<p>St. John&#39;s Episcopal Church is an historic church in Tallahassee, Florida. It is located at 211 North Monroe Street. On August 10, 1978, it was added to the USA National Register of Historic Places.</p><br>
<p>The church body was first constituted in 1829. Services were held in the old Leon County court house on Monroe Street from 1829 to 1837. From 1837 to 1879 services were held in first church building at the same site. This building was consecrated in 1838, but eventually burned down in 1879. Services resumed in the court house, which also eventually burned down, and then in the capitol building, during the erection of present Gothic style, red brick church, erected in 1880 and dedicated in 1888. This building still stands, with art glass and memorial glass windows, pipe organ, bronze memorial tablet, altar service, bronze memorial tablet, altar service, carved lectern, prie-dieu, carillon. The church owns its rectory.</p><br>
<p>All Saints Episcopal Church is a historic church in Winter Park, Florida, United States. It is located at 338 E Lyman Avenue. On January 7, 2000, it was added to the USA National Register of Historic Places. It includes Late Gothic Revival architecture designed by Ralph Adams Cram and by H.C. Cone.</p><br>
<h2>History</h2><br>
<p>In 1886, an Episcopalian church was built on the land. By 1937, instead of renovating the current building, the congregation wanted to construct a new, larger building. The church hired architectural firm Cram and Ferguson to design it. With World War II on the horizon, the church pushed to start the new church&#39;s construction in 1941. On March 29, 1942, the first worship service in the new church was held by Reverend Paul Matthews. Stained glass windows were installed in the church between 1946 and 1947 by the Willet Stained Glass Studio.</p><br>
<h2>Rectors</h2><br>
<p>(1945–1950) James L. Duncan, later suffragan bishop of the Episcopal Diocese of South Florida and first bishop of the Episcopal Diocese of Southeast Florida.</p><br>
<p>The current Rector is Stuart Shelby.</p><br>
<p>The Norton House is a historic home located at 253 Barcelona Road in West Palm Beach, Florida. On July 26, 1990, the house was added to the USA National Register of Historic Places. It is also a contributing property to the El Cid Historic District.</p><br>
<p>The Ann Norton Sculpture Gardens consists of the Norton House and 1.7 acre property, and features over 100 sculptures by Ann Weaver Norton (1905–1982), the second wife and widow of Ralph Hubbard Norton (1875–1953). The sculptures are displayed in the house, studio and gardens, which feature over 300 species of tropical palms. Ralph Hubbard Norton was the founder of the Norton Museum of Art.</p><br>
<p>The Arcade Hotel  is a historic hotel in Tarpon Springs, Florida, United States. It is located at 210 South Pinellas Avenue. On January 12, 1984, it was added to the USA National Register of Historic Places. Several guests had stayed there throughout the 1930s and committed suicide in the hotel after Black Tuesday, the beginning of the Great Depression. The building now houses several shop. It is located on alt. 19 in Tarpon Springs Florida, near the historic downtown.</p><br>
<p>White Hall is a historic site on the campus of Bethune-Cookman University in Daytona Beach, Florida, United States. It is located at 640 Mary McLeod Bethune Boulevard . On July 15, 1992, it was added to the USA National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>White Hall is named after Thomas H. White, founder of the White Sewing Machine Company. Mr. White met Mary McLeod Bethune while vacationing in Florida. He became a trustee of the school (then known as the Daytona Educational and Industrial Training School) and financial supporter. White Hall was built in 1915 with classroom and office spaces. It closed in 2010 for renovations, and it reopened and was rededicated in August 2012. White Hall houses Bethune-Cookman Universitys presidents suite and administrative offices.</p><br>
<p>The Alexander Hotel is an historic hotel located at 535 Central Avenue between 5th Street S. and 6th Street S. in downtown St. Petersburg, Florida. The four-story, buff-colored brick building was built in 1919 and was designed by Neel Reid in the Classical Revival style. It has been converted to an office building. On November 1, 1984, it was added to the National Register of Historic Places. It is located within the Downtown St. Petersburg Historic District.</p><br>
