<p>The Beck-Warren House, also known as the Warren House, is a historic house located in Cambridge, Massachusetts. Now on the campus of Harvard University, this large Greek Revival wood-frame house was built in 1833 for Professor Charles Beck, and was later purchased and adapted by the physically disabled Henry Clarke Warren, a Sanskrit scholar. Since 1899 it has belonged to Harvard University, for whom it presently houses offices. The house was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The Warren House stands in the eastern part of the Harvard campus, on the west side of Prescott Street, as part of an entire city block (just east of Harvard Yard) of Harvard-owned buildings. It has a -story main block, which is covered by a front-facing gable roof, with single-story side-gabled wings extending to the sides that are flush with the front facade. The main facade faces west, into a pedestrian area providing access to the other Harvard buildings on the block. The main block&#39;s corners are pilastered, while those of the wings have wooden quoining. The gable is fully pedimented, with a half-round window at the center. A single-story porch extends across the central three bays, its flat roof and entablature supported by smooth Doric columns. The interior features a distinctive blend of Greek Revival and Colonial Revival features, the latter done during the ownership of Henry Warren, handicapped by a spinal deformity from childhood. The second-floor alterations were particularly made to adapt to his needs.</p><br>
<p>The house was built in 1833 by Charles Beck, a Professor of Latin at Harvard. It was built on land that was previously part of the large estate of Francis Dana and subdivided by his heirs. It was acquired in 1891 by Henry Clarke Warren, serving as his home until his death in 1899. Warren made numerous alterations to the interior to accommodate his physical disability, including an overly sized heating system which he was said to run up to 90 degrees Fahrenheit.</p><br>
<p>When Henry Clarke Warren died in 1899 he bequeathed the house to Harvard.</p><br>
<p>The Bennink-Douglas Cottages are a collection of four historic worker duplexes in Cambridge, Massachusetts. Built in 1874 as a speculative venture, they typify the housing built for low and middle-income workers in the 1870s. They were listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The Bennink-Douglas Cottages are located in an densely built residential area between the Cambridge Common and the Radcliffe Quadrangle, on the south side of Walker Street. The four buildings are each -story wood-frame structure on brick foundations, with mansard roofs that provide a full second floor. Each cottage is four bays wide, with two entrances in the center bays and polygonal projecting window bays in the outer bays, rising through the mansard level. The steep sections of the roofs feature hexagonal slate shingles. Three of the four have bracketed hoods sheltering the entrances; the fourth had its porch rebuilt in the Colonial Revival style. The roof eaves also have paired Italianate brackets.</p><br>
<p>The four cottages were built in 1874 as a speculative venture by Gerritt Bennink and William Douglas for sale as low-to-middle-cost housing for workers. Their style was typical of low-cost housing built during the 1870s throughout Cambridge, a period in which the city experienced rapid growth; by the late 1880s, the triple-decker became a more common low-cost construction. The exteriors of these four buildings have, for the most part, retained their original appearance. The land on which they were built was subdivided for development in 1868; it had been pasture land before then.</p><br>
<p>The Berkeley Street Historic District is a historic district on Berkeley Street and Berkeley Place in Cambridge, Massachusetts. It encompasses a neighborhood containing one of the greatest concentrations of fine Italianate and Second Empire houses in the city. It was listed on the National Register of Historic Places in 1982, with a substantial increase in 1986.</p><br>
<h2>Description and history</h2><br>
<p>Berkeley Street is located west of Cambridge Common in western Cambridge, running parallel to and south of Concord Avenue between Craigie Street and Garden Street. Land in this area was acquired by Harvard University professor Joseph Worcester in 1843, and laid out for subdivision in 1852. Most of the houses on Berkeley Street were built between 1852 and 1872, for people prominent in business, culture, and politics. Berkeley Place, a dead end street projecting southerly from Berkeley Street, was laid out in 1890; it was originally a back lane to the Longfellow House, which was Worcester&#39;s home in the 1840s. Most of its houses date to the period between 1892 and 1918.</p><br>
<p>When the district was first listed on the National Register of Historic Places in 1982, it included 15 properties on Berkeley Street. Most of these houses are in the fashionable Bracketed Italianate style of that time, with a number of examples of the Second Empire style. A few later houses, built in the Queen Anne style, are sympathetic to the earlier houses in massing and style. Four years later the district was expanded to include most of the properties on Berkeley Place. Stylistically, they are a cross-section of styles fashionable at that time: Queen Anne, Shingle, and Colonial Revival.</p><br>
<p>Bertram Hall at Radcliffe College is an historic dormitory building on the Radcliffe Quadrangle of Harvard University at 53 Shepard Street in Cambridge, Massachusetts. Built in 1901, it was the first dormitory building constructed for Radcliffe College. The building is now one of the dormitories of Harvard&#39;s Cabot House. It was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>Bertram Hall is located on the south side of the Radcliffe Quadrangle, between its grassy center and Shepard Street. It is a -story brick building with Georgian Revival styling. It is covered by a dormered hip roof. It is nine bays wide, with a central five-bay section and symmetrical two-bay end sections that project slightly. The building corners have brick quoining, and the eave is adorned with modillions. Most windows are set in rectangular openings with stone sills and splayed stone lintels; those on the ground floors of the end sections are set in blind round-arch recesses. The main entrance is at the center, sheltered by a single-story porch with Tuscan columns and a balustrade on the roof.</p><br>
<p>The hall was built in 1901 to a design by Alexander Wadsworth Longfellow Jr. It was the first of the quadrangles buildings to be built, and the first dormitory building at Radcliffe College, representing a major shift in the colleges policy from placement of its boarding students in private homes. It was funded by a donation from the Radcliffe class of 1895. It was named after John Bertram Kimball, the deceased eight year old son of David Pulsifer Kimball and Clara Millet Bertram Kimball, and the grandson of Captain John Bertram.</p><br>
<p>The Bigelow Street Historic District encompasses a uniform collection of 19th century houses on most of the length of Bigelow Street in Cambridge, Massachusetts, just northwest of Central Square. Bigelow Street was laid out in 1868, and the street was almost completely built out by 1874, resulting in a fairly uniform streetscape of Second Empire architecture. The district was added to the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>Bigelow Street consists of one long city block, extending north from Massachusetts Avenue to Harvard Street west of Central Square. The street was laid out in 1868 by Albert Vinal, a local real estate developer. Vinal sold off the building lots to various builders, who almost completely built the street out by 1874. The resulting streetscape, which extends to include a portion of the adjacent block of Inman Street, is somewhat uniform in terms of scale and setback, and consists almost entirely of housing in the Second Empire style.</p><br>
<p>The historic district extends along almost the entire block of Bigelow Street, excluding only buildings facing Harvard Street or Massachusetts Avenue at the ends, as well as two non-contributing houses near the Massachusetts Avenue end. It also includes two buildings on Inman Street, whose backs abut Bigelow Street properties. Most of the buildings are wood-frame single-family structures with mansard roofs; one is a triple decker, three are duplexes, and there are two brick rowhouses, also with mansard roofs. One particularly elaborate house is that at 6 Bigelow Street, which features paired porch columns with ornate capitals; it was built for the treasurer of a local collar manufacturer.</p><br>
<p>The Frederick Billings House is an historic house in Cambridge, Massachusetts. Built in 1846, it is one of west Cambridge&#39;s first examples of residential housing with Italianate features. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Frederick Billings House stands in a residential area northwest of Porter Square, on the northeast side of Orchard Street between Blake and Beech Streets. It is a -story wood-frame structure, with a side-gable roof and clapboarded exterior. A single-story porch extends across the front, supported by tapered round columns. The gable eaves have decorative brackets, and the ground floor windows on the front are topped by lintels adorned with small brackets. Two-story ells extend the original main block to the rear.</p><br>
<p>The house was built in 1846, not long after Orchard Street was platted for development. It was one of the first houses with Italianate styling to be built in the city (along with the adjacent John Aborn House), coming just one year after the style was introduced. The house was built by Joshua Fernald, a local master carpenter, and was located for convenient access to the Fitchburg Railroad depot (now the Porter MBTA station). The front porch is a later (1890s) addition.</p><br>
<p>The Thomas T. Gaff House is the diplomatic residence of the Colombian ambassador to the United States, a post currently held by Ambassador Daniel García-Peña, and previously held by Luis Gilberto Murillo. The house, a contributing property to the Dupont Circle Historic District, is located at 1520 20th Street NW, Washington, D.C., across from the north entrance to the metro station in Dupont Circle and one block from Massachusetts Avenue&#39;s Embassy Row.</p><br>
<p>Its architecture was inspired by the Château Balleroy in Normandy, France, and features a hidden ballroom and a mix of 18th- and 19th-century interior designs.</p><br>
<p>The house has been home to a wealthy industrialist from Ohio, a United States senator, a member of the United States President&#39;s Cabinet, a Greek ambassador, and a former President of Colombia.</p><br>
<h2>History</h2><br>
<p>Thomas T. Gaff was a wealthy businessman who made his fortune in the distillery and heavy machinery business in Cincinnati, Ohio. After Gaff was appointed as a commissioner to the Panama Canal&#39;s construction by then-United States Secretary of War William Howard Taft, he and his wife Zaidee moved to Washington, D.C. The Gaffs chose New York City architect Bruce Price, working with the local architect and builder Jules Henri de Sibour to design their home at the corner of 20th and Q Streets NW. Jules Henri de Sibour was a prominent architect of large homes in Washington, D.C., including the Clarence Moore House, Andrew Mellon Building, and the ambassador residences of Portugal, France, and Luxembourg.</p><br>
<p>The Gaff House was well known in Washington, D.C.&#39;s high society; tea parties and other events were mentioned in The New York Times. From 1924 to 1925, the house was leased to Peter Goelet Gerry, a Senator from Rhode Island. Notable ambassadors who have resided in the Gaff house include former President of Colombia, Andrés Pastrana.</p><br>
<h2>Architecture</h2><br>
<p>The exterior architecture of the Thomas T. Gaff House is an example of a 17th-century Châteauesque manor, but only two rooms in the house follow French style. Gaff instructed the designers to include novel conveniences such as a hot-air system to dry clothes, a trapdoor to his icehouse so that deliveries could be made directly from the street, and cork insulation for his wine cellar. The interior features a mixture of 17th- and 18th-century designs. The main hall and dining room are lined with wooden paneling, Elizabethan wainscoting, and a sideboard that was originally used in an Italian monastery. The reception hall, which at one time doubled as a living room, contains a wooden stair rail with baroque scrollwork and walls that are covered with Louis XIII-style oak panelling. The drawing room resembles 18th-century interior design with lighter wood used for panelling and basic geometric lines.</p><br>
<p>In the sitting room, a hidden, movable wooden wall reveals the two-story Edwardian ballroom, which features a multivaulted wooden ceiling and ornamental plasterwork. The wood that covers the ceiling was discovered during a repair operation. A dome with a stained-glass cupola is located above the center of the ballroom. This room is used for charity balls, formal dinners, and as a gallery and concert hall.</p><br>
<p>There were originally 220 drawings of the house&#39;s design by de Sibour, but only 20 survived.</p><br>
<p>The USA Post Office in Suffern, New York, is located on Chestnut Street between NY 59 and US 202, on the northern edge of the village&#39;s downtown business district. It serves the ZIP Code 10901, covering the village of Suffern.</p><br>
<p>It was built during the New Deal and reflects that era&#39;s architectural styles, combining elements of the Colonial Revival style preferred by the Treasury Department for new post offices in the early 20th century with the Streamline Moderne style predominating in the late 1930s. Its interior features a wall relief by Elliot Means, one of the many public artworks commissioned by the Section of Painting and Sculpture. It was added to the National Register of Historic Places in 1989.</p><br>
<h2>Building</h2><br>
<p>The post office is a single-story, five-bay steel frame building with a buff brick exterior. It is square-shaped with a rear wing and flat roof.</p><br>
<p>The central three bays of the front façade are done in a symmetrical, vertical pattern of scalloped limestone, with some marble trim. Polished aluminum letters attached to the facade above the main entrance identify the building as a post office and its location. Some aluminum lampposts have been added since the building&#39;s construction.</p><br>
<p>Aluminum is also used for the doors and vestibule, leading on to the L-shaped lobby, almost intact from its original design. Ceramic tile is used for the flooring and dado to counter height. Vertical scalloping similar to that in the exterior is used on the plaster ceiling&#39;s molded cornice.</p><br>
<p>On the wall above the entrance to the postmaster&#39;s office is "Communication", a relief by sculptor Elliot Means. It depicts a partially clothed woman, surrounded by the moon, clouds, stars, mountains and waves, shooting a bow with flaming arrow.</p><br>
<h2>History</h2><br>
<p>Sufferns first post office was established in 1797 by founding settler John Suffern, but fell into disuse a decade later. A village post office was formally reestablished in 1858 and used several rented spaces over the years. In 1931, the Treasury Department, which was then the Post Offices parent agency, got Congress to appropriate money for a standalone post office building in several New York communities, Suffern included.</p><br>
