<p>Old St. Hilarys Landmark is a former mission church place of worship and now a historic landmark owned and maintained by the Belvedere-Tiburon Landmarks Society, Tiburon Peninsula, Marin County, California, United States. The landmark is situated on the flank of the Tiburon Hills, an area characterized by serpentine soils and hence has a distinct plant community. The area surrounding the church is a Marin County protected area, the Old Saint Hilarys Open Space Preserve. The church building was listed on the National Register of Historic Places in 2020.</p><br>
<p>An endangered wildflower species, Streptanthus niger, commonly called the Tiburon jewelflower, grows near the church.</p><br>
<h2>Line notes</h2><br>
<p>Kaw Mission is a historic church mission in Council Grove, Kansas that was home, school and church to 30 Kaw boys from 1851 to 1854. It was listed on the National Register of Historic Places in 1971.</p><br>
<p>The site is now administered by the Kansas Historical Society as Kaw Mission State Historic Site. Displays include Kaw items and mid-19th century frontier items and furnishings.</p><br>
<p>The state of Kansas was named for the Kaw (or Kansa). These people lived in the area that is now Kansas for many generations. They were moved to the Neosho Valley where they lived for less than 30 years. Despite an impassioned plea by Chief Allegawaho, the USA government removed the Kaw to Indian Territory (now Oklahoma) where they now have tribal lands.</p><br>
<h2>History</h2><br>
<p>The Santa Fe Trail operated as a commerce route between the Missouri and Mexico. The area that is now Kansas was the western limit of American settlement. Trail traffic headed for the Spanish town of Santa Fe, passed through what is now Council Grove. Situated on the Neosho River, the community was a natural stopping place, with water, grass, and timber.</p><br>
<p>It was there in 1825 that the USA government negotiated with the Osages for a passage across their lands. This right-of-way became the Santa Fe Trail, the council with the Osages inspired the town&#39;s name.</p><br>
<p>A treaty with the Kaw in 1846 reduced their lands to a 20-mile square tract that included the present-day Council Grove. Traders and government quickly moved to the new location. Seth M. Hays, the first white settler at Council Grove, established a home and trading post there in 1847 along the Santa Fe Trail.</p><br>
<p>The treaty with the Kaws established an annual payment of $1,000 to advance the education of the Kaws in their own country. In 1850 the Methodist Episcopal Church South, which had ministered to the tribe since 1830, received governmental approval to construct a mission and school building, which was completed by February 1851.</p><br>
<p>The native stone building had two stories, eight rooms, and accommodated 50 student boarders along with teachers, missionaries, and farmers. School began in May 1851 under the direction of Thomas Sears Huffaker, a 24-year-old teacher who had served at the Shawnee Manual Labor School near present-day Kansas City. Students received instruction in spelling, reading, writing, and arithmetic. The boys learned the principles of agriculture, but they received no instruction in the trades.</p><br>
<p>Classes continued until 1854, when the schools excessive fees--$50 a student—led to its closure. The Kaw people considered the missions purpose degrading and sent only those boys who were orphans or dependents of the tribe. Girls were not allowed to attend the mission.</p><br>
<p>A subsequent change in 1859 further reduced the Kaw land to a 9 by. The Kaw lands were relinquished in the 1870s, and the tribe moved to a reservation in present-day Oklahoma.</p><br>
<p>Thomas Huffaker bought the mission lands in 1865, which he owned for 14 years. In 1926 when Carl I. Huffaker, Thomas&#39; son, bought the part on which the mission building stands.</p><br>
<p>In 1951, the Kansas legislature authorized the purchase of the mission property. The Kansas Historical Society administers the mission.</p><br>
<p>The Pine State Creamery is a former dairy products factory in Raleigh, North Carolina. It is a Moderne style building, built in 1928. It is a two-story, five bay by six bay, flat-roofed reinforced concrete building in cream-colored brick. It features a crenellated parapet at the roofline and a three-story corner tower. Additions were made to the original building in the 1940s and 1960s. The building has been converted to office and retail functions.</p><br>
<p>It was listed on the National Register of Historic Places in 1997 and is a Raleigh Historic Landmark.</p><br>
<p>The Theodore A. Pappas House is a Frank Lloyd Wright designed Usonian house in St. Louis, Missouri. The Pappas house was listed on the National Register of Historic Places in 1979, when it was only 15 years old. It is one of two houses in St. Louis designed by Wright, and the only Usonian Automatic in Missouri. Wright designed it between 1955 and 1959 at the Pappas’ request, and Theodore and Bette Pappas built the house together with the help of day laborers between 1960 and 1964. The Pappas house is a rambling four-bedroom house, and after the Gerald B. and Beverley Tonkens House, is the largest of the Usonian Automatics built.</p><br>
<p>The entire body of the Pappas House, including the roof, is made up of plain concrete blocks standardized to a module. These blocks were placed on top of and next to one another with no mortar. The hidden sides of each block had hollows through which steel rods were inserted, running vertically and horizontally, creating a "knit" effect. Grout was used to fill the hollows after the rods were in place. Theoretically, all elements of the house could be manufactured and sent to the owners as a sort of “do-it-yourself” kit, the “automatic” aspect of an Usonian Automatic. However, metal molds for the blocks were not available, and the blocks had to be cast in molds created by a local craftsman. The concrete was pretinted according to Wright&#39;s idea that color should be in and not on the surface. The color scheme throughout the house is monochromatic, a warm natural, earthen color, complemented by a uniform unstained Philippine mahogany for trim and built in furniture. (Storrer, 422)</p><br>
<p>In 1985, Bette Pappas wrote a book titled "No Passing Fancy" about her house. Bette Pappas died at the home in February 2018 at the age of 91.</p><br>
<p>In 2020, the house was sold by the Pappas children to the Frank Lloyd Wright Revival Initiative, a non-profit created by filmmaker Michael Miner. It is anticipated the house will be refurbished and turned into a museum and event center. In May 2021, the house was opened for public tours by appointment.</p><br>
<p>The Ottendorfer Public Library and Stuyvesant Polyclinic Hospital are a pair of historic buildings at 135 and 137 Second Avenue in the East Village neighborhood of Manhattan in New York City. The buildings house the Ottendorfer Branch of the New York Public Library, as well as the women&#39;s workspace The Wing within the former Stuyvesant Polyclinic hospital.</p><br>
<p>The buildings were jointly designed by German-born architect William Schickel in the neo-Italian Renaissance style. Both structures are three stories tall with a facade of Philadelphia pressed brick facades ornamented in terracotta. The hospital building features terracotta busts of several notable medical professionals.</p><br>
<p>The structures were erected in 1883–84 following a donation by philanthropists Oswald Ottendorfer and Anna Ottendorfer. The library was the second branch of the New York Free Circulating Library, while the hospital was affiliated with the German Hospital uptown, now Lenox Hill Hospital. Both structures served the Little Germany enclave of Lower Manhattan. The hospital was sold in 1906 to another medical charity, the German Polyklinik; the name was changed to Stuyvesant Polyclinic in the 1910s. The buildings were restored numerous times in their history. The structures received three separate New York City landmark designations in 1976, 1977, and 1981, and were added to the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>In the late 19th century, the modern East Village and the Lower East Side neighborhoods of Lower Manhattan collectively became known as "Little Germany" (Kleindeutschland) because of the large concentration of German immigrants in the neighborhoods. The German Dispensary was founded on the Lower East Side in 1857. After the dispensary&#39;s charter was changed in 1866, the Lower East Side dispensary became a branch of the German Hospital, now the Lenox Hill Hospital, whose main location was on the Upper East Side.</p><br>
<p>The city also had numerous private libraries, such as the Astor Library and Lenox Library, but few libraries for the general public, especially for immigrants and the poor. One of the first general-public libraries to be established in New York City was the New York Free Circulating Library (NYFCL), having been incorporated in 1880, with its first branch opening on Bond Street in Lower Manhattan that year.</p><br>
<h3>Construction</h3><br>
<p>Oswald Ottendorfer, a German immigrant and publisher of the New Yorker Staats-Zeitung, the city&#39;s largest German-language newspaper, and his wife Anna Ottendorfer had acquired the land for the buildings in 1883. Initially, only the clinic was proposed to be built on the site. However, the clinic would occupy only part of the Ottendorfer plot, so Anna Ottendorfer proposed building a branch of the NYFCL on the additional plot, retaining ownership of the land. Plans were filed by May 1883, with the buildings projected to cost $75,000. Of the couple, Oswald was more closely involved with the library, personally selecting its book collection, while Anna was more involved with the clinic.</p><br>
<p>Anna Ottendorfer died in April 1884 before either project was completed, but in her will, she gave the German Hospital $10,000. On May 12, 1884, Oswald Ottendorfer wrote a letter to the NYFCLs trustees detailing the proposed gift to the library. The gift included $10,000 in 7% railroad bonds and furnishings for the branch, which was to include a reading room. An accompanying condition was that the reading material in German be maintained sufficiently, and German-speaking staff be in attendance. The NYFCLs trustees accepted the gift and its terms on May 16, 1884. By mid-1884, the NYFCL had control of the library.</p><br>
<p>The Stuyvesant Clinic was completed first, on May 25, 1884. The clinic&#39;s opening served partially a memorial for Anna Ottendorfer, its main benefactor. It became the second branch of the NYFCL, after the Bond Street Library.</p><br>
<h3>Late 19th and early 20th centuries</h3><br>
<h4>Library</h4><br>
<p>When the Ottendorfer Library opened, it had a collection of 8,819 volumes of which 4,035 were in German and 4,784 were in English. There was space for 15,000 volumes, a main reading room, and a smaller reference room.</p><br>
<p>Schickel designed an expansion to the library in 1897, which contained a series of iron stacks with thick glass floors, surrounding a central shaft. After Oswald Ottendorfer died in 1900, he bequeathed $20,000 to the library and the hospital. In 1901, the eleven branches of the NYFCL system, including the Ottendorfer branch, became part of the NYPL. The next year, the library began circulating Russian language books. As other immigrant groups moved to the surrounding neighborhood, the library started circulating books in other languages, such as Czech/Slovak, Chinese, French, Italian, Polish, Spanish, and Ukrainian.</p><br>
<p>Few alterations were made to the library in subsequent years. A fire-proof vault was provided in the basement for preserving valuable documents and books of the library, and for the preservation of the records and papers of importance of interested German societies. The library and clinic shared water and steam-heating systems, and the library was already lit by gaslight.</p><br>
<h4>Clinic</h4><br>
<p>In 1904, Werner & Windolph were hired to design a 2-story annex to the clinic on Seventh Street. A year later, the German Hospital began plans to build a dispensary uptown, which was closer to both the main hospital and to the Yorkville neighborhoods growing German population. It sold 137 Second Avenue in 1906 to another medical charity, the German Polyklinik. The hospitals name was changed to Stuyvesant Polyclinic following the anti-German sentiment connected with the entrance of the United States into World War I. The name was changed back to German Polyclinic in 1927, following campaigning from German-American groups.</p><br>
<p>The Ladies&#39; Auxiliary Society of the German Polyclinic held a fundraising drive to replace the hospital building in 1929, with the goal of raising $3 million. The initiative was supported by mayor Jimmy Walker, but ultimately did not occur. The clinic opened its rheumatism department in 1938, and an auditorium was added to the German Polyclinic in 1941. The clinic was renamed the Stuyvesant Polyclinic again during World War II.</p><br>
<h3>Mid-20th century to present</h3><br>
<h4>Mid- and late 20th century</h4><br>
<p>The Stuyvesant Polyclinic continued to serve the East Village and Lower East Side, having served 6 million patients by 1954. The clinic&#39;s facade had been painted white by the 1960s. By then, the Ottendorfer Library was the oldest purpose-built library building in New York City that was still operating as a library. A New York Times article in 1964 reported that up to one-quarter of the 24,000-book collection was still in German.</p><br>
<p>Cabrini Medical Center took over the clinic in the 1970s, and the number of visits increased from 2,800 patients in 1978 to 34,000 in 1983. By then, it was serving a variety of ethnic groups in the East Village and Lower East Side. While the clinic was no longer free, it was low-cost, with patients paying $15 to $29 per visit depending on their income. When the New York City Landmarks Preservation Commission considered the clinic for city-landmark status in 1976, a community group called the Citizens Committee to Keep the Ottendorfer Library Open requested that the library also be considered for landmark status. The group perceived Cabrinis purchase of the clinic as a threat to the library, especially as the NYPL was facing financial problems at the time. The clinic became an official city landmark in 1976, followed by the library the next year. When a 3-month project to replace the librarys 75-year-old coal furnace was announced in 1979, the Citizens Committee group staged a protest to prevent the furnaces replacement, even producing a restraining order from the New York Supreme Court. Ultimately, the librarys interior received city landmark status in 1981. The interior of the clinic underwent a $200,000 renovation three years later.</p><br>
<p>The library was closed in October 1998 for a renovation that was slated to cost $2.1 million, which was funded by $1.6 million in city funding and a $0.5 million grant from Scherman Foundation. Macrae-Gibson Architects devised a design that was evocative of the original appearance, while also adding other features such as new cables. The NYPL also considered expanding into the Stuyvesant Polyclinic because the fire escape in front of the library was deteriorated, but this proposal was dismissed as too expensive. At the time, Cabrini Medical Center owned both structures but rented out the library building to the NYPL for free. The renovation was finished by mid-2001.</p><br>
<h4>21st century</h4><br>
<p>By mid-2005, The Villager reported that the hospital building might be converted to condominiums. While the rumor was false, the clinic was already searching for a buyer for its building by then. The hospital building was ultimately sold for $7 million in July 2006, and the clinic moved out the following month. New plans for the clinic building were revealed in January 2007. The first floor would become condominium space, while the second and third floors would be turned into student dormitories, and three additional floors for dormitories would be built. This redevelopment proposal also did not occur, and the clinic building was sold again for $7 million in September 2007. By 2008, the clinic building was for sale yet again at a cost of $13 million, though it was marketed as a mansion. The hospital building was ultimately purchased by Lower East Side Equities who leased it to British consulting firm What If.</p><br>
<p>The buildings were restored in 2009 by David Mayerfied. As part of the project, Mayerfied removed paint from columns and railings, removed the dropped ceilings, and added a sprinkler system. Christopher Gray of The New York Times characterized the exterior as "neglected and forlorn", having not been renovated since the mid-20th century. The library celebrated its 125th anniversary upon the completion of the renovation in December 2009. At the time, only 30 books remained from the German collection.</p><br>
<p>The Ottendorfer branch was closed for another set of renovations between August 2018 and March 2019; the project included adding sprinkler and alarm systems. Additionally, in January 2019, the women&#39;s coworking firm The Wing signed a lease for the entirety of the Stuyvesant Polyclinic for its headquarters. The company spent $1.7 million on workspaces and a kitchen in the Polyclinic building. and the Cofinance Group bought 137 Second Avenue for $18 million the same month. After the Wing shuttered, 137 Second Avenue was placed for sale in March 2023; it was sold for $19 million to an unidentified buyer that August.</p><br>
