><br>
<p>When the Jardinette was completed in 1928, the building drew widespread attention for its radical modern design. The Christian Science Monitor said: "The new garden apartments bridge a gap between the worker&#39;s place of business and his home. Light and sunshine flood the apartment house and create a new harmony of family life and contentment, with every room as efficiently planned for service as the most modern business office." The building was published as far as Germany and Russia.</p><br>
<h2>Design</h2><br>
<p>The Jardinette building was Neutra&#39;s first commission in Los Angeles. Like the Lovell House, which Neutra designed around the same time, the Jardinette is composed of "box-like forms, flat roofs, unbroken horizontal windows alternating with plain, banded spandrels extended to form balconies." However, Jardinette differs from Lovell House in construction. Neutra chose reinforced concrete for Jardinette, with long spans of reinforced concrete allowing for unbroken window strips. The original design also included rooftop gardens.</p><br>
<p>The building&#39;s main structure runs east to west along the back of the site, with two short wings at either end forming a shallow courtyard. The design was intended to convey a sense of openness: "Everything about the building speaks of condensed, efficient forms whose edges dissolve into the landscape." A writer for Art and Culture noted, "The Jardinette is a perfect example of the Modernist trend at the time."</p><br>
<p>The Jardinette was intended as a prototype for a series of garden apartments to be built in Hollywood. However, the developer, Joseph H. Miller, went bankrupt during the construction of Jardinette, and the other buildings were never realized.</p><br>
<p>One of the key features that set the Jardinette apart from other apartment buildings built in Los Angeles in the 1920s was the lack of ornamentation. The Los Angeles Times has written that the Jardinette represents the roots of Neutras radical, free-form style. "This was radical architecture. It was without ornament, made out of industrial materials, and bold in its sculptural openness. Areas flowed from inside to outside, and glass made the artificially lush landscape of California seem to float into the very heart of each of the architects buildings."</p><br>
<h2>Later decline</h2><br>
<p>In recent years, the Jardinette has fallen into a state of neglect. In 1992, the Los Angeles Times wrote: "Today, the Jardinette is somewhat neglected and forlorn.... One can only hope that someday soon the Jardinette, inhabited by mere mortals who enjoy efficiency and sunlight, will be restored to its original abstract splendor." In 2005, the LA Weekly described the building as a "depressing" complex and suggested that its residents "may never guess that their cellblock-like building on a dismal and forsaken street is a landmark of modernism."</p><br>
<h2>Building gutted</h2><br>
<p>In December 2020 the Jardinette Apartments was bought by Cameron Hassid of Apollo Capital, based in Beverly Hills, CA.</p><br>
<h2>Historic designations</h2><br>
<p>In 1986, the Jardinette was listed in the National Register of Historic Places.</p><br>
<p>In 1986, the Jardinette was registered with the State of California&#39;s Office of Historic Preservation.</p><br>
<p>In 1988, the Jardinette was designated as a Historic-Cultural Landmark by the City of Los Angeles.</p><br>
<p>The East Ferry Avenue Historic District is a historic residential district in Midtown Detroit, Michigan. The nationally designated historic district stretches two blocks from Woodward Avenue east to Brush Street; the locally designated historic district includes a third block between Brush and Beaubien. The district includes the separately designated Col. Frank J. Hecker House and the Charles Lang Freer House. It was designated a Michigan State Historic Site in 1976 and listed on the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>In 1856, the Ferry Seed Company was founded in Detroit; the company established a large farm at the corner of East Ferry and Woodward to grow the seeds that were sold nationwide. In the mid-1880s, then-owner D. M. Ferry platted the farm into residential lots along East Ferry Avenue. At the time Woodward was an upscale residential street, so lots facing Woodward were quite expensive (as is the Col. Frank J. Hecker House, on Woodward and Ferry). Lots on the side streets were less expensive, and East Ferry was quickly settled by prosperous middle and upper middle class Detroit residents.</p><br>
<p>Woodward Avenue since redeveloped into primarily commercial property, but a group of mansions and upscale housing on East Ferry survives. Around World War I, a number of professionals and business people found they could purchase homes on East Ferry. The Omega Psi Phi fraternity and the Lewis College of Business still remain on East Ferry. After World War II, the Merrill Palmer Institute (housed in the Charles Lang Freer House) purchased several homes along East Ferry, hoping to expand their operations. However, Merrill Palmer was unable to expand and in the late 1960s sold the homes to the Detroit Institute of Arts for their proposed expansion. The DIA eventually realized the property on East Ferry would not be useful to them, and re-sold them in the mid-1990s.</p><br>
<p>Four of these homes were turned into The Inn on Ferry Street, a successful bed and breakfast, others are now residential. Recently, new homes have been constructed in the neighborhood, architecturally congruent with the designs of the 19th century homes already there.</p><br>
<h2>Architecture</h2><br>
<p>Houses on East Ferry are built close together on small lots, set back from the street. Many of the matching carriage houses still exist. Homes on East Ferry are some of the best current examples of residential commissions from Detroit&#39;s leading 19th century architects, including John Scott, Louis Kamper, Malcomson and Higginbotham, Rogers and McFarlane, Mortimer Smith, Donaldson and Meier, Joseph E. Mills, A. E. Harley, and Smith, Hinchman & Grylls.</p><br>
<p>The Lynchburg Covered Bridge is a historic wooden covered bridge that spans the east fork of the Little Miami River in Lynchburg, Ohio. It also has the distinction, following a recent repair and restoration project, of being the only such covered bridge in North America to have been converted to a pseudo-suspension infrastructure. The bridge was built in 1870 as a Long truss.</p><br>
<h2>History</h2><br>
<p>On October 11, 1869, a Notice to Contractors was posted by the Highland County Auditor&#39;s Office calling for sealed bids for the construction of the Lynchburg Covered Bridge. In 1870 the bridge was constructed for a cost of $3138.66 by local bridge builder John C. Gregg of Hillsboro, who had built a number of bridges in the area. The bridge was completed in December 1870. It occupies a site at which a gristmill and sawmill once operated by the power of the Little Miami.</p><br>
<p>Following the 1963 announcement of plans to demolish the bridge, a community-wide debate arose and a letter writing campaign for its preservation was begun. Ohio Governor James A. Rhodes agreed to assist in saving the landmark, but it was ultimately decided that the state had no jurisdiction in the matter, since the bridge did not exist on a state highway. The Highland County Board of Commissioners eventually agreed, after strong community input, to allow the bridge to remain in place.</p><br>
<p>In 1969 a new bridge was constructed over the Little Miami River, allowing access to Lynchburg from Clinton County. The Lynchburg Covered Bridge was retired from active service and closed to traffic and Clinton County relinquished rights to the bridge. Five years later, the bridge sustained severe storm damage when high winds blew most of the roof into the Little Miami River. Materials were donated for repairs, and the Lynchburg Historical Foundation launched a fund raising campaign, which raised a further $6000 for repairs. The restoration and renovation was eventually carried out by volunteers.</p><br>
<p>The Ohio Historic Bridge Society applied to have the bridge designated as an historic landmark, and the bridge was so designated on March 16, 1976, with its addition to the National Register of Historic Places. Ohio&#39;s only covered bridge spanning a county line, it was one of eight surviving Long truss covered bridges at the time of its designation.</p><br>
<h2>Social impact on the local community</h2><br>
<p>The Lynchburg Covered Bridge, and the surrounding Ruth Cramton Memorial Park, has become a center for social gatherings and activities for the greater Lynchburg community. Since the 1980s several major seasonal events have called the historic bridge home, including several annual covered bridge festivals, civil war reenactments, car shows, motor cycle gatherings, and many local social bazaars. In the 1980s the Highland County/Clinton County rivalry culminated in both counties gathering at the bridge, which covers the boundary between the two at its center, for a tug of war contest that became quite the local community event. Since the time of the park&#39;s establishment, it has also become a highly utilized place for organizations and families to hold private events, as well, more so than any other community venue.</p><br>
<p>Lowe Mill ARTS & Entertainment is the largest privately owned arts facility in the United States. With a focus on visual arts, this huge historic factory building has been redeveloped into 153 working studios for over 200 artists and makers, 7 galleries, a theatre, community garden, and performance venues.</p><br>
<h2>History</h2><br>
<p>Arthur Lowe, a New England native, founded Lowe Manufacturing Company in 1900 with the vision of bringing textile production closer to the cotton fields of the South. Located just outside of Huntsville, Alabama, Lowe Mill opened in 1901, capitalizing on locally grown cotton. At that time, Huntsville was becoming an emerging hub for textile mills, with other entrepreneurs recognizing the region’s potential for mill development as well.</p><br>
<p>To appreciate how Lowe Mill transformed from a textile mill in Alabama into the Souths largest collaborative arts center, its key to explore Huntsville&#39;s unique story. Its evolution touches on Civil War history, cotton economy shifts, labor movements, army supply demands, and ultimately, its embrace of artistic innovation. This journey reflects not only changes in industry but also shifts in cultural purpose, making Lowe Mill an emblem of creative revival in Huntsville.</p><br>
<p>Huntsvilles history dates back to 1805 when Revolutionary War veteran John Hunt settled near what is now Big Spring Park, close to Lowe Mill A&Es current location. Officially incorporated in 1811, Huntsville became Alabama’s first town. It played a key role in the state’s early development, achieving territory status in 1817 and statehood in 1819.</p><br>
<p>From 1810 to 1860, several cotton mills emerged in Madison County near Huntsville, leveraging the region’s abundant cotton resources. The first, Cabanas Cotton Spinning Factory, opened in 1817, followed by Horatio Jones Cotton Spinning Factory in 1819, which later became Bell Factory. Known for its high production, Bell Factory gained prominence as Alabama’s most renowned antebellum mill, operating with enslaved labor. Later, the Flint Manufacturing Company (1850) and McFarland Mill (before 1860) added to Madison County&#39;s robust early textile industry along the Flint River.</p><br>