<p>The land was purchased for $20,000 in 1935. The next year, the post office was built for $90,000. Treasury Supervising Architect Louis Simon used an austere Colonial Revival design, demonstrated by the building&#39;s fenestration, brick facing and multi-paned sash windows. Variations on this basic design can be found in other New York post offices Simon built during this period.</p><br>
<p>But to a far greater degree than other post offices he built during this period elsewhere in the state, he incorporated more contemporary, Art Deco and Streamline Moderne elements, such as the expansive brick face, the use of aluminum in the transom, the limestone scalloping and the lack of exterior ornamentation or cornice otherwise. Only the post office in the Chemung County village of Waverly, almost an exact copy of Suffern&#39;s, uses this many modernistic elements.</p><br>
<p>Means&#39; relief was added in 1937, and fluorescent lighting was installed in the lobby in 1965. There have been no major changes besides those to the building since it was opened.</p><br>
<p>Greenwood Historic District is part of Maplewood, Missouri, United States, situated at a whistle stop of the Missouri Pacific railroad line.</p><br>
<p>One building within it is what was once Milligan&#39;s Million Article Hardware Store, a thriving turn-of-the-century establishment (built 1905) at 3518 Greenwood Boulevard. The building itself (now "Studio Altius") has been restored by architect Patrick Jugo.</p><br>
<p>Judson Studios is a fine arts studio specializing in stained glass located in the Highland Park section  of northeast Los Angeles. The stained glass studio was founded in the Mott Alley section of downtown Los Angeles in the mid-1890s by English-born artist William Lees Judson and his three sons. It moved to its current location in 1920 and remains in operation as a family-run business. The Judson Studios building was named a Historic-Cultural Landmark by the City of Los Angeles in 1969 and listed in the National Register of Historic Places in 1999.</p><br>
<h2>Founder William Lees Judson</h2><br>
<p>William Lees Judson was born in 1842 in Manchester, England, and moved to the United States with his parents when he was ten years old. After serving four years with the Illinois volunteers during the American Civil War, Judson studied art in New York and Paris. He settled in London, Ontario, where he became a successful portrait painter and art teacher. The beauty of the area stirred Judson to switch from portrait painting to landscapes, and his work attracted such favorable attention that in 1896 he was offered a professorship in drawing and painting at the University of Southern California. In the late 1890s, he founded the Los Angeles College of Fine Arts at his home in Garvanza (the present location of Judson Studios). He died at his home in the studio building in October 1928.</p><br>
<h2>Formation of Judson Studios</h2><br>
<p>After settling in Los Angeles, William Lees Judson saw the need for a local stained glass studio. In 1895, he persuaded three of his sons, Walter H., Lionel and Paul, to come to Los Angeles to join him in starting a stained glass studio. The family initially opened its stained glass business under the name Colonial Art Glass Co., in Mott Alley, located near the Old Plaza and Union Station in an area that was later demolished for the construction of the Hollywood Freeway.</p><br>
<p>In the studios early years, its stained glass output was "balanced between religious and secular, between recreating the Gothic effect and working for Frank Lloyd Wright in glass and tile on the Ennis and Barnsdall Houses." In addition to stained glass, the Judsons also worked in tile and mosaic. The Judson operation became so highly regarded that it was able to recruit such major artists as A.E. Brain and Frederick Wilson away from Americas premiere maker of stained glass, Louis Comfort Tiffany.</p><br>
<h2>College of Fine Arts</h2><br>
<p>Judson started as a professor at McLeods Los Angeles School of Art and Design. According to a radio broadcast transcript Judsons own art college became USC&#39;s College of Fine Arts and Judson moved the college to the building near his home in the Arroyo area in 1901. Other sources claim the school was in the Highland Park location from 1897 to 1920. He became Dean of the USC College of Fine Arts in 1913, and remained so until his retirement in 1922.</p><br>
<h2>Original building</h2><br>
<p>The original three-story Islamic-style building on the Garvanza site was used as the campus for the USC College of Fine Arts starting in 1901. In December 1910, the building was destroyed by a fire that destroyed Judson&#39;s art works. Judson escaped from the burning building through a window and met his classes that day under the pepper trees on the property.</p><br>
<h2>New facility built in 1911</h2><br>
<p>After fire destroyed the original building, a "rambling, two-story building" designed by Robert Train and Robert Edmund Williams was built on the site in 1911. In its early years, the building was also the headquarters for a group called the Arroyo Craftsmen who made furniture and art objects for fine homes built in the area until World War I, including work fabricated for noted Arts and Crafts architects, Greene and Greene. Frequent visitors to the building included Frank Lloyd Wright, Ernest A. Batchelder and Henry and Charles Greene.</p><br>
<h2>Operations of the studios</h2><br>
<p>When Walter H. Judson died in 1934, Horace T. Judson (grandson of William Lees) took over the day-to-day management of the business. Trained as a lawyer, Horace Judson retired from the active practice of law to continue the family&#39;s stained glass tradition. The studios were described in 1940 as "a medieval guild secluded from a hectic modern world by the vine-covered building." At the time, Horace Judson told the Highland Park News-Herald: "Here there is no rush. We work slowly and for perfection as they did six centuries ago."</p><br>
<p>As Southern Californias population grew rapidly after World War II, there was a tremendous demand for church construction. This in turn led to a boom in business for Judson Studios. At the peak in the 1950s, Judson employed 30 craftsmen. Walter W. Judson later recalled, "It got so it almost became counterproductive. It was difficult to keep track of what was going on." As a result, Horace Judson established a rule that the studio would never again employ more than 15 craftsmen at once. Walter Judson, who took over the business from Horace (his father) in the 1970s, continued that rule, noting, "If you go over 15, youll make more money. But you can lose your reputation too."</p><br>
<p>In 1973, Walter Judson noted that they preferred to train their own craftsmen and that it was difficult to find people fully interested in the craft: "They just want to play with it and then go off." Walter Judson noted, "We do use a lot more electricity and glass costs a lot more but thats about all thats changed." At the time, Judson was using glass from all over the world in more than 600 colors.</p><br>
<p>When the Los Angeles Times did a profile on the studios in 1986, there were nine artisans employed in the business, "employing techniques that have not changed much since the craft began to flourish in the 12th Century."</p><br>
<p>Though principally known for stained glass, Judson Studios also creates works in marble carving, mosaic, carved and etched glass, furniture and other specialty items.</p><br>
<p>As of 2017, Judson Studios remained a family-owned and operated business, with fifth generation David Judson, the great-great-grandson of William Lee Judson serving as the director of the business. In 2000, David Judson reported that 85% of the company&#39;s work was for religious institutions "of all different creeds, from Jewish to Christian to Islamic."</p><br>
<h2>Demolition threat and historic designation</h2><br>
<p>Judson Studios was operated from 1920 to 1969 as a non-conforming use within a residential neighborhood. As a zoning variance neared its termination in 1969, the Judson family feared that the city would require demolition of the studios. In order to preserve the studios, the Los Angeles Cultural Heritage Board, with support from the Judson family, declared the building a Los Angeles Historic-Cultural Monument (No. 62) in August 1969. The declaration of historic status stated: The building was added to the National Register of Historic Places in 1999.</p><br>
<h2>Examples of Judson stained glass</h2><br>
<p>Over its first century of operation, Judson Studios produced more than 10,000 stained-glass works. Stained glass made at Judson Studios can be found in locations throughout Southern California and the United States. Examples can be seen at:</p><br>
<p>Hollyhock House at Barnsdall Art Park and Ennis House—Judson Studios provided leaded and stained glass and tiles for Frank Lloyd Wright&#39;s work on the Hollyhock and Ennis Houses</p><br>
<p>The rotunda skylight at the Natural History Museum in Los Angeles</p><br>
<p>The "Congressional Prayer Room", also known as the "Chapel of All Creeds", at the USA Capitol</p><br>
<p>The United States Air Force Academy Cadet Chapel in Colorado Springs, Colorado</p><br>
<p>Chapel One at Edwards Air Force Base in California</p><br>
<p>The Alumni Memorial Window, done in heraldic style, at the Memorial Branch Library on Olympic Boulevard in Los Angeles, commemorating the alumni of Los Angeles High School who died in World War I</p><br>
<p>The massive interior dome – 107 by – at the Tropicana Resort & Casino in Las Vegas, built at a cost of $200,000</p><br>
<p>The 30 ft Jewel Court Dome at South Coast Plaza in Costa Mesa, California</p><br>
<p>The Caesars Palace Palace Court dome in Las Vegas</p><br>
<p>Sun City Ginza in Tokyo</p><br>
<p>Mary, Queen of the Universe Shrine in Orlando, Florida, for which Judson produced 94 stained-glass windows</p><br>
<p>Highland Park Presbyterian Church in Los Angeles</p><br>
<p>St. James&#39; Episcopal Church in South Pasadena</p><br>
<p>All Saints Church in Pasadena</p><br>
<p>First Congregational Church in Los Angeles</p><br>
<p>Calvary Presbyterian Church in South Pasadena (See image to the right) Viewable outside at night</p><br>
<p>Westminster Presbyterian Church in Los Angeles. Judson of Los Angeles designed the stained glass windows in 1930 for the newly built former St. Paul Presbyterian Church at 2230 West Jefferson Blvd.</p><br>
<p>"The Life of Christ" window series at St. Barnabas Church in Eagle Rock</p><br>
<p>The Stanford Court Hotel in Nob Hill section of San Francisco</p><br>
<p>A heraldic design featuring white lions and tigers for Las Vegas illusionists Siegfried & Roy</p><br>
<p>Toluca Lake United Methodist Church in North Hollywood, where Judson began making stained glass windows in 1958 and was still installing windows in 1992</p><br>
<p>The 36 ft high Great Window at Glendale Presbyterian Church in Glendale, California (completed in 1974), with a Pentecost theme, dominated by a large figure of Christ, populated by people of different ethnic backgrounds rooted in the trunk of a tree of life</p><br>
<p>The tree of life window in the Lopaty Chapel at Valley Beth Shalom in Encino, California, made from 20,000 pieces of glass, with 613 leaves on the tree</p><br>
<p>The Arbor of Light Radiance Corridor at the Mountain View Mausoleum in Altadena, California</p><br>
<p>The Diamond Head Mortuary in Honolulu, Hawaii</p><br>
<p>The Goldman Estate in Honolulu</p><br>
<p>Honolulu International Country Club</p><br>
<p>All Saints Episcopal Church, San Diego, stained glass work completed between 1957 and 1967</p><br>
<h3>Church of the Resurrection</h3><br>
<p>This new work is Judson Studio&#39;s most ambitious both in size and technical difficulty. New techniques using fused glass had to be developed and a new facility had to be built in order to accomplish the task in nearby South Pasadena.</p><br>
<h2>Public activities</h2><br>
<p>The Judson Gallery hosts changing art exhibits that are open to the public. The Studios also offers 1-hour tours of the workshops and galleries for $20 per person every second Thursday of the month.</p><br>
<p>The Nathaniel Osgood House is a historic house on Maine State Route 136 in Durham, Maine, United States. Built in 1785, early in the town&#39;s settlement history, it is a well-preserved example of Federal period architecture. It was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>The Nathaniel Osgood House is located in southern Durham, on the west side of Royalsborough Road (Maine State Route 136). It is a large, three story wood-frame structure, with a hip roof, central chimney, clapboard siding, and granite foundation. It is oriented facing roughly south. Its main facade is five bays wide, with a central entrance flanked by pilasters and topped by a transom and gabled pediment. Windows on the first two floors are 12-over-12 sash, while the third-floor windows are eight-pane fixed sash. On the east (street-facing) side, there is a secondary entrance near the northern corner; that elevation is otherwise two bays wide. A single-story ell extends to the rear (north) of the main block. The interior retains high quality Federal period workmanship.</p><br>
<p>The area that became Durham was owned in the 1760s by the Pejepscot Proprietors, among them Jonathan Bagley, who served in the American Revolutionary War. Nathaniel Osgood, who served in Bagleys regiment, is believed to have purchased the land where this house stands in 1779. Osgood built this house in 1785; it is one of Maines best examples of the Federal period four-square hip-roofed central chimney plan.</p><br>
<p>The Union Church, also once Durham Town Hall, is a historic civic and religious building at 744 Royalsborough Road in Durham, Maine. Built in 1835 as a multi-denominational church, it is a distinctive local example of late Federal architecture with Greek and Gothic Revival features. From 1922 until 1986, it served as town hall, and now houses the local historical society. The building was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The former Union Church building is located in the dispersed rural village of Durham, on the north side of Royalsborough Road (Maine State Route 136), about 0.2 mi west of its junction with Maine State Route 9. It is a single-story wood-frame structure, with a gabled roof, clapboard siding, and a granite foundation. A gabled vestibule projects from the front, with a hip-roofed porch sheltering the main entrance, which is now at the center of that section. A two-stage tower rises, straddling the main roof and that of the vestibule, with an open belfry (housing a Revere bell) and an octagonal cupola above. The vestibule is three bays wide, with sash windows flanking the entrance, and the main block has former entrance locations (now boarded-over pointed-arch openings) on either side of the vestibule section. The interior, despite alterations, retains some of its original Greek Revival trim.</p><br>
<p>The church was built in 1835 by a Baptist congregation, which allowed other groups to use it for religious services. This group declined in size during the 19th century, and its services ended in 1887. Other groups continued to use it into the early 20th century, but it was abandoned at the time it was deeded to the town in 1922. The town adapted it for use as its town hall, reconfiguring its entrances, and used it for that purpose until 1986. It continues to own the building, which is now occupied by the local historical society.</p><br>