<h2>Architecture</h2><br>
<p>The buildings, on the west side of Second Avenue near St. Marks Place, were designed as a pair by German-born architect William Schickel. They were designed in the neo-Italian Renaissance style, with Philadelphia pressed brick facades ornamented in terracotta, a relatively new building material to New York at the time of the buildings&#39; construction. The terracotta was manufactured by the Perth Amboy Terra Cotta Company.</p><br>
<p>The library building at 135 Second Avenue has a frontage of 20 ft along Second Avenue, while the former hospital at 137 Second Avenue has 50 ft of frontage; both structures are 67.6 ft deep. A laboratory was also attached to the hospital&#39;s rear. An annex to the library was built in subsequent years.</p><br>
<h3>Clinic</h3><br>
<p>The former hospital building&#39;s facade is subdivided into three vertical bays. The central bay has an entrance portico at the first floor, as well as three arched windows on the second and third floors, which are surrounded with terracotta ornamentation. The outer bays have pairs of arched windows on each floor, which are separated with decorated colonettes in the Corinthian style, with ornamented terracotta voussoirs above each window pairing.</p><br>
<p>The pediment of the portico is supported by two pairs of brick piers with vermiculated blocks, topped by Corinthian capitals. An entrance arch is inside the portico. Above the arch is a decorative composition with two inscribed dates: 1857 (representing the year the German Dispensary was founded) and 1883 (representing the year of the building&#39;s construction).</p><br>
<p>Inside the former hospital building is a foyer with walls made of marble below wood paneling. From there, double doors with glass paneling lead to a square main lobby. As originally arranged, there were offices and examination rooms on either side of the lobby. There was a wide staircase on the north wall with a decorative wooden handrail, which turned at right angles as it went to the second and third floors. The second and third floors also had offices and examination rooms. When The Wing moved into the space in 2019, the former offices and examination rooms were turned into communal coworking spaces. Ten rooms were turned into conference rooms named after women&#39;s educational institutions.</p><br>
<h3>Library</h3><br>
<h4>Exterior</h4><br>
<p>The decorative details on the Ottendorfer Library are less elaborate compared to those on the clinic building. The main entrance is through an arched entrance with a small stoop, There are iron pilasters on either side of the door, as well as an ornately decorated transom bar above the doorway and transom window; decorated horizontal band courses with owl and globe symbols are located on either side of the transom bar. Surrounding the top of the archway is a set of terracotta egg-and-dart decorations. At the top of the first floor is the German inscription Freie Bibliothek und Lesehalle (Free Library and Reading Room) as well as an egg-and-dart molding.</p><br>
<p>The articulation of the library&#39;s upper floors is similar to that of the adjacent clinic building. The second and third floors both have three narrow arched windows that are 8 ft tall. The voussoirs above the windows contain decorative terracotta cartouches.</p><br>
<h4>Interior</h4><br>
<p>Immediately inside the doorway is a circulation desk as well as a small reading room. The wall contains a vertically-ribbed wainscot wrapping around the south and north walls. The south wall contains a dumbwaiter shaft as well as bookshelves. In the rear of the library are double-height iron stacks with openwork gratings, manufactured by Hopkins & Co. There are glass floor panels on the second level of the stacks, which form a mezzanine level and contain iron railings. Behind the stacks is a workspace with shelves and cupboards. There are eight sections of stacks on the lower level and nine sections on the upper mezzanine.</p><br>
<p>The south wall contains a staircase leading to the second floor. The staircase has a railing made of dark wood, with alternating twisting and rectangular balusters. The second floor is a narrow room that served as the main reading room. As arranged, the second floor contained a childrens room in the front (facing Second Avenue), a reading area in the center, and a womens reading room in the back. The window openings on each wall contain elaborate surrounds. A Lincrusta Walton wall covering was used in place of wood wainscoting, and a wide molding is at the top of the walls, with a coved ceiling above. The center section of the second floor contains a fireplace with a pink marble mantel, as well as bookshelves. The back section was separated from the front and center sections by a glass partition, and was raised above the rest of the second floor by two steps. A sign at the back sections entrance contained the words Zur lese Halle für Fräuen, translating to "to the womens reading room".</p><br>
<p>The Ottendorfer Library contained a librarians residence on the third floor, one of 32 such residences in the New York Public Library (NYPL) system. The librarians penthouse had wooden doors, stone fireplaces, and wall trimmings.</p><br>
<h2>Critical reception and landmark designations</h2><br>
<p>One critic in the Real Estate Record and Guide called the buildings compositions "entirely commonplace". The unnamed critic stated that the clinics porch was "a very unschooled and uncouth piece of work" and that the library had an arch of the "ugly and fashionable three-centered form". The New York Times said in 1964 that, following the exodus of Little Germany and the East Village&#39;s subsequent redevelopment, the two buildings were "the last props of an era long gone", despite not having been designed for "architectural unity".</p><br>
<p>The Landmarks Preservation Commission designated the Stuyvesant Polyclinic&#39;s exterior a New York City landmark in 1976. Both buildings were jointly added to the National Register of Historic Places in 1979.</p><br>
<p>The Joaquin Miller Cabin is an historic structure situated in Washington, DC&#39;s Rock Creek Park. Built by the American poet, essayist and fabulist Joaquin Miller, it represents the only known example of late 19th century Rustic-style log cabin in Washington, D.C. It is a Classified Structure within Rock Creek Park.</p><br>
<h2>History</h2><br>
<h3>Joaquin Miller</h3><br>
<p>In 1883, Joaquin Miller (1837–1913) moved to Washington, DC to get involved in politics, which proved unsuccessful.</p><br>
<p>He built the cabin near the intersection of 16th and Belmont Streets, NW across from present day Meridian Hill Park to find rustic peace and "find his muse". Miller lived here from 1883 to late 1885 when he left for California. He sold the cabin for $5,100 in 1887.</p><br>
<h3>Preservation</h3><br>
<p>In 1911, the area near Meridian Hill Park was being developed and Henry White, the former ambassador to France, was building an estate on land that included the cabin. The state of California and the Columbia Historical Society sought to save the structure from demolition and have it moved to Rock Creek Park. The board of the National Park Service refused the request but Senator John D. Works, and Joseph R. Knowland of California successfully intervened to force the Park Service to move the cabin to its present location near the east bank of Rock Creek one half mile north of Military Road.</p><br>
<p>In acquiescing to the public campaign to save the cabin the Board of Control for the Park insisted that they be allowed to use the cabin as a shelter and reserved the right to remove the cabin at any time. The cabin was initially used as a shelter and dedicated on June 2, 1912, with ceremonies featuring members of California&#39;s congressional delegation and Senator Weldon B. Heyburn of Idaho.</p><br>
<p>In 1931, the cabin was leased to the poet&#39;s niece, Pherne Miller, who sold beverages and food and conducted art classes in the cabin until the mid-1950s.</p><br>
<h2>Architecture</h2><br>
<p>Miller built the cabin as a replication of his early home in Shasta County, California, and as he later wrote, "to teach that a log cabin can be made very comfortable, with content at hand". The structure is one and a half stories and constructed of saddle-notched logs and a steeply pitched cross-gabled roof covered by shingles. It is an example of vernacular architecture and a rare log cabin structure in the nation&#39;s capital. The exterior of the L-shaped cabin was constructed of split logs and chinking with a fieldstone fireplace at the center of the cabin. The cabin was painstakingly deconstructed and moved in 1911.</p><br>
<h2>Joaquin Miller Poetry Series</h2><br>
<p>From 1973 to 2011 the cabin hosted the oldest continuous reading series in Washington through the Miller Cabin Poetry Series run by nonprofit literary and educational organization Word Works. In 1978 the series was held inside the cabin, until audiences outgrew the space. The readings were then held outdoors on the cabin grounds. In 2011 the reading series was relocated to the Rock Creek Nature Center and dropped the "cabin" from the series name, changing it to the Joaquin Miller Poetry Series. The series has been documented in two anthologies of the participating poets, Whose Woods These Are and Cabin Fever: Poets at Miller&#39;s Cabin. Sample poems in the Joaquin Miller series include by David Wolinsky. The final reading for the series was held on June 9, 2022, and included a tribute to Jacklyn Potter, who ran the series for 22 years.</p><br>
<p>The Fulton–Nassau Historic District is a federally designated historic area of New York City roughly bounded by Broadway and Park Row, Nassau, Dutch and William Streets, Ann and Spruce Streets, and Liberty Street, in lower Manhattan. It contains a mix of late 19th- and early 20th-century architectural styles. The historic district lies just south of City Hall Park and east of lower Broadway. It is a historic district listed on the National Register of Historic Places.</p><br>
<p>Contained within the 10 block area of the Fulton–Nassau Historic District are eight individual New York City designated landmarks, including 63 Nassau Street, the Keuffel & Esser Company Building, the Bennett Building, the Corbin Building, the Temple Court Building (5 Beekman Street), the Potter Building (35-38 Park Row), the Morse Building (140 Nassau Street), the New York Times Building (41 Park Row), and 150 Nassau Street.</p><br>
<p>63 Wall Street, originally the Wall and Hanover Building, is a 37-story skyscraper on Wall Street in the Financial District of Manhattan in New York City. Built in 1929, it was designed by Delano & Aldrich as the headquarters of Brown Brothers & Co.</p><br>
<h2>History</h2><br>
<p>63 Wall Street was the headquarters of Brown Brothers & Co., a merchant bank that became Brown Brothers Harriman & Co., a private bank, by merger in 1931. Originally known as 59 Wall Street, it was occupied by BBH until 2003 when it moved to 140 Broadway. BBH established a family of mutual funds in 1983 and named it "59 Wall Street Funds". That fund family was later renamed "BBH Funds" in 2002 when the company made plans to relocate its headquarters.</p><br>
<p>In 2003 and 2004, the building was converted to rental apartments by Metro Loft Management. The leasing company rebranded the building as The Crest, named for the ornate circular depictions on the outside of the building, and began using the address 63 Wall Street. The ground floor of the building is now retail space, including the United States Post Office for zip code 10005.</p><br>
<p>The building was added to the National Register of Historic Places on November 16, 2005. It is also a contributing property to the Wall Street Historic District, a NRHP district created in 2007.</p><br>
<p>Today, 63 Wall Street is held by Luxembourg-based Eastbridge Group (through DTH Capital) and AG Real Estate.</p><br>
<p>Roughwood, originally known as Lamb&#39;s Tavern, is an historic, American home that is located in Devon, Easttown Township, Chester County, Pennsylvania.</p><br>
<p>It was added to the National Register of Historic Places in 1984.</p><br>
<h2>History and architectural features</h2><br>
<p>This historic structure consists of three sections. The oldest section was built in 1819, on the foundations of an earlier log structure that dates to circa 1805. It was built using green serpentine ashlar and was coated in stucco. The dining room wing was added between 1821 and 1822, when the house was used as a tavern. The third wing is the kitchen wing, with later service room additions.</p><br>
<p>The house has a number of Federal-style details. It was extensively renovated and modernized in 1928, under the direction of architect R. Brognard Okie (1875-1945).</p><br>
<p>It was added to the National Register of Historic Places in 1984.</p><br>
<p>The Sea and Land Church  is located at 61 Henry Street and Market Street in the Chinatown and Two Bridges neighborhoods of Manhattan in New York City. It was built in 1819 of Manhattan schist, and added to the National Register of Historic Places on April 9, 1980. The structure is one of the three Georgian Gothic Revival churches on the Lower East Side with the other ones being St. Augustine&#39;s Chapel and the Church of the Transfiguration. It is also the second oldest church building in New York City.</p><br>
<p>The church stands on land that was once part of Henry Rutgers estate, which he donated in 1816 to establish the Northeast Dutch Reformed Church (also known as the Market Street Church). Rutgers served on the consistory. Noted minister Theodore L. Cuyler was pastor from 1853 to 1860 when he accepted a position at Park Presbyterian Church in Brooklyn. The churchs organ was built by Henry Erben and dates to 1841.</p><br>
<p>By 1866, most of the Dutch Reformed congregation had moved uptown, and shipping merchant Hanson K. Corning purchased the building on behalf of the Presbytery of New-York to serve seamen and their families. The Sea and Land Church sponsored steamboat excursions for its Sunday School to Dudley&#39;s Grove, just below Hastings-on-Hudson. In 1894, the church affiliated with the Madison Square Presbyterian Church as a means of survival, but this did not last.</p><br>
<p>Since 1951, the church building has been used by the First Chinese Presbyterian Church, a congregation of the Presbyterian Church (USA), which shared the site with the Sea and Land Church until 1972 when that congregation was dissolved. In 1974 the Presbytery of New York City officially transferred the church building to the First Chinese Presbyterian Church.</p><br>
<p>The Elwood Haynes Museum is a museum in the former mansion owned by Elwood Haynes located in Kokomo, Indiana. Haynes was an inventor who is credited with being the first to produce cars commercially in 1894. He also invented stainless steel and stellite. He became a millionaire in 1916 and had the mansion located on south Webster Street built, where he lived until his death in 1925.</p><br>
<p>In 1957, the mansion was sold by Elwoods son, March Haynes, to Martin J. Caserio, General Manager of Delco Radio Division of General Motors, who lived in it with his family. When Caserio was transferred to Detroit in 1964, GM purchased the house in the Executive Relocation Program and it stood vacant until 1965 when it was purchased by Elwood Haynes daughter, Bernice Haynes Hillis, who donated it to the city of Kokomo for the purpose it currently serves today. Since 1967 it has been open to the public and the museum curators have collected many of Haynes original inventions to display in the building. Also housed in the museum are over 15,000 documents and photographs from Haynes personal and business correspondence dating from 1877. The museum features exhibits on the life of Haynes and is open the public who can tour the building. His private laboratory is located across the street but is currently a private residence and cannot be toured.</p><br>
<p>It was added to the National Register of Historic Places in 1984.</p><br>
<p>The Saline County Courthouse in Benton, Arkansas is the county courthouse of Saline County. Built in 1901, the courthouse was the third built in the county. Architect Charles L. Thompson designed the building in the Romanesque Revival style, an uncommon design choice in Arkansas. The two-story brick building features a four-story clock tower at one corner, smaller towers at the other three corners, dentillated cornices, and rounded arch entrances. The courthouse has served as Saline County&#39;s seat of government since its construction.</p><br>
<p>The building features a mural, The Bauxite Mine, painted in 1942 by San Antonio, Texas, artist Julius Woeltz. The building was listed on the National Register of Historic Places in 1976.</p><br>
<p>The Marshall County Courthouse in Britton, in the state of South Dakota in the Midwestern United States, was built in 1908. It was listed on the National Register of Historic Places in 2006.</p><br>
<p>It is a three-and-a-half-story building. It replaced use of the former Arlington Hotel as county courthouse, and solidified the selection of Britton as the county seat of Marshall County.</p><br>
<p>The Columbia County Courthouse is located at Court Square in the heart of Magnolia, the county seat of Columbia County, Arkansas. The two-story brick and stone structure was designed W. W. Hall and built in 1905. It features Renaissance Revival styling, with Corinthian pilasters separating the windows on the second level and a projecting Greek temple portico with recessed entries under round arches on the first level, and fluted Corinthian columns on the second.</p><br>