<p>The Civil War began on April 12, 1861, with Confederate forces firing on Fort Sumter in Charleston Harbor, South Carolina. A year later, on April 11, 1862, Union General Ormsby Mitchel, a Unionist and noted astronomy scholar, captured Huntsville, Alabama. This strategic victory severed the Confederacy&#39;s Memphis-Charleston Railroad, impacting vital supply routes. With Huntsville under Union control until the end of the war in 1865, the town’s infrastructure largely remained intact—unlike many Southern cities that faced widespread destruction by advancing Union forces.</p><br>
<p>In 1879, Arthur Lowe joined others to establish the Parkhill Manufacturing Company to produce fine ginghams. Starting with only 30 looms, Lowe managed this small mill with a dedication that transformed it into one of the largest gingham manufacturers in the country. His success in the textile industry later inspired him to create Lowe Mill in Huntsville, Alabama, bringing New England&#39;s cotton milling practices to the South. This legacy established a foundation that would eventually evolve into the Lowe Mill ARTS & Entertainment center.</p><br>
<p>In the 1880s, Huntsvilles leaders realized that by establishing local textile mills, they could use Madison County’s cotton to produce cloth directly in the city, generating economic growth and job opportunities. To bring this vision to life, they actively sought investment and expertise from Northern mill owners, inviting them to open factories in Huntsville. This strategy marked the beginning of Huntsvilles local textile industry, setting the stage for future developments like the establishment of Lowe Mill, which would later evolve into the thriving arts community known today.</p><br>
<p>The Huntsville Cotton Mill Company, Huntsville&#39;s first cotton mill, opened in 1880 and was funded by Northern investors. By 1900, three additional mills had emerged: Dallas Manufacturing Company, West Huntsville Cotton Mills Company, and Merrimack Manufacturing Company. These developments established Huntsville as a significant player in the Southern textile industry and set the foundation for a thriving local economy powered by cotton production and textile manufacturing.</p><br>
<h3>Timeline</h3><br>
<p>1900 Arthur H. Lowe arrived in Huntsville. Lowe planned arrangements for the incorporation of Lowe Manufacturing Company and the construction of Huntsville&#39;s fifth mill, but left abruptly. It was Pratt, in 1900, who incorporated Lowe Manufacturing Company. Soon after Pratt and O’Shaughnessy agreed to terms for the construction of Lowe Mill, the fifth cotton mill in Huntsville.</p><br>
<p>1901 Lowe Mill opened for textile production. D.C. Finney is put in charge of the plant acting as agent for Arthur H. Lowe. The company provided housing for mill workers, whose job was to spin local cotton into fibers and yarn for the textile industry. The following year, Eastern Manufacturing Company completed a weaving mill on the adjacent property. This new enterprise utilized the output from Lowe Mill to produce high-grade clothes and linens.</p><br>
<p>1903 Lowe Mill absorbed Eastern Manufacturing Company.</p><br>
<p>1904 The North building was constructed and connected to the earlier portion which is currently called ‘The Connector’.</p><br>
<p>1909 Arthur Lowe sold his interest in the plant to Columbia University astronomy professor Charles Poor, the first of many New Yorkers who would figure in the factory’s future.</p><br>
<p>1911 Hunter Manufacturing Co. took over Eastern Manufacturing Co, but the mill continued to operate as a textile mill under the title "Lowe Mill". The mill complex went through several physical and ownership changes.</p><br>
<p>1919 One of every five workers walked out in wave of nationwide strikes, including national clothing, coal and steel strikes, a general strike in Seattle, and a police strike in Boston.</p><br>
<p>1920-30 Across the nation workers in all industries began to unionize, the workers in Huntsvilles cotton mills were no exception. Labor strikes occasionally disrupted work in Huntsvilles cotton mills throughout this decade.</p><br>
<p>1932 Lowe Manufacturing Company declared bankruptcy at the height of the Great Depression.</p><br>
<p>1933 The mill reincorporated as Lowe Mills, Inc. in January 1933, with Donald Comer, head of Birmingham, Alabama&#39;s Avondale Mills, as majority stockholder.</p><br>
<p>1933 Roosevelt&#39;s "New Deal" National Industrial Recovery Act (NIRA) protected the rights of workers, membership spiked from 40,000 to 270,000.</p><br>
<p>1934 On July 17, 1934, the workers of Lowe Mill walked off their shift due to lack of progress to improve working conditions.</p><br>
<p>1936-37 Textile manufacturing ended despite an attempt to rescue the mill from failure with an ownership change in 1936, with Edwin Greene of New York becoming the majority stockholder. When operations ended in March 1937, the Lowe Corp. buildings were sold to Walter Laxton and used as a warehouse for cotton.</p><br>
<p>1946 General Shoe Company (founded as the Jarmen Shoe Company of Nashville, TN in 1924, changed to General Shoe in the 1930s and became Genesco in 1959) began to manufacture shoes.</p><br>
<p>1959 General Shoe changed its name to Genesco. In the 60s, during the Vietnam war, Genesco produced the majority combat boots for US soldiers. Genesco continued production until 1979, and many US soldiers in Vietnam wore boots made at Genescos Huntsville factory.</p><br>
<p>1978 Genesco closed and Martin Industries turned Lowe Mill into a warehouse for residential and commercial heating systems. In 1999, realtor Gene McLain bought Lowe Mill and then in 2001, sold it to Research Genetics founder Jim Hudson. Hudson remains the current owner of Lowe Mill.</p><br>
<p>2001 Jim Hudson, the founder of HudsonAlpha Research Genetics, purchased Lowe Mill at the corner of Seminole Drive and 9th Avenue and gave new life to what was Huntsville&#39;s first suburb.</p><br>
<p>2004 The Flying Monkey Arts Center opened on the 2nd floor of the South building.</p><br>
<p>2008 The studios on the second-floor connector are open for business.</p><br>
<p>2009 The 3rd floor is opened by Lowe Mill ARTS & Entertainment, LLC.</p><br>
<p>2010 The 1st floor South building studios are opened to the public.</p><br>
<p>2012-13 In February, Railroad Rooms are finished.</p><br>
<p>2014 The 2nd floor North building studios are open to the public. The most recent addition to Lowe Mill A&E was the opening of the second floor of the North Building. This addition made Lowe Mill A&E the nation&#39;s largest privately owned arts and entertainment facility, totaling 153 working studios, 7 art galleries, over 200 artists and makers, and 4 performance venues.</p><br>
<p>The Mount Holly Mausoleum was designed by architects Thompson and Harding in 1917 and is located in Little Rock, Arkansas. Its architectural significance lies in its austerity of simple Greek Revival design. The structure was added to the National Register of Historic Places in 1982. The mausoleum is located in the northwest corner of Little Rock&#39;s oldest and most picturesque cemetery, Mount Holly .</p><br>
<p>Constructed of limestone, the building is composed of a central entrance block flanked by two smaller wings. The entrance is framed by two fluted Doric columns which have been set back into the structure and are flush with the outside wall. A simple cornice with cavetto molding wraps the entire central block; the simple parapet rises slightly higher over the entrance. The entrance features two double doors with multi paned leaded glass cames (grooved strips that hold together the panes) embellished with a laurel wreath motif in stained glass. Additionally, stained glass windows with predominant tones of gold, green, and lavender appear flanking the door and in the transom as well as at the rear of the main block.</p><br>
<p>The Omaha Star building is located at 2216 North 24th Street in North Omaha, Nebraska. As the site of publication of The Omaha Star newspaper since 1938, the building is notable for its long service to Omaha&#39;s African-American community and its connections to the civil rights movement in the city. In recognition of its significance, the building was listed on the National Register of Historic Places in 2007.</p><br>
<h2>History</h2><br>
<p>Through the Great Migration decades, the Near North Side of Omaha was the center of the city&#39;s African-American community when Mildred Brown and her husband Edward S. Gilbert founded the Omaha Star in 1938. The building, built in 1923, originally housed a mortuary and then a social hall. Brown lived in an apartment at the back of the building from the founding of the paper through 1989 when she died. (She and her husband divorced in the 1940s.)</p><br>
<p>Since 1945, the Omaha Star has been the only African-American paper in Omaha. In the 1940s, the building provided a home for the DePorres Club, an important civil rights organization in Omaha. Brown invited the DePorres Club, a youth-led activism organization, to use her offices after the group was exiled from nearby Creighton University.</p><br>
<p>Brown ensured that the Omaha Star kept the community apprised of national issues, especially the civil rights movement&#39;s successes and failures across the country and throughout the city. Journalists researched the issues and presented the facts to its readers, and then urged involvement, but it also provided a voice and a face for the community in general.</p><br>
<p>In 2007, the City of Omaha unanimously approved a community development block grant to fund a $40,000 renovation for the building. During the renovation, the buildings hallmark 1940s sign was temporarily taken down for refurbishing. The sign features the newspapers name, a map of Africa and a large star that lights up at night.</p><br>
<p>Dr. Marguerita Washington, Mildred Browns niece, ran the paper from her aunts death in 1989 until her own death in 2016. Speaking of the NRHP designation, Dr. Washington said, "I wanted it in recognition for my aunt because of all that hard work she did in the community." The building is owned by the Mildred D. Brown Memorial Study Center, which also currently owns The Omaha Star as well.</p><br>
<p>The city dedicated the Mildred Brown Memorial Strolling Park in May 2008 next to the Omaha Star Building. Constructed as a service learning project by students from the Metropolitan Community College, the park includes walkways and planting beds.</p><br>
<p>Coronado Historic Site is the Tiwa pueblo of Kuaua and a historic site that is part of the State-governed Museum of New Mexico system. It is located along USA Federal Route 550, 1 mile west of Bernalillo and 16 miles north of Albuquerque.</p><br>
<h2>History</h2><br>
<p>The Coronado Historic Site is most noted for Kuaua Pueblo (Tiwa for "evergreen"). The pueblo or village was settled about 1325 and abandoned toward the end of the 16th century. The Coronado Historic Site was the first state archaeological site to open to the public. It was dedicated on May 29, 1940, as part of the Cuarto Centenario commemoration (400th Anniversary) of Francisco Vásquez de Coronado&#39;s entry into New Mexico. James F. Zimmerman was its first president. Although it is named for Vasquez de Coronado, who camped in the vicinity in 1540–1542, the site is of Kuaua Pueblo which was one of several Tiwa-speaking pueblos in the area when the Vasquez de Coronado arrived, and the village was almost certainly abandoned due to Coronado and the after effects of the Tiguex War (February 1541).</p><br>