<p>The Nelson Family Farm is a historic farm property on Shackley Hill Road in Livermore, Maine. It is locally distinctive for the farmhouse, built about 1830 out of rough-split granite after a fire destroyed the Nelson&#39;s first homestead. The farm listed on the National Register of Historic Places in 1992.</p><br>
<h2>Description and history</h2><br>
<p>The Nelson Farm is located in the far western part of the mostly rural community of Livermore, on the west side of Shackley Hill Road, north of its junction with Maine State Route 108. The property now consists of 58 acre, significantly reduced from more than 100 acre at its height, with stone walls lining some of its borders and field divisions. The property consists of rolling terrain, now mostly wooded, with a portion planted as an apple orchard. The farm complex includes the main house and a detached barn, both 19th-century structures. The house&#39;s main block is stories in height, and is built out of locally sourced granite that has been roughly split, quarry-faced, and laid in irregular courses. Several rough stringcourses project from the wall, and the front facade has a projecting vestibule of stone, the doorway set in an arched opening. The south-facing roof has a wood-frame shed-roof dormer, and a wood-frame ell extends to the rear (west) of the main block. A wood frame barn, built about 1877, stands south of the house.</p><br>
<p>The Nelson Farm was established in 1816 by Deacon Alexander Nelson on land that his father had purchased the previous year. According to family tradition, Nelsons wife and infant daughter died in a house fire in 1819. He supposedly began construction of the stone house soon afterward, but its Greek Revival styling suggests he may not have begun it until after his marriage to his third wife in 1830. The property remained in the hands of Nelsons descendants until the early 20th century.</p><br>
<p>The Norlands  is a historic building on Norlands Road in Livermore, Maine, United States. It was owned by Israel Washburn and his descendants.</p><br>
<h2>History</h2><br>
<p>The Gothic Revival-style house was built in 1821 and added to the National Register of Historic Places in 1969. The house is now operated as part of the Washburn-Norlands Living History Center, a 19th-century period farm with living-history demonstrations. The buildings include the Norlands mansion, a mid-19th-century period schoolhouse, a library with displays about the Washburn family, a meeting house, a farmers cottage, and a barn with farm animals. The barn and farmers cottage burned down in April 2008 but the Farmer&#39;s Cottage was rebuilt and reopened in early 2011. The barn was later reconstructed in an early configuration.</p><br>
<h2>Fire</h2><br>
<p>A fire started on April 28, 2008, at the Washburn-Norlands Living History Center. The fire was likely caused by a lamp tipping over and falling into hay, setting it alight. Volunteer firefighters, whom had prepared in advance for a fire in this scenario, put out the fire with assistance from 10 other fire departments. Langhorne Washburn, the only living descendant born at the Norlands, said to the Sun Journal: "...Thank God Norlands didn’t burn. I would like to commend (the firefighters) on their efficiency." in preventing the fire. Rebuilding of the farm spanned several years.</p><br>
<h2>Bibliography</h2><br>
<p>Remarkable Americans: The Washburn Family by Kerck Kelsey</p><br>
<p>The Rise and Fall of William Drew Washburn by Kerck Kelsey</p><br>
<p>Lisbon Falls High School is an historic former school building at 4 Campus Avenue in Lisbon Falls, Maine. Built in 1904–05 to a design by William R. Miller, it is a significant local example of Romanesque Revival architecture. It served as the high school for Lisbon Falls students until 1952, and then as a grammar school. It was listed on the National Register of Historic Places in 2007.</p><br>
<h2>Description and history</h2><br>
<p>The former Lisbon Falls High School building stands on the north side of Campus Avenue, between Berry Avenue and Addison Street in the village of Lisbon Falls. It is a story masonry structure, built out of red brick with granite trim. It is roughly rectangular in shape, with a hip roof, projecting front gable section, and a three-story tower projecting from the front right corner. The third level of the tower is open, and is topped by a turret roof with bracketed cornice. The third level of the tower contained the school bell with the rope hanging down into the second level. The central gable section has the main entrance in an elaborate round-arch opening (accessed via a flaring flight of granite steps), with a band of narrow round-arch windows above, and a band of rectangular sash in the gable.</p><br>
<p>The school was built in 1904–05 to a design by Lewiston architect William R. Miller, who by then had a well-established reputation for highly decorated school buildings. The school served the local community as a high school until 1952, when it was converted into a grammar school with grades 4th and 5th. From 1985 to 2006 it house the school district offices.</p><br>
<p>Cushman Tavern was an historic tavern  at Maine State Route 9 and Webster Corner Road in Sabattus and Lisbon, Maine. Built, this Federal period house was most significant for the folk artwork drawn on the walls of its halls and stairwell by Orison Wood, an itinerant muralist and protégé of Rufus Porter, a well-known exponent of the form. The house was listed on the National Register of Historic Places in 1979. It was demolished in 2019 after standing vacant and deteriorating for several years, and was delisted in 2020.</p><br>
<h2>Description</h2><br>
<p>Cushman Tavern was a large 2½ story wood frame house standing at the southwest corner of Webster Corner Road and Middle Road (Maine State Route 9) on a 0.5 acre parcel that straddles the town lines of Lisbon and Sabattus. The main block of the house had a side-gable roof and twin interior chimneys. It was attached by a series of ells (one two stories, the next one) to a barn. The main facade faced west, and had a center entrance flanked by sidelight windows and topped by an entablature that was interrupted by a half-round transom.</p><br>
<p>The house was built about 1825 by Mr. Dwindal, and was purchased two years later by Samuel Cushman. Cushman and his descendants operated a tavern on the premises for many years; it was eventually converted into a single-family residence. The houses principal feature of significance lay in a series of murals that adorned the hallways of the first and second floors of the main block, and the stairwell that connected them. They were executed by Orison Wood, an itinerant fresco artist known to be active in the area in the second half of the 1820s. Cushman family lore recounts that the painter arrived in 1826, offering his services. Wood was trained by his father in the art of fresco, but he took his ideas about content and form from the writings of Rufus Porter, whose artwork still graces walls across northern New England. These works may have been executed under Porters supervision.</p><br>
<p>The building was abandoned in 2014 after the death of one of its owners, and stood abandoned until 2019. Declared unsafe by the town of Sabattus in 2018, it was slated for demolition in late 2019. Some of the artwork has been preserved.</p><br>
<p>The Farwell Mill is an historic former mill complex at 244 Lisbon Street  in Lisbon, Maine. Built in 1872, it is a fine example of a cotton mill built at the height of the Industrial Revolution. It was listed on the National Register of Historic Places in 1985. It is now residential housing.</p><br>
<h2>Description and history</h2><br>
<p>The Farwell Mill is located in central Lisbon, at the junction of Village and Lisbon Streets and on the western bank of the Sabattus River. It is a large and sprawling L-shaped brick three-story structure. The building is minimally decorated, with corbelling at the cornice below the gable roof, and a four-story tower at the southwestern end whose top level has paired round-arch Italianate windows and a shallow-pitch hip roof with a broad eave. The complex was originally larger, with four-story additions to the south and west, but these have been demolished. Just north of the main building is a small single-story gas works building, one of the few of its type surviving in the state.</p><br>
<p>The mill was built in 1872 by Nathaniel Farwell, a businessman with textile-related interests all over New England. This was the only full-scale textile operation he owned. It was built using the water privilege of one of Maines earliest woolen mills, established in 1808, and expanded using a second water privilege just downstream that originally had a grist mill. Farwells mill was reported to have a capacity of 12,000 spindles, and was an economic mainstay of the otherwise rural region for many years.</p><br>
<p>The Shiloh Temple, now Shiloh Chapel, is a historic religious facility at 38 Beulah Lane in Durham, Maine. Built in 1897, the surviving building is a small portion of a once-extensive religious enclave established by the evangelical Christian leader Frank Sandford, exhibiting a unique expression of religious and summer retreat architecture. The building was listed on the National Register of Historic Places in 1975.</p><br>
<h2>Description and history</h2><br>
<p>The Shiloh Temple stands on a property overlooking the southern bank of the Androscoggin River, a few miles south of Lisbon Falls, off the north side of Shiloh Road. The surviving portion of the temple is a four-story structure, its ground floor a raised basement of brick, and the rest a frame structure with a mansarded roof. A seven-stage tower projects from the street-facing front, square in shape except for the crowning open circular belfry and cupola.</p><br>
<p>Frank Sandford was an ordained Baptist minister, who in 1893 left his ministry in Topsham, Maine on a quest to evangelize the world. He attracted a large number of followers, and construction of the Temple began in 1897. The temple&#39;s property grew to include a large quadrangular complex, of which the present building is the only surviving element. At its height, the complex had 500 rooms and space for more than 1,000 residents. Life at the complex was strictly regulated by Sandford, who claimed to be a new Elijah, and many of his followers sold off their possessions to join his "Holy Ghost and Us" society.</p><br>
<p>In the early 1900s Sandford took a number of his followers on a round-the-world proselytizing mission aboard the yacht Coronet. Following a misguided and undersupplied voyage to Greenland, in which six crew died of scurvy and related illnesses, he was arrested on manslaughter charges in 1911. Sandfords "Kingdom" project was ended by legal action in 1920 following the death of a Shiloh resident, and most of Shilohs buildings were demolished in the 1950s. Low level occupation continued, and the present Shiloh Chapel is a successor to Sandford&#39;s legacy.</p><br>
<p>A minister of the Holy Ghost and Us Society, George W. Higgins, was a victim of New England&#39;s last tarring and feathering incident in 1899.</p><br>
<p>The Samuel Penney House is a historic house at 78 Maple Street in Mechanic Falls, Maine. The house was completed in 1902 to design by William R. Miller and is considered the finest example of his residential work. It was originally one of three identical houses that stood side by side until the early 1920s. It was added to the National Register of Historic Places in 2002.</p><br>
<h2>Description and history</h2><br>
<p>The Penney House is located on the west side of the Mechanic Falls village, at the southern corner of Maple and Summer Streets. It is a high-style -story Georgian Revival structure, with a dormered hip roof, clapboard siding, and a foundation of brick and granite. Its principal feature is a full-height elaborate portico projecting from the front, with two-story Corinthian columns and pilasters supporting a fully pedimented and modillioned gable with a floral design at its center. This portico shelters a Palladian window at the second level, and partially covers a single-story porch that extends over the main entrance, with clustered Corinthian columns for support. Ground floor windows are topped by entablatures decorated with swags, and topped by projecting cornices. The interior continues the high quality workmanship, with decorative plasterwork and woodwork, and a stained glass window at the landing of the main staircase.</p><br>
<p>The house was designed by Lewiston architect William R. Miller, and was is first residential commission. It is an extraordinarily rich Colonial Revival building for a relatively modest formerly industrial village setting in the state, but also typical of Millers flamboyant style. It is one of three nearly identical houses designed by Miller for the Penney brothers, owners of a local factory that built steam engines and boilers. The house of Almont Penney was destroyed by fire, and that of Charles Penney was moved and partly dismembered in the 1940s. The present house, when it was listed on the National Register of Historic Places in 2002, still used original knob-and-tube wiring installed when the house was built, and portions of its original steam heating plant (presumably manufactured by the Penneys plant) were also still in use.</p><br>
<p>The George Seaverns House is a historic house at 8 High Street in Mechanic Falls, Maine. Built in 1853, it is distinctive and prominent local example of Gothic Revival architecture, with association to individuals important in the local paper industry. The house was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>The George Seaverns House is located in the village of Mechanic Falls, on a rise on the west side of High Street, a residential side street overlooking the village center. It is a -story wood-frame structure, with a gabled roof, clapboard siding, and a brick foundation. The house occupies a sloping site which would have overlooked Elm Street, a major thoroughfare, when it was built. The house is stylistically Gothic Revival in character, with decorative vergeboard, window hoods, and ogee brackets. The house&#39;s interior has an unusual asymmetrical plan, diverging from the conventional central hall plans that typified area houses of the period. Its main (western) elevation features a series of porches supported by chamfered posts with decorative brackets.</p><br>
<p>The house was built in 1853 by George W. Seaverns, whose only known description is as a "paper worker" in the locally prominent paper industry. A second owner, later in the 19th century, was Charles E. Stevens, president of the Mechanic Falls Manufacturing Company.</p><br>
<p>All Souls Chapel is a historic chapel at the Poland Spring Resort in Poland, Maine. It was built in 1912. In 1977, it was added to the National Register of Historic Places.</p><br>
<p>The chapel was built in 1912 for use by the staff and guests of the Poland Spring Resort. It is now owned by the Poland Spring Preservation Society which also owns the Maine State Building (from the World&#39;s Columbian Exposition of 1893 in Chicago).</p><br>
<p>The chapel houses a series of hand-painted windows and an Ernest M. Skinner Opus 564 pipe organ. The chapel is currently used as a venue for weddings, baptisms and other services as well as plays and concerts.</p><br>
<h2>Chapel history</h2><br>
<p>In 1885, Julius Gassauer first started religious services for the employees of the dining room of the Poland Spring House. They were first held out of doors in the open air, but as it became necessary to find some shelter for these meetings in case of rain, the idea of a chapel was proposed. A fund was started by the contributions of the employees.</p><br>