<p>The Studebaker Building  is a historic site in St. Petersburg, Florida. It is located at 600 4th Street South. On July 5, 1985, it was added to the USA National Register of Historic Places.</p><br>
<p>Built in 1925, the Studebaker Building is historically significant for its association with the Florida Land Boom of the 1920s and the relationship of the automobile industry and suburbanization. The building symbolizes the importance of the Studebaker automobile within that industry in the 1920s, particularly the Peninsular Motor Company of southwest Florida, the fourth largest Studebaker dealer in volume in the country by 1925. When the building opened, the company was the fourth largest Studebaker dealer in the world. The company employed 300 people, with 56 working in St. Petersburg&#39;s showroom. However, by 1926 the Peninsular Motor Company went bankrupt as a result of the collapse of the boom, and the Studebaker Building was closed.</p><br>
<p>The Boone House is a historic home in St. Petersburg, Florida, United States. It was built in 1910 in the Colonial Revival style of architecture. According to a 1978 survey of 26 other homes that were built no later than 1910, only the Willard and the Boone Houses feature masonry construction. The house is named after Benjamin T. Boone, who devoted himself to real estate development in St. Petersburg. It is located at 601 Fifth Avenue North. On July 3, 1986, it was added to the USA National Register of Historic Places.</p><br>
<p>The Roosevelt School  is a historic school in Lake Wales, Florida. It is located at 115 E Street. On March 29, 2001, it was added to the USA National Register of Historic Places. Originally this school served the African-American Community or the Northwest community in Lake Wales. Currently it is an ESE vocational school specifically designed to teach and train students in grades 6–12 with learning disabilities to adapt and excel in society</p><br>
<p>Roosevelt School - This school was completed in 1937 and named for Franklin Delano Roosevelt. Classes were held for grades 1 - 9. In 1939, it became a full-fledged senior high school. In May 1940 the first commencement exercises were held with 13 students being granted diplomas. In 1950, the addition of Unit G was made; in 1955, Units A, B, D, E, were added and the gymnasium was constructed in 1957. Enrollment during the 1960s reached over 1,300. Roosevelt served African-American students from Frostproof as well as Lake Wales.</p><br>
<p>Roosevelt Academy - In the early 1980s Roosevelt was converted to a vocational school and is part of the Polk County School System.</p><br>
<p>The St. George Antiochian Orthodox Church is an Antiochian Orthodox church across from Lake Eola, in Orlando, Florida.</p><br>
<p>The church building was originally the First Church of Christ, Scientist. Originally built in 1927, the building was added to the National Register of Historic Places on June 3, 1980. The Church of Christ, Scientist congregation now holds services at 915 North Ferncreek.</p><br>
<h2>Current function</h2><br>
<p>St. George Antiochian Orthodox Church is under the Antiochian Orthodox Christian Archdiocese of North America and the Very Reverend Father John E Hamatie is the Presiding Priest.</p><br>
<p>Orlando Scientist Greek Church05.jpgRear and side view</p><br>
<p>Orlando Scientist Greek Church plaque01.jpgActual National register plaque on church</p><br>
<p>Orlando Scientist Greek Church detail01.jpgChurch cornerstone</p><br>
<p>Orlando Scientist Greek Church04.jpgSide view</p><br>
<p>Orlando Scientist Greek Church07.jpgSide detail</p><br>
<p>Orlando Scientist Greek Church detail02.jpgEntrance detail</p><br>
<p>Orlando Scientist Greek Church02.jpgAnother front view</p><br>
<p>Orlando Scientist Greek Church06.jpgAnother side view</p><br>
<p>The Security Building is a historic site in Miami, Florida. It is located at 117 Northeast 1st Avenue. On January 4, 1989, it was added to the USA National Register of Historic Places. The building has 16 floors with a height of 225 ft and was built from 1926 to 1927.</p><br>
<h2>History</h2><br>
<h3>Construction for Dade County Security Company</h3><br>
<p>The Dade County Security Company was organized in 1901 and moved to a nearby headquarters in 1923. By the mid-1920s the company needed a larger headquarters. In 1921, the Dade County Security Company had acquired the McKinnon Hotel which occupied a mid-block parcel on Northeast 1st Avenue and renamed it the Security Hotel. Dade Security had considered adding stories atop the hotel, but opted in 1925 to raze the hotel and construct a new headquarters on the same site under the direction of architect Robert Greenfield. Upon opening, the first level and mezzanine were devoted to banking offices. The floors above provided 275 office suites and were reached by four "high speed" elevators.</p><br>