<p>The ruins of Kuaua Pueblo were excavated from 1934 to 1939 by an archaeological team led by Edgar Lee Hewett and Marjorie F. Tichy (later Lambert). The excavation revealed a south-to-north development over the villages three centuries of existence, as well as six kivas built in round, square and rectangular shapes. The site is particularly noted for a series of pre-contact (pre-1541) murals that were recovered from a square kiva in the pueblos south plaza. These murals represent one of the finest examples of pre-contact Native American art to be found anywhere in North America.</p><br>
<h2>Visitor Center</h2><br>
<p>The Coronado visitor center was designed by noted Southwest architect John Gaw Meem. It displays fourteen of the restored kiva murals as well as Pueblo Indian and Spanish Colonial artifacts. An interpretive trail winds through the ruins and along the west bank of the Rio Grande.</p><br>
<p>The Jemez Historic Site  is a state-operated historic site on New Mexico State Road 4 in Jemez Springs, New Mexico. The site preserves the archaeological remains of the 16th-century Native American Gíusewa Pueblo and the 17th-century Spanish colonial mission called San José de los Jémez. The site was listed on the National Register of Historic Places in 1973,</p><br>
<h2>Description</h2><br>
<p>The Jemez Historic Site is located north of the village of Jemez Springs, in the Jemez River valley. It is on the east side of New Mexico State Road 4, near the mouth of Church Canyon. The site is about 6 acre in size, and includes partially stabilized remains of a Native American pueblo and a Spanish mission compound. The principal feature of the latter are the remnant walls of the church, which at 110 ft in length represent one of the largest 17th-century mission churches known in the state. The church walls are built mainly out of limestone, with some sandstone and volcanic tuff. Portions have been finished in the traditional mud plaster style, and have had partial restorative and preservative work done on the wall tops to limit erosion. The walls range in thickness between 6 and at their bases. Near the church are the foundational remnants of another structure, probably used as a residence by the priest, and another Spanish foundation that was probably a civic building. On the south side of the church is a small plaza that also has a cemetery.</p><br>
<p>Adjacent to the mission are the remains of a medium-sized pueblo. It had an estimated 200 rooms in five blocks, including two kivas, and would probably have originally looked similar to surviving pueblos such as Taos Pueblo. The kivas in the Jemez Historical site are square or rectangular in shape, unlike the circular ones found elsewhere. Portions of the pueblo have been excavated and are open to visitors, while others have been backfilled or plastered over to limit damage by erosion or weather.</p><br>
<h2>History</h2><br>
<p>The Gíusewa Pueblo was probably established in the second half of the 15th century, and was first described by Spanish explorers in 1581. A small mission was apparently established next to the pueblo in 1598, but the present surviving structures were begun in 1621. The church was completed in 1623, but damaged by fire not long after, and was again worked on in 1625-26. There was apparently no settled priest, with Franciscan friars making repeated attempts to convert the puebloans until about 1639. The Jémez people continued to occupy the pueblo, and even built a square kiva in one part of the mission compound. The pueblo was abandoned in 1680, when the Jémez participated in the Pueblo Rebellion which evicted the Spanish from the region until 1692. Over time, the forces of nature took their toll on the buildings, resulting in the collapse of the church roof, and the partial collapse of its walls. The site first underwent major excavation in 1910 and 1922, at which time stabilization of some of its features began. The state also acquired the land at that time, and it was designated a state monument in 1935.</p><br>
<p>Trinity Rectory is an historic building at the corner of Clarendon Street and Newbury Street in Boston, Massachusetts. It is a brick building built in 1880 by Henry Hobson Richardson and features flower-shaped reliefs carved directly into the brick exterior. The building was added to the National Historic Register in 1972.</p><br>
<p>Traditionally the residence of the rector of the Trinity Church, Boston, it has now been renovated to church office space when the current rector decided to live in a private residence.</p><br>
<p>The First Baptist Church  is a historic American Baptist Churches USA congregation, established in 1665. It is one of the oldest Baptist churches in the United States. It first met secretly in members homes, and the doors of the first church were nailed shut by a decree from the Puritans in March 1680. The church was forced to move to Noddle&#39;s Island. The church was forced to be disguised as a tavern and members traveled by water to worship. Rev. Dr. Stillman led the church in the North End for over 40 years, from 1764 to 1807. The church moved to Beacon Hill in 1854, where it was the tallest steeple in the city. After a slow demise under Rev. Dr. Rollin Heber Neale, the church briefly joined with the Shawmut Ave. Church, and the Warren Avenue Tabernacle, and merged and bought the current church in 1881, for $100,000.00. Since 1882 it has been located at the corner of Commonwealth Avenue and Clarendon Street in the Back Bay. The interior is currently a pending Boston Landmark through the Boston Landmarks Commission.</p><br>
<h2>History</h2><br>
<h3>1665–1837</h3><br>
<p>The congregation was founded in 1665 despite a Massachusetts law prohibiting opposition to infant baptism. Many of the early members of the church were persecuted and imprisoned by the state church for heresy, including the first pastor, Thomas Gould. Shortly before the founding of the church, the first Harvard College president, Henry Dunster, was forced to resign his position for refusing to baptize his infant. Dunster had been theologically influenced by Dr. John Clarke and other Rhode Island Baptists persecuted in Massachusetts. During King Philip&#39;s War, John Myles pastored the church while on hiatus from the First Baptist Church in Swansea, which was the first church in the state. "In 1679, the Boston Baptists built a meetinghouse in the North End of Boston, at the corner of Salem and Stillman Streets....In the early 1700s, the small building was replaced by a larger wooden one on the same site. Here the Church flourished, for 43 years (1764–1807) under the leadership of Samuel Stillman." Samuel Stillman kept the doors open for services while the British invaded Boston and is said to have preached against them every single service.</p><br>
<p>In 1682, under the watch of William Screven, the church organised a spinoff mission in present-day Kittery, Maine; as a result of issues with Congregationalism in the 1690s, the church moved to Charleston, South Carolina and is the modern day First Baptist Church meeting in James Island, South Carolina.</p><br>
<h3>1837–1882</h3><br>
<p>In 1837 the First Baptist congregation moved into a new brick church building (fourth meeting house) on the corner of Hanover Street and Union Street. Preachers included Rollin Heber Neale. The congregation remained at this location until 1882.</p><br>
<h3>1882–present</h3><br>
<p>The current church building (fifth meeting house) was designed by the notable architect Henry Hobson Richardson and built in 1869–71. It opened in 1872 to serve the Unitarian congregation of the Brattle Street Church, also known as the Church in Brattle Square, which had been demolished in 1872. The Unitarian congregation dissolved soon after moving to this building. The First Baptist congregation bought the building in 1881 for a sum of $100,000.00. The historic and prominent tower with distinctive friezes carved "in-situ" by Frédéric Auguste Bartholdi (sculptor of the Statue of Liberty) representing four sacraments, with faces of famous Bostonians (including Longfellow and Hawthorne), Abraham Lincoln, and Bartholdis friends of that era, (including Garibaldi). This building was Richardsons first church in Boston before he designed his masterpiece, Trinity Church. This church was added to the National Register of Historic Places in 1972. The congregation is affiliated with the American Baptist Churches USA.</p><br>
<p>Ragdale is the former summer retreat of Chicago architect Howard Van Doren Shaw, located in Lake Forest, Illinois, United States. It is also the home of the Ragdale Foundation, an artist residency program that hosts creators from a number of disciplines: nonfiction and fiction writers, composers, poets, play- and screenwriters, visual artists, choreographers, as well as those from interdisciplinary interests.</p><br>
<h2>The house and barn</h2><br>
<p>Built in 1897, the house and barn were built in Shaw&#39;s typical Arts and Crafts manner.</p><br>
<p>The property underwent another change in 1912 as the Ragdale Ring was installed; at the outdoor theatre, Shaws family and friends frequently performed Frances Shaws works for the Lake Forest community, in the 1930s. Benches were incorporated to accommodate over 200 audience members.</p><br>
<p>Ragdale was also where Sylvia Shaw Judson (1897–1978), Howards daughter, sculpted her piece Bird Girl, which is prominently featured on the cover of John Berendts best-selling nonfiction book Midnight in the Garden of Good and Evil. In 1943, the Meadow Studio was built on the prairie in an effort to accommodate Sylvia&#39;s work as a sculptor; in fact, it was here that she formed the Bird Girl as well as a number of other well-known pieces, such as Cats and Summer.</p><br>
<h2>The Ragdale Foundation</h2><br>
<p>In 1976 Shaw&#39;s granddaughter, poet Alice Judson Hayes, founded The Ragdale Foundation as a non-profit aimed at providing a place of rest and relaxation for artists of all disciplines.</p><br>
<p>Initially, Hayes ran the foundation with little assistance, managing the landscaping, cooking, and facilities on her own.</p><br>
<p>In 1980, the Ragdale Foundation was able to obtain the Ragdale Barnhouse from the Preston Family, who had purchased it from Shaw&#39;s youngest daughter, Theodora, in the late 1940s, then remodeled it in the 1950s. It is within this converted barn that the Foundation offices are housed.</p><br>
<p>Hayes donated both the buildings and 5 acre of grounds in 1986 to the City of Lake Forest, in an effort to preserve the Ragdale property as well as its environmental integrity.</p><br>
<p>1991 marked itself as yet another year of progress as the Friends&#39; Studio was built. The space provided a workroom to choreographers, visual artists, composers, and performance artists. Additionally, its well-lit area provided a perfect place for exhibitions and performances.</p><br>
<p>In 2006, the Ragdale Foundation both celebrated its 30th anniversary and mourned the death of Alice Judson Hayes.</p><br>
<p>On April 9, 2008, the Meadow Studio was reopened, after having been the workspace of Sylvia Shaw Judson. Partnering with 12 fourth- and fifth-year students from the Illinois Institute of Technology College of Architecture under the direction of Associate Professor Frank Flurry, the Foundation was able to utilize the original footprint of the building in constructing a building light on environmental impact. Due to poor roof maintenance in the studio&#39;s early years, it was subject to extensive damage—however, the Ragdale Foundation was fortunate in attaining the funds necessary to rebuild it.</p><br>
<h3>Notable alumni</h3><br>