<p>When meetings were transferred to the dining hall, some of the guests of the Houses began to attend. They were glad to add to the Chapel Fund, which grew to about twenty-five hundred dollars, before the effort was stopped for a season. About this time some of the ladies of Poland Spring organized the first “Children’s Fair,” for the purpose of encouraging the children of the guests help make this possible. The proceeds were at first given to a “Fresh Air Fund” for the benefit of the poor children of the cities. Later $5,000 was donated for what was known as the “Poland Spring Free Bed” at the Central Maine General Hospital in Lewiston.</p><br>
<p>Meanwhile, Miss Sadie Ricker had organized a Sunday School for the children of the surrounding country, and it was thought; “Why not aid this Sunday School?” Accordingly, this was done from the proceeds of the Children&#39;s Fairs, and after the school had been well established and well equipped, a small fund remained, the interest from which, with outside contributions, was used for several years for Christmas parties and summer outings.</p><br>
<p>Having worked on this worthy project in a substantial way, the ladies next agreed to work for a fund large enough to secure a chapel. They said; “Let us realize the dream of the earnest man who began the movement for a chapel here at Poland Spring, and the desire of the owners of this estate, who have expressed their readiness to contribute one-half the final cost of the edifice.” Inspired by this purpose, the ladies and families and guests at Poland Spring succeeded in raising approximately $15,000.</p><br>
<p>In September 1909, little Garrett A. Hobart III (the grandson of the first vice-president under McKinley), then only two years old, performed the important ceremony of breaking ground for the new chapel. For the next three years a large number of interested friends never ceased their efforts in behalf of the little church building.</p><br>
<p>This chapel was erected on the very top of the hill at the Poland Spring estate, overlooking the panorama of magnificent natural scenery. No expense was spared to make it of a quality commensurate with its environments and function.</p><br>
<p>Maine granite from the best quarries was procured for the walls and arches; quarter-sawn oak of the finest quality was used for the ceilings, doors, and other interior woodwork; brass for sills, reading desk, railings; and a floor of inlaid mosaic of beautiful and expensive design was made. The work of construction was performed by Italians brought here from Boston, and was done slowly and with great care, that no detail should lack in permanence or artistic value.</p><br>
<p>The large memorial window in the alcove at the front of the church is of stained glass illustrating the inscription which runs through it, “I am the Resurrection and the Life.” Through the bottom of the window are the words, “Glory be to the Father, and to the Son, and to the Holy Ghost.” The center section of the window contains the figure of Jesus and is resplendently beautiful in its coloring. This window was the gift of two lady visitors at Poland Spring, and was a very expensive contribution to the edifice. The church was dedicated on September 1, 1912.</p><br>
<p>The following year the bells were installed in the tower. Known as the “Westminster Peals” or “Cambridge Quarters” they were a unit of four, keyed in G, C, D, and E, according to their weight of 1,500, 500, 400, and 300 pounds. They were composed of Lake Superior copper and imported tin, in the correct proportion to form the best ringing alloy. On the largest of the bells is the following inscription: “Presented to All Souls Chapel, Poland Spring, Maine, by Mrs. Calvin Allen Richards and Miss Annie Louise Richards of Boston, Mass. June 1, 1913.”</p><br>
<p>Church services were held during the summer months (May through October) until 40 years ago. There were two Catholic services and one Protestant service each Sunday. The Catholic service was a mission of the Catholic Church at Yarmouth. The ministers serving here came from various towns, or may have been guests or visiting travelers. Services have been held in the winter months upon special occasion, as the building was kept heated all year, for protection to the interior furnishings and equipment.</p><br>
<p>This chapel has been the scene of countless weddings, as there is a great sentimental attachment here for thousands of persons who may have worked or vacationed at this resort.</p><br>
<p>The prayer at the official opening ceremony of this chapel in 1912 ended as follows: “We pray that this beautiful chapel may be a perpetual reminder of the reality of the spiritual life to many who are struggling upward toward the height where Thou dost dwell.”</p><br>
<p>The West Durham Methodist Church is an historic Methodist church at 23 Runaround Pond Road in West Durham, Maine. Built in the early 19th century and significantly restyled in 1867, it is a fine example of Greek Revival architecture with added Italianate features. The congregation for which it was built grew out of a Methodist revival meeting held at the site in 1804, and was one of the first Methodist congregations in the state. The building was listed on the National Register of Historic Places in 2003. It is presently unused.</p><br>
<h2>Description and history</h2><br>
<p>The West Durham Methodist Church is located in a rural area of central-western Durham, on the north side of Runaround Pond Road, a short way west of its junction with Hallowell Road (Maine State Route 9). It is a single-story wood-frame structure, with a front gable roof, clapboard siding, and a stone foundation. A small square section projects from the north (rear) of the building, providing a small apse in the interior. The south-facing front facade is symmetrically arrange, exhibiting predominantly Greek Revival features. It has corner pilasters rising to a broad entablature, with a fully pedimented gable that has a triangular bracketed panel at its center. A pair of entrances flank a three-part window, where each section has a rounded top. The entrances are each flanked by pilasters and topped by an entablature and cornice. The entrances each lead to small separate vestibules, which are separate from each other by a recess in the main chamber that houses the choir. The main chamber is simply arranged, with bench pews on either side of a central aisle, and the pulpit set in the apsidal recess.</p><br>
<p>The buildings construction date is somewhat murky. The building site was the location of an early Methodist revival meeting, held in 1802, and was by local tradition built in 1804, the date appearing in a panel on the front of the building. However, the congregation was not formally organized until 1810, and the property was not transferred to church trustees until 1818 (although it may have been in use by the church since before then). The building has architectural evidence that its interior at one time had a three-sided gallery and a different orientation of its pews, suggesting an early 19th-century construction date. The exteriors Greek Revival and Italianate features in all likelihood date from a major 1867 renovation (even though the Greek Revival was generally out of fashion by then), at which time interior alterations may also have been made. The church&#39;s parish originally stretched from Litchfield to Freeport.</p><br>
<p>The Turner Town House is an historic town hall on Maine State Route 117 in Turner, Maine. Built in 1831, it is one of the oldest buildings of its type in the state. It was listed on the National Register of Historic Places in 1979.</p><br>
<h2>Description and history</h2><br>
<p>The Turner Town House is located in the village of Turner Center, on the north side of SR 117 just west of the First Universalist Church. It is set back from the road, on the south bank of the Nezinscot River. It is a small single-story wood frame structure, with a gabled roof, clapboard siding, and fieldstone foundation. The main facade faces south, and is five bays wide. The bays are arranged symmetrical but with irregular spacing, with three sash windows flanking two virtually identical entrances. Each window has a single large shutter mounted to its left. The exterior is otherwise devoid of significant stylisting elements. The interior consists of a single large chamber, whose floor is sloped in a V shape from the front and back toward the center, where the town officials sat during town meetings. This feature is believed to be unique among Maine&#39;s town houses.</p><br>
<p>The town of Turner was incorporated in 1787, and its earliest town meetings were held in a local church. From 1822 to 1830 meetings were held in a local school, at which time the town engaged in a series of acrimonious meetings concerning the location of a dedicated town house. The dispute was centered over issues of the town&#39;s growth, which had begun in the eastern part of the town, but had in recent years developed more rapidly to the west. The town house was built in 1830 at a site nearer the geographic center, but was surreptitiously disassembled and relocated three times by competing groups within the town, before being fixed in place at this location.</p><br>
<p>The Poland Spring Bottling Plant and Spring House is an historic water pumping and treatment facility in Poland, Maine. Built in 1907, these two buildings are the original spring house and water spa of the Poland Spring Resort, whose waters are still bottled under the Poland Spring brand name. The resort was the largest and most successful of Maine&#39;s inland summer resorts. The buildings were listed on the National Register of Historic Places in 1984; the spring house now houses the Poland Spring Museum and Environmental Education Center. Open seasonally, its exhibits feature the history of the company and its bottling operation, including scientific displays and vintage memorabilia.</p><br>
<h2>Description and history</h2><br>
<p>The Poland Spring Bottling Plant and Spring House stand at the end of Preservation Way, behind the modern Poland Spring Inn and Resort, on the east side of Maine Street (Maine State Route 26) in South Poland. The former bottling plant is a rectangular building, with a hip roof that has overhanging bracketed eaves. It is dominated by a tall square tower at its southwest corner with an open top level whose openings are flanked by Tuscan columns. The tower is topped by a tiled shallow-slope pyramidal roof. Its base is of rusticated stone, with arched openings leading to the building entrance. The building windows are set in round-arch openings, and the corners have brick quoining. The building is shaped as a cross, with a copper dome at the center, and there is a secondary entrance sheltered by a copper hood. The bottling house is a smaller structure located just south of the spring house, its entrance featuring Tuscan columns and pilasters supporting an entablature.</p><br>
<p>The Poland Spring resort achieved renown for its waters in the mid-19th century, and in 1876 the great Poland Spring House (destroyed by fire a century later) was built to cater to resort visitors taking its waters. Run by generations of the Ricker family, Edward P. Ricker in 1903 conceived of the idea of bottling the spring waters. He worked with Harry Wilkerson, a Poland native working as an architect in Washington, DC to draft the plans for these two buildings, which were completed in 1907.</p><br>
<p>St. Cyril and St. Methodius Church is an historic former church building at 51 Main Street in Lisbon Falls, Maine. The church was designed in 1923 by Lewiston architects Gibbs & Pulsifer, and is an imposing example of neo-Gothic architecture for a relatively small community. It is also the only known church in Maine with association to the Slovak immigrant community. It was dedicated in 1926 and added to the National Register of Historic Places in 1977. It is presently home to the Maine Art Glass Studio.</p><br>
<h2>Description and history</h2><br>
<p>The former St. Cyril and St. Methodius Church is located in the village of Lisbon Falls, at the southeast corner of Main Street (Maine State Route 125) and High Street. It is a large rectangular brick building. with a gabled roof. The front facade is flanked by squat square towers with buttress-style projecting pilasters at the corners. The center of the facade has a large Gothic arch, in which there are two entrances, each also set in arches, with a circle-in-cross design above. Atop the large arch is a wagon-wheel rose window, and the gable above is crested by a cross.</p><br>
<p>The Slovak community in Lisbon Falls was former in the 1890s, when a group migrated there from New Jersey in search of work at the Worumbo Mill, and formed a tightly knit social group. Alienated from other well-established cultural groups, they formed their own Catholic organization, and raised funds to build this church, which was completed in 1923. It was formally accepted into the Roman Catholic Diocese of Portland in 1936. The building now houses a studio of glass artists.</p><br>
<p>The Worumbo Mill was a historic mill on the bank of the Androscoggin River in Lisbon Falls, Maine. Founded in 1864, it was at one point the community&#39;s largest employer. Its main building, dating to its founding, was destroyed by fire in 1987. The complex was listed on the National Register of Historic Places in 1973, and was delisted in 2017.</p><br>
<h2>Description</h2><br>
<p>The surviving elements of the Worumbo Mill stand on the northern bank of the Androscoggin River, just south of the center of the village of Lisbon Falls. Originally a sprawling utilitarian 19th-century building adorned with additions and decorative towers, only two 1920 concrete buildings, one of one story and the other of three, stand today. Both are set close to Canal Street, adjacent to the dam (now used for hydroelectric generation) that provided power to the mill.</p><br>
<h2>History</h2><br>
<p>The Worumbo Mill began as the brainchild of two residents of Lisbon Falls, Edward Plummer and H.A. Tibbetts. Later, Oliver Moses, a businessman from Bath was brought in as they sought to build a factory producing fine woolens. Ground was broken in 1864 and production began in 1865, with Mr. Moses as president of the company. Operating losses were substantial that first year at $100,000. This amount is roughly equivalent to $2 million today. During the 1920s an expansion was added to the mill and is the white building that stands today. The 1940s saw equipment upgrades. Due to pressure from overseas clothing manufacturers, the mill announced that it would be closing in 1964 and all 600 employees would lose their jobs. An attempt to restart production later failed.</p><br>
<p>A fire started in the original portion of the mill on July 23, 1987, completely destroying the old portion of the complex, but the 1920s expansion was spared from the flames. All told, 283 firefighters responded to the blaze. Although the fire was controlled in five hours, using 15,000 USgal of water per minute to do so (a total of 17,800,000 USgal was used the first day), crews stayed for another 13 to extinguish the flames, and returned each day for over a week to be sure no flare-ups occurred. The Maine Forest Service responded with a helicopter to drop water, and crews from many surrounding towns assisted in the battle. It was one of Maine&#39;s largest industrial fires.</p><br>
<p>The mill was also featured in the Stephen King novel 11/22/63. The mill was demolished in 2016.</p><br>