<p>African-American man, Jordan Jameson was lynched on November 11, 1919, in the town square right in the front of the Columbia County Courthouse. A large white mob seized Jameson after he allegedly shot the local sheriff. They tied him to a stake and burned him alive meters from the building.</p><br>
<p>The building was listed on the National Register of Historic Places in 1978.</p><br>
<p>The Cleveland County Courthouse in Rison, Arkansas, was built in 1911. Located at Main and Magnolia Streets, it is a two-story brick structure measuring 100 ft by 70 ft, and topped by a hipped tile roof. A square central tower rises 20 ft above the roof, and includes a four-faced clock, with louvered arches below the clock, and an arched cornice above, topped by an octagonal cupola.</p><br>
<p>The courthouse was listed on the National Register of Historic Places in 1977.</p><br>
<p>The Wilkes County Courthouse is a historic government building and clock tower located in the city of Washington, Georgia, the seat of Wilkes County. The latest in a series of courthouses in the countys history, the current building was completed in 1904 and since that date has been the official home of Wilkes Countys Superior Court, and the base of the county&#39;s government. On September 18, 1980, the building was added to the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<h3>County court</h3><br>
<p>Wilkes County, Georgia is one of the eight original counties created by Georgias first state constitution on February 5, 1777, and the only county then not previously colonized or settled. A wilderness frontier with a handful of newcomers, Wilkes County was devoid of infrastructure. When the pioneers of Wilkes convened their first court on August 25, 1779, it was held in a private residence, the first of many transient venues during the countys infancy.</p><br>
<p>In 1780, the Georgia Legislature called for the establishment of the town of Washington. With the town to serve as a seat of government, court proceedings could be given a dedicated, regular venue. Wilkes County Court found its first permanent venue in a room at the local tavern, which effectively served as official courtroom until 1785. The tavern occupied part of the same lot where currently stands today&#39;s courthouse.</p><br>
<h3>Previous courthouses</h3><br>
<p>By 1785, a new, independent building constructed of logs became Wilkes County&#39;s first genuine courthouse. According to a plaque on the present courthouse lawn, the log courthouse was replaced after only a year by a clapboard-style courthouse, which served the county from 1786 to 1804. Both the log and clapboard courthouses stood in what is today the public square in Washington. The next building had two stories and was originally the residence of Italian immigrant and USA patriot, Major Ferdinand Phinizy, who sold the house to Wilkes County Commissioners. Courthouse number three served the county between 1804 and 1817.</p><br>
<p>A Federal-style, brick structure in 1817 became Wilkes countys next courthouse and the first in Georgia to feature a clock tower. This most recent among Wilkes former courthouses stood in the center of Washington&#39;s public square and served the county until 1904, when it was replaced by the current courthouse, then demolished.</p><br>
<h3>Courthouse site</h3><br>
<p>Washington in the 1890s was rife with rumors regarding railroad development and potential prosperity for Wilkes County. This fueled a push for civic projects and improvements by which the community hoped to more strongly lure railroad investment. The replacement of the 1817 courthouse soon became one such project, and before the century was out, County Commissioners had purchased the lot across from their existing courthouse, where in a few years they would build its replacement.</p><br>
<p>Already standing on said lot was a three-story 1824 structure known as the Heard House (not to be confused with Heard&#39;s Fort) or the old Georgia State Bank building. As the American Civil War was nearing its end, this building was the place where the President of the Confederacy, Jefferson Davis, convened the final session of the Confederate Cabinet. At this May 4, 1865 meeting the government of the Confederate States of America was officially dissolved. Despite this unique distinction in Southern and USA history, the building was razed to make way for the new courthouse. The events of 1865 are commemorated today with a plaque and a granite monument in front of the County Courthouse, as well as a Georgia Historical Society Marker about Jefferson Davis.</p><br>
<h2>Architecture</h2><br>
<p>The Wilkes County, Georgia Courthouse and clock tower were designed by architect Frank Pierce Milburn, who was heavily influenced by the Richardsonian Romanesque and Romanesque Revival styles of architecture. It was originally constructed between 1903 and 1904 using sand-colored brick accented by red brick and natural stone. The total cost of the original construction was $40,000.</p><br>
<p>The courthouses original design and construction included extensive detail work around the base of the roof and elaborate ornamentation across the roof as a whole, plus a Gothic accented clock tower which nearly doubled the buildings total height. These aspects of the original 1904 construction were destroyed in 1958, as a fire ravaged the courthouse&#39;s top half. As a result of the fire, the building was tower-less and capped by a flat roof for more than three decades until a restoration effort took place in 1989.</p><br>
<p>A partial restoration, the project restored a roof which approximates the original design, and a clock tower, albeit much shorter than the original. The ornamental detailing evident in the 1904 roof and Gothic embellished clock tower were omitted from the 1989 restoration due to limited project budget.</p><br>
<p>Prominent African American contractor Monroe Morton of Athens, Georgia was involved in the construction of the courthouse.</p><br>
<p>Wilkes County Courthouse was nominated for the USA National Register of Historic Places (NRHP) as part of a Multiple property submission (or MPS). The Georgia County Courthouses MPS included a select group of fifty-two of the state&#39;s former and current County Courthouses which were chosen based on their historical significance in the areas of architecture, communications, economics, law, and politics/government. All the properties in the Georgia County Courthouses MPS were accepted to the NRHP on September 18, 1980.</p><br>
<h3>Additions</h3><br>
<p>A new jail wing was added in 1911 onto the rear of the courthouse. A plaque mounted on the jails exterior commemorates the first hanging to occur there. The December 5, 1911 execution from the third floor gallows happened before the jails official dedication in January 1912.</p><br>
<p>A substantial addition was built upon the rear of the courthouse in 1989.</p><br>
<h2>Today</h2><br>
<p>Today&#39;s Wilkes County Courthouse continues to operate in its traditional capacity.</p><br>
<p>It remains the location of The Superior Court of Wilkes County, which is a branch of the Toombs Judicial Circuit of the Tenth Judicial Administrative District of the Courts of Georgia, presides over jury trials, rules on evidence, hears motions, and renders verdicts in bench trials. Superior Court Judges are constitutionally elected to four-year terms of office.</p><br>
<p>Other judicial bodies under the Courts of Georgia that are housed within the county courthouse include the Magistrate Court of Wilkes County and the Probate Court of Wilkes County.</p><br>
<p>Meetings of the five-member Wilkes County Board of Commissioners convene at the courthouse. The courthouse also houses the office of the County Administrator.</p><br>
<p>The Wilson County Courthouse is a historic courthouse located in Wilson, North Carolina. It was built in 1924–1925, and is a three-story, rectangular, Classical Revival style brick building. It features Corinthian order porticos in antis.</p><br>
<p>It was listed on the National Register of Historic Places in 1979, and is located within the Wilson Central Business-Tobacco Warehouse Historic District.</p><br>
<p>The Old Brunswick County Courthouse is an historic former courthouse located at Southport, Brunswick County, North Carolina. It was erected about 1844, and is a plain, two-story, stuccoed brick building three bays wide by seven bays long.</p><br>
<p>It was added to the National Register of Historic Places in 1979. It is located in the Southport Historic District.</p><br>
<p>The original courthouse was built in Brunswick Town 1729–1731. This courthouse had served New Hanover County, which included Brunswick, until Brunswick was formed in 1764. The building was destroyed by the Great Chesapeake Bay Hurricane of 1769.</p><br>
<p>The General Assembly, meeting in New Bern in 1778, authorized and empowered Brunswick to levy a tax on its inhabitants to construct a new courthouse at a location convenient to its citizens and within two miles of Lockwoods Folly. The Act said "the courts of said county will be held at John Bells until the County Court House shalI be built." John Bells plantation had been chosen as the site of the new courthouse, but until it was built it was expected that court business would be conducted in his home if necessary. This was during the time of the American Revolution so progress was slow.</p><br>
<p>Another Act of 1784 decreed that William Goss, Sam Leonard, Louis Dupree, Jacob Leonard, and Henry Walters were named "as Commissioners, for agreeing with and employing proper workmen to build a good and substantial court house, prison and stocks, and that they are hereby empowered to purchase five acres of land where they, or a majority of them, shall find most convenient within the distances above described."</p><br>
<p>Samuel Leonard and Louis Dupree served as Majors, and Jacob Leonard as a captain, in the Brunswick Militia during the American Revolution. William Goss (Gause) lost a leg in the war and was a member of the North Carolina House of Commons in 1778. William Gause and his wife Elizabeth Bacot Gause hosted President George Washington for breakfast on April 27, 1791, during his Southern Tour.</p><br>
<p>The location on John Bell&#39;s plantation (now Supply), near the Georgetown Road, was used for court business until the General Assembly, meeting in Raleigh in December 1808, issued an Act to remove the Court of Brunswick County from Lockwoods Folly to Smithville (later Southport). That Act noted that many beneficial effects would result from the move and that Smithville represented a large majority of Brunswick inhabitants.</p><br>
<p>It was 36 years until the "new" courthouse of 1844 was completed. This could be due to the fact that no special tax was levied to build the structure, and relied primarily on private or voluntary subscriptions to complete. The Smithville courthouse was altered in 1922 after a fire in the Register of Deeds office.</p><br>
<p>Another move came in 1977 when Bolivia became the county seat, then considered the "center" of the county&#39;s population. A new courthouse was constructed at the new county complex, which was itself replaced with a new courthouse building in 2001. From 1979 to 2014, the former courthouse served as Southport City Hall. In 2014, the City of Southport relocated City Hall to a new building, and the Southport Police Department left the building in 2016. There are plans to restore the building as a community arts center.</p><br>
<p>Cherokee County Courthouse in Canton, Georgia was built in 1928. It was listed on the National Register of Historic Places in 1981.</p><br>
<p>The previous courthouse was destroyed in a fire in March 1927. The new one was a five-story Neoclassical Revival building that dominates over Canton&#39;s public square. It is significant architecturally in part because it is one of few courthouses in Georgia made of local marble.</p><br>
<p>It was designed by architect A. Ten Eyck Brown (1878-1940). There was a master sculptor, Jimmy Watt, who supervised other sculptors including David Ashe Herschel Couch and B. Maloni who carved the four eagles above the front portico.</p><br>
<p>St. Paul Baptist Church is a historic Baptist church in St. Albans, West Virginia, United States. It was built in 1921 and is a two-story brick building in the Late Gothic Revival style. It features a square corner tower. It has a ground level fellowship hall and elevated first floor sanctuary. It was built to serve a growing African American population in St. Albans.</p><br>
<p>It was listed on the National Register of Historic Places in 1998.</p><br>
<p>Trinity Methodist Episcopal Church and Rectory is a historic Methodist Episcopal church and rectory located at Poughkeepsie, Dutchess County, New York. The church was built in 1892, and is a Romanesque Revival style brick and stone church. It features a massive hexagonal tower with castellated elements and an open belfry. The rectory was also built in 1892, and is a -story Queen Anne style dwelling.</p><br>
<p>It was listed on the National Register of Historic Places in 1982.</p><br>
<p>The Abram Gaar House and Farm or known as the Gaar Mansion is a wooden Second Empire-style farm home located in Richmond, Indiana, built in 1876 and listed on the National Register of Historic Places.</p><br>
<p>The home was built by industrialist Abram Gaar, president of Gaar-Scott and Company, manufacturers of steam engines and threshing machines from 1842 to 1911. Total construction cost of the home was $20,000 it took eight months to build. The house is situated on a rise overlooking the city of Richmond from the north. Gaar hired John A. Hasecoster, the area&#39;s leading architect of the day to design the house and his original plans drawn on linen sheets are on display at the house today.</p><br>
<h2>Restoration</h2><br>
<p>In the 1970s, Joanna Hill Mikesell, granddaughter of the builder and his wife Agnes restored the home which had remained in her family since it was built. Most of the original fabric of the house remains intact and historic windows, front porch fittings, and interior elements were found in storage on the property and returned to the house during restoration. She established the non-profit Agnes and Abram Gaar Foundation to assume ownership of the house, its contents and a few outbuildings. The Foundation operates the house as a historic house museum.</p><br>
<h2>Collection</h2><br>
<p>The home holds a significant collection of Victorian decorative arts including nearly all the original Eastlake style furnishings, some of which were purchased from the 1876 Centennial Exposition in Philadelphia. Original bills of sale for furniture from Mitchell and Rammelsberg Furniture Company in Cincinnati, Ohio, are also part of the collection. in addition to the house and furnishings, the Foundation&#39;s collection holds a number of archival items relating to the history of the Gaar-Scott company and the Gaar family.</p><br>
<p>Indian Field Methodist Campground is a camp meeting site for the Methodist Church in Dorchester County, South Carolina. It is on SC Route S-18-73, off US Route 15, about 5 mi north of Saint George. Indian Field was built in 1848 and has been a site for religious gatherings for over 160 years. It is associated with the Indian Field United Methodist Church located on USA Highway 15 about 2 miles  north of the campground and just south of USA Highway 178. It was named a historic district of the National Register of Historic Places on March 30, 1973.</p><br>
<h2>History</h2><br>
<p>Religious camp meetings played an important role in the growth of some Protestant denominations in the early 19th century in rural parts of the United States. These meetings served a much wider population than a single church. Camp meetings usually lasted around a week and were social as well as religious occasions for the participants. A typical camp meeting site started with a brush arbor surrounded by tents and wagons. Often a chapel or tabernacle was built to replace the arbor and wooden cabins called "tents" were built to replace actual tents.</p><br>
<p>The Indian Field United Methodist Church is located on USA Highway 15 about 2 mi north of the campground and just south of USA Highway 178. This church began in 1787. Its first building was about 3 mi east of the unincorporated Rosinville community at the intersection of USA Highways 15 and 178. The second church was built around 1819 near the current church. The third church was finished in 1886. The current church was completed in 1955.</p><br>
<p>The first Indian Field Campground was held on a farm in the late 18th century. It was probably located near the first church building. Bishop Francis Asbury noted in his journal that he preached at "Indian Fields" on December 21, 1801 and January 13, 1803. His journal does not say if he preached at the campground or the church. Other sources indicate that this campground was established in 1810.</p><br>
<p>In 1838, the campground was moved to the present site. The existing campground was constructed in 1848. It was restored in 1970.</p><br>
<p>On February 25, 1995, an intentional fire burned several structures at the campground. The person who set the fire was never apprehended.</p><br>
<h2>Architecture</h2><br>