<p>The 1767 Milestones are historic milestones located along the route of the Upper Boston Post Road between the cities of Boston and Springfield in Massachusetts. The 40 surviving milestones were added to the National Register of Historic Places in 1971. The stones are so named, despite having been placed in many different years, because of a 1767 directive of the Province of Massachusetts Bay that such stones be placed along major roadways. The state highway department was directed in 1960 to undertake their preservation. Many of them underwent a major restoration in 2018.</p><br>
<p>The first stone was erected by Paul Dudley, one of the prominent citizens of early 18th century Massachusetts, in Roxbury, which was at the time a separate community. Roxbury was located at the end of the Boston Neck, a narrow isthmus separating the mainland from the Shawmut Peninsula, where Boston was located. Travelers going by land from Boston to other areas had to travel over the neck and through Roxbury to reach their destinations. The Roxbury junction where Dudley placed the first stone was where several routes branched, heading south and west across New England.</p><br>
<p>Dudley erected several stones along the road from Boston to Cambridge which wound its way from Beacon Hill along what is now Washington Street through the Dudley Square area to what is now Huntington Avenue, then along Harvard Street through Brookline Village, Coolidge Corner, and Allston crossing into Cambridge at the Great Bridge, where modern JFK Street in Cambridge becomes North Harvard Street in Allston. The stones that Dudley erected have the initials PD on them, usually at the bottom of the stone. The most chatty of these milestones (not part of this collection), is inscribed P Dudley rather than PD, and is located on the corner of Centre and South Streets in Jamaica Plain.</p><br>
<p>The stones listed for miles 23 through 29 in Wayland and Sudbury are actually guideposts rather than milestones, and do not list any mileage. They were erected at road intersections rather than at the mile marks. The stones are quarried granite posts with plug & feather tool marks and post-date 1800.</p><br>
<p>Allston Congregational Church is a historic Congregational church building at 31-41 Quint Avenue in the Allston neighborhood Boston, Massachusetts. Built in 1890–91 to a design by Allston native Eugene L. Clark, it is a prominent local example of Richardsonian Romanesque architecture. The property includes a Shingle style parsonage built about the same time. The buildings were listed on the National Register of Historic Places in 1997. The building presently houses a mosque and the Palestinian Cultural Center for Peace.</p><br>
<h2>Description and history</h2><br>
<p>The former Allston Congregational Church building is located in the southern part of Allston, on the west side of Quint Avenue. It is a large two-story stone structure, built out of pink granite quarried in Milton and trimmed with dark sandstone from Longmeadow. At the left end of its main facade is an 80 ft square tower, with an open belfry and pyramidal roof. The main entrance is set at an angle in the tower base. The bulk of the rectangular structure is covered by a tall hip roof, from which two gables project to the front, and one to the right side. The gable ends are finished in wooden shingles. Windows are set in round-arch openings, highlighted by dark trim stones. Adjacent to the church is a Shingle style parsonage house, built about the same time as the church.</p><br>
<p>The Allston congregation was organized in 1886, and the church was completed in 1892. It was designed by Allston native Eugene L. Clark, who is principally known for his residential designs; this is his only known church commission. It is one of a small number of fine Richardsonian Romanesque buildings in Boston. The congregation underwent a period decline beginning in the 1960s, and the church gradually shared the space with other congregations. It now houses the Arabic Jumaa Mosque.</p><br>
<p>The Armory of the First Corps of Cadets is a historic armory at 97–105 Arlington Street and 130 Columbus Avenue in Boston, Massachusetts. Over the years it has been known as Park Plaza Castle, Castle at Park Plaza, and The Tower.</p><br>
<h2>Description</h2><br>
<p>The four-story granite structure was designed by William Gibbons Preston and built beginning in 1891 and finished in 1897. Due to political unrest during the period, the building was designed to withstand mob violence. Its most prominent feature is its six-story tower. It is built in the Romanesque Revival style. The building&#39;s staircases are built by the Guastavino system, as are some tower vaults.</p><br>
<p>The building was built to store armaments and contained a rifle range, gymnasium, and drill hall.</p><br>
<p>In the late 1960s, the University of Massachusetts Boston leased the building and converted it into the university&#39;s first library. The building was listed on the National Register of Historic Places in 1973 and designated as a Boston Landmark by the Boston Landmarks Commission in 1977.</p><br>
<p>Between the early 2000s and 2018, a Smith & Wollensky steakhouse operated inside the four-story head house.</p><br>
<p>For years the building was known as the "Park Plaza Castle" and owned by the adjacent Boston Park Plaza, which used it as a banquet facility up until 2014. At that time it was sold and renamed "Castle at Park Plaza."</p><br>
<h3>Wedding and events venue</h3><br>
<p>In 2020, the venue was renovated by new owners and rebranded as a wedding and events venue called "The Tower." Much of the original detailing as well as the doors were retained during the renovation. The Tower contains a distinct area on each of four floors:</p><br>
<p>First floor: The Parlor, an open space with wood beams and decorative fireplaces</p><br>
<p>2nd floor: The Gallery, which features high ceilings with vintage chandeliers</p><br>
<p>3rd floor: A 750-square-foot Reading Room</p><br>
<p>Top floor: The Library includes a catwalk, original bookcases, and large windows</p><br>
<p>The Francis B. Austin House is a historic house at 58 High Street in the Charlestown neighborhood of Boston, Massachusetts. Built about 1832 and restyled in the 1860s, it is a good local example of Second Empire architecture. The Austins, for whom it was built, were prominent local landowners and businessmen. The house, converted into multiunit housing in the 20th century, was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Francis B. Austin House stands in a densely built residential area of Charlestown, at the southwest corner of High and Wood Streets, west of Monument Square. It is a -story wood-frame structure, with a clapboarded exterior and a mansard roof providing space for a full attic level. A rear ell is two stories in height, with a gabled roof. The house stands on a stone foundation. Its front facade is five bays wide, with windows framed by shouldered moulding. The mansard roof is pierced by three dormers with rounded tops. The main entrance is at the center, sheltered by a projecting with paired square columns that have chamfered corners and paneled bases. The interior of the building has been extensively altered over the years.</p><br>
<p>The house was built about 1832 by William Austin, a prominent local landowner, as a duplex he shared with a ships captain until his death in 1841. Originally covered by a gable roof, it was extensively altered about 1865 by Austins son Francis, creating the mansard roof and giving it its Second Empire exterior. William Austin served Charlestown in the state legislature, and Francis was a local merchant, dealing in wholesale dry goods and also in iron and steel. For much of the 20th century the house was used as a rooming house, prior to its conversion into apartments.</p><br>
<p>The Baker Congregational Church is a historic Congregational church at 760 Saratoga Street in East Boston, Massachusetts.</p><br>
<h2>History</h2><br>
<p>With the growth of East Boston as a settlement in 1834, a need was seen for a church and meetinghouse for the inhabitants. The church was founded under the name First Congregational Church in East Boston, which on July 7, 1837, was changed to Maverick Congregational Church by the Society&#39;s majority shareholders. First located in a Federal-style meetinghouse at the corner of Maverick and Havre Streets, the church moved in 1844 to a Gothic Revival edifice at the corner of Sumner Street and Maverick Square, before settling into a larger Gothic Revival structure in Central Square in 1875. Meanwhile, a second church had been established on November 17, 1852, as the Maverick Church Chapel by the Maverick Congregational Society on land given by the East Boston Company. That chapel too moved more than once before the construction of the current structure on the corner of Byron and Saratoga streets in 1903, eventually being renamed as the Baker Congregational Church.</p><br>
<p>The Maverick and Baker churches merged in the mid-20th century to form Baker-Maverick Congregational Church, and then merged again with the two Episcopal parishes of St. Johns (formerly on Lexington Street) and St. Andrews, completing the merger in 1949. Today the church is known as Grace Church Federated. The 1903 shingle style church building built by John Nelson Thisland and F. W. Woollcott was added to the National Register of Historic Places in 1998.</p><br>
<p>The Perry McAdow House is a Renaissance Revival house located at 4605 Cass Avenue in Midtown Detroit, Michigan. It was designated a Michigan State Historic Site in 1976 and added to the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>Clara McAdow married her first husband, Dr. C. E. Tomlinson, in Jackson, Michigan. moved to Coulson, Montana, where Clara got a job with the Northern Pacific Railroad, and was able to move to a position of responsibility unusual for a woman at the time. When Tomlinson died, Clara invested their savings in property in Billings, and was noted as having made some of the biggest real estate investments and trades in Billings history. She met Perry W. McAdow through her real estate trading, and married him in 1884. Perry was given the opportunity to buy a stake in the Spotted Horse mine with Snookum Joe Anderson, but wasnt interested in mining. When Anderson wanted to move on, Clara took over the business, buying it for $11,000. After two years, the mine was producing about 75 ounces of gold a day. She sold it in 1890 to investors from Helena, Montana, for $500,000.</p><br>
<p>The couple returned to Detroit, and in 1891, they built an elaborate mansion on Cass for a cost of $65,000 as an entrance into Detroit society. The couple lived there until 1897. The house was used as a private residence until 1913, when it was sold to the First Universalist congregation. The church used it as a place of worship for three years until a new church immediately to the north was completed, after which the house was used as a parish house.</p><br>
<h2>Architecture</h2><br>
<p>The house has two and a half stories with a hipped roof, and is constructed of red brick and brownstone. The exterior boasts bay windows, Corinthian columned porches, parapet balustrades, and a modillion cornice; the interior features notable frescos, paneling, plasterwork and stained glass. Behind the original house is a two-story, red brick church hall, built in 1917.</p><br>
<p>The Bennington Street Burying Ground is a historic cemetery on Bennington Street, between Swift St. and Harmony St., in East Boston, Massachusetts.</p><br>
<p>The cemetery was established in 1838, in a late version of the traditional rectilinear colonial cemetery, rather than the rural cemetery style that was then just beginning to come into vogue. The cemetery has more than 300 graves, the oldest dating to 1819 (probably a reburial from another location). The cemetery was listed on the National Register of Historic Places in 2002.</p><br>