<p>The Elms  is a historic building at the junction of Lewiston and Elm Streets in Mechanic Falls, Maine. Built as a hotel in 1859 and used for a variety of purposes since then, the substantial building is a fine late expression of Greek Revival architecture, and a reminder of the town&#39;s heyday as an industrial center. It was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description</h2><br>
<p>The Elms is a large rectangular wood frame structure, situated on 0.5 acre of land at the junction of Lewiston and Elm Streets (Maine State Route 11 along both roads, and Maine State Route 121 on Lewiston Street) in Mechanic Falls, Maine, a short way east from the Little Androscoggin River. It is 2-1/2 stories high, with a gable roof. The main facade, facing Elm Street to the southwest, is five bays wide, with a temple-front appearance. The porch is a full two stories in height, with four fluted square posts topped by capitals, and a fully pedimented gable above. The porch balustrade, composed of urn-like balusters, extends fully across the second floor, and is open between the center columns on the first floor.</p><br>
<p>The main facade is five bays wide, with long sash windows on both main levels, and a centered entry which is flanked by sidelight windows and pilasters, and topped by a transom window and entablature. In the gable tympanum there are two sash windows with a single half-round window centered near the apex of the gable. The side elevations are six bays long, and roof has four equally spaced gable dormers on each side. A single-story porch lines the rear elevation. The building&#39;s interior has retained some of its original period woodwork.</p><br>
<p>The Elms was built in 1859 by the A. C. Denison Company, and operated as the Eagle Hotel, with a reported capacity of forty rooms. A. C. Denison took over the property as his private residence in 1870. By 1887 it had again been opened as a hotel, this time as the "Hotel Elms". The building has had a long association with the paper mill (which stands just to the north). The building currently houses an antiques and crafts shop.</p><br>
<p>Keystone Mineral Springs is an historic mineral water bottling facility on Keystone Spring Road in Poland, Maine. Located along the former right-of-way of Keystone Spring Road in eastern Poland, the facility consists of two structures, a spring house built c. 1885 and a bottling house built in 1929. The facilities are, along with the more well-known Poland Spring Bottling Plant and Spring House, the only known surviving elements of the early period of mineral water bottling in Maine. The property was listed on the National Register of Historic Places in 2005.</p><br>
<h2>Description</h2><br>
<p>The Keystone spring house and bottling house are accessed via Keystone Spring Road, a grass and dirt track that parallels Empire Road, running north-south for most of its length, with a short paved section at the southern end where the road joins Empire Road. The spring house is located a short way north of the southern bend, and the bottling house is about 300 ft further north.</p><br>
<p>The spring house is a single story clapboarded structure with a gable roof, measuring 20 ft by 40 ft. It is located on the west side of the roadway, oriented east-to-west, although its main facade faces north, along a track leading to the farmstead of the Pratt family who first developed the spring. The main facade has three bays, the central one containing a large sliding door, while the bay to the east has a window and that to the west has a smaller doorway that is now blocked up. The eastern facade also has a large sliding door. The interior has been neglected to the point where elements are collapsing. The spring rises in a granite basin set in a concrete floor, and is captured in a pipe which extends to the bottling house.</p><br>
<p>The bottling house is also a single story wood frame structure, built in 1929 after the previous building on the site was destroyed by fire. It is architecturally unremarkable, with similar proportions to the spring house. Its interior is largely unfinished, with exposed ceiling rafters and wall joists. The southern part of the building is taken up by a 900 usgal tank, lined in granite, with an overflow catchbasin and troughs at which the filling operation took place. At the north end of the building is a room in which the filled bottles were capped, labelled and packaged for shipping. Much of the original early 20th-century equipment used in these processes remains.</p><br>
<h2>History</h2><br>
<p>The Keystone Mineral Spring was operated as a business from 1885 until the mid-1990s, primarily serving central Maine. Seriah M. Pratt, the farmer who owned the land, realized that the quality of the water from his spring was comparable to that of Poland Spring, and began bottling and selling it in 1884. In 1885 he brought in his nephew, Edward Pratt, who acquired full control of the business in 1896. The business was a success, delivering bottled water in Maine as far away as Portland; some was also shipped as far as Maryland, and New Jersey where the younger Pratt&#39;s business partner moved. It was operated in the 20th century by a succession of lessees until about 1995, although processing was at times sporadic because the spring ran dry. Plans were laid by new owners in 2004 to rehabilitate the facility and resume operations.</p><br>
<p>The Poland Railroad Station is an historic former train station at the corner of Poland Corner and Plains Roads in Poland, Maine. Built in 1901 by the Maine Central Railroad, it is one of the state&#39;s best-preserved turn-of-the-century small railroad stations. Now converted to private residential use in a historically sensitive manner, it was listed on the National Register of Historic Places in 1980.</p><br>
<h2>Description and history</h2><br>
<p>The former Poland Railroad Station is located along a former railroad right-of-way northeast of the village center of Poland, at the southern corner of Poland Corner and Plains Roads. It is a single story wood-frame structure, with broad overhanging hip roof and two interior chimneys. It is clad primarily in horizontal clapboards, with a band of vertical boards. The roof eaves are supported by relatively simple large knee brackets. The interior of the building has retained its original partitions, and the ticket office with window grill is still in place, despite the building&#39;s conversion to residential use.</p><br>
<p>The station was built in 1901, on a side line built from the Grand Trunk Railway by the Maine Central Railroad to provide service to Poland village and the Poland Spring Resort a bit further to the south. The rail line formerly ran along what is now the driveway for the residence, and extended from Lewiston to Mechanic Falls. This station is both a well-kept example of Maine&#39;s railroad stations of the period, and is one of the best examples of their residential conversion.</p><br>
<p>The Poland Spring Beach House is an historic building on Maine State Route 26 in South Poland, Maine. It was built in 1909 as part of the extensive Poland Spring Resort, and was originally floated on Middle Pond on pontoons. It was set permanently on land in the 1930s, and converted into a private residence in the 1980s. It was listed on the National Register of Historic Places in 1999.</p><br>
<h2>Description and history</h2><br>
<p>The former Poland Spring Beach House stands on the south side of Maine Street (SR 26), on a narrow isthmus separating Middle Range Pond (to the south) and Lower Range Pond (to the north). It is a shingled two story wood-frame structure, with a hip-roofed central section flanked by single-story wings, each also covered by a hip roof. The central section is topped by a cupola, and has wide porches extending across its width on both sides. The porch features scroll-sawn decorative elements, including balusters and brackets on the cornice. The porch on the lake side has been enclosed. On the inside, the wings, which originally housed changing areas, have had partitions removed to create living spaces as part of the building&#39;s conversion to residential use. Despite this and other alterations, the building interior retains a significant number of period Colonial Revival and Late Victorian features.</p><br>
<p>The Poland Spring resort complex was developed on the east side of Middle Range Pond in the second half of the 19th century, capitalizing on claims of restorative cures provided by waters from a spring, still in use today by the Poland Spring bottling operation. Its principal feature, the Poland Spring House, declined in the 20th century and burned in 1975. This beach house was built in 1909, and was originally floated on Middle Range Pond on pontoons during the busy summer tourist season. In the 1930s, it was permanently sited at its present location at the northern end of the lake. It remained in use as a beach house until the 1970s, when it was converted to private residential use. It is one of a small number of surviving early 20th-century inland resort beach houses in the state.</p><br>
<p>The Webster Rubber Company Plant, formerly the Webster Woolen Mill No. 1-1/2, is an historic industrial site on Greene Street in Sabattus, Maine. Built in 1869 as a textile mill, it was a fixture of the town&#39;s economy well into the 20th century, and is good local example of industrial Italianate architecture. The property was listed on the National Register of Historic Places in 1989. In 2015, the property was vacant, and it was demolished in 2018. It was delisted from the National Register in 2024.</p><br>
<h2>Description and history</h2><br>
<p>The former Webster Rubber Company plant is located on the west side of the village center of the town, between the western bank of the Sabattus River and Greene Street, the main road leading northwest from the village toward Greene. The complex included several connected buildings, dominated by a large three-story brick building with a four-story tower projecting from its center. The building had vernacular Italianate style, with a flat-roof tower, and windows set in segmented-arch openings. The broad gabled roof had a corbelled brick cornice. Additions, principally brick in construction, were added to the main structure. The complex also included three smaller wood frame structures.</p><br>
<p>The town of Sabbatus was settled in 1774 and incorporated as Webster in 1788. Its main village, called Sebattis, grew as an industrial village at the mouth of Sabattus Pond. In the 1970s the town was reincorporated as Sabattus. The mill was built in 1869, and was the town&#39;s second textile mill, known as "Webster Mill No. 1-1/2". In 1922 this complex was acquired by the Pine Tree State Rubber Heal Company, and converted to the production of rubber components of shoes. The mill remained in production until the early 1990s, and stood vacant afterwards. In 2011, the town acquired the property through a tax lien. It was demolished in 2018.</p><br>
<p>The Bagley-Bliss House  is an historic house in Durham, Maine, United States. With a construction date traditionally given as 1772, this Greek Revival house is claimed to be the oldest in Durham, built by one of its early settlers, who also operated an inn on the premises. The house was listed on the National Register of Historic Places on March 22, 1996.</p><br>
<h2>Description and history</h2><br>
<p>The house is set on the east side of a rural stretch of Royalsborough Road (Maine State Route 136), just south of its junction with Quaker Meeting House Road and Rabbit Road. The main block, which faces south, is a large -story wood-framed structure, five bays wide, with a side gable roof, clapboard and shingle siding, and a granite foundation. A single-story ell extends to the rear of the main block, parallel to the road. The main facade is almost symmetrically arranged, with a center entrance that has sidelights and modest Greek Revival trim, but the window above the entrance is slightly off-center. The windows on this side are topped by gabled lintels. The interior features relatively restrained Greek Revival styling, the most elaborate of which is found on the central staircase.</p><br>
<p>The house is traditionally given a construction date of 1772, making the Durhams oldest house. However, the Greek Revival styling suggests either a later construction date or a major renovation in the 19th century before 1850. It is possible that the attached ell is at least in part the original 1772 structure, and there is some evidence in the main block of material reuse from that period. The main basement has the foundation of a large central chimney, an 18th-century feature not found in the present house. The property was settled in 1770 by O. Israel Bagley, when the area was known as Royalsborough. He was a prominent figure, operating a grist mill, shoe factory, and the communitys first store, as well as operating an inn from his house. The property was acquired in 1836 by Charles Bliss, who established a dairy farm, and was probably responsible for the Greek Revival alterations to the house. The house remained in the Bliss family into the 1970s. It was carefully restored in 1982, and now serves as a bed and breakfast inn.</p><br>
<p>The Washington Avenue Soldier&#39;s Monument is located at the junction of that street and Lafayette Avenue  in the village of Suffern, New York, United States. It sits on a small piece of land in the middle of the street known locally as the Triangle.</p><br>
<p>At different times during the Revolutionary War, George Washington and Rochambeau encamped the Continental Army near the memorial site for brief periods. A cannon from that war had been placed on the Triangle in 1908 with the intent of starting a memorial to the village&#39;s dead from the Civil War, but only after World War I was the monument finished and dedicated. Plaques have been added since then to honor those locally who served and sometimes gave their lives in World War II, Korea and Vietnam.</p><br>
<h2>Memorial</h2><br>
<p>The two most prominent features of the memorial are a small cannon and a zinc statue of a</p><br>
<p>doughboy. Both sit on a slightly elevated granite base.</p><br>
<p>Next to the stone bed of the cannon is a plaque stating that it was used in the Battle of Long Island in 1777. The doughboy is depicted in a heroic, defiant pose, with his shirt open and his helmet off, on the adjacent ground. Originally he was carrying a Springfield rifle with bayonet in his left hand; it has been replaced following the theft of the original. He stands atop a white pedestal, with plaques listing Suffern&#39;s dead from the different wars memorialized on each facet.</p><br>
<h2>History</h2><br>
<p>The heirs of village founder John Suffern bought the cannon in 1851 and ritually fired it from the top of nearby Union Hill on Independence Day of every year, as well as for special events like the completion of the Erie Railroad across New York State in 1852. They donated the cannon to the village in 1908 to use as the latter saw fit, and the Village Board decided to place it on the Triangle. A local stonemason was paid $65 to build the granite platform, and the village granted a "perpetual privilege" to a local Union Army veterans&#39; group to establish a memorial.</p><br>