<h3>Successor Banks and Office Uses</h3><br>
<p>In 1945, the newly-formed Pan American Bank of Miami became the primary tenant in the building. and the structure&#39;s name was changed to the Pan American Bank Building. In September 1952, the name reverted to the Security Building when the Pan American Bank moved to a new headquarters on SE Third Avenue. The Metropolitan Bank moved in to the banking hall in 1953 and in April 1957 the name was changed to Metropolitan Bank Building.</p><br>
<p>In 1962, Capital National Bank acquired Metropolitan Bank and from 1964 until 2015, the building was referred to as the Capital Bank Building or just the Capital Building. In March 2003, the building was identified as historic by the Miami Historic and Environmental Preservation Board.</p><br>
<h3>Capital Lofts project</h3><br>
<p>Between 2004 and 2008, the Capital Lofts project undertook the conversion of the building into office condominiums. The project was halted by the Financial crisis of 2007–2008. In 2014, the Downtown Arts and Science Salon (DASS) was founded and used the first floor as an exhibition and lecture space.</p><br>
<h3>WeWork Security Building</h3><br>
<p>In June 2015, the Capital Building was sold for $23.5 million and the following October WeWork agreed to lease the entire building for a term of 15 years. The building began operations as WeWork&#39;s downtown Miami flagship location in December 2017 following a $20 million dollar renovation, offering space for more than 1,200 members in a mix of private offices, 17 "nooks", 28 meeting rooms, 20 lounges, phone booths, and event space. The original first floor bank vault was converted to a "quiet room."</p><br>
<p>In early 2019, an investor group proposed purchasing the Security Building using tokenized ownership. Inveniam Capital Partners proposed a purchase price of $65.5 million, and a Dutch auction to allocate equity, in what was claimed to be "one of the largest known cryptocurrency real estate transactions of its kind." The buyer backed out of the transaction, citing problems with its senior lender and perceptions of WeWork.</p><br>
<h2>Design and appearance</h2><br>
<p>The Security Building faces west onto NE 1st Avenue. It is located in mid-block with buildings on either side. Those buildings are considerably shorter than the Security Building. The building maintains a 0 ft setback, and the entry doors open directly onto the sidewalk. There are no landscape features on the property. The building is composed of a main block parallel to the street, and a second block connected perpendicularly that extends to the east.</p><br>
<p>With only a 50 ft frontage, the architect made a grand statement by creating an almost temple-like base, consisting of the first three stories. Engaged pilasters, that also frame the center bay, articulate the corners creating three distinct bays. Spandrels between the floors are bronze and feature relief ornament. The pilasters carry the entablature, with the name “Security Building” in incised letters. A dentilled molding ornaments the cornice that terminates this division of the building.</p><br>
<p>The fourth floor begins the transition to the high-rise portion of the building. Stone panels with a similar relief accent the corners and separate the bays. Above the windows of the fourth floor is another projecting element, a stringcourse that is ornamented with a guilloche pattern in relief.</p><br>
<p>Floors five through 13 continue the three bays with window arrangements that are grouped in pairs on each of the end bays, and are grouped in three in the center bay, emphasizing the importance of the center bay to the entire composition. The windows are a metal casement type.</p><br>
<p>The 14th and 15th floors function as the base for the great mansard roof, which terminates the building. To balance the composition, the two floors are treated as if they were one by the use of a round arch at the 15th floor that is carried by the pilasters of the 14th floor, so that the two floors are visually united.</p><br>