<p>The existing campground consists of the central tabernacle surrounded by ninety-nine cabins of wooden construction. These cabins are referred to as "tents". Although is frequently stated that the tents are arrayed in a circle,</p><br>
<p>The tabernacle is a wooden pavilion with a gablet roof. The roof has exposed rafters and is supported by wooden posts. The pavilion has a raised preacher&#39;s stand at its northern end and three sections of wooden pews. It seats over 1,000.</p><br>
<p>The "tents" have a metal roof and are of two stories. The internal layout of each tent varies, but typically each has two upstairs bedrooms with a central stairway. The downstairs usually has a dining area towards the front and another bedroom at the rear. Historically the occupants of the upstairs bedrooms were divided by gender, while the downstairs bedroom was reserved for the older members of the family. The downstairs rooms may be connected with a hallway, or the rooms may have individual exterior doors. The downstairs areas have dirt floors that are typically covered with straw during camp meetings. The cooking area is below a shed attached to the rear of the tent. There is a wood-burning brick or cinderblock fireplace under the cook shed, and usually a small room for the cook&#39;s quarters. A typical floor plan of the larger cabin has been published.</p><br>
<p>The single-story preacher&#39;s cabin is larger and taller than the other cabins. It has a four-panel door flanked by two-over-two light windows.</p><br>
<p>There is a paved road around the campground. Outside this road, each cabin has a privy. Historically there were shared water wells in front of the cabins and stands for blazing pine knots to light the area at dark, however currently each tent has water and electric service.</p><br>
<p>Additional pictures of the campground have been published.</p><br>
<p>The Church of Christ is a historic church building in central Guy, Arkansas, United States, that is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>The church is located just northwest of the junction Arkansas Highway 310 and Arkansas Highway 25. It is a single story cruciform structure, built of brick and stone in the Craftsman style. It was built in 1936-37 by Silas Owens, a local master mason, and is Guy&#39;s finest stone church. It is a gabled vestibule with the entrance recessed in a round-arch opening that has been enclosed in glass. Door and window openings are quoined in light brick, contrasting with earth-toned stone of the walls.</p><br>
<p>The congregation is associated with the Churches of Christ. It was listed on the National Register of Historic Places on February 15, 2005.</p><br>
<p>The North Broadway Historic District in Tupelo, Mississippi, is a 4 acre historic district that was listed on the National Register of Historic Places in 1985.</p><br>
<p>The district consists of one block of North Broadway Street. In its NRHP nomination it was said to "represent a rare example of an intact late- nineteenth and early twentieth century Tupelo streetscape, in a community which saw most of its pre-1936 housing stock destroyed in a devastating tornado."</p><br>
<p>The district includes 13 properties, each with a wood-frame house. Eight of the houses were deemed to contribute significantly to the historic character of the district, while five contributed marginally.</p><br>
<p>The significantly contributing properties are:</p><br>
<p>308 Jefferson Street (c. 1895), a 2-story Queen Anne-style/Colonial Revival-style house with 2-story porches wrapping around two sides. The original first-floor wooden porch columns had been replaced by stucco-covered masonry. (See photo #1 of attached photos)</p><br>
<p>315 N. Broadway (c. 1895), an L-shaped vernacular cottage with East Lake-style woodwork on its front porch. (Photo #2)</p><br>
<p>323 N. Broadway (c. 1905), a 2-story structure with front porch supported by slender classical columns. A circular gazebo-like unit was once attached, but was removed. Has beveled siding. (Photo #3)</p><br>
<p>316 N. Broadway (c. 1900) a -story gable-front structure with chamfered corners at left side of facade. Its 1-story porch with turned columns is a replacement believed to be quite similar to the original. Photo #13</p><br>
<p>322 N. Broadway (c. 1900), a 1-story hipped-roof house with a front-facing gable and a 1-story front porch supported by classical columns atop brick piers. This has Queen Anne-style textured woodwork inside its gable (photo #12).</p><br>
<p>330 N. Broadway (c. 1905), a 2-story structure with two front-facing gables. One-story porch supported by turned columns. Beveled siding. (photo #10)</p><br>
<p>342 N. Broadway (c. 1900), another L-shaped cottage, this with a projecting gable at left side of front facade that has chamfered corners with jig-sawn brackets. A c.1920 porch addition has square, classical piers on brick bases. Beveled siding. (photo #8)</p><br>
<p>346 N. Broadway (c. 1905), another L-shaped cottage, this with square, classical columns supporting its front porch. with beveled siding. (Photo #7)</p><br>
<p>The five marginal properties are:</p><br>
<p>326 N. Broadway (c. 1905), photo #11</p><br>
<p>336 N. Broadway (c. 1900), (photo #9)</p><br>
<p>354 N. Broadway (c. 1920), (Photo #6)</p><br>
<p>360 N. Broadway (c. 1915), (photo #5)and</p><br>
<p>364 N. Broadway (c. 1915). (photo #4)</p><br>
<p>The Wendelin Grimm Farmstead is a historic farm near Victoria, Minnesota, United States, listed on the National Register of Historic Places. The farm is located within the boundaries of Carver Park Reserve.</p><br>
<h2>History</h2><br>
<p>The owners of the farm, Wendelin and Julianna Grimm, immigrated from Germany and settled in Carver County, Minnesota in 1859. Wendelin Grimm cleared a section of land, which was part of the Big Woods, and established his farm using native farming methods from Germany. He practiced seed saving and brought a box of seeds named "everlasting clover", which was actually alfalfa. Over the next 15 years, he selected the seeds of the alfalfa plants which survived the harsh Minnesota winters. The result of this process was the first truly winter-hardy alfalfa in North America.</p><br>
<p>By 1890, Carver County had more than 1,000 acre of alfalfa under cultivation. Grimm convinced some of his neighbors to use his seed, and after a number of severe winters around 1895 when all the common alfalfa died, his alfalfa crop started to attract more attention. In 1900, two professors from the Minnesota Agricultural Experiment Station, Willet M. Hays and Andrew Boss, visited his farm and were impressed by the thriving crop in the winter. A few years later, Hays, who had become the assistant United States Secretary of Agriculture, named the variety "Grimm" alfalfa. Hays recommended the continuing improvement of alfalfa through breeding efforts by the United States Department of Agriculture, and Grimm alfalfa provided the germplasm that provided winter hardiness to new cultivars.</p><br>
<p>Grimm alfalfa became a very important crop, and is now the source of all modern varieties of alfalfa grown on 25,000,000 acre of the United States (an area only slightly smaller than the USA state of Kentucky), with a value of $10 billion annually. University of Minnesota agronomy professor Lawrence Elling called Grimm alfalfa the most important crop development in North America until the invention of hybrid corn.</p><br>
<h2>Preservation</h2><br>
<p>Hennepin County Park Reserve District (now Three Rivers Park District) acquired the farm property in 1962 when Carver Park Reserve was established, and the farm was listed on the National Register of Historic Places in 1974. In 1993, the Minnesota Historical Society noticed that the state was losing historic agricultural sites, and it identified the Grimm farm as a high priority for stabilization and preservation. The Minnesota State Historic Preservation Office and the Legislative Commission on Minnesota Resources conducted a reuse study and soon began emergency stabilization of the farmhouse. This involved vandal-proofing the windows and doors, replacing the roof, and rehabilitating the foundation. In 1998-99, the interior restoration began, and was completed in 2001. On October 6, 2001, the completion was celebrated with an open house.</p><br>
<p>Located in Carver Park Reserve, the site is now known as Grimm Farm Historic Site and is open to the public during education and special programs.</p><br>
<p>Crawford Depot, also known as Maine Central Passenger Railway Station, is a historic passenger railroad station at the top of Crawford Notch in the Bretton Woods area of the town of Carroll, New Hampshire. Built in 1891, it is a surviving emblem of the importance of the railroad in the area&#39;s history as a tourist destination, and is one of the finest examples of Queen Anne railroad architecture in northern New England. Now home to a visitors center operated by the Appalachian Mountain Club, it was listed on the National Register of Historic Places in 1982. It is also the northern terminus of most trains on the "Notch Train" service of the Conway Scenic Railroad.</p><br>
<h2>Description and history</h2><br>
<p>Crawford Depot is located a short way north of the height of land of Crawford Notch, a glacially formed gorge in New Hampshires White Mountains carrying the Saco River southward from its headwaters at Saco Lake. The depot is set with United States Route 302 to the east, at the northwestern end of Saco Lake, and the railroad tracks formerly of the Maine Central Railroad Mountain Division to the west. The Appalachian Mountain Clubs Crawford Notch Highland Center is located just to the north.</p><br>
<p>The depot is a small rectangular single-story wood-frame structure, with a hip roof. The main roof has a cornice studded with sawn brackets, but only covers the structure. A lower roof provides shelter around the exterior for pedestrians; it is supported by large knee brackets, and has a band of decorative moulding at the edge. An octagonal turret projects from the building&#39;s northwestern corner. The building exterior is clad in a variety of wooden clapboards and shingles. The main entrance is on the track side. The interior has wooden finishes, and includes a stone fireplace.</p><br>
<p>The railroad line through Crawford Notch was completed and opened in 1875 by the Portland and Ogdensburg Railroad, and had a transformative effect on the local economy. Tourists were drawn in large numbers to the areas scenic beauty, and large resort hotels were built at the top of the notch to satisfy this demand. The only one to survive is the Mount Washington Hotel, the others having succumbed to fire or demolition. (The AMCs Highland Center is on the location of the Crawford House hotel, which burned in 1977.) The Portland and Ogdensburg was taken over by the Maine Central Railroad in 1888, and this depot was built in 1891. It was one of the most elaborate stations built by that railroads Mountain Division, because of its prominent location. The 1887 station foremans house (built in 1887, burned in 1972), was also prominently visible and shared some of its features, while other nearby stations, while also exhibiting Queen Anne features, were less ornate. The structure was converted to a gift shop by 1962. It presently serves as a visitor center and shop operated by the Appalachian Mountain Club. To its south stands the platform of the Conway Scenic Railroad.</p><br>
<p>Smithonia is an unincorporated community in Oglethorpe County, Georgia, United States, at the intersection of Crawford-Smithonia and Smithonia Roads. It is also the name of a historical plantation listed on the National Register of Historic Places in 1984.</p><br>
<p>Smithonia is reported in the database of the NRHP as the nearest community to Howard&#39;s Covered Bridge, three miles away. The nearest city is Comer.</p><br>
<p>Smithonia, near Athens, was founded and named by Georgia State Senator James Monroe Smith. The once small farm became the state&#39;s largest plantation.</p><br>
<h2>History</h2><br>
<p>The land was part of Georgia agricultural tycoon and state legislator Smiths property holdings. It was built in 1866 in a "Plantation Plain" architectural style. The Smith and Dunlap Railroad connected the property with the Georgia Railroad at Dunlap, Georgia. The rail line was also used to construct Howards Covered Bridge.</p><br>
<p>James M. Smith held hundreds of debt slaves on a farm that stretched thirty miles from the town he named after himself. He became a major buyer of convicts soon after Georgias Reconstruction government was toppled by a campaign of voter fraud and Ku Klux Klan violence. For workers he relied on an army of convict slaves, including many African Americans he had owned before the war or their descendants. In the post-Civil War economy, Smith used the labor of the debt and convict slaves to grow a small farm into the states largest plantation. If workers tried to flee, Smith relied on deputy sheriffs to recapture them and his own overseers to inflict brutal punishments. "They had dogs to trail them with so they always got caught, and then the whipping boss beat them almost to death," John Hill said. "It was awful to hear them hollering and begging for mercy. If they hollered Lord have mercy! Marse Jim didnt hear them, but if they cried, "Marse Jim have mercy! then he made them stop the beating. He say, The Lord rule Heaven, but Jim Smith ruled the earth."</p><br>
<p>Immanuel Episcopal Church is a historic Episcopal church and cemetery located near Mechanicsville, Hanover County, Virginia.</p><br>
<h2>History</h2><br>
<p>It was built in 1853 largely through the efforts of George Washington Bassett, grandnephew of Martha Custis Washington, who matched a contribution from St. Pauls Church in Richmond, Virginia. Bassetts farm Clover Lea included the site of the first Anglican church in the area (circa 1684 and about a furlong away). However, disestablishment after the American Revolutionary War led to the abandonment of many structures, as the Anglican Church nearly disappeared despite its change to the Episcopal Church. Its replacement by the 1840s was a dilapidated wood building at the crossroads of Old Church and shared by Episcopalians, Baptist and Campbellite (later Disciples of Christ) congregations. Rt.Rev. John Johns, assistant to Rt.Rev. William Meade consecrated the building on April 3, 1854, with Rev. William Norwood, retired from Monumental Church and St. Pauls in Richmond, conducting monthly services for several years. The church was named Immanuel to distinguish it from what had been the Upper Church of St. Pauls parish at Hanover Courthouse.</p><br>
<p>During the American Civil War, the congregation had definite Confederate sympathies. Rev. David Carraway served as rector from 1857 until his death in 1869, and before the Battle of Cold Harbor in mid-1864 was only allowed to visit Mr. Bassett and his family under Union guard. Immanuel Church also served as a hospital during the conflict. Battles were fought nearby in the Peninsular Campaign in 1862, and especially the Overland Campaign in 1864.</p><br>
<p>After the war, the devastated area took decades to recover. Bishop John Johns was unwilling to accept funds from the national church, but the dioceses Domestic and Foreign Missionary Fund covered some of the parishs expenses. The Rev. Edwin Habersham nonetheless was able to secure needed repairs and put the parish onto sound financial footing before moving to Oregon. The next long-term rector for Immanuel Episcopal Church and several other parishes nearby (including St. James the Less Church in nearby Ashland, Virginia, as well as Saint Peters, New Kent and St. Davids, Aylett, King William county.</p><br>
<p>From 1881 until 1904 (when he inherited property in Maryland and sought transfer to the Diocese of Easton), the shared rector was Rev. Sewell Hepburn (now more famous for his relative, Katharine Hepburn). In 1924, the parish called Rev. Samuel Chilton, who served for seventeen years before accepting a call as suffragan bishop of Virginia. His successor, Rev. Southall, served for many years before resigning in 1941 to become a diocesan Archdeacon. At various times in the early 20th century, this parish was paired with St. Pauls Church in Hanover, or with St. Davids Church in Aylett. In mid-century, it was paired instead with the new Church of the creator in Mechanicsville or St. Davids, but Richmonds suburbs were expanding to include this formerly rural area. By 1985 both congregations had become full-time positions, and the parish received a significant bequest after the sale of Clover Lea, which enabled much-needed repairs. Rev. Susan Goff, who served as Immanuel&#39;s rector and Dean of Region 11, was elected suffragan bishop of Virginia, a position she continues to hold today.</p><br>
<p>The current rectory was built in 1957 (to replace a turn of the century rectory) and the current parish house in 1982 (to replace a building completed in 1906). The St. Francis Garden for cremated remains was added in 1998.</p><br>
<h2>Architecture</h2><br>
<p>The one-story, brick building was constructed in the Gothic Revival style. Additions made to the original church in 1881, 1916, and 1967, have given the building a "T"-plan. Surrounding the church on three sides is the contributing church cemetery, which includes several Confederate graves.</p><br>
<p>It was listed on the National Register of Historic Places in 1996.</p><br>