<p>At the time, however, the village&#39;s mayor was not popular, and one of the complaints against him was the establishment of the memorial, which his critics likened to a fort. Efforts to delay or outright cancel the memorial failed but delayed the completion and formal dedication of the project. Only after the United States had fought another war did interest in completing the memorial resurface, and in April 1921 the board authorized construction. The J.W. Fiske Iron Works of New York City cast a version of a statue it had erected elsewhere, in zinc (seen as a cheaper alternative to bronze). The focus on an ordinary soldier was part of a growing trend in war memorials of that era to shift emphasis from a commander or hero to the common man and woman on the line.</p><br>
<p>It was dedicated on Memorial Day of that year. The village has held its ceremonies for that holiday at the monument ever since. The only change to the memorial besides the additional plaques for wars later in the 20th century was the theft of the original rifle in 1968, possibly as an act of protest against the war in Vietnam. In 2006 the monument and Triangle were listed on the National Register of Historic Places.</p><br>
<p>The Temple is a historic octagon-shaped Baptist church building on Temple Avenue in the Ocean Park area of Old Orchard Beach, Maine. Built in 1881, it is the centerpiece of the summer camp meeting established in 1880 by Free Will Baptists led by Bates College President Oren Cheney. It is the only known octagonal religious structure in use in the state. The temple was listed in the National Register of Historic Places in 1975, and included in the Ocean Park Historic Buildings district in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Temple is set on the north side of Temple Avenue, in an area known as Temple Square. Flanking it are two other buildings associated with the camp meeting: Porter Hall and B.C. Jordan Memorial Hall. It is a two-story wood frame structure, capped by an octagonal hip roof whose elements meet at a central cupola. It is finished in wooden clapboards and rests on a foundation of brick piers. The main facade, facing south, is three bays wide, with a central projecting entry section topped by a doubled gable roof. This section has a double door on the first level and a double sash window above, while the flanking bays have single sash windows. The east and west-facing walls have similar organization, but only a single gable roof. The north wall has a low storage area projecting from it. The interior of the building is a large open hall, with the speaker&#39;s platform on the north wall, and seating, much of it original, arrayed facing it.</p><br>
<p>The idea of an oceanfront camp meeting community arose at a meeting of Free Will Baptists in Weirs Beach, New Hampshire in 1880. Land was acquired in northern Saco (which Old Orchard Beach was then still part of), and summer cottages were soon built. This building was constructed in 1881 by James Bickford to a design by Dow & Wheeler, inspired in part by the popularization of octagon houses by Orson Squire Fowler in the 1840s and 1850s. The Temple continues to be a central focus of the summer community in Ocean Park.</p><br>
<p>The North Holderness Freewill Baptist Church–Holderness Historical Society Building  is an historic church building in Holderness, New Hampshire. Built in 1860 for a Free Will Baptist congregation, it is a little-altered example of a rural vernacular church building. It was added to the National Register of Historic Places in 1986. The building was moved in 1994 from its original site on Owl Brook Road to USA Route 3 east of the center of Holderness by the Holderness Historic Society, who now own it.</p><br>
<h2>Description and history</h2><br>
<p>The former North Holderness Freewill Baptist Church building is located in the village center of Holderness, at the back of a property just east of the Squam River crossing of US Route 3. It is a 1½-story frame structure, with a gabled roof and clapboarded exterior. The building corners have simple pilasters, and the gables have corner returns. Its main facade is three bays wide, with two entrances flanking a central window. Two smaller windows are set in the gable above. The side elevations each have two windows, and the rear wall has none. The interior consists of small vestibules at each entrance, separated by a choir niche, and a single large chamber. Floors are original wooden planking, and the walls are plaster with horizontal board wainscoting. A raised platform extends across much of the area in front of the north wall.</p><br>
<p>The church was built for a Free Will Baptist congregation founded in 1847 by the division of one serving all of what are now Holderness and Ashland. This congregation at first met in a local schoolhouse, and commissioned construction of this building in 1860. Who exactly built it is a subject of local debate; there are conflicting stories about the involvement of local builders John Jewell, John Drew, and a master carpenter named Worthen. The church was built on a small parcel on Owl Brook Road, purchased by the congregation for $20. The congregation was disbanded in 1894, but the church continued to be used for occasional services into the 20th century. It was acquired by the local historical society in 1970, and was moved to its present location in 1994.</p><br>
<p>The First Free Will Baptist Church  are a historic Free Will Baptist Church complex in Ashland, New Hampshire. The complex consists of three buildings: the brick church building, which was built in 1834; the old vestry, a brick building standing near the street which was built c. 1835 as a school and converted to a vestry in 1878; and the new vestry, a wooden structure added in 1899 to join the two brick buildings together. The church, a fine vernacular Federal style building when it was built, had its interior extensively restyled in the late 19th and early 20th centuries. The complex was listed on the National Register of Historic Places in 1983, primarily as a good example of modest Victorian church architecture. It now houses the Ashland Community Church.</p><br>
<h2>Description and history</h2><br>
<p>The First Free Will Baptist Church stands in the village of Ashland, on the south side of Main Street (United States Route 3) between Water and Pleasant Streets. The church, a single-story brick building, stands atop a knoll that overlooks the center of the village. It is covered by a gabled roof oriented with the ridge parallel to the street, with a steepled tower and main entrance at the eastern end. The old vestry is a 2-1/2 story brick building, whose gabled roof is placed gable-end to the street. It has a three-bay facade with the entrance at the center, framed by sidelight and transom windows. The new vestry is built against the rears of these two buildings.</p><br>
<p>A Free Will Baptist congregation was established in what is today Ashland in 1818, when it was still part of Holderness. By 1830, the congregation had grown large enough to warrant a dedicated sanctuary, which was built in 1834. Details of its original form are sketchy, because it underwent a series of alterations to both its exterior and interior between 1872 and 1915. These rendered the building into one that is essentially entirely Late Victorian in character, with arched stained glass windows, shingling in the tower stages, and other features reflective of that period. The old vestry was built about 1835, and is typical of period academy buildings. This one was used to house a school and the vestry, the latter use in exchange for its siting on church-owned land. The academy building was purchased outright by the church in 1878, and the new vestry building was added in 1899.</p><br>
<p>Holliday Lake State Park is a state park located within the confines of Appomattox-Buckingham State Forest in Virginia. The land was cleared as farmland in the 1880s before being returned to its forested state in the mid-20th century. Today, the park is known for its fishing opportunities.</p><br>
<p>The park was one of four recreational areas developed by the Virginia Division of Forestry (now the Virginia Department of Conservation and Recreation) working in conjunction with the Civilian Conservation Corps (CCC) during the Depression. The central water feature at Holliday Lake is the 150-acre man-made lake. Contributing resources include Picnic Shelter #1, Wellhouse (c. 1939), the Dam/Spillway/Bridge/Lake, Drainage Culvert, Retaining Wall, and the Park Circulation System. Adjacent to the park is the separately listed Holiday Lake 4-H Educational Center.</p><br>
<p>It was listed on the National Register of Historic Places in 2012.</p><br>
<p>The Abyssinian Meeting House is a historic church building at 73–75 Newbury Street, in the Munjoy Hill neighborhood of Portland, Maine.</p><br>
<p>Built 1828-1831 by free African-Americans, it is Maine&#39;s oldest African-American church building, and the third oldest in the nation. Throughout the years, the Abyssinian was a place for worship and revivals, abolition and temperance meetings, speakers and concerts, the Female Benevolent Society, the Portland Union Anti-Slavery Society and negro conventions, and the black school in Portland from the mid-1840s through the mid-1850s. The building is the only Underground Railroad site in Maine recognized by the National Park Service. It was listed on the National Register of Historic Places in 2006.</p><br>
<h2>A House of Worship (1828–1917)</h2><br>
<p>The Abyssinian was the cultural center for African-Americans in southern Maine. It was formed to meet the demand from African-Americans in Portland to have a place to worship. Christopher Christian Manuel, his brother-in-law Reuben Ruby, Caleb Jonson, Clement Thomson, Job L. Wentworth, and John Siggs published a letter on September 19, 1826, in the Eastern Argus newspaper which condemned the Second Congregational Church in Portland for treating non-white members as second-class citizens. At the time, church pews were segregated and African-Americans were designated balcony seating or discouraged from attending services at all. Manuel, Ruby and three others petitioned the state of Maine for incorporation of the Abyssinian Religious Society in 1828. The building became the Abyssinian Congregational Church.</p><br>
<p>Reuben Ruby (1798–1878) played a central role in the beginning of the Abyssinian. He transferred the original land to the Society in March 1831 and performed work on the interior of the building. Throughout the Northeast, he enjoyed a reputation as an unwavering spokesman against slavery and was a major participant in forming the Maine Anti-Slavery Society in 1834. He was self-employed as a hackman and, through his business, transported escaped slaves. Ruby also hosted William Lloyd Garrison in his home. In 1836, Ruby brought a suit against the Society for non-payment on the mortgage he held and improvements he had made to the building. Ruby was a defendant in an 1837 case brought against him by Samuel W. Chase, minister the Abyssinian.</p><br>
<p>The Abyssinian housed an active congregation for 86 years, from 1831 to 1917. In 1842, some black parishioners from the Fourth Congregational Church in Portland merged with the Abyssinian Religious Society to form the Abyssinian Congregational Church and Society. It also was known as the Sumner Street Church and then the Newbury Street Church, as the name of the street changed.</p><br>
<p>The Reverend Amos Noé Freeman (1810–93) was the first full-time minister at the Abyssinian. His tenure was from 1841 to 1851 and was focused on employment, temperance, and abolishing slavery. As a known Underground Railroad agent, he used the building to host and organize anti-slavery speakers, Negro conventions and testimonies from runaway slaves. By 1845, he took on the role of principal of a segregated school for black children where it saw great improvements, including the addition of music education.</p><br>
<p>In 1846, the location of the school for black children moved from the North School to the vestry of the Abyssinian. In 1851, there were 75 scholars numbered in the school with an average attendance of 55 students. The school was discharged in 1856 and African-American students have attended integrated schools ever since.</p><br>
<p>It is one of the few buildings to survive the 1866 Great Fire of Portland, Maine. Local folklore includes stories about parishioners fighting to protect the building.</p><br>
<h2>Mandated dissolution</h2><br>
<p>The church&#39;s congregation declined in size over the course of the 19th century, due in part to the growing number of churches in the city, and a gradual dispersal of the African-American population. In 1898, when the SS Portland was shipwrecked, it took with it seventeen male congregants, including two trustees. This was a severe blow to the congregation, which was thereafter reduced to minimal activity.</p><br>
<p>An act of the Maine Legislature, passed February 24, 1917, dissolved and sold the Abyssinian on July 28, 1917. Most of the parishioners became members of the African Methodist Episcopal Zion Church, now known as the Green Memorial A.M.E. Zion Church located on Sheridan Street in Portland. The proceeds of the sale of the building and furnishings went to the Congregational Conferences and Missionary Society of Maine. As stated in the act, any income gained after repayment of loans was to be entered into an Abyssinian Fund. Accurate expense records were to be kept in the event of "erection, repair or alteration of any church building for colored people in the City of Portland, or for the support of any church, or religious work among the people of that race in said city." Direction of the fund is at the discretion of the Missionary Society.</p><br>
<p>After the sale, the Abyssinian was used as a stable and an antique store, then developed into tenement apartments in 1924. It was seized for unpaid taxes by the City of Portland in 1991.</p><br>
<h2>Landmark status and restoration</h2><br>
<p>After sitting vacant for six years, the Abyssinian was bought for historic preservation by the Committee to Restore the Abyssinian in 1998. It is the third oldest African-American meeting house in the United States after Boston and Nantucket, Massachusetts. The Committee purchased the building from the City of Portland for $250, the original price for which the Society purchased the land from Reuben Ruby in 1828.</p><br>
<p>It was listed on the National Register of Historic Places in 2006, the year the restoration began, and on the National Underground Railroad Network to Freedom in 2007.</p><br>
<p>In April 2008, an archeological dig was conducted to obtain further information on the Meeting House. Unearthed were 19th century toys, slate pencils, an inkwell, marbles, dishes, and bits of glass. While removing construction added during the 1920s, original wooden beams were uncovered. Included in the find are joists which are believed to have been part of the choir loft. During restoration efforts, a clay pipe broke in the basement and a steady stream began to run. In 2011, a project was undertaken to contain the free flowing water and a wooden water pipe was discovered on the site. The pipe was reburied to preserve it. Later excavation revealed that the owners of the swampy property filtered the encroaching through an uncovered system of sand boxes and piped it to the Grand Trunk Railroad.</p><br>
<p>In September 2012, Greater Portland Landmarks named the Abyssianian as one of seven historic sites in peril due to lack of restoration funding. A $375,000 (~$ in ) grant was established in 2021 for the building&#39;s restoration.</p><br>
<p>The Sutter-Meyer House is the oldest known residence in University City, Missouri, United States. It was built in 1873 and was added to the National Register of Historic Places in 1982. In 1986, it was designated a Landmark of University City by the Historic Preservation Commission.</p><br>