<p>The professional baseball player Red Woodhead was interred at the cemetery in 1881.</p><br>
<p>Brighton Allston Congregational Church, known before 2003 as the Brighton Evangelical Congregational Church, is a historic church located at 404 Washington Street in the center of Brighton, a neighborhood of Boston, Massachusetts.</p><br>
<h2>History and architecture</h2><br>
<p>The congregation was established via a schism from Brighton&#39;s first congregation. This congregation, incorporated in 1783 when Brighton was part of Cambridge, had taken the Unitarian position during the Unitarian controversy. In 1827 a group of 25 members left the church and established the Brighton Evangelical Congregational Church, which was organized on Trinitarian lines. They built their first building the same year, and replaced it with a Gothic Revival building in 1868. This was destroyed by fire in 1921.</p><br>
<p>The current church building was designed by architects Blackall, Clapp & Whittemore and built by contractors C. S. Allen & Company in 1922. Colonial Revival in style, it has a pedimented entry portico with fluted Roman Doric columns. It was built on the foundation of the previous church to stand at the site.</p><br>
<p>Two additional churches were formed out of the Brighton church. These were the Allston Congregational Church, established in Allston in 1886, and the Faneuil Congregational Church, established in Oak Square in 1917. In 2003 the Allston church was merged back into the Brighton church, forming the present Brighton Allston Congregational Church.</p><br>
<p>The church was listed on the National Register of Historic Places in 1997 under its now former name.</p><br>
<p>Charles Street African Methodist Episcopal Church is an historic African Methodist Episcopal Church at 551 Warren Street in Boston, Massachusetts. The current church building  was built in 1888 by J. Williams Beal and added to the National Register of Historic Places in 1983.</p><br>
<h2>History</h2><br>
<h3>1833-1876</h3><br>
<p>In November 1833, the was organized by Reverend Noah Caldwell on Belknap Street (now Joy Street) on Beacon Hill. By November 1838, at the time of only 35 members, nine of them petitioned the Massachusetts State Legislature to grant them papers to incorporate the Church as the First African Methodist Episcopal Bethel Society of Boston. On January 28, 1839, the State Legislature granted them a charter and recognized them as the First A.M.E. Society Church. By 1840 they had 45 members.</p><br>
<p>In July 1843 they received their first permanent pastor, Reverend Henry J. Johnson and in May 1844, the Church purchased a building on Anderson Street, Beacon Hill, where it stayed until 1876. During pre-Civil War, the congregation&#39;s service took place here and was home to many abolitionist meetings where William Lloyd Garrison, Wendell Philips, Frederick Douglass, and others spoke in order to raise money for the anti-slavery cause.</p><br>
<p>Because of the Fugitive Slave Law of 1850 and the increasing number of Irish immigrants getting jobs over blacks in the community, church membership decreased and because of the purchase of a new location, their bills were out of control. By the end of the Civil War and with help from the Conference, the Church was able to pay off their debts and mortgage.</p><br>
<h3>1876-1939</h3><br>
<p>With the end of the Civil War and into the 1870s, the Boston&#39;s black population almost doubled, which raised membership of the A.M.E. society. It became the largest black church in Boston. In 1876, because more space was needed to accommodate all the new members, the Church purchased the Charles Street Meeting House, previously owned by the white Third Baptist Church and then the Charles Street Baptist Church, at Mr. Vernon and Charles Street. The purchase of a new building, however, left the A.M.E society in debt over $32,000 and with hardly any members.</p><br>
<p>At the Annual Conference held in New Haven, CT in 1880, the Bishop decided to send Rev. John T. Jennifer from the Arkansas Conference to Charles Street. Rev. Jennifer was fiery and an extraordinary orator who raised church membership from 260 in 1881 to 375 and in 1886 raised $48,000 for all purposes. He preached on political topics such as civil rights and often attacked the evils of alcohol. He left in 1886 leaving only $9,000 to be paid. In 1890, the Charles Street Church had a membership of over 500.</p><br>
<p>By the end of the 1890s, European immigration caused a competition in housing and jobs so Beacon Hill Blacks started moving towards the South End and lower Roxbury. Church membership slowly declined and in 1920, when the City of</p><br>
<p>Boston decided to widen Charles Street, the Church decided to move. The Church raised money and in April 1938, accepted the vote to move to the St. Ansgarius building in Roxbury, built in 1888. In May 1939, the Church moved and became the last black institution to leave Beacon Hill. It retained its original name. The Churchs move from Beacon Hill to Roxbury was reflective of the population patterns of the twentieth century and showed the last moved of Bostons black population from Beacon Hill to Roxbury. It is now located at 551 Warren Street and its surrounding neighborhoods feature 19th century suburban characteristics with blocks of Mansard, Queen Anne, and later Victorian single and double houses on small city lots.</p><br>
<h2>Architecture</h2><br>
<p>J. Williams Beal, architect for Harriswood Crescent, Walnut Avenue Congregational Church, and Eliot Church, was the primary architect used in the Charles Street Church located at 551 Warren Street. Beal was a graduate of MIT in 1877 and he became a pioneer in the structural use of concrete. Other individuals important in the construction of the Church include Alfred Bright as mason, and Melzar W. Allen as carpenter.</p><br>
<p>The building has an L-shaped plan and remains mostly intact from when it was built. It features a crenellated square tower with a high, hipped roof and gargoyles on top. The Parish house sports gables with considerable overhang and a large chimney emerging from roof. Several original windows remain in the church, though many were replaced. Remaining are two small chancel windows and three representing St. Cecilia, St. Elizabeth, and Mary. John LaFarge, a 19th-century American stained glass maker designed windows here and also at Trinity Church in Boston. McDonald of Boston was also responsible for window designs here.</p><br>
<p>Important furnishings include the East Howard Tower clock with two dials, the bell cast by Henry McShane and Company of Baltimore, MD, Hook and Hastings organ (disassembled now), and the “eagle lectern” carved by Kirchmeyer from cypress wood, which is no longer in the church. The exterior has changed little other than the red and blue slate roof being replaced with a rolled-asphalt roof and a glass entry to the narthex was added. The narthex and other interior rooms have been covered with drywall and modern paneling.</p><br>
<h2>Current use</h2><br>
<p>The spiritual life in the church was revitalized when Rev. Gregory Groover came in 1994. He has established many ministries in the church, including Congregational Life and Community Life.</p><br>
<p>The William C. Boydell House is a double house located at 4614 Cass Avenue in Midtown Detroit, Michigan. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>History</h2><br>
<p>William C. Boydell was born in 1849 in Staffordshire, England. His parents soon emigrated to London, Ontario, and five years later moved to Detroit, where Boydell attended school. In 1865 he began work as a clerk in the paint works of James H. Worcester. In 1867 William and his older brother John began their own firm, the Boydell Brothers White Lead and Color Company, with William as vice-president. The firm was owned by the Boydell family until 1959.</p><br>
<p>In 1895, William Boydell constructed this double house, designed by Almon Clother Varney as his home. He lived there until his death in 1902.</p><br>
<h2>Architecture</h2><br>
<p>The William C. Boydell House is a three-story brick and limestone Beaux-Arts double house with a hip roof, built to resemble a single-family home. The front façade is lined with a pair of rock-faced terraces, and the front of the two units are unified in appearance by a brick frieze running under the eaves and banded limestone at the first story.</p><br>
<p>Dorchester Temple Baptist Church is a historic African American Baptist church at 670 Washington Street in Boston, Massachusetts. It is now known as Global Ministries Christian Church.</p><br>
<p>The church was designed in 1889 by Arthur H. Vinal in the shingle style and added to the National Historic Register in 1998. The church was built for a Baptist congregation established in 1886, and is the oldest Baptist church building in Dorchester. It suffered some damage in the 1938 New England hurricane, which was repaired.</p><br>
<p>In January 2010 the church started media ministry reaching all of North America under the name Boston Praise Radio, which is available online and via Glorystar Satellite service on channel 1010. In 2016, the church began broadcasting on WBPG-LP 102.9 FM.</p><br>
<p>The Dorchester North Burying Ground  is a historic graveyard at Stoughton Street and Columbia Road in the Dorchester neighborhood of Boston, Massachusetts.</p><br>
<p>The burial ground was established in 1634, as the front sign reads and was added to the National Register of Historic Places in 1974 and was designated as a Boston Landmark by the Boston Landmarks Commission in 1981. The burying Ground is surrounded by a wall of concrete, with cut-out sections containing iron fencing along Columbia Road, which replaced a 19th-century decorative iron and granite fence. The original gates still provide entrance and are signified by large commemorative bronze tablets placed by the city in 1883. The site contains over 1200 markers, many of early Dorchester settlers.</p><br>
<h2>Notable burials</h2><br>
<p>Humphrey Atherton</p><br>
<p>Henry N. Blake</p><br>
<p>Richard Mather</p><br>
<p>William Stoughton</p><br>
<p>William Tailer</p><br>
<p>Eliot Burying Ground  is a historic seventeenth-century graveyard at Eustis and Washington Streets in the Roxbury neighborhood of Boston, Massachusetts. It occupies a roughly triangular lot of 0.8 acre.</p><br>
<p>Founded in 1630, the cemetery is the oldest in Roxbury (which was annexed to Boston in 1868). It was added to the National Register of Historic Places in 1974. The graveyard is one of several historic properties within the of the Boston Landmarks Commission. Many well-known historical figures of colonial Massachusetts are buried at Eliot Burying Ground, including John Eliot, and members of the Dudley family, including Governors Thomas and Joseph Dudley, and Chief Justice Paul Dudley.</p><br>
<p>The Eliot Congregational Church is a historic Congregational church at 56 Dale Street, at the corner of Walnut Avenue in the Roxbury neighborhood of Boston, Massachusetts.</p><br>
<h2>History and architecture</h2><br>
<p>The Walnut Avenue Congregational Church was originally established in 1870 as an offshoot of the Eliot Congregational Church, of Kenilworth Street. The original church building was designed by George F. Meacham and built in 1873 by carpenters S. M. Chesley & Company and mason Robert Culbert. The building also contained frescoes by artist William S. Brazer. This first church was planned to be used as a chapel after the construction of a main sanctuary. It is built of Roxbury puddingstone and designed in what is now referred to as the High Victorian Gothic style, though in 1873 it was described as "Decorated" Gothic, after the second style of English Gothic architecture.</p><br>