<p>The Waynesboro Historic District in Waynesboro, Georgia, is made up of 486 contributing buildings, sites and structures. It includes the previously separately listed John James Jones House, Waynesboro Commercial Historic District and the Haven Memorial Methodist Episcopal Church, as well as the "carpenter Romanesque" Burke County Courthouse, which was part of the multiple property submission County Courthouses in Georgia. The district was the featured listing in the National Park Service&#39;s weekly list of April 3, 2009.</p><br>
<p>Ripley Historic District is a historic district comprising the central portion of Ripley, Mississippi. It was listed on the National Register of Historic Places in 2005.</p><br>
<p>The district was listed for its significance to community planning and development, commerce, and agriculture. The buildings reflect Ripley&#39;s development as the county seat of Tippah County. The district contains 284 contributing properties and one contributing object, a Confederate memorial. These buildings date from the 1840s through 1954, the end of the period for which the nomination was submitted. The town was founded in 1837, but there are no commercial structures that remain from the pre-American Civil War era.</p><br>
<p>The district is centered on the Tippah County Courthouse, the historic and symbolic central building in the city, which was built in 1928. The courthouse is surrounded by several blocks of commercial buildings, which primarily extend to the north, south, and west and were mostly built between 1910 and 1940. The district includes the old USA post office, which was also added to the National Register in 2000. The district also includes the former Tippah County Jail, an Art Moderne building built in 1938; four historic churches; and a variety of houses. The homes in the district are mainly bungalows and Tudor Revival buildings; most were built between 1910 and 1940, though some were constructed as early as the 1840s.</p><br>
<p>The Circular Congregational Church is a historic church building at 150 Meeting Street in Charleston, South Carolina, used by a congregation established in 1681. Its parish house, the Parish House of the Circular Congregational Church, is a highly significant Greek Revival architectural work by Robert Mills and is recognized as a USA National Historic Landmark.</p><br>
<h2>History</h2><br>
<h3>Colonial origins</h3><br>
<p>The congregation was co-founded with Charles Towne, 1680–1685, by the English Congregationalists, Scots Presbyterians, and French Huguenots of the original settlement. These "dissenters" erected a Meeting House in the northwest corner of the walled city. The present sanctuary occupies that exact site. The street leading to it was called "Meeting House Street," later shortened to Meeting Street.</p><br>
<p>The earliest records of the church were lost when a hurricane swept them from the manse, located at White Point (the Battery), in 1713. During the colonial period, this unusual church had no official name but "suffered itself to be called either Presbyterian, Congregational, or Independent: sometimes by one of the names, sometimes by two of them, and at other times by all three. We do not find that this church is either Presbyterian, Congregational, or Independent, but somewhat distinct and singular from them all."</p><br>
<p>Many of the early ministers hailed from Scotland, England, Wales, and New England. The "old White Meeting House" was enlarged in 1732, only a year after 12 Scots families moved down the street to start the First (Scots) Presbyterian Church with a stricter Presbyterian government and doctrine. While many Presbyterians remained, the policy of this church "was not so much to define exactly a particular mode of their discipline, and to bind their hands up to any one stiff form adopted either by Presbyterians, Congregationalists, or Independents, as to be upon a broad dissenting bottom, and to leave ourselves as free as possible from any foreign shackles, that no moderate persons of either denomination might be afraid to join them. "</p><br>
<p>Shaped by its independent mind and goaded by a colonial government that treated "dissenters" (non-Anglicans) with contempt, the church became a greenhouse for revolutionary sentiment in the colony. Prominent members of the Meeting House, and its distinguished minister, William Tennent (1772–1777), were frequently heard speaking for political and religious freedom. Tennent took his life in his hands when he made a wide tour of the Carolina back-country in 1775 to gain subscribers for the cause of independence.</p><br>
<p>The Archdale Street Meeting House separated in 1817 as the Second Independent Church, and later it adopted the name Unitarian. The congregation of Circular Church remained trinitarian under the pastoral leadership of the Rev. Benjamin Morgan Palmer (1813–1835). Noteworthy is the fact that Palmer was a special son of this church, born in Philadelphia just two weeks after his parents had been driven into exile there in 1781.</p><br>
<h3>Revolutionary War</h3><br>
<p>The church was struck by a British cannonball during the siege of Charleston in 1780. When the British occupied the city, the church was bitterly rewarded for its love of freedom by the illegal exile of 38 heads of families to prisons in St. Augustine and then to Philadelphia. Their families were left destitute. The Meeting House, vacant since the cannonball episode, was used as a British hospital and/or a warehouse, with the pews destroyed and the building suffering other damage. Tennent had died in 1777, and the church went without a minister throughout the British occupation until the end of the war.</p><br>
<p>In 1782, the church-in-exile held a congregational meeting in Philadelphia where they made arrangements to call a minister to Charleston "as soon as may be feasible." Members remaining in Charleston began the week of British evacuation to rebuild the Meeting House. By 1787, the congregation had built a second meeting house on Archdale Street to accommodate their growing number. For 25 years, Drs. Hollinshead and Keith, co-pastors of the church, preached one sermon in both houses each Sunday, alternating morning and afternoon services.</p><br>
<h3>Robert Mills&#39; "Extraordinary" building</h3><br>
<p>In 1804, the time had come to replace the Meeting Street house with a more commodious building. Martha Laurens Ramsay proposed a circular form, and Robert Mills, Charleston&#39;s leading architect who also designed the Washington Monument, completed the plans. The church he designed was a Pantheon-type building 88 ft in diameter with seven great doors and 26 windows. On its main floor and in the gallery it was said to accommodate 2,000 worshippers. The first major domed building in North America, it was described by one observer in 1818 as "the most extraordinary building in the United States." However, people made fun of the fact that the church lacked a steeple and for years laughed at the rhyme:</p><br>
<p>The people of Circular Church, as it was now popularly called, stopped the laughter in 1838 by raising a New England–style steeple that towered 182 ft above Meeting Street.</p><br>
<h3>From glory to destruction</h3><br>
<p>During the "glory days" of 1820–1860, Circular Church had a large congregation of white and black members. The first Sunday School for religious education in South Carolina was started here in 1816, and members founded the Charleston Bible Society, a prototype to the later American Bible Society. The membership included two governors of the state, prominent senators, the editor of the Charleston Courier, and many others whose voices made Charleston eloquent and who extended the influence of their church far beyond its walls. It also included many slaves and poor whose names were unknown to anyone beyond its walls.</p><br>
<p>The walls of the Circular Church were not long to stand. On December 11, 1861, a fire started near the Cooper River. During the night, the fire swept all the way across the city, destroying the church building. The American Civil War soon followed with its devastating effect. The black members of the church withdrew in 1867 to form the Plymouth Congregational Church. In January 1888, the congregation began the process of removing the materials from the old church. The a new sanctuary was completed in 1890.</p><br>
<h2>Beliefs and service</h2><br>
<p>The independent or Circular Church joined the Congregational Association in 1882, the United Church of Christ (its successor) in 1954, and Atlantic Presbytery of the United Presbyterian Church (USA) in 1968. It is one of the few congregation in the South that expresses its ecumenical commitment by belonging to two denominations. The church follows Jesus Christ in the radical way of progressive Christianity. Followers believe the Bible is truthful but not literal, that God is a living Presence but not a dominating man in the sky, that Jesus is a person of the Spirit and of saving wisdom but not a sacrifice to an offended God.</p><br>
<p>Circular Church is aware of the needs of people on the margins of society. The church has founded the citys first marriage and family counseling center, Charlestons crisis intervention service (Hotline), Hospice of Charleston, and the Elder Shelter. Space and leadership have been provided to the Charleston Interfaith Crisis Ministry, Amnesty International, Alcoholics Anonymous, Narcotics Anonymous, Charleston PEACE, and other community organizations.</p><br>
<p>The congregation, international and multiracial, has been served for 15 years by part-time clergy, a reminder to the congregation that every member is called to priesthood and ministry. Visitors are welcome both to explore the grounds and to explore the faith in worship, ministry, and life in community.</p><br>
<h2>Buildings</h2><br>
<p>The current church building was built in the Richardsonian Romanesque beginning in 1890 (the third on its site), to plans by Stephenson & Greene of New York. The original sanctuary was designed by Robert Mills. The current church is not circular but of a modified cloverleaf design and continues to be known as the Circular Church. The parish house, with twin stairways and wrought iron railings, was declared a National Historic Landmark in 1973.</p><br>
<p>Circular Church ruin.jpgThe ruins of the Circular Church in 1865 still showed the clear circular layout of the building designed by Robert Mills</p><br>
<p>CIRCULAR CONGREGATIONAL CHURCH.jpgThe current church building dates from 1890 but uses bricks from the earlier church</p><br>
<p>Circular Church - 1857.PNGThe steeple of Mills design is seen in this June 1857 image from Harpers</p><br>
<p>Circular Church (1883).jpgCircular Church (1883)</p><br>
<p>F.M. Howell and Company is a late nineteenth-century manufacturing complex located on the banks of the Chemung River in Elmira, New York. F.M. Howell & Company was founded in 1883 in Elmira, New York by Fred M. Howell and John Aldrich. In its early years the company started out by producing wood and strawboard cigar and shoe boxes for other manufacturing companies. As this continued, they also added rigid paperboard boxes, and printing of box wraps and labels. Subsequently, this all led into the carton manufacturing, and plastic thermoforming for packaging. Later, on Howell got help from his cousin to help expand the company&#39;s horizons.</p><br>
<p>Of the five contributing buildings, four are located on the east side of Pennsylvania Avenue (Buildings 1, 2, 3 & 5), while only the Brand Building is located on the west side of the street. It was added to the National Register of Historic Places in 1984.</p><br>
<p>F.M. Howell and & Company was the oldest independent manufacturer for the 19th century.</p><br>
<p>The Sims House at 513 N. State St. in Jackson, Mississippi is significant as one of the last surviving Queen Anne style houses on the state capitols "Grand Boulevard". Following construction of the states Beaux-Arts style capitol building  in 1903, North State Street developed as a tree-lined avenue of homes of state leaders. Notable Mississippi native Dr. Walter Scott Sims, who was the state&#39;s first eye, ear, nose and throat specialist and who was a pioneer in eye cataract surgery, bought the property from Joseph Henry Morris in 1905. The house was built in c. 1905 for Sims.</p><br>
<p>The house was listed on the National Register of Historic Places in 1983. When listed, it was under restoration and was owned by descendants of Joseph Henry Morris. It is currently a commercial property.</p><br>
<p>Other notable homes on the street listed on, or eligible for, the National Register have included:</p><br>
<p>Merrill-Maley House (c.1907), 739 N. State St., Colonial Revival, (designed by Theodore Link?)</p><br>
<p>Will Watkins House (c.1908), 1423 N. State St., Colonial Revival, (designed by Theodore Link?)</p><br>
<p>Smith-Crowder-Capers House (c.1894), Queen Anne</p><br>
<p>Millsaps-Buie House (c.1888), 628 N. State St., Queen Anne, but remodeled c.1928 with a monumental Greek Revival portico.</p><br>
<p>The Grove , located in Jefferson, Texas, is an 1861 historic home that is listed on the National Register of Historic Places, and is a Recorded Texas Historic Landmark. The house has also been called the most haunted place in Texas. The Groves history dates back to the 19th century, when the property was purchased and the house that became known as "The Grove" was built. The Grove has been featured in the television series If Walls Could Talk on cable channel HGTV and was chosen "as one of the top twelve most haunted houses in America" by This Old House. The Grove was also named as one of the "eight scariest places in Texas" by Texas Monthly magazine. The house was also shown in William Shatners Weird or What? in 2012. Additionally, The Grove was featured on Penn & Teller: Bullshit! Texas Highways magazine has featured The Grove several times, including in articles "Haunted Places in Texas" from October 1997 and "Haunted Jefferson" from October 2008.</p><br>
<h2>Architecture</h2><br>
<p>The structure exhibits many of the external features of a Greek Revival home, but closer inspection reveals the influence of Creole Architecture as well. The Grove is a one-story building constructed of wood – the beams and studs are cypress, covered with wooden lap siding. The house was built in 1861, and is a blending of two architectural styles: Greek Revival and French Creole. The unusual melding of these styles presumably comes from the fact that many historic homes in the surrounding neighborhood were built in Greek Revival style at the time, but since the original owner, Frank Stilley, was from Louisiana, he exerted a French Creole Architectural influence into the design. Because of the city of Jeffersons ties to riverboat trade with Louisiana during the 1800s, it stands as a unique example of the regions past.</p><br>
<p>The Grove has been fortunate that none of its contemporary owners have attempted to "modernize" or "renovate" the structure. The house today appears as it did after the 1930s remodeling, which made very few external modifications. By preserving the heritage and history of the house, it is hoped that The Grove will be a significant reminder of the region&#39;s past for our future generations.</p><br>
<h2>History</h2><br>
<p>The land was originally given to Daniel and Lucy Alley, co-founders of Jefferson, in a land grant. On June 9, 1847, Amos Morrill, a lawyer and the first federal judge of Texas, purchased the property and built a log cabin there, where he lived while staying in Jefferson while traveling for his judiciary duties. Harriet Potter, common-law wife of the deceased Robert Potter, sought Morrills representation in Jefferson for her case against her husbands estate. This was one of the first cases for women&#39;s rights in Texas. Amos Morrill sold the property to Caleb Ragin and his wife Sarah on March 20, 1855.</p><br>
<p>On November 13, 1861, Frank Stilley and Minerva Fox, Stilley&#39;s wife, purchased the land and built a house there, called The Grove.</p><br>
<h3>Ownership by the Stilley Family</h3><br>
<p>W. Frank Stilley was a Cotton Factor in Jefferson, Texas, and he married Minerva Fox, one of the daughters of the Fox Plantation in Marshall, Texas in 1860. Construction was started on a new home for the newlywed couple, paid for by the brides father as a wedding gift. The home was completed in 1861, and the young couple moved in to start their lives together. Between 1870 and 1880 Minerva and Frank encountered some bad luck. First a flood destroyed Frank Stilleys cotton brokering business. Mr. Stilley began to rebuild his business but by 1873, "The USA Army Corps of Engineers removed the Great Raft from the Red River... dropping the water level in Big Cypress Bayou to a point that shipping was uncertain and no longer financially profitable". This hurt Mr. Stilley&#39;s cotton business. In 1879, Minerva Fox Stilley died. After burying her in Oakwood Cemetery (Jefferson, Texas), Frank moved further west and settled in Weatherford, Texas, putting The Grove up for sale.</p><br>
<h4>Stockade Case</h4><br>
<p>According to the Handbook of Texas, during Reconstruction, a violent event known as the Stockade Case occurred; this case gave The Grove the reputation of being one of the most haunted sites in America. The Stockade Case began when "a northern carpetbagger George W. Smith arrived in Jefferson with four freed slaves and quickly made enemies by saying that ex-slaves wouldn&#39;t be free until Jefferson burnt".</p><br>