<h2>History</h2><br>
<p>The house was built by William and Julia Sutter, probably in 1873, on an 8.33 acre tract of land inherited from William&#39;s father, John Sutter. The original John Sutter farm was bounded by the present city streets of Sutter, Etzel, Pennsylvania and Olive Street Road. John Sutter (1815–1867) came from Germany with his family in 1831. In 1850, he and his wife Ursula built “The Homestead” (now demolished) on Sutter Avenue near Etzel. Sutter, a dairyman whose business supplied major St. Louis hotels, was the father of 16 children, of whom William Sutter, born in 1846, was one.</p><br>
<p>The Sutter property was located on Olive Street Road, built in 1851 as a plank road to connect St. Louis with outlying farms and communities to the west northwest. A small community on Olive near the Sutter farm became known as Sutter, Missouri, and had the post office for the region. William Sutter sold his house and property in 1875 to Roman Meyer (1847–1913), another German immigrant. Meyer, like many of his neighbors along Olive, was a truck farmer supplying the growing population of St. Louis.</p><br>
<p>The Sutter lands were subdivided over the years for the suburban residences. In 1906, the area was incorporated into the new municipality of University City. In the following years, as the area developed, the Meyer family continued gardening, providing fresh vegetables and fruit for the surrounding new neighborhoods.</p><br>
<p>In 1951, much of the remaining undeveloped land of the Meyer farm was replotted as the Keating Subdivision. Chamberlain was extended west to form a cul-de-sac, and the address of the old house changed from 6805 Olive Street Road to 6826 Chamberlain Court. New houses were built on Chamberlain Court in the 1950s. The Sutter-Meyer house remained in the Meyer family until the death of Edward Meyer, Roman Meyer&#39;s son, in 1969.</p><br>
<h2>Description</h2><br>
<p>The house as a 1½ story main block, three bays wide and one deep, with a 1-story wing to the rear and a later 2-car garage attached to the northwest corner. All portions of the house are of brick, painted white. The windows are tall and narrow, 2 over 2 double-hung, with segmental arched heads. Across the east front of the main block is a verandah, whose roof is supported by shaped slat-like brackets and square posts on square pedestals. The floor of the verandah is now concrete. Twin chimneys pierce the rear slope of the main roof, they have elaborately corbelled tops. Original woodwork remains throughout the interior, including shaped lintels over doors and windows, and a fireplace in the south room. The staircase ascends away from the front door and turns into the north room; it once had a second flight into the kitchen. Basement stairs descend from the back porch, which was enclosed in 1951. The kitchen has been modernized.</p><br>
<h2>Facts</h2><br>
<p>The lot is a remnant of the original 8.33 acre.</p><br>
<p>The land to the south of the Sutter-Meyer house is no longer open.</p><br>
<p>As of 2003, the Sutter-Meyer House is no longer privately owned.</p><br>
<p>The building does not have frontage on to Olive Boulevard.</p><br>
<p>Fort Livingston was a 19th-century coastal defense fort located on Grand Terre Island in Jefferson Parish, Louisiana. The fort was named after Edward Livingston who had held positions as Mayor of New York City, USA Senator from Louisiana, and USA Secretary of State under President Andrew Jackson. The structure was listed on the National Register of Historic Places on August 30, 1974.</p><br>
<p>Fort Livingston is one of the largest coastal forts in Louisiana, and is the only fort on the Gulf of Mexico in the state. It is a classic example of American coastal forts of the first half of the 19th century. Today it is in ruins.</p><br>
<h2>History</h2><br>
<p>In the early 19th century, Grand Terre Island was the home to pirates under the command of Captain Jean Lafitte. These pirates were forced to leave the island in 1814 so the USA government could build a coastal defense fort. This fort was also designed to control the entrance to Barataria Pass, and thereby guard New Orleans against naval attacks from the south of the city. The USA Government bought a tract of land, where the fort now stands, from Etienne De Gruy on the west end of Grand Terre Island. Construction at the site began in 1834, but was suspended in July 1834. Construction resumed in 1840, and construction on the fort itself began in 1841 under the direction of Major P.G.T. Beauregard. A lighthouse was added near the fort in 1856. Construction of the fort was halted with the start of the Civil War, and was never resumed. The fort was never fully completed. The fort was briefly occupied by Confederate forces during the American Civil War, but never saw combat. It was used by the Confederates to protect blockade runners coming into and out of Barataria Pass while en route to New Orleans The Confederate garrison of Fort Livingston was under the command of General Lovell. The garrison consisted of four companies, totaling 300 men. The fort was equipped with 15 guns, including a 32-pounder, an 8-inch columbiad, seven 24-pounders, four 12-pounders, and two howitzers. Confederate forces abandoned the fort after the fall of New Orleans. Following the Civil War, the fort was occupied by a single Ordnance Sergeant, beginning in 1866. The fort was permanently abandoned after a hurricane destroyed most of the structure in 1872. Most of the guns were removed in 1889. The forts last Ordnance Sergeant removed all of the forts remaining ammunition on February 16, 1889 A commercial shrimp cannery which produced the first canning of shrimp was opened adjacent to the fort in 1867. In 1923, the USA Government gave control of the fort and the island to the State of Louisiana.</p><br>
<h2>Present day</h2><br>
<p>In 1955, Grand Terre was designated as a state Wildlife and Fisheries reservation. In 1979, the Louisiana state legislature created the Fort Livingston State Commemorative Area. The remains of the fort are somewhat of a tourist attraction, although it is only accessible by boat and is closely monitored by the USA Coast Guard. The fort is located directly east across Barataria Bay from the Coast Guard Station on Grand Isle, Louisiana. Grand Terre Island was home to the Louisiana Department of Wildlife and Fisheries&#39; Marine Laboratory until its destruction by Hurricane Gustav in 2008. The fort itself is also part of a wave-protection project being conducted by the Louisiana Department of Natural Resources. The project consists of a rock dike built to conserve the Gulf shoreline of West Grand Terre Island and protect Fort Livingston. As a result of tropical storm systems in 2002, the erosion rates along West Grand Terre Island greatly accelerated, requiring some type of protective barrier to be built.</p><br>
<p>Wadsworth Chapel, also known as the Catholic-Protestant Chapels, is actually two separate chapels under one roof on the campus of the Dept. of Veterans Affairs Medical Center in West Los Angeles, California. The structure was built in 1900 and was closed in 1971 after being damaged in the 1971 Sylmar earthquake. It is the oldest building on Wilshire Boulevard and was listed in the National Register of Historic Places in 1972. The structure has fallen into a state of disrepair due to the lack of funds within the Dept. of Veterans Affairs to pay for the required repairs and renovation.</p><br>
<h2>Early history</h2><br>
<p>The 388 acre Dept. of Veterans Affairs Medical Center in West Los Angeles was deeded to the federal government in 1888 to build the Pacific Branch of the National Home for Disabled Volunteer Soldiers. A series of Victorian dormitories were built in the 1890s, and Wadsworth Chapel was built in 1900 to provide a place of worship for the residents of the old soldiers’ home.</p><br>
<h2>Architecture</h2><br>
<p>The building actually contains two separate chapels separated by a double brick wall, with a Catholic chapel at the north end and a Protestant chapel at the south end. Each chapel has a separate entrance, with a tower and belfry. Designed by J. Lee Burton, Wadsworth Chapel had been called an "intricate little jewel box" by Christopher Alexander, the associate curator of architecture for the Getty Research Institute.</p><br>
<p>The building is noted for its eclectic exterior ornamentation and its combination of Colonial Revival (sometimes classified as Romanesque Revival) and Carpenter Gothic Victorian architecture. The Los Angeles Cultural Heritage Board has described the Wadsworth Chapel and other original buildings on the Veterans campus as "the most monumental complex of Shingle-style Queen Anne structures ever constructed in the Los Angeles area." The 7,500 ft&sup2; building was built at a cost of $12,400 in 1900 with redwood siding and 21 different types of windows.</p><br>
<p>Though the exterior has been painted all white since 1941, the exterior was originally stained in dark earth tones, with white trim, as shown in old postcards of the chapel. The Protestant chapel was damaged by fire in 1955. The VA lacked funds to repair all of the fire damage, and the balcony of the Protestant chapel has been closed since that time.</p><br>
<h2>Deterioration and renovation proposals</h2><br>
<p>Both chapels have been closed to the public since the 1971 Sylmar earthquake loosened the foundation and caused the northeast bell tower to pull away from a gable. Since 1971, the building has fallen into an ever-worsening state of disrepair, as the VA has been unable to fund necessary repair and restoration work. Despite its neglect for more than 50 years, preservation experts note that the building, the oldest remaining building on Wilshire Boulevard, is a prime candidate for “architectural resurrection.” The VA has estimated the cost of renovation to be $11.5 million, with the required work including replacement of the masonry foundation, seismic retrofit and asbestos and lead paint removal.</p><br>
<p>The expenditure of large sums to renovate the chapel has become a subject of controversy within the veteran community. With the VA lacking funds to provide necessary services to veterans of the Iraq War, many object to spending nearly $12 million to renovate a chapel that has been mothballed since 1972. In a 2007 Los Angeles Times article, one veteran reflected ambivalence about the proposed renovation: “That is such a beautiful piece of workmanship and, yes, it cries out to be repaired..... At the same time, the veterans cry out to be repaired. It’s a moral issue.” Efforts by the Veterans Park Conservancy to raise private funds to pay for the renovation had been unsuccessful as of 2007. The Times noted: “The oldest building on Wilshire Boulevard is a fixerupper duplex of a most unusual sort.”</p><br>
<p>The Hamilton Building also known as The Flatiron Building of Bellingham and the Bellingham Bay Furniture Building was the first "skyscraper" in Bellingham. Built in 1908 for Talifero Simpson Hamiltons growing Bellingham Bay  Furniture Company established in 1889, the building cost $100,000 and used thirty-five thousand barrels of cement along with 200,000 pounds of steel. Due to its triangular shape and resemblance to the Fuller Building in New York, the building instantly garnered the flatiron nickname. It was Bellinghams tallest structure until 1926.</p><br>
<h2>Construction</h2><br>
<p>In April 1907, the Bellingham Herald announced that the Bellingham Bay Furniture Company, owned by T.S. Hamilton, had purchased the block for $15,000 cash and were rushing plans for the construction of the citys first skyscraper. Soon after the purchase, they dropped Teagues design in favor of one drawn by local architect Frank C. Burns. These plans were for a largely unadorned seven-story building of all reinforced concrete crowned with false chimneys and a large wooden cornice (now gone). To maximize floor space, large pivoting windows would cover all sides of the building, eliminating the need for a lightwell in the middle of the building. Two elevators, one for passengers and one for freight were included in the plans. Despite the buildings size, it would actually only be 4,000 ft&sup2; larger than the companys previous quarters at Holly and Bay Streets.</p><br>
<p>Bids were let for the Flatiron building, at the time known as the Hamilton Block, in June 1907. Booker & Campbell won the bid for general construction while Baumaster would handle woodworking. The contract specified that the first six stories were to be completed by January 1, 1908 with a seventh floor to be added later. The structure of the building was to be built sturdy enough to support another four floors if ever needed. Construction was almost brought to a halt by the Panic of 1907, which caused the delay of many construction projects in Bellingham and pushed construction of the building past the January 1 deadline. Contractors rushed to finish the building, canceling plans for any additional floors. The building formally opened to the public in May 1908.</p><br>
<h2>Fire</h2><br>
<p>On the evening of April 28, 1924, a large fire broke out on the top floor and vented through the roof. However, due to the buildings design of concrete and reinforced steel, the structure remained intact. Since 90% of the damage was covered by insurance, reconstruction of the building began shortly afterwards. During reconstruction, Hamilton operated the furniture store across the street, partially under a circus tent. The rebuilding took three years and as a precaution to future fire, an automatic sprinkler system with a rooftop tank was installed, the first of its kind in Bellingham. Another precautionary measure against fire was the relocating of the passenger elevator, the original fires outlet, to a wall against the freight elevator so it could be contained easier. Another major change after the fire was that the second floor mezzanine was rebuilt as a full second story. When the building reopened, it had become seven stories tall without adding to its overall height.</p><br>
<h2>Current</h2><br>
<p>The Bellingham Bay Furniture Company, later known as Van&#39;s BB Furniture, occupied the building until closing in 1979. It was unoccupied and owned by the City of Bellingham when it was added to the National Register of Historic Places on January 27, 1983.</p><br>
<p>The building received a major remodeling by Christenson Engineering in 1990, and served as the company&#39;s headquarters. Christenson was sold to VECO Corporation in 1993, and then VECO was sold to CH2M Hill in 2007.</p><br>
<p>On April 1, 2010, Logos Bible Software signed a long-term lease for the building, which commenced after CH2M Hill&#39;s lease expired on August 31, 2010.</p><br>
<p>The Herman Strasburg House is located at 5415 Cass Avenue in Midtown Detroit, Michigan. It is now known as the Wayne State University Music Annex. The building was listed on the National Register of Historic Places in 1986.</p><br>
<h2>History</h2><br>
<p>Herman Strasburg Sr. established was one of the leading dance teachers in Detroit in the 19th century. After graduating from high school in 1876, he joined his fathers dancing school, and in 1883 became owner of the business after his fathers death.</p><br>
<p>In 1914, Strasburg and his wife Ida purchased this lot on Cass. The following year, they hired architect Marcus R. Burrowes to design the house on Cass Avenue. This was shortly after Burrowes left the firm of Stratton-Baldwin, a leader in bringing Arts and Crafts style to Detroit. Herman Strasburg died in 1918, leaving his dance academy and house to his son Paul. although it is not clear if the house was used as a private residence or a dance studio.</p><br>