<p>This main sanctuary, designed by J. Williams Beal and built by L. E. Giddings, was added in 1889. In 1907, Walnut Avenue merged with the Immanuel Congregational Church at the Walnut Avenue location, under the name Immanuel-Walnut Avenue Congregational Church. In 1908 a two-story parish house was added, now forming the church&#39;s rear wing. In 1922, facing a declining congregation, the Immanuel-Walnut Avenue church merged with its parent church, again at the Walnut Avenue location, as the Eliot Congregational Church, where it remains. In November 1929 a fire gutted the 1889 building, leaving only the tower and exterior walls standing. The church decided to use the 1873 building as its main sanctuary, rebuilding the 1889 building as a parish house and gymnasium. This work was completed in 1931.</p><br>
<p>The 1873 building has a stained glass window manufactured by the studio of Louis Comfort Tiffany, which was designed by Frederick Wilson and installed in 1905. The space also includes a circa 1931 window designed by Charles Jay Connick. In Immanuel Hall, in the parish house, is another Tiffany window. This was originally installed in the Immanuel Congregational Church, and moved to its current site when the congregations merged.</p><br>
<p>The building was listed on the National Register of Historic Places in 1994.</p><br>
<p>Notable past pastors include Conrad Tillard. The present pastor is Evan C. Hines.</p><br>
<p>The First Church of Jamaica Plain is a historic church at 6 Eliot Street in the Jamaica Plain neighborhood of Boston, Massachusetts. The stone Gothic Revival church was designed in 1854 by the well known Boston architect, Nathaniel J. Bradlee, for a congregation which was established in 1769 as the Third Church of Roxbury. It is built out of ashlar granite, laid in courses without ornament. It has a square tower with Gothic arched windows at the second level, a clock face at the third, and Gothic louvered openings at the belfry, and a parapeted top. A Shingle style parish hall was added in 1889. This new addition was designed by Cabot, Everett & Mead.</p><br>
<p>The church was listed on the National Register of Historic Places in 1988, and included in the Monument Square Historic District in 1990.</p><br>
<p>The First Congregational Church of Hyde Park, now the Hyde Park Seventh-day Adventist Church, is a historic Congregational church at 6 Webster Street in the Hyde Park neighborhood of Boston, Massachusetts. It was designed by the Boston architectural firm of Kilham & Hopkins, with stained glass by Charles Connick. It is a fine local example of Gothic Revival architecture, built for Hyde Park&#39;s second-oldest congregation  in 1910.</p><br>
<p>The church was listed on the National Register of Historic Places in 1999.</p><br>
<p>It is now used by the Hyde Park Seventh-day Adventist Church. The SDA church purchased the property in 2007. On December 15, 2007, the day of the church&#39;s dedication, there were 304 members</p><br>
<p>The Thompson Home is a Victorian structure located at 4756 Cass Avenue in Midtown Detroit, Michigan. Originally the Thompson Home for Old Ladies, it was constructed in 1884, designated a Michigan State Historic Site in 1974, and listed on the National Register of Historic Places in 1976.</p><br>
<h2>History</h2><br>
<p>David Thompson, a wealthy Detroit businessman, died in the early 1870s, leaving his estate to his wife Mary with instructions to establish a charitable institution. In 1874, Mary Thompson allocated $10,000 to build a home for aged women. However, construction did not start until nearly ten years later when land was purchased and Mary commissioned George D. Mason of the firm Mason & Rice to design the home.</p><br>
<p>Mason designed a four-story home measuring 60 by 90 feet with private rooms for forty women. For a number of years, the Thompson Home was a prestigious retirement home for wealthy widows. Sun rooms were added to the original structure in 1914, living quarters for the staff were added in the 1950s, and a five-bed infirmary was constructed in 1964. However, the number of residents declined in the 1960s and 1970s, and the home closed in 1977. Wayne State University bought the building and remodeled it, and in 1980 WSU&#39;s School of Social Work was installed in the building. In 2015, the School of Social Work relocated. The building was then converted into housing for students from the College of Fine, Performing and Communication Arts, reopening in Fall of 2017 after an extensive renovation.</p><br>
<h2>Architecture</h2><br>
<p>The four-story home is Queen Anne in style. The front façade is dominated by an 80-foot tower, on either side of which bay window protrude. The windows are symmetric about the front, and a large stone carrying the building&#39;s name is set between the second and third floor. Artistic brickwork and painted bandcourses finish the exterior.</p><br>
<p>Greenwood Memorial United Methodist Church  is an historic church at 378A-380 Washington Street in the Dorchester neighborhood of Boston, Massachusetts.</p><br>
<p>The church building was designed by Walter J. Paine, and built in 1900–01 in the shingle style for a congregation established in 1838. The church was renamed in 1913 after a major bequest from parishioner Charles H. Greenwood in memory of his mother Sarah.</p><br>
<p>The church was listed on the National Register of Historic Places in 2002.</p><br>
<p>Roslindale Baptist Church is an historic Baptist church at 52 Cummins Highway in the Roslindale neighborhood of Boston, Massachusetts. The church was designed by Thomas Silloway in a Stick-Eastlake style, and built in 1884. It is one of the best-preserved Stick style buildings in Roslindale, with decorative shingles and applied woodwork. The congregation was organized in 1875, and met in a meeting hall  prior to the construction of this building.</p><br>
<p>The church was listed on the National Register of Historic Places in 1998.</p><br>
<p>Roxbury Presbyterian Church is a historic Presbyterian church at 328 Warren Street in Boston, Massachusetts, United States. The Gothic church building was designed by John C. Spofford and built in 1891 for a congregation organized in 1881. Built of Roxbury pudding stone, it has asymmetrical massing partitioned into polygonal sections. The tower at the northwest corner starts on a square base, rising with differently-shaped sections to a pyramidal roof. Half of the building&#39;s original construction cost was paid for by the Gilchrist brothers, owners of the locally prominent Gilchrist Department Store.</p><br>
<p>The church was listed on the National Register of Historic Places in 1991.</p><br>
<p>In May 2014, former WBZ-TV anchor Liz Walker was installed as Pastor. She had been "transitional leader" since 2011.</p><br>
<p>Saint Augustine Chapel and Cemetery is a historic church on Dorchester Street between West Sixth and Tudor Streets in the South Boston neighborhood of Boston, Massachusetts. Built in 1818–19, it is the oldest Roman Catholic church building in Massachusetts; the cemetery, established 1818 is also the states oldest Catholic cemetery. The Gothic Revival chapel was originally built as a crypt for the remains of Father François Matignon, the first Catholic priest to come to Boston from France. Father Dennis J. ODonovan and many other priests are also buried there.</p><br>
<p>The chapel and cemetery were listed on the National Register of Historic Places in 1987. The chapel is still in active, holding 5pm Mass on Saturdays.</p><br>
<p>Roslindale Congregational Church is a historic Congregational church at 25 Cummins Highway, at the corner of Summer Avenue in the Roslindale neighborhood of Boston, Massachusetts. The Shingle-Romanesque style church was designed by James Murray  and built 1893-96 for a congregation established in 1890 by Rev. William Grover. It has a monumental scale typical of Richardsonian works, and a tower topped by a pyramidal roof and corner turrets.</p><br>
<p>The building was listed on the National Register of Historic Places in 1991.</p><br>
<p>The Westerly Burial Ground  is an historic cemetery on Centre Street in the West Roxbury neighborhood of Boston, Massachusetts. Established in 1683, it is Boston&#39;s seventh-oldest cemetery, and where the first settlers of the West Roxbury area are buried. It was enlarged in 1832, and 1844, and its last documented burial was in 1962. Eight American Revolutionary War veterans are buried there as well as fifteen veterans of the American Civil War.</p><br>
<p>The cemetery was added to the National Register of Historic Places in 1987.</p><br>
<p>The Church of Christ, later the Revere Masonic Temple, is a historic church building at 265 Beach Street in Revere, Massachusetts, United States. Now a three-story Shingle style structure, it encapsulates elements of a 1710 colonial meeting house, one of the oldest such structures to survive. The building was listed on the National Register of Historic Places in 1984. The building now houses professional offices.</p><br>
<h2>Description and history</h2><br>
<p>The former Church of Christ building is located east of downtown Revere, on a roughly triangular parcel of land bounded by Beach and Eustis Streets, and Cary Avenue. It is stories in height, with two full stories below the gabled roof, and 1-1/2 within the roof gables. The gable ends overhang the sides, with curved shingled brackets for support. The central portion of the roof has been partially raised by long shed dormers. The main sections of the long sides have three round-arch windows on the third level, set above smaller sash windows on the second, with a less regular arrangement of doors and windows on the ground floor.</p><br>
<p>The building achieved its present appearance c. 1888, when it was enlarged and given its Stick and Shingle styling. Its significance lies in its origins, which are as a colonial meetinghouse erected in 1710, whose oaken timber frame, still part of this building, is one of the oldest such surviving structures. The meetinghouse, which measured 43 by 35, was a two-story structure, to which a bell tower with a steeple was added later in the 18th century. The spire was removed in 1823 and replaced with a domed cupola. In 1856 the building was rotated ninety degrees, and given Italianate styling. The 1888 alterations added the third floor and increased its size. It was purchased by a Masonic lodge society in 1919, at which time the tower was removed. It was in active use by Masonic organizations until 1982.</p><br>
<p>St. Lukes and St. Margarets Church is a former parish of the Episcopal Diocese of Massachusetts in the Allston neighborhood of Boston. It was closed in 2010.</p><br>
<h2>History</h2><br>
<p>The parish was the merger of two separate churches. St. Margarets (dedicated to Margaret of Antioch) was founded in 1862 in the nearby neighborhood of Brighton Center, which was then an independent town. The founders were associated with Church of the Advent in Boston, and St Margarets was similarly Anglo-Catholic in practice and worship.</p><br>
<p>St. Lukes was founded in 1892, in Allston, which was then a rapidly growing white-collar neighborhood. It was the only parish in the diocese founded under Bishop Phillips Brooks, the famous preacher and author of O Little Town of Bethlehem. An initial church building was built in 1895, at the corner or Brighton Avenue and St. Lukes Road. A rectory next door was later added. A larger church building was built adjacent in 1915, and the old sanctuary was converted to a parish hall. St. Luke&#39;s was broadly low church in worship.</p><br>