<p>The citizens of Jefferson became outraged after Smith&#39;s speech and threatened his life. To help protect Smith, the Union Army placed Smith and his acquaintances in the public jail on Lafayette Street (a few blocks from the Grove) where they would be safe for the rest of their stay in Jefferson, Texas. That night, a mob full of angry locals gathered around the jail, where they "disarmed the Union troops, entered the jail, took the carpetbagger George W. Smith out, and shot him. The brutal act was completed when they took the four black men and either shot or hanged them along Moseley Street". The military court records show the Grove as being one of the sites where the incident occurred.</p><br>
<h3>Ownership by the Rock Family</h3><br>
<p>The estate of Minerva Stilley, which oversaw the guardianship to the sons John R. Stilley and Frank F. Stilley, sold the Grove to Daniel C. Rock and his wife Amanda on February 1, 1880. The 1880 Census of Marion County gives the only clue to Daniel&#39;s identity, which is that he was a "bridge builder". One could certainly speculate that with the clearing of the "Great Raft", the depth and flow of all rivers in the area was affected, and this might be a lucrative profession at the time as rivers raised or fell to new levels.</p><br>
<h3>Ownership by the Burks Family</h3><br>
<p>The Rock family must have decided to move, because they sold the property in 1882 to Mr. T.C. Burks, but the property was returned within six months. There is no explanation as to why the Burks reneged on the deal, only that they did not wish to live there anymore. The Burks relocated to Athens, Texas.Index of Old Settlers&#39; Edition of Athens Review,</p><br>
<p>published August 2, 1901</p><br>
<p>Daniel and Amanda took back The Grove, and lived there another three years. In 1885, the Rocks moved to Paris, Texas, in Lamar County. While there is no indication as to the reason for their move, one might speculate that because of his profession, the bridge-building work may have dried up. The Great Raft of the Red River had been cleared by Captain Shreve and his crews, and the Big Cypress Bayou that allowed the steamships to service Jefferson had fallen in depth significantly. Daniel&#39;s work in the area was probably done, and he moved on to find opportunity.</p><br>
<h3>Ownership by the Charlie Young Family</h3><br>
<p>On March 6, 1885, Charles and Daphne Young purchased the Grove; they were an African-American couple that had been born into slavery as children. Charlie was born on the Sam Smith plantation near Clarksville, Texas. After the slaves were freed, Charlie moved to Jefferson with his mother, where he apprenticed as a barber. In 1908, the Young family experienced a tragedy when the son, James, committed suicide at the house – he hanged himself on the back porch. His body is not listed on the family marker in Cedar Grove cemetery in Jefferson with the rest of the family, so no one knows where James was buried. Charlie and Daphne lived at The Grove until their respective deaths in 1938 and 1955. When Charlie Young died, he left The Grove to his oldest daughter, Louise.</p><br>
<h3>Ownership by Louise Young</h3><br>
<p>Louise took over ownership of The Grove, where she lived and cared for her mother, Daphne.</p><br>
<p>Daphne Young spent most of her life at the Grove where she took care of the gardens that she loved. After she died, her funeral was held at the Grove on the front porch, reportedly because "she could be near the garden that she loved so much one last time".</p><br>
<p>In the 1930s renovation of the home, however, Louise Young enclosed the back porch to make an indoor bathroom – so the bathroom of the house is therefore the place where her brother James took his life.</p><br>
<p>Louise, who the oldest daughter of the Youngs, lived her entire life at the Grove, except for the four years that she was away at Bishop College in Marshall, Texas earning a degree in teaching. "According to those who knew Louise, she was constantly frightened of something, since she had every interior door and window fitted with strong locks on them and installed strong lights to keep the yard lit". Also, according to Robert and Anne Powell Wlodarski, writers of A Texas Guide to Haunted Restaurants, Taverns and Inns, Louise was always worried about someone getting inside the house. She reportedly "called the police on a regular basis complaining about prowlers". Louise died in 1983 at age the age of 96, having lived her entire life at The Grove.</p><br>
<h3>Ownership by the Grove Family</h3><br>
<p>When Louise Young died, the property was purchased on November 9, 1983, by a couple named Colonel Daniel M. and Lucile Grove. Col. Grove was a retired military chaplain, and the pastor of the Mooringsport, Louisiana United Methodist Church. They started preparing the place for their retirement, since it had deteriorated somewhat. The roof needed replacing, there was damage to the porch, and the garden was hopelessly overgrown.</p><br>
<p>The Groves had the land around the house bulldozed, and began moving some of their antiques into the small west bedroom, where she could lock them away until the couple could occupy the house full-time.</p><br>
<p>Tragedy struck before they could finish the house and move in, however. Colonel Grove was diagnosed with Binswanger&#39;s Disease, which is a rare form of dementia characterized by lesions in the brain. It is a terrible affliction, and Mrs. Grove was forced to put the house up for sale.</p><br>
<h3>Ownership by Patrick Hopkins</h3><br>
<p>Lucile Grove sold the property to chef Patrick Hopkins on January 16, 1990. In her book "Best Tales of Texas Ghosts," Docia Schultz Williams gave an account of how Patrick Hopkins came to own The Grove. The account is told in Mr. Hopkins own words: "One day in 1989 I received a call from Jefferson to my office at La Camarilla Resort, Scottsdale, Arizona, asking what it would take to bring me back to East Texas. My sister mentioned an idea we had both expressed back in 1976 on opening an old-house restaurant, hopefully in Jefferson. I flew back from Arizona and scouted the Jefferson and East Texas small towns looking for that just right house. After making the usual circuit in Jefferson and seeing nothing new, I decided to return home and seeing Highway 59 in the distance, I thought that Moseley Street would lead right into it. Halfway down the street I saw a beautiful Greek Revival home almost covered with vines and underbrush, with a For Sale&#39; sign on it."</p><br>
<p>Patrick J. Hopkins and his sister, Mrs. Mary Hopkins Callas began repair and restoration of the house in order to open it as a restaurant. The pair are the children of Frank S. Hopkins and Miss Joan H. Wyland, who were married at the Immaculate Conception church in Jefferson. The Grove opened as a restaurant with a delectable menu, along with specialty nights such as dinner theaters and an annual celebration of Thomas Jefferson&#39;s birthday.</p><br>
<p>The restaurant garnered rave reviews: "For me, the charm of this old riverport is the pecan cheesecake that Chef Patrick Hopkins concocts in The Grove" - Kent Biffle, Dallas Morning News; "I almost forgot I was in a restaurant. It feels more like Im visiting friends here" - Kilgore News Herald; "The Grove is a great addition to the Jefferson scene. Such a delicious dinner, and delightful evening" - Connie Sherley, Author, "A Visitors Guide to Texas&quot "Wonderful food! Great service!" - Reg Durant, Marshall News Messenger.</p><br>
<p>The Grove would remain a restaurant for several years until Mr. Hopkins finally closed it.</p><br>
<h3>Recent history</h3><br>
<p>The current owners, Mitchel and Tami Whitington, purchased the house in 2002. Mitchel is an author and also works in the publishing industry, and Tami is an educator who is currently the English Department Chair at Jefferson High School. They discovered the house during a visit to Jefferson.</p><br>
<p>In 2006, the Texas Historical Commission awarded The Grove (a.k.a. The Stilley-Young House) the distinction of a Recorded Texas Historic Landmark, marker #13675.</p><br>
<h2>The ghosts</h2><br>
<p>The Grove has a vibrant history of unexplained happenings: voices, sounds of footsteps, moving objects, and other ghostly phenomena. These stories indicate that the Grove is the most haunted building in Jefferson, and perhaps the most haunted site in Texas. According to Hopkins, the previous owner who turned the Grove into a restaurant, many mysterious events occurred while he was at the house. These events include mirrors falling off walls, loud wails heard coming from the upstairs, unexplained moisture in spots around the house, and the constant feeling of being watched. "Legend has it that the property lies in an area where several murders occurred, and several unmarked graves reportedly lie under or near the house". Hopkins&#39;s niece and her friends recall seeing a black man lying in the street, and as they went to see if he needed help, the man supposedly disappeared. This black man could be one of the men from the Stockade Case or another man that was rumored to have been hanged on the back porch of the house.</p><br>
<p>A ghostly woman has also been reported many times being around the Grove. She was spotted in the house by Hopkins right before he was opening up the restaurant. The woman has also been reported by a neighbor and her sister, who saw a "glowing white figure" on the porch. This woman has been said to be the original owner, Minerva Fox Stilley. She has often been seen walking beside the house, and then stepping up through a wall of the house. On the inside, she emerges from the wall and then walks across the width of the house. This strange path makes more sense when one considers that the wall that she steps up through was once the back porch to the house before the 1870 addition was made. Instead of stepping up through a wall, she instead is probably stepping up onto the back porch, coming through a door that was at the back of the house, and walking across to what would have been the children&#39;s bedroom.</p><br>
<p>The Homestead–Horton Neighborhood Historic District encompasses a small turn-of-the-20th century neighborhood area in Brattleboro, Vermont. Located on a portion of Canal Street and all of Horton and Homestead Places, the district includes a significant number of Queen Anne Victorians, as well as the Italianate home of Jacob Estey, proprietor of the Estey Organ Company, one of the city&#39;s larger employers. The district was listed on the National Register of Historic Places in 2009.</p><br>
<h2>Description and history</h2><br>
<p>The Homestead–Horton neighborhood is located southwest of downtown Brattleboro, on the southeast side of Canal Street, a major thoroughfare connecting the downtown area to Interstate 91. It includes all of the buildings on the south side of Canal Street, between Washington Street and Frost Place, and all of the buildings on Homestead and Horton Places, two dead-end streets extending southeast from Canal Street (but connected via an unnamed loop drive at their far ends). The area is physically separated from the nearly-adjacent Canal Street Schoolhouse and Canal Street-Clark Street Neighborhood Historic District by a steep slope, and is two blocks from the former Estey Organ Company factory. The district has 21 historically significant houses, most of them two-story wood frame residential structures, housing one or more units. Many of the larger, formerly single-family, houses have been converted into multi-unit housing. Most were built between about 1890 and 1915, and there has been little loss or major alteration to these houses since then. A few earlier houses survive, including a few Greek Revival structures, and the relatively modest early Italianate house of Jacob Estey, built on Canal Street in the 1850s.</p><br>
<p>Brattleboro experienced significant industrial growth in the late 19th century, which increased demand for housing at its various factories and mills. Prior to this time, this stretch of Canal Street had two estates on it: that of Jacob Estey, owner of the Estey Organ Company, and H.B. Horton, whose son Andrew was a superintendent of the local gas works. Jacob Estey died in 1890, and Brattleboro&#39;s streetcar line was run down Canal Street in 1895, increasing development pressure in the area. The two estates were subdivided, and Horton and Homestead Places laid out to build new housing on them. Between 1895 and 1915, fifteen new Queen Anne style buildings were constructed in the area, including ten quite large multi-unit apartment houses. Since the 1990s, the Windham Land Trust, a local preservation organization, has rehabilitated many of these properties.</p><br>
<p>Fountainhead  is a historic house located at 306 Glenway Drive in Jackson, Mississippi.</p><br>
<h2>Description and history</h2><br>
<p>This Usonian house designed by architect Frank Lloyd Wright in 1948 was built during 1950–1954 for J. Willis Hughes, who lived in it until January 1980. It is on a 30-60 degree triangle, which results in a grid of equilateral parallelograms. The "bedroom wing terminates in a fountain over a pool, which gives the structure its nickname, Fountainhead." The name "Fountainhead" is also a reference to Ayn Rand&#39;s novel, The Fountainhead.</p><br>
<p>Its 1980 NRHP nomination asserted it was the only Frank Lloyd Wright design in Mississippi, but in fact there are three other homes in Mississippi designed by Wright, in Ocean Springs.</p><br>
<p>The Hughes House has been a private residence since it was originally built and has never been open to the public. It is owned by Jackson architect Robert Parker Adams.</p><br>
<p>It was listed on the National Register of Historic Places on November 28, 1980.</p><br>
<p>The Church of Our Saviour, also known as the Church of Our Saviour at Mission Farm, the Mission of the Church of Our Saviour, and the Josiah Wood Jr. Farm, is a historic Episcopal church and farm complex located at 316 Mission Farm Road, in Killington, Vermont. The church is a Gothic Revival stone building, built in 1894-95 of Vermont granite. In addition to the church, the 170 acre Mission Farm property includes a c. 1817 farmhouse, a guest and retreat house, a vicarage, a bakery and agricultural buildings. On October 29, 1992, it was added to the National Register of Historic Places. Currently, The Rev. Lisa Ransom is the Executive Director of Mission Farm and Vicar of The Church of Our Saviour.</p><br>
<h2>Description and history</h2><br>
<p>The Church of Our Saviour and Mission Farm are located on the east side of the Ottauquechee River, roughly across the river from the Killington Ski Resort to the west. The developed portion of the property is roughly bisected by Mission Farm Road (an old alignment of United States Route 4), with the historic farm complex on the west side and the church on the east side. The main farmhouse is a -story wood-frame structure, with a gabled roof and clapboard siding, with an attached converted carriage barn. The church, standing directly across the street, is a stone structure, with its tall main block oriented perpendicular to the street, a shorter cross-gabled side ell, and a square tower in the crook of the joint between those sections. Further south on the property stands a smaller wood-frame building that now serves as a bakery.</p><br>
<p>The farmhouse was built about 1817 by Josiah Wood, Jr., whose father was one of Killingtons early settlers. The house is one of the best-preserved examples of period residential architecture in eastern Rutland County. Wood raised a large family here, operated a tavern, and was responsible for construction of the road. The property remained in the hands of various Wood family members, until it was repurchased in 1894 by Woods daughter, Elizabeth Wood Clement, who then donated it to the Episcopal Diocese of Vermont for use as a mission site. The church, built in 1894–95, was designed by Rutland-based English architect Arthur H. Smith, then one of central Vermonts leading architects. The church maintains an active mission, and the farms fields continue to see some agricultural uses.</p><br>
<p>Peyton House, also known as Waverly, in Raymond, Mississippi, in central Hinds County, was built during 1831–34. It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The house was built by, and is significant for its association with, John B. Peyton (1797-1868), an early surveyor and settler of central Mississippi. Peyton was born in Fauquier County, Virginia in 1797 and came to Natchez, Mississippi in 1819. He worked as a surveyor for many years. He was elected major of the Mississippi Militias 18th Regiment in 1827. He was elected to the Mississippi legislature in 1828. According to the NRHP nomination for the property,In 1829, Peyton cast the deciding vote that kept the state capital from being moved to the town of Clinton and was challenged to a duel by Judge Isaac Caldwellof that community. Peyton, having the choice of weapons, selected rifles. No real damage resulted in the exchange of fire, but Caldwell was grazed by the ball from Peytons rifle.</p><br>
<p>The house is a one-and-a-half-story gable-front house with dormers and elaborate woodwork, built on brick piers. The gable end included a partial Palladian window, which had side windows and a rounded top window, but lacked an opening where the central window would go. The house was also unusual for having a lower-level room. The house&#39;s style is an adaptation of a Virginia style of home (or perhaps a specific Virginia house, presumably Waverly, house built in 1790 in Fauquier County, Virginia), modified to allow more ventilation needed in the Mississippi climate. The house has been modified somewhat from its historic form, including by adding a central window in the gable.</p><br>