<p>From 1925 to 1928, Harrison B. Anderson and Jean Campbell occupied the house, and from 1928 and 1931, Mary Fitzpatrick, who lived nearby, rented out rooms in the house to tenants. In 1931, Bendetson Netzorg purchased the house, and lived there with his parents and sister. He also used the house for his piano school, living there until 1944. In 1949, Wayne State University bought the property, using it first as the Wayne University Choral Studio and later as the Wayne State University Music Annex.</p><br>
<h2>Architecture</h2><br>
<p>The Herman Strasburg house is an asymmetrical, two-and-one-half-story house, and is one of the best examples of Tudor Revival architecture in Detroit containing Arts and Crafts elements. The first floor is clad in attractive red brickwork, while the second floor is characteristically half-timbered. The roof is cross-gabled, with projecting half-timbered gable ends and a pendant decoration at the peak. Most windows are double-hung, although there are some leaded casement windows on the first floor.</p><br>
<p>The interior has been extensively renovated. However, the original oak woodwork, paneling, and cabinetry remains intact. The main staircase is ornately carved, and the living room has a plastered barrel vault ceiling.</p><br>
<p>The Harvard Lampoon Building  is a historic building in Cambridge, Massachusetts, which is best known as the home of The Harvard Lampoon, and for its unusual design.</p><br>
<h2>Architecture and design</h2><br>
<p>The building was constructed at 44 Bow Street not far from Harvard Yard and close to the "Gold Coast" of residences for undergraduates of Harvard College before the creation of Harvards "house system" (some of them now part of Adams House). Designed by Edmund M. Wheelwright, who also oversaw the construction, it was first opened on February 19, 1909. Wheelwright had attended Harvard University and was one of the founders of the Harvard Lampoon. Wheelwrights design was inspired in part by an old church in Jamestown, Virginia, and by the Flemish Renaissance details of Auburn Street buildings in its vicinity. The building has been described as a "Satirical Castle".</p><br>
<p>During the construction phase of the project he traveled to Europe to procure appropriate furnishings and windows. He purchased leaded windows in Belgium and an Elizabethan mantelpiece in England.</p><br>
<p>The ground floor features a small entrance and a round library used for editorial meetings. The floor opens up and there is a secret chamber beneath the library (a "basement") used for "secret" events.</p><br>
<p>The building features a copper ibis, symbol of the Lampoon, mounted on the top of the dome. The statue is roughly 4 ft high and weighs roughly 70 lbs. Though it was first installed in 1909, it has frequently been stolen and returned ever since. On one occasion members of The Harvard Crimson, the student newspaper and rival of the Lampoon, which issues an annual Crimson parody issue, stole the statue and presented it as a gift to the Russian delegation to the UN. After initially promising to install it on top of a building at Moscow State University, the delegation returned the statue.</p><br>
<p>The building cost approximately $40,000 to construct, making it then the most expensive headquarters of a college newspaper in the United States. After the building was first constructed, it initially hosted a small store on the ground floor in addition to the Harvard Lampoon offices and meeting spaces on the other floors; for years the site housed a used book shop, Starr Books.</p><br>
<p>In 2023 a major restoration project led to the installation of a second fire escape to the building, numerous structural repairs, and the return of Ludowici tile to the roof decades after its removal in the mid-1950s.</p><br>
<h2>Reception</h2><br>
<p>Barrett Wendell once described the building as "sturdily honest as the founder who designed it, yet laughing at every turn with freakish gayety and beauty." However, the building&#39;s architecture has been criticized, most notably by former Cambridge mayor Alfred Vellucci. He once described it as "one of the ugliest buildings in the world" and "looks like a witch on a broomstick." He also noted that the location of the building "is an ideal spot for a restroom", and once unsuccessfully proposed a city ordinance declaring the building a public urinal.</p><br>
<p>The building was added to the National Register of Historic Places in 1978.</p><br>
<h2>Foliage</h2><br>
<p>Vellucci later clashed with the Harvard Lampoon due to a tree that he planted on city land in front of the building in 1961 in order to block the view of the building. He wished to obscure the face of the building because he found it ugly and to avenge local Italian Americans, whom he believed the Lampoon had insulted by claiming that an Irishman (rather than the Italian Christopher Columbus) discovered America. Vellucci&#39;s opposition was also fueled in part by the proposal from members of the Harvard Lampoon to rename a nearby intersection "Lampoon Square", and by the satirical portraits of Vellucci that they published.</p><br>
<p>During the sixties, seventies, and eighties the tree was routinely vandalized, its branches often chopped off and acid was poured on the tree twice. However, in 1991 the tree was completely chopped down. The Harvard Lampoon refused to confirm or deny involvement in the event and a smaller tree was planted in its place. Three years later the tree was felled on the night of Harvard&#39;s commencement. The leadership of the Harvard Lampoon denied any complicity, and suggested that it may have been a false flag operation by members of the Harvard Crimson.</p><br>
<p>The Cambridge Common Historic District is a historic district encompassing one of the oldest parts of Cambridge, Massachusetts. It is centered on the Cambridge Common, which was a center of civic activity in Cambridge after its founding in 1631. It was the site of the election for governor of the Massachusetts Bay Colony in 1636, and was a military barracks site during the American Revolutionary War. The common was gradually reduced in size to its present roughly triangular shape, and surrounded by buildings in the 18th and 19th centuries. In 1973 a historic district encompassing the extant common and everything within 100 ft of it was listed on the National Register of Historic Places. In 1987 the district was amended to rationalize the boundary, which overlapped adjacent districts and included portions of some buildings.</p><br>
<p>The district now includes properties across Waterhouse Street to the west of the common, including the Christian Science Church, a Classical Revival structure, the brick apartment houses along and the 1753 Georgian Frost-Waterhouse House, the oldest building in the district. To the north, across Massachusetts Avenue, the district includes Hemenway Gymnasium, Hastings Hall, Gannet House, and the Harvard-Epworth United Methodist Church. On the south side, across Garden Street, lie the Old Burying Ground, The First Parish in Cambridge, Christ Church (a National Historic Landmark), and several houses.</p><br>
<p>The 1987 amendment to the district also added a small cluster of residential properties on Farwell Street, a dead-end street that is connected to the district by a footpath adjacent to the Old Burying Ground. It represents a well-preserved collection of properties dating to the 18th and 19th centuries that harken back to the days when Harvard Square was primarily residential in character.</p><br>
<h2>Notable interments</h2><br>
<p>Cicely, Negro, slave of William Brattle</p><br>
<p>The current Franklin County Courthouse in Chambersburg, Pennsylvania, built in 1865, is the third courthouse building on the site. The site was originally purchased from Colonel Benjamin Chambers in 1785.</p><br>
<p>The current building replaced its predecessor that was burnt on July 30, 1864 by Confederate forces under Brigadier General John A. McCausland in the American Civil War. McCausland was acting under the orders of General Jubal A. Early. Early was commander of the Shenandoah Valley, which was subject to much destruction by the Union forces. He was eager to retaliate against the North. Chambersburg deserved this retaliation, in his view, in part for its sympathy with John Brown while planning his raid on Harpers Ferry. McCausland offered the people of Chambersburg the chance to ransom the town for $100,000 in gold or $500,000 in greenbacks. When they did not pay, he carried on with the destruction of the town, including the second courthouse. Only the walls and pillars remained after the burning.</p><br>
<p>The current Greek Revival structure was designed by S. Hutton. The construction was superintended by Samuel Seibert. They designed and built the structure around the remaining walls and columns left from the previous courthouse. It stands two and half stories high, and is built of brick. There are fifty-four windows, twenty-two on each side and five each front and back. It features a domed clock cupola with a statue of Benjamin Franklin on top. There are also six symmetrically placed chimneys on the roof. It was expanded in 1902 in the same architectural style.</p><br>
<p>The courthouse is a contributing property in the Chambersburg Historic District. Chambersburg is the largest Northern community that was burned in the Civil War.</p><br>
<p>It was listed on the National Register of Historic Places in 1974. It is included in the Chambersburg Historic District.</p><br>
<p>The Southwest Virginia Museum Historical State Park is a Virginia museum, run as a state park, dedicated to preserving the history of the southwestern part of the commonwealth. It is located in Big Stone Gap, in a house built in the 1880s for former Virginia Attorney General, Rufus A. Ayers. It was designed and built by Charles A. Johnson. Construction began in 1888 and was completed in 1895.</p><br>
<p>The limestone and sandstone used on the exterior walls came from area quarries. Red oak lines the interior walls and ceilings. A small moat once surrounded the house.</p><br>
<p>The structure was acquired by the state in 1946 from a foundation managed by C. Bascom Slemp. Much of the museum&#39;s collection focuses on the coal boom of the 1890s; there are also exhibits dedicated to the history of Big Stone Gap and the surrounding area, as well as the story of the pioneers who migrated westward during the 18th century. The museum is also the location of the Southwest Virginia Walk of Fame.</p><br>
<p>The museum building was listed on the National Register of Historic Places in 2002.</p><br>
<p>The historic Savannah–Ogeechee Barge Canal is one of the prime relics in the history of southern canals. Beginning with the tidal lock at the Savannah River, the waterway continues through four lift locks as it traverses 16.5 mi, before reaching another tidal lock at the Ogeechee River at Fort Stewart. Along the way, the canal passed through Savannah’s 19th century industrial corridor, former rice fields, timber tracts, and a still lush tidal river swamp and adjacent sandhill environment that is the characteristic habitat for several unique species of flora and fauna. Nowadays much of this area comprises the Savannah suburbs of Garden City and Pooler. The canal was added to the National Register of Historic Places on August 11, 1997.</p><br>
<h2>1825–1890s</h2><br>
<p>The Savannah - Ogeechee Canal was an important and profitable enterprise during the mid-nineteenth century. Originally chartered in 1824, the 16.5 mi&#39;s of canal was completed in December 1830. Numerous problems (such as decay of wooden locks and repeated erosion of embankments) plagued the canal during its early days of operation. The parent company declared bankruptcy in 1836. A new company was formed that widened and improved existing structures within the canal. From the 1840s to the 1860s, the canal generally prospered and became an important element in the south Georgia economy.</p><br>
<p>The canal opened to transport in 1831 and became an important partner in the economy of south Georgia. Its impact on the lumber trade was particularly important with one of the nations largest sawmills located along the canals basin. Cotton, rice, bricks, guano, naval stores, peaches, and other goods also traversed the canal. Later in the century, the canal suffered a gradual decline. Heavy June rains seriously damaged the canal embankments in 1876 coupled with a yellow fever epidemic which fatally inflicted over 1,000 individuals. The canal had become more a public health nuisance than an economic asset. By the early 1890s, the canal ceased to operate as a transportation corridor as the Central of Georgia Railway brought various wharves, warehouses, and canal frontage properties.</p><br>
<h2>Today</h2><br>
<p>Now a century after the canal ceased commercial operations, local citizens have started to restore and interpret the waterway and its natural environment. In cooperation with Chatham County&#39;s Department of Parks, Recreation, and Cultural Affairs, the Savannah – Ogeechee Canal Society is working to turn the canal into a multipurpose linear park.</p><br>
<p>A 0.5 mi walk along the Heel or Tow paths provides a delightful and attractive setting to enjoy this unique waterway.</p><br>
<h2>Savannah-Ogeechee Canal Museum & Nature Center</h2><br>
<p>Currently most of the effort is expended at the Ogeechee River terminus near Lock 5 where the Savannah–Ogeechee Canal Museum & Nature Center at 681 Fort Argyle Rd, Savannah, is open. Exhibits highlight the canal&#39;s history and the natural history of the local area. The museum also offers guided history and natural history tours of the area.</p><br>
<p>Criss Cross is a Colonial style brick house built about 1690 by George Poindexter in New Kent County, Virginia. It is similar in style to neighboring Foster&#39;s Castle. George Poindexter was the immigrant founder of the Poindexters in America. Originally from Jersey, he settled his family in the Virginia Colony.</p><br>
<p>It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The Sawtelle Streetcar Depot is located on the grounds of the Sawtelle Veterans Home in Sawtelle, in the Westside area of Los Angeles, California.</p><br>
<p>The depot was designed by J. Lee Burton in 1900, in conjunction with the nearby Wadsworth Chapel also on the Veterans Home campus. Both were listed in the National Register of Historic Places in 1972.</p><br>
<h2>History</h2><br>
<p>This station was the Los Angeles Pacific Railroad terminus of the Soldiers&#39; Home Line, a short extension of the Santa Monica Air Line to the Sawtelle Veterans Home. The depot also served the Balloon Route.</p><br>
<p>The extension started at the present-day Expo / Sepulveda station on the E Line (Los Angeles Metro) and continued north on the western side of Sepulveda Boulevard to the depot.</p><br>
<p>Passenger service to the station ended around July 1920. The line was maintained and operational — but seldom used — until the entire Air Line was abandoned. After closure the right-of-way was initially kept intact, but eventually sold off in piecemeal for various building developments, making any future restoration prohibitively expensive.</p><br>
<h2>Design</h2><br>
<p>The wooden building was designed in the Victorian Eastlake Movement style by J. Lee Burton, and completed in 1900.</p><br>
<p>It is similar to another still-standing structure of the Air Line, the Palms-Southern Pacific Railroad Depot.</p><br>