<p>In the 1950s and 60s, as former members moved further out of Boston, attendance at both churches declined, and in 1967 the two parishes merged. They consolidated at the St. Lukes location, and the St. Margarets buildings were sold. The combined parish continued to struggle, but it enjoyed a resurgence of attendance and activity in the 1980s and 1990s, beginning under the rectorship of Mary Glasspool (who would later become the first open lesbian bishop in the Anglican Communion).</p><br>
<p>In the 2000s, though, membership again dwindled, and the congregation was reduced from a full parish to a mission. In February 2010, the diocese announced that it was closing the mission, while retaining the property as a base for its "Micah Project", a residential internship program for young adults. The closing service was held on the feast of Pentecost, May 23, 2010. Among the celebrants were the last vicar and three former pastors, including Bishop Glasspool.</p><br>
<h2>Buildings</h2><br>
<p>The buildings, located at 5-7 St. Lukes Road, comprise a sanctuary, parish hall and rectory. The parish hall and rectory are in the half-timber, "Tudorbethan" style. The sanctuary is in the style of an English country church, but in brick. The original chapel, which later became the upper parish hall, and the rectory were designed in 1895 by Francis R. Allen; the larger sanctuary was designed in 1913 by J. Lawrence Berry and Harry E. Davidson. Berry and Davidson had previously worked for Allen. Davidson was a member of the congregation, and Berry later rejoined Allens successor firm of Allen & Collens as a partner. The assemblage was added to the National Register of Historic Places in 1997.</p><br>
<p>The church contains many fine stained-glass windows. A window depicting the Last Supper is done in an English glass style by the studio of George W. Spence of Boston and is set in the chancel over the altar reredos. A series in the clerestory depicting the life of Christ was designed and begun by the Charles J. Connick studio of Boston, and later completed by the Whittemore studio. Two aisle series, also by the Connick studio and completed by Whittemore, depict the Apostles and Prophets. Particularly notable is a large window on the east wall by the Tiffany studio of New York; the window depicts St John on the island of Patmos and was the first stained glass window in the parish, originally set in the south wall of the original chapel, then surrounded with additional glass upon its placement in the new church and restored in the 1990s.</p><br>
<p>The Rumney Marsh Burying Ground is a historic cemetery on Butler Street between Elm and Bixby Streets in Revere, Massachusetts. It was added to the National Register of Historic Places in 2004.</p><br>
<p>The land was originally owned by Samuel Cole. In 1654 William Hasey purchased it; his descendants sold it to Joshua Cheever, Esq. in 1740. Cheever and the town of Chelsea (of which Revere was still part) agreed on March 7, 1743 that the land would be a burying place and he deeded it to the town on December 8, 1751.</p><br>
<p>Prior to the establishment of this burying ground, people who lived in the area were buried in Bostons Copps Hill Burying Ground. After a smallpox epidemic swept the city in 1690, Boston officials ordered that its victims north of the Charles River be buried "on that side of the Water".</p><br>
<p>The cemetery is notable for containing the graves of sixteen Black individuals, some free and some enslaved, whose burials are documented in part by an 1897 map of the site. Two plaques stand along the Northern wall of the cemetery providing the names, dates of death, and approximate ages of these individuals, as well as some of the names of their enslavers. Most are buried along the Northern wall. However, according to a 1938 book called "The History of Revere" by Benjamin Shurtleff, three – Job Worrow (a veteran of the Revolutionary War serving under Captain Samuel Sprague, who is also buried in the Rumney Marsh Burying Ground), Betty Worrow, and Fanny Fairweather – are buried in the Southeast corner. Although none of these individuals&#39; graves are marked, Fanny Fairweather is reported by Shurtleff to have had a monument with the inscription "Fanny Fairweather, died 1845, age 80, a native of Africa."</p><br>
<p>Since many of the burials were in the 18th century, the cemetery is exemplary of funerary art during the colonial period. For example, many of the slate gravestones feature a skull and wings motif. Two gravestones have been specifically identified as the work of carver Joseph Lamson (1658–1722); that of Mary Cutler (died 1703), and that of John Winthrop&#39;s son Deane Winthrop (died 1703/4). Work by stone carvers Robert Fowle and Richard Adams can also be found among the graves.</p><br>
<p>People buried in the cemetery include:</p><br>
<p>Deane Winthrop, son of John Winthrop, governor of the Massachusetts Bay Colony. Deane Winthrop&#39;s House, also on the National Register, is nearby in Winthrop.</p><br>
<p>Phillips Payson, the fighting pastor, hero of the Battle of Lexington</p><br>
<p>Sixteen enslaved and free Black people</p><br>
<p>Veterans of the Colonial, Revolutionary, 1812, and Civil Wars.</p><br>
<p>Chelsea Garden Cemetery is a historic rural cemetery in Chelsea, Massachusetts. The cemetery was established in 1841 to provide the city a burying ground in the then-fashionable rural cemetery style, and was the first cemetery within the city limits. It was added to the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>Chelsea Garden Cemetery is located south east of the citys Bellingham Square civic center, and consists of a rectangular parcel about 3.2 acre in size. It has a network of paths which wind over the undulating terrain, rising from a low point in the southeast. One of its focal points was originally a man-made pond, located at the lowest point in the cemetery; it was filled in late in the 19th century. Another is the Soldiers Circle at main entrance, where a number of the citys Civil War dead are buried. The cemetery is estimated to hold more than 1,600 burials; due to the transient nature of the Chelsea population over the period of the cemetery&#39;s existence, with little historical continuity, it has had a history neglect and vandalism. The fringes of the cemetery were also damaged by the 1908 fire that devastated the city, and destroyed some cemetery records.</p><br>
<p>Prior to construction of this cemetery, Chelseas dead were buried in a colonial-era cemetery in nearby Revere. With heightened awareness of sanitation and hygiene, local citizens formed a cemetery association in 1841 for a private, non-sectarian burial ground. The first burial took place on December 7, 1841, and was a reburial of a Chelsea man who died in 1832 and had been buried in Boston. The cemetery was the citys only burying ground until 1851 when Woodlawn Cemetery was founded on land that is now part of Everett. The cemetery originally had a wooden fence around part of its perimeter, and a wooden gatehouse; these were casualties of the 1908 fire.</p><br>
<h2>Notable People</h2><br>
<p>Pauline Hopkins</p><br>
<p>Charles Stromberg, founder of Stromberg Guitars</p><br>
<p>The Ancient Burying Ground  is a historical cemetery at Phinneys Lane in Barnstable, Massachusetts. It is the oldest cemetery in the village of Centerville, and the only surviving civic element of its colonial origins. was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>Centervilles Ancient Burying Ground is located in the northern part of the village, on the northwest side of Phinneys Lane between Main Street and the Old Post Road. It is a roughly rectangular lot 0.75 acre in size. The street side is lined with a split-rail fence, while the northwest and southwest sides are fringed by trees, which separate the cemetery from surrounding residential development. A private drive extends along the northeast side, leading to a private residence set behind the cemetery. Gravestones are generally oriented facing toward the street. Older gravestones in the cemetery are slate with either skull or winged-angel motif, while later markers are of marble or granite. The oldest marked grave in the cemetery is that of Jonathan Hamblen in 1743.</p><br>
<p>The cemetery is the only surviving civic element of Centerville&#39;s early colonial history.</p><br>
<p>Plumbush is the former house and farm of Robert Parker Parrott, inventor of the Parrott gun.</p><br>
<p>It is located at the junction of NY 9D and Peekskill Road south of Cold Spring, New York, United States.</p><br>
<p>The house was built for Parrott by local architect George Edward Harney in 1865, when he had taken over as superintendent of the nearby West Point Foundry. The property is listed on the National Register of Historic Places since 1992, due to its association with Parrott and Harney&#39;s interpretation of patterns by Andrew Jackson Downing.</p><br>
<h2>Buildings</h2><br>
<p>The main Plumbush building is one of four located on a 9 acre parcel backed by Cold Spring Cemetery, the remnant of Parrott&#39;s original 65 acre (26 ha) farm, across Route 9D from the entrance to Fair Lawn, home of painter Thomas Prichard Rossiter. One of the other buildings, a wood house remodeled by Harney, has been further altered in the 21st century.</p><br>
<p>Harneys house consists of three rectangular sections, which remain largely intact today. The two-story 23 by 33-foot (7 by 10 m) main block is topped with a hipped roof shingled in patterned slate. A veranda with rounded corner is wrapped around the south and west sides. The other original sections are the 15-foot (5 m) square east wing and a one-story wing with gabled roof. Two other wings, added when the house was converted into a restaurant, are concealed from view and designed so as not to detract from the houses overall character.</p><br>
<p>Much of the original fenestration and ornamentation remains. Newer additions, such as a wrought-iron spiral staircase between the veranda and the second floor has, as with the additions, been designed to be sympathetic with what already exists.</p><br>
<h3>Outbuildings</h3><br>
<p>Three other buildings share Plumbush&#39;s lot. One, the former wood house, remains true enough to its original design to be considered a contributing resource. Its roof comes to a cupola that itself has a flat roof. The interior has been substantially renovated so that it serves as a residence.</p><br>
<p>The former carriage house, which now serves as a garage is probably original to the property but has undergone extensive renovation and no longer retains its original integrity. A larger house near the rear of the property was built in the mid-20th century.</p><br>
<h2>Aesthetic</h2><br>
<p>George Edward Harney built the house along Picturesque lines, suggested by patterns in books by the influential Andrew Jackson Downing, who had lived in Newburgh, just up the river, until his death in an 1852 steamboat explosion. Downing&#39;s pattern books influenced many mid-19th century Gothic Revival and Carpenter Gothic cottages in the Hudson Valley and elsewhere.</p><br>
<p>Andrew Jackson Downing advocated rural cottages that were harmonious with the local natural environment, a "local fitness and an intimate relationship with the soil it stands upon" rather than challenging it as the blocky Federal and Greek Revival homes of earlier decades had. Harney carefully adapted the house to the site, in accordance with Downing&#39;s philosophies, putting the veranda next to a grove of trees and making sure the nearby Hudson River and the Hudson Highlands beyond could be seen from the upper windows.</p><br>