<p>The property&#39;s livestock was seized by the Union Army after the 1863 Battle of Raymond, a significant battle in the Vicksburg Campaign. An order of Major General Ulysses S. Grant released the livestock, perhaps due to Peyton "being a strong Union man".</p><br>
<p>Peyton died in 1868 at the home, aged 70 or 71. He was known as the father of the town of Raymond and was its oldest citizen when he died.</p><br>
<p>The house was documented by the Historic American Buildings Survey (HABS) in 1936. According to the HABS report, the house was located on the Natchez Trace.</p><br>
<p>Porter House, also known as The Farm or Porter Family Homestead, in Raymond, Mississippi, is a vernacular Greek Revival house that was built in c. 1850. It was listed on the National Register of Historic Places in 1986 at its original location, about three miles southeast of Raymond. It was moved to a location in Raymond in 2004 and has been renovated.</p><br>
<p>In 1986 it was deemed "architecturally significant because it is the only example of a one-room deep, ante-bellum, Greek Revival</p><br>
<p>cottage" in the Raymond area that was surveyed.</p><br>
<p>Griffin House in Moss Point, Mississippi, United States, is a Greek Revival building built in the mid-1800s. It is located on a 50 acre property overlooking the joining of the Pascagoula River and the Escatawpa River, about 5 mi in from the outlet of the Pascagoula to the Gulf of Mexico. It was listed on the National Register of Historic Places in 1983.</p><br>
<p>It was deemed significant as "one of the more architecturally and historically significant buildings in Jackson County...a good example of late Greek Revival architecture with Italianate influence... one of the few surviving mid-nineteenth-century residences in the area."</p><br>
<p>Its historical importance relates to its continuous association with the Griffin and Dantzler families, who were pioneers in the lumber industry of Mississippi. William Griffin opened the first successful lumber mill (in the state?). The house was built for Dr. Erasmus T. Griffin, son of William. It served as the business office for the Dantzler Lumber Company during the early 1900s. As of 1983, it was still in the family, owned by William Griffin&#39;s great-grandson A. F. Dantzler.</p><br>
<p>The Griffin House is a historic house at 200 High Street in Portland, Maine. Built in 1871, it is one of the citys finer examples of Second Empire architecture, and was an early example of the trend to build further away from the citys port district. It was listed on the National Register of Historic Places in 1984.</p><br>
<h2>Description and history</h2><br>
<p>The Griffin House is located in a residential area just north of Portland&#39;s downtown area, at the northwest corner of High Street and Cumberland Avenue. It is a large -story wood-frame structure, with a mansard roof providing a full third floor, clapboard siding, and a brick foundation. The roof eave is modillioned, and the dormers projecting from it have segmented-arch tops and decorative surrounds. The main facade faces east, and is three bays wide. A side-facing stair leads up to the central entrance, which is sheltered by a porch supported by a bracketed square posts. Windows on the first floor are topped by a segmented arches with ears and brackets, while those on the second floor have eared gables. The building corners sport paneled pilasters.</p><br>
<p>The house was built in 1871 for Charles S.D. Griffin, an executive of the Portland Gas Company. It was built in the wake of the city&#39;s devastating 1866 fire, which destroyed a large portion of its waterfront. At the time of its construction, the area to the north was largely undeveloped. The house remained in the Griffin family until 1936, although it was divided into a two-family in 1876. It underwent a careful restoration in the 1980s.</p><br>
<p>Harmony School, School District #53, built in 1879, is an historic Carpenter Gothic-style country one-room schoolhouse located in rural Otoe County, Nebraska, United States, near Nebraska City. The building was used for its intended purpose until 1997 when it was closed. It is now privately owned.</p><br>
<p>On July 22, 2005, Harmony School was added to the National Register of Historic Places.</p><br>
<p>Silver Lake Dam is located off Silver Lake Road, just outside the village of Woodridge, New York, United States. It was built in the 1840s to regulate Sandburg Creek, which provided water to the summit of the Delaware and Hudson Canal 10 miles  to the southeast. In 2000 it was listed on the National Register of Historic Places.</p><br>
<p>The 85 acre body of water it created eventually became known as Silver Lake, an attraction for visitors to the many Jewish summer resorts in Woodridge and neighboring communities. In the early 21st century the village of Woodridge, which owns the dam, has been working to repair it due to a leak.</p><br>
<h2>Description</h2><br>
<p>As built, the dam is a stone structure, with large mortared slabs encasing a dry rubble interior. It is 176 ft long, 5 ft wide along the top and rising 13 ft above the water level on the downstream side. There was a centrally located spillway 11 ft wide by 2 feet (50 cm) deep. Two 15 in cast-iron waste pipes controlled by large gate valves in the top of the dam next to the spillway went through the bottom of the dam.</p><br>
<h2>History</h2><br>
<p>In the 1840s, improvements to the Delaware and Hudson Canal, which had been running through the town of Mamakating to the southeast for its first decade of operation, required a more reliable source of water for its crucial summit, or highest-elevation, section, between there and Napanoch. Sandburg Creek, which drains an area from around Woodridge down to near the canal&#39;s path at Wurtsboro before emptying into the Basha Kill, was identified as a creek which could be impounded to create a sufficient reservoir, and it was dammed at the appropriate spot, long before the area was developed and settled.</p><br>
<p>By 1895, as canal operations were winding down in the face of the displacement of that mode of transportation by railroads, which did not have to shut down in winter, records indicate the dam underwent major renovations and repair. The 1914 New York State Conservation Commission report that noted that also describes the dam as not markedly different from its original design or material.</p><br>
<p>At that time canal operations had ceased completely and the dam had become private property. The lake it created, referred to in the Conservation Commission report as Woods Lake, had become a major attraction for the new village of Woodridge and the Jewish summer resorts around it. Beaches developed at either end of the lake, and a few cottages were built along its shores.</p><br>
<p>In 1999, water undermined some sections of the original dam and caused a breach, draining the lake to merely one-quarter its size. The village sought and received state and federal grants to repair the dam and restore the lake, whose near-absence had hurt local business. However, the state Department of Environmental Conservation (DEC), the Conservation Commission&#39;s successor as regulator of dams, held up repairs while it considered whether to reclassify the dam as higher risk in case of failure, which could have raised the cost and forced a redesign. After eventually getting approval from DEC and putting the project out for bid, a redesign of the dam that preserved its historic character, the village suffered another setback when the lowest bid came back at $1.5 million, almost twice what the project had been budgeted for.</p><br>
<p>The Bailey House, or Case Study House #21, is a steel-framed modernist house in the Hollywood Hills, designed by Pierre Koenig. It was registered as Los Angeles Historic-Cultural Monument #669, with the endorsement of then-owner Michael LaFetra, the Los Angeles Conservancy, and Pierre and Gloria Koenig.</p><br>
<h2>The Case Study House Program</h2><br>
<p>In January 1945 John Entenza, the editor and publisher of Arts & Architecture magazine, announced the Case Study House Program (CSHP). The program was envisioned as a creative response to the impending building boom expected to follow the housing shortages of the Great Depression and World War II. Entenza encouraged participating architects to use donated materials from industry and manufacturers to create low-cost, modern housing prototypes that might foster a dialogue between architectural professionals and laymen.</p><br>
<p>The highly publicized program ran from 1945 to 1964, spanning thirty-six individual designs, many of which were never constructed. The initial program announcement stated that "each house must be capable of duplication and in no sense be an individual performance" and that "the overall program will be general enough to be of practical assistance to the average American in search of a home in which he can afford to live."</p><br>
<p>After returning from four years of fighting in WWII, Pierre Koenig was introduced to the CSHP through the ongoing publication of the avant-garde designs in Arts & Architecture magazine. By 1948 Koenig&#39;s interest in modern architecture led him to transfer from Pasadena City College to the School of Architecture at the University of Southern California where he studied under Richard Neutra and Gregory Ain. In 1950, while enrolled at USC, Koenig designed and built his first steel-framed house for himself and his family.</p><br>
<p>Koenig&#39;s first involvement with the Case Study House Program occurred while working in the office of Raphael Soriano on the Case Study House 1950 project. In 1956 he worked briefly with Archibald Quincy Jones on a steel house in San Mateo, California for the prominent property developer Joseph Eichler. Eichler and John Entenza were well acquainted and both were developing a keen interest in the potential of lightweight steel construction for residential architecture.</p><br>
<p>Koenigs hands-on experience with steel construction and his mastery of the new arc welding process on the San Mateo house would prove influential for the rest of his architectural career. Entenza saw great potential in Koenigs design work of the time and offered him a tentative invitation to participate in the CSHP when he "found the right house and the right client." This period marked the beginning of what historian Esther McCoy would later identify as the second phase of the Case Study House Program, represented by "a concerted effort… to bring architecture into relationship with the machine."</p><br>
<h2>The Bailey Commission</h2><br>
<p>In early 1957 psychologist Walter Bailey and his wife Mary commissioned Pierre Koenig to design a 1,200-1,300 square foot house upon a level site nestled within a Hollywood Hills canyon. The Baileys were later described in Arts & Architecture magazine as a "contemporary-minded" couple with no children and an informal lifestyle. This represented the ideal program for Koenig to realize steel framings potential to achieve a truly open plan design that capitalized upon the vast spans that steel facilitated.</p><br>
<p>By May 1958 Koenig had completed his construction drawings and begun collaboration with factories that were capable of producing the prefabricated steel bents. The bulk of construction took place from August to November of the same year, and by January 1959 the house was officially completed.</p><br>
<h2>Publication</h2><br>
<p>In February 1959 Case Study House #21 was published in Arts & Architecture and was lauded as "some of the cleanest and most immaculate thinking in the development of the small contemporary house." As was standard for all CSHP participants, the house was opened to the public for several weeks of viewing.</p><br>
<p>A year later in 1960, a photographer named Julius Shulman (himself a Case Study client) was invited to photograph the Bailey House. The photographs he took would later become iconic symbols of California Modernism. As one article for L’Uomo Vogue described, Shulman&#39;s architectural photographs of Case Study House #21 and #22 have "an enduring resonance and iconic power. Taken on the eve of America’s involvement in Vietnam they record the last glorious moments of American post-war hegemony and self-confidence and its unquestioned belief in the benefits of progress and technology."</p><br>
<p>Nearly thirty years later in 1989 Shulmans photographs of the Case Study Houses were exhibited at the Los Angeles Museum of Contemporary Art in an exhibit titled "Blueprints for Modern Living" which would ignite a "groundswell of interest in Modernism" and renewed appreciation for Koenigs contribution to the California Modern movement, which had been largely forgotten during the 1970s and ‘80s.</p><br>
<h2>Significant alterations</h2><br>
<p>About 1969 Dr. and Mrs. Bailey relocated to the East Coast for professional reasons and put Case Study House #21 up for sale. Sadly, over the next thirty years a succession of owners exhibited "weaker commitments to maintenance and preservation" than the Baileys had demonstrated. Numerous ad-hoc renovations wreaked havoc upon the original design. Among these were the installation of several skylights and a fireplace.</p><br>
<p>In the 1980s Koenig&#39;s original kitchen was demolished and was replaced with a center-island cooking station. The slab-like white-vinyl-tiled floors that Koenig originally specified were replaced with wide-grout ceramic tiles. Years later Koenig would describe his impressions of the altered house by stating: "even though I knew what had been going on in this house it was a great shock to see it. My houses are like children to me."</p><br>
<p>In 1997 an admirer of Julius Shulmans photography, film producer Dan Cracchiolo expressed interest in the Bailey House after seeing some of Shulmans photographs. He made an offer on the property of $1.5 million. The offer was accepted and Cracchiolo immediately commissioned Pierre Koenig to assist with ‘resuscitating’ the original design.</p><br>
<p>The meticulous restoration that followed would last for over a year, nearly twice the duration of the original construction. In recalling the process Koenig later described the difficulty of "finding the parts." The mosaic tile that covered the walls of the interior courtyard proved particularly challenging. Restoring the essence of the original kitchen with state-of-the-art appliances also proved difficult. The wall-hung refrigerator of the original design was no longer in production by General Electric so Koenig modified three under-counter Sub-Zero Refrigerators by inverting the motor locations to conform to the plan. Koenig also retrofitted the house with state-of-the-art mechanical and lighting elements including an updated water heater and furnace housed in the utility core. When the process was nearly complete Koenig reflected on the restoration acknowledging "a weird sense of déjà vu in working on the same building forty years after I built it the first time" but confessing "a wonderful feeling about getting it right, again."</p><br>
<p>Cracchiolo was not content with a purely architectural restoration and pursued reinstatement of the original furnishings as well. To replace the long-discontinued Formica entry cabinet shown in the famous Julius Schulman photograph, Cracchiolo commissioned Jerry McCabe, the original manufacturer, to repeat the design. Likewise, a black Naugahyde sofa was commissioned to the exact specifications of the original.</p><br>
<p>In a July 1999 Architectural Digest article describing the restoration process Cracchiolo acknowledged feeling "an edgy ambivalence between wanting, on the one hand, to restore Case Study #21 to its original condition of fifties ‘purity’ and, on the other to allow more expression of his own nineties needs and tastes." One example he describes is his desire to display books rather than leaving the walls as pure and bare as the original Shulman photographs depict. In 2001 Pierre Koenig received the City of Los Angeles historic Preservation 2000 Award of excellence for his beautiful restoration of the Bailey House.</p><br>
<p>Shortly after publication of the Architectural Digest article a film producer named Michael LaFetra who had been looking for modern architecture properties came across the article and resolved to purchase the property. It came on the market shortly after and LaFetra’s offer was accepted. Within a week of the purchase LaFetra received a phone message from Pierre Koenig stating: "Hello, this is Pierre, your architect, and I want to talk." Soon after LaFetra was told by Koenig that "he ought not to have to change anything in the house but, if he needed to, he should get in touch with him."</p><br>
<p>Soon after a friendship began and by 2000 LaFetra had commissioned Koenig to design a new home for him on a beachfront lot in Malibu. After ensuring protection for Case Study House #21 by registering it as a Los Angeles Historic-Cultural Monument, the house was put on the market in 2002 to pay for the new construction. With Koenig&#39;s permission LaFetra began work on a documentary to cover the design and construction process, but sadly in 2004 Koenig succumbed to leukemia and died April 4 of that year.</p><br>
<h2>Current condition</h2><br>