<p>The house itself shows Downings influence in the irregularity and asymmetry of its three main blocks. The varied rooflines, truncated and cross gables, large veranda and chimneys decorated with medieval crosses are also found in many of Downings patterns.</p><br>
<p>In 1870 George Edward Harney published a book of his own, Barns, Outbuildings and Fences, with the original plans and sketches for Plumbush. His designs show the clear influence of some of the patterns shown in Downing&#39;s The Architecture of Country Houses.</p><br>
<h2>History</h2><br>
<p>Robert Parker Parrott, was one of the earliest settlers of Cold Spring and a graduate of the nearby United States Military Academy at West Point, served as the foundry&#39;s inspector general for the Army during the Civil War. After it ended, foundry owner Gouverneur Kemble persuaded him to resign from the Army and take over as superintendent of the foundry.</p><br>
<p>In 1839 Parrott married Mary Kemble, niece of Gouverneur Kemble, founder of the ironworks, and moved into Plumbush. He died in 1877. In 1971 Plumbush was converted into a restaurant, and in 2014 the main Plumbush building and one of the outbuildings were extensively renovated and occupied by The Manitou School, a private elementary school.</p><br>
<p>Bellevue Standpipe is a historic water storage tank on Bellevue Hill at Washington Street and West Roxbury Parkway in the Stony Brook Reservation of Boston, Massachusetts. Built in 1914, it is one of three early 20th-century water tanks built as part of Greater Boston&#39;s public water supply. The structure was added to the National Register of Historic Places in 1990.</p><br>
<h2>Description and history</h2><br>
<p>Bellevue Standpipe is located in Bellevue Hill Park, at the northern tip of the Stony Brook Reservation. Bellevue Hill is, at 330 ft, the highest point in the city of Boston. The standpipe is built out of poured concrete faced in rough-cut granite, and measures 114 ft in height and 47 ft in diameter. Inside the structure is a steel tank 100 ft high and 44 ft in diameter.</p><br>
<p>The standpipe was built by the Metropolitan Water and Sewerage Board (predecessor to todays MWRA) in 1914 as part of the Southern Extra High Service Area. It replaced a smaller standpipe built in 1888. Its construction was overseen by Dexter Brackett, the water boards chief engineer, and the tank was provided by the Holyoke Steam Boiler Works; they also provided the tank for the Arlington Reservoir (Arlington, Massachusetts), built about the same time.</p><br>
<p>The standpipe received water from the Fisher Hill Reservoir in Brookline via a 20 in main, delivered via a pumping station in Hyde Park. A second water storage tank was added at this location in 1955-56. The older tank is currently operated as a standby to the newer one.</p><br>
<p>The Bigelow School is a historic school at 350 West 4th Street in South Boston, Massachusetts. The three-story Classical Revival brick building was designed by Charles J. Bateman and built in 1901. Features include corner quoining, cast concrete window lintels and sills. It was named for John P. Bigelow, mayor of Boston when the first school was built on the site in 1850. It was closed by 1976.</p><br>
<p>The building was listed on the National Register of Historic Places in 1985, at which time it was vacant.</p><br>
<p>The Wayne State University historic district consists of three buildings on 4735-4841 Cass Avenue in Midtown Detroit, Michigan: the Mackenzie House , Hilberry Theatre , and Old Main , all on the campus of Wayne State University. The buildings were designated a Michigan State Historic Site in 1957 and listed on the National Register of Historic Places in 1978.</p><br>
<h2>Mackenzie House</h2><br>
<p>The Mackenzie House is a Queen Anne house designed by Malcomson and Higginbotham and built in 1895. The original occupant was Detroit banker Frank Blackman. In 1906, David Mackenzie, principal of Central High School and founder of the College of the City of Detroit, moved into the house, where he lived until his death. His widow, Esther, continued living there until 1935. After Esther moved out, Wayne State University acquired the house, using it as the headquarters of the Women&#39;s Guild. It later provided office space for a number of other entities in the university.</p><br>
<p>In the mid-1970s, the Mackenzie House was slated for demolition, until a group of Wayne State students protested. Their successful effort created a new organization, Preservation Wayne. The building now serves as the offices of the organization, renamed Preservation Detroit. In 2018, plans were made to move the house to a new location within the same block to make room for the Hilberry Gateway Performance Project. The house was moved in April 2019.</p><br>
<p>The Mackenzie House is a two-and-a-half-story red brick structure with a prominent round tower with a conical turret on one corner of the facade. A large wooden porch wraps around the opposing corner and shelters the front entrance. The building has a slate hipped roof with gables.</p><br>
<h2>Hilberry Theatre</h2><br>
<p>The Hilberry Theatre was designed by the architectural firm of Field, Hinchman and Smith (predecessor of Smith, Hinchman and Grylls) and built in 1916-17 as the First Church of Christ Scientist. The auditorium was designed to seat more than 1,500 congregants. The Christian Science congregation used the building until 1961, when they sold it to Wayne State University. Wayne State remodeled the interior to create a theatre to seat 532 people, serving as a repertory theater. The building was re-christened in honor of Clarence B. Hilberry, the fourth president of WSU, and reopened in January 1964. The university continues to use the building to house its repertory theatre. In 2018, ground was broken on a major expansion project, the Hilberry Gateway Performance Complex.</p><br>
<p>The Hilberry Theatre is a large rectangular two-story neoclassical building measuring 125 feet by 150 feet. The front facade is of a Roman temple design with six fluted ionic columns flanked by two half columns supporting an entablature. Behind the columns are seven recessed bays with alternating doors and windows on the first floor and windows above on the second. The two floors are separated by a belt course. The side facade facing Cass is of a similar form as the front facade.</p><br>
<h2>Old Main</h2><br>
<p>Old Main was designed by Malcomson and Higginbotham and built between 1895 and 1896. It originally housed Detroit&#39;s Central High School. The original building plan had 103 rooms arranged in a "T" shape with an auditorium that seated over 2,000 people. In 1908, a wing containing gymnasiums, laboratories and shops was added.</p><br>
<p>The function of the building began to change in 1917, when Detroit Junior College opened its doors in the building. The enrollment in the college grew, crowding the building and the high school still housed there. In 1923, the College of the City of Detroit (CCD) replaced the Detroit Junior College, crowding the building even more. Finally, in 1926, Central High School moved out of the building, leaving CCD as the primary occupant, along with a smaller College High School. In 1928, the latter closed, leaving CCD as the sole tenant. Five years later, Wayne State University was formed, uniting CCD with a College of Pharmacy, the Detroit Medical College, the Detroit Teachers&#39; College, a law school, and a graduate school. A large wing on Warren Avenue was added in 1937. The building continued to serve Wayne State, and in 1994 received major renovations and a new addition.</p><br>
<p>Old Main was originally a T-shaped structure, but subsequent additions have enlarged the floor plan. The original building has a blue Bedford limestone base with Berea sandstone on the first floor. The upper three and one half stories are made of buff pressed brick. The main facade has a protruding square tower. The main entrance, located at the base of the tower, is through an elaborately carved Romanesque arch. The top of the tower includes a clock on each face.</p><br>
<p>The Berger Factory is a historic factory building at 37 Williams Street in Boston, Massachusetts. Built in 1902, it was home to one of the nations first manufacturers of precision engineering and surveying instruments, and a surviving example of Roxburys late 19th-century industrial development. It was listed on the National Register of Historic Places in 1980, and now houses residences.</p><br>
<h2>Description</h2><br>
<p>The former Berger Factory is located just north of Roxbury&#39;s central Nubian Square (formerly Dudley Square), on the north side of Williams Street between Shawmut Avenue and Washington Street. It is a relatively architecturally undistinguished brick industrial building, three stories in height, and covered by a flat roof. A single-story ell, also with a flat roof gives the building an L shape. The street facing facade is basically ten bays wide, with windows on the first two floors topped by brick segmental arches, and those on the third with stone lintels. Left of the window bays is an eleventh bay, with a bricked-over smaller window on the ground floor, and decorative brickwork on the levels above, capped by a round-arch projection with a round window. The interior of the building has been converted into residential use.</p><br>
<p>The Berger Company was founded in 1871 by Christian Berger, a German immigrant who had learned the manufacture of precision surveying instruments in England. At first known as Buff and Berger, it was originally located in downtown Boston, moving to this newly constructed facility in 1902. The main block was designed by Boston architect George Moffette, and the ell, added in 1907, was the work of Henry J. Preston. The company occupied these premises until 1976, when it moved to a new facility in Mattapan. After being vacant for some years, it was converted into residences.</p><br>
<p>The Berger Company was the first American manufacturer of precision engineering equipment. Its gear was used in surveys for the Panama Canal, in the construction of New York City skyscrapers, and in American polar expeditions of Admiral Richard E. Byrd and Robert Peary.</p><br>
<p>The Blackstone Block Historic District encompasses what was once a waterfront business area in Boston, Massachusetts. Due to the infill of land it is now slightly inland from the waterfront. The district is bounded by Union, Hanover, Blackstone, and North Streets, not far from Quincy Market and Faneuil Hall. It includes the Union Oyster House, a National Historic Landmark building erected in the 1710s, and a collection of commercial buildings dating from the late 18th and 19th centuries. The district was added to the National Register of Historic Places in 1973. The building was designated a Boston Landmark by the Boston Landmarks Commission in 1978 for its notable exterior and interiors. In 1983, the surrounding ca. 1676 Blackstone Block Street Network was also designated by the Boston Landmarks Commission.</p><br>
<p>In the 17th century, the area that is now the Blackstone Block was adjacent to Town Cove, the major port facility of the town of Boston prior to the construction of Long Wharf. Town Cove is the area now occupied by Quincy Market to the north. Furthermore, it was from this area that the rest of Boston was platted, with the "Boston Stone" marking the start of the original surveys still present, embedded in the wall of a 19th-century building on Marshall Street. The pattern of alleys and streets within the block are also a rare reflection of historic street patterns, since most of Boston&#39;s streets have been widened to accommodate modern traffic.</p><br>