<p>In July 2006, Julius Shulman (at age 95) was invited to revisit Case Study House #21 to photograph it in its modern condition for the catalog of an upcoming auction at Wright 20. On December 3, 2006, the property sold for $3,185,600 to a female art collector from South Korea. This sale represented the second highest price of a Modern house at auction, just behind Mies van der Rohe’s Farnsworth House, which sold for $8 million. Reports of the sale describe it as a "watershed moment" in the public acceptance of Modernism as art, rather than real estate.</p><br>
<p>Shulmans latest photographs offer a unique glimpse into the precision of Koenigs restoration. Although Koenig&#39;s completed house is nearly exact to the original design, subtle changes are present. Among these are a slightly altered tiling layout for the inner courtyard wall and a more elaborate fountain mechanism below. The can-like lights that are present throughout the space appear to have a darkened patina applied as compared to the original lacquered fixtures. Additionally, Cracchiolo apparently requested the introduction of semi-translucent glass on the bathroom walls for increased privacy.</p><br>
<p>In November 2016, the home went up for sale at a price of $4.5 million. It wound up selling for $3.26 million in February 2019 to Alison Sarofim, who began another renovation project later that year. Soil under the home&#39;s foundation had subsided and Mark Haddaway was brought in stabilize the residence and prevent further slippage.</p><br>
<h2>Description</h2><br>
<p>In describing his concept for Case Study House #21, Koenig stated "I was trying to develop" 1,300 ft&sup2; "in an efficient, social, and exciting plan that people could afford… I had thrown out all conventional thought because I had no patience with anything that had been done before." The Case Study program called for the design of mass-producible prototypes and Koenig appears to have accomplished this while adequately addressing site-specific factors.</p><br>
<p>CSH #21 is arranged along a north–south axis with a carport on the North side and a fully glazed South side to take advantage of the best view and maximum sunlight for winter months. Koenig opted for a compressed L-shaped plan to establish a linear progression from the carport and entry through the living space and out to the garden. This compression is achieved by opaque, steel decking walls blocking the unattractive views towards the "scrubby hillside" on the West and Wonderland Park Avenue on the East.</p><br>
<p>The main house is a 30 x rectangular plan with a solid rectangular core housing the utilities – two full bathrooms and a mechanical room. Beyond this core lay two efficiently arranged bedrooms. The threshold through this interior courtyard/core provides increased privacy (visually and acoustically) for the bedrooms. By designing a central service core Koenig simplified the language of the perimeter condition to either standard sized sliding glass doors or opaque steel walls. The simplicity of the material vocabulary is what John Entenza found most appealing. When first visiting the house he described it as "a very pristine, clean design. Two details, one north–south, one east–west. One material for the roof, same one for the walls. Minimal house, maximum space."</p><br>
<p>The steel framing system of the house is composed of four prefabricated steel bents 44 ft wide and 9 ft high, forming the interior of the house. In addition, three half-span bents are used to frame the covered carport. Koenig specified identical structure to the houses he worked on with Soriano and Jones – 8 in I-section beams and 4 in H-section columns. Rather than use a standardized 8’ dimension, Koenig opted for a 10 ft spacing between bents for economy and to streamline the overall structure. Koenig frequently stated, "Steel is only as good as its detailing. In order to make exposed steel acceptable in the living room it must be so well detailed that the joining connections are imperceptible."</p><br>
<p>Indicative of the changing context, the property is now surrounded by tall trees and shrubbery, replacing what was once a grand view to the south. This is clearly an adaptation to achieve greater privacy within the now densely populated Hollywood Hills canyon. As an article in House Beautiful magazine described, today "the building’s defiant simplicity stands in stark contrast to the fussy over-scaled residences that sit high on the hills behind it."</p><br>
<h2>Evaluation</h2><br>
<h3>Technical</h3><br>
<p>The rigidity of the steel framing provided sufficient lateral stability in the east–west direction, and the welding of channels to the top and base of each columns provided additional strength in the north–south direction for resistance to seismic forces and wind loads. These expressed elements unify the building aesthetically and structurally.</p><br>
<p>Koenig made use of the sandwiched steel decking walls to conceal insulation, wiring and pipes. By piercing the roof over the bathroom and utility areas, even the core of the house has access to exterior elements such as daylight, rain, and plantings. This feature also provides an acoustical buffer between living and sleeping areas and underscores the airy, natural feel of the house.</p><br>
<p>The furnace in utility core supplies heat to the main space through heating ducts, which are arranged along the base of the glass walls for maximum efficiency. During the winter the lack of overhangs provides maximum passive heat gain, and use of the original Koolshade panels was meant to minimize excessive heat gain in the summer.</p><br>
<p>The circulation of pond water up to the gutters and back down through the roof scuppers represents an early experiment with environmental control systems. As James Steele described in his monograph of Pierre Koenig, "the strategy is both pragmatic and lyrical; the water has some cooling properties and the hard building edge at the ground level is softened by the reflective surface." Additionally, this circulation eliminates the need for chemical treatment of the water.</p><br>
<h3>Social</h3><br>
<p>Although architects of the second phase of the Case Study House Program never gave up their belief in the potential of steel framing for residential construction, the public never embraced the material. As Elizabeth A. T. Smith explained: "Unfortunately, the economic pressures of the era were pushing residential construction another way, to accommodate the merchant builders working to deskill building tradesman and architects, and to glorify the add-ons and fix-ups of Mr. Homeowner and Mrs. Consumer, the stock characters of American advertising lobbying of the 1920s and 30s." Although they imagined factory-based industrial materials could be more economical then traditional wood framing, this was never realized. As such steel-framing faced social and economical obstacles. In the end, the Levittown paradigm would dominate America&#39;s mass housing strategy in the post-war era.</p><br>
<h3>Cultural and aesthetic</h3><br>
<p>By painting the walls and ceiling white and maintaining the factory-applied charcoal Perma-Bar sealer coating on the steel, Koenig created visual emphasis on the structural skeleton. By expressing the volume as a simple box without overhangs Koenig underscored the simplicity of the rectangular forms and achieved an understated elegance.</p><br>
<p>The fully glazed North and South walls blur the interior and exterior – a common goal of the Case Study Houses. Describing the aesthetic goals of the movement Koenig would later explain: "We moved garages to the front and living rooms to the back to put them closer to the yard… We used steel, which in addition to being economical gave us a different living environment. It opened up the plan, letting us use more glass to create more light, which helped heighten the relationship of the interior to the exterior."</p><br>
<p>Koenig&#39;s inclusion of the ponds around the perimeter of the house allows the structure to read as if it is floating. As Elizabeth A.T. Smith described in Blueprints for Modern Living, "reflections of trees and sky intermingled on the water’s surface with the pure lines of the house’s contour…humanized through the merging of the technological with the natural."</p><br>
<h3>Historical</h3><br>
<p>Although CSH #22 is more recognizable, CSH#21 is arguably the finest example of Pierre Koenigs steel-framed houses. It is widely considered to represent the highest point of the Case Study House Programs success. As Neil Jackson stated in his monograph of Koenig, "The Bailey House represents the ultimate refinement of an ideal developed by Koenig in his early houses and built upon through his experience with Soriano and Quincy Jones. It was the simplest of solutions achieved in, apparently, the most effortless way and was a remarkable achievement for such a young man."</p><br>
<p>David Hay summarized the original and continuing importance of the house, stating "Back then, Case Study House 21 was a brilliant response to the design spirit prevalent in Los Angeles — "be modern, be decisive." Now in its restored state, it is a powerful reminder of a time in southern California when architecture insisted on invention."</p><br>
<p>Calvary Lutheran Church and Parsonage is a historic church building and parsonage in Silverton, Oregon, United States. The church is also known as the First Christian Church. The parsonage is Bungalow/Craftsman and Greek Revival style.</p><br>
<p>Originally, the church was known as the First Christian Church. In 1906, the church building became the Norwegian Lutheran Church and in 1926-1927 it was remodeled to its current configuration. The church was sold in 1975, and in 1984, it became the White Steeple Gallery and Tea Room, a name by which it was still known in 1992.</p><br>
<p>The church, a balloon frame 26x52 ft building built during 1891-92, is Gothic Revival in style, with Eastlake ornamentation. It was moved to a new location on a raised foundation on the same tax lot in the 1920s. The parsonage, built in 1926, is a one-and-a-half-story bungalow. The property includes a non-contributing parson&#39;s study, a one-story detached building built between 1953 and 1956, behind the church.</p><br>
<p>The church and parsonage buildings were listed on the National Register of Historic Places in 1985.</p><br>
<p>Greensboro Street Historic District in Starkville, Mississippi is a linear historic district along a residential boulevard that was listed on the National Register of Historic Places in 1983 and increased in 2008.</p><br>
<p>The originally designated area includes 46 structures. It stretches about 0.5 mi along what was referred to locally as Greensboro Street or Greensboro Road or simply Greensboro. Specifically it runs from 302 and 305 Greensboro, near Cushman and Yeats Streets, going west to 606 and 607 Greensboro, at the top of a hill just before Curtis Street.</p><br>
<p>It is significant for representing architectural styles of about six decades of Starkville&#39;s history, starting with the</p><br>
<p>Greek Revival style of houses at 410, 413, and 522 Greensboro that date from the late 1860s and 1870s.</p><br>
<p>Some houses are eclectic and include several styles, such as 404 Greensboro which includes elements of Greek Revival, Italianate, and Gothic architecture.</p><br>
<p>It includes Queen Anne style houses built during 1880–1900 at 306, 504, 515, 518, 601, and 607 Greensboro.</p><br>
<p>Colonial Revival is represented, as is Bungalow/Craftsman architecture from the 1920s on.</p><br>
<p>The Old Middle School Building (1927) is one of very few buildings in Mississippi built in Jacobethan Style.</p><br>
<p>The increase to the district in 2008 added 80 structures, some off of Greensboro, and upgraded the evaluation of nine structures from marginal to contributing.</p><br>
<p>The Tarboro Cotton Press, which is also called the Norfleet Cotton Press or the Edgecombe County Cotton Press, is a wooden cotton press built in the mid-18th century in Edgecombe County, North Carolina. It was moved to the Tarboro Town Common of Tarboro, North Carolina. It was named to the National Register of Historic Places on February 18, 1971. It is located in the Tarboro Historic District.</p><br>
<h2>History</h2><br>
<p>The first owner of the press was Isaac Norfleet, at a plantation about 2.5 mi southwest of Tarboro in Edgecombe County. It was originally a cider and wine press. Around 1860, the press was converted to a cotton press because of the growing need to process the cotton crop. Animal hitches were attached to the booms. Mules and oxen were used to rotate the screw. The overall height of the press is 22 ft.</p><br>
<p>Pictures of the cotton press at its original location show a rectangular open shed with a steep hip roof. The top of the press extends through this roof. It is covered by a smaller, rectangular hip roof that rotates with the screw.</p><br>
<p>In 1938, the press was moved to Tarboro&#39;s Town Common on Albemarle Street, but its shed was demolished. A small octagonal hip roof was built over the press.</p><br>
<p>Additional photographs of the cotton press were taken for the Historic American Buildings Survey. Other photographs are available.</p><br>
<p>There is a similar, older wooden cotton press near Latta, South Carolina. Another antebellum cotton press without the buzzard wings poles is at Magnolia Plantation near Derry, Louisiana. This press has a fixed screw and its base is rotated to compress the cotton.</p><br>
<p>The Latta Cotton Press is an early mule-powered, wooden cotton press built around 1798. It was built and operated at Berry&#39;s Crossroad on South Carolina Highway 38 south of Latta in Dillon County, South Carolina. It was moved about 2.5 mi west around 1950. It was listed on the National Register of Historic Places on November 15, 1972.</p><br>
<h2>History</h2><br>
<p>The cotton press was built around 1798 for baling ginned cotton. It is constructed of pegged and doweled oak. It has a 16 in diameter oak screw that was hand chiseled. Turning the screw compressed cotton into a wooden frame to form a bale. The press has a small rectangular, shingled hip roof to protect the machinery from the weather. Four beams forming a pyramidal frame support the screw. Two long shingled booms that are hinged to the screw extend out from the machine. These booms or poles have been called "buzzard wings." Mules or oxen were used to rotate the screw. The cotton press was either built by or for Stephen Berry or "Buck Swamp" John Bethea.</p><br>
<p>In 1950, it was moved from Berry&#39;s Crossroad to private property on the south side of South Carolina Highway 38 about 0.5 mi west of its intersection of South Carolina Highway 917 and can be viewed from the roadside.</p><br>
<p>Except for minor repairs at its base and roof, the cotton press is constructed of original materials. In 1961, the press was considered to be in excellent condition and an excellent example of handmade craftsmanship. Another antebellum cotton press without the buzzard wings poles is at Magnolia Plantation near Derry, Louisiana. This press has a fixed screw and its base is rotated to compress the cotton.</p><br>
<p>There are additional pictures of the cotton press taken for the Historic American Engineering Record.</p><br>
<p>Sacred Heart Cathedral, Sacred Heart School and Christian Brothers Home comprise a former Roman Catholic diocesan complex in the Central Hillside neighborhood of Duluth, Minnesota, United States. Sacred Heart Cathedral was built from 1894 to 1896 and served as the seat of the Roman Catholic Diocese of Duluth until 1957, after which it became a parish church. Sacred Heart School was built in 1904 and the Christian Brothers Home—a monastic residence for the school faculty—was built in 1907.</p><br>
<p>In 1985 the diocese merged the parish into another and sold off the Sacred Heart buildings. The cathedral is now the Sacred Heart Music Center, a performance and event venue. The school has been repurposed as the Damiano Center, an ecumenical provider of social services. The monastery is now Alicia&#39;s Place, which offers Section 8 housing for homeless women.</p><br>
<p>The cathedral and school were listed on the National Register of Historic Places in 1986. In 2005 the listing was expanded to include the Christian Brothers Home. The complex was listed for its state-level significance in the themes of architecture and religion. It was nominated for its exemplary Late Gothic Revival cathedral designed by local architect Gearhard A. Tenbusch and for representing the historical seat of authority of the Diocese of Duluth and its educational efforts.</p><br>
<h2>History</h2><br>
<p>The buildings belonged to the first Roman Catholic parish in Duluth, founded by Rev. John Chebul in 1870. The parish originally occupied a small wooden building, but it burned down in 1892. A new building was started in 1894 and completed in 1896. A 1,493-pipe pipe organ (Opus 664) was installed in 1898, built by Felgemaker Organ Company, of Erie, Pennsylvania. The organ has been listed by the Organ Historical Society for its "exceptional historic merit, worthy of preservation."</p><br>
<p>In 1985 the Diocese of Duluth announced that the congregation would be merging with the congregation of nearby St. Mary, Star of the Sea, and that the building would be closed. Joan M. (White) Connolly, who had started playing the Sacred Heart organ in 1930 when she was a sophomore in high school, wanted to preserve the building and keep the organ in its original space. She recruited volunteers, and bought the church from the diocese for $1. The church building now serves as a performance space for live music, and is also a venue for weddings, receptions, meetings, and other potential uses.</p><br>