<p>A bracketed cornice separates the building from the roof form that is so decidedly different from roof treatments in Miami during this period. A mansard roof is a double-pitched roof with a steep upper slope. The mansard roof was named for architect Francois Mansart (1598–1666). Mansart worked in the 17th century and introduced the roof form that extended attic space to provide additional usable area. The mansard roof is a character-defining feature of the Second Empire style that was named after Napoleon III, who took on major building projects in Paris during the 18th century. The mansard roof of the Security Building is clad in copper and terminates in a series of antefixae. A series of arches containing windows and serving as dormers penetrate the roof. Bull&#39;s-eye windows are placed between the arched windows. An eight-sided cupola that extends from the center of the roof is fenestrated on each side with a multi-paned arched window. The dome of the cupola also is clad in copper.</p><br>
<p>The north and south ends of the building are not ornamented. The windows are a</p><br>
<p>metal casement type. The quoining on the corners of the west elevation is repeated in the north and south elevations of the building. The extension to the east is flat-roofed, and is terminated by a defined cornice. The majority of the wall surface contains windows that are either square or rectangular in shape. They contain metal casement windows.</p><br>
<p>The City National Bank Building  is a historic bank building in Miami, Florida. It is located at 121 Southeast 1st Street.</p><br>
<h2>History</h2><br>
<p>Construction of building was completed shortly before the 1926 Miami hurricane, which ended the early-1920s real estate boom in Miami.</p><br>
<p>Film producer Louis B. Mayer owned the building from 1952 until his death in 1959.</p><br>
<p>On January 4, 1989, the building was added to the National Register of Historic Places as the "City National Bank Building".</p><br>
<p>In 2012, the building was sold and renovated to become a boutique Langford Hotel.</p><br>
<p>The Fire Station No. 2  is a historic fire station in Miami, Florida. On January 4, 1989, it was added to the USA National Register of Historic Places.</p><br>
<p>A proposal for it to be designated as a City of Miami historic site was prepared by the, and it was so designated.</p><br>
<p>The building is now owned by a Community Redevelopment Agency (CRA) called the Omni CRA. Ownership was transferred from the Miami. In late 2011, the Omni CRA launched a US$2M renovation in order to refurbish the building and use it as the CRA&#39;s main office. The nearby Omni Center was purchased in October 2011 by the Genting Group in an effort to establish a Las Vegas-style gambling operation. The vacant Fire Station No. 2 was constructed in 1926 by architect August C. Geiger, the tenth registered architect in Florida. The groundbreaking ceremony took place onsite on December 19, 2011.</p><br>
<p>Firehouse II, Miami 1926.jpgFirehouse II, Miami 1926</p><br>
<p>Miami Fire Station No. 2.jpgThe station after renovations in 2011</p><br>
<p>The Central Baptist Church is a historic church in Miami, Florida. It is located at 500 Northeast 1st Avenue. On January 4, 1989, it was added to the USA National Register of Historic Places. On October 21, 2007, Central Baptist Church voted to merge with Christ Fellowship, originally named First Baptist Church of Perrine. The church was built in 1925.</p><br>
<p>The Central Baptist Church is directly served by the Miami Metrorail at Government Center via free transfers to the Metromover, which provides direct service to the College North station. The church is also within walking distance from the Historic Overtown/Lyric Theatre Metrorail station.</p><br>
<p>The Plymouth Congregational Church is a historic church located at 3429 Devon Road corner of Main Highway in the Coconut Grove in Miami, Florida.</p><br>
<p>The land was donated by George Spalding and George E. Merrick. The architect was Clinton MacKenzie.</p><br>
<p>The Edifice Religious was founded in the 1897, and completed in the 1917, the church was built by a single man, Felix Rebom, using only a hatchet, a trowel, a plumb line, and a T-square. Its architecture was modeled after the old Spanish missions of Mexico. On April 18, 2012, the AIA&#39;s Florida Chapter placed Plymouth Congregational Church on its list of Florida Architecture: 100 Years. 100 Places. On July 23, 1974, it was added to the USA National Register of Historic Places.</p><br>
<p>Circa 1941, the WPA-sponsored American Guide Series book about Miami and environs described the church: "PLYMOUTH CONGREGATIONAL CHURCH, at Ingraham Hwy. and Devon Rd. is a reproduction of a Mexican mission. The interior of the vine-covered stone building is constructed on the lines of a basilica and the doors are said to have come from a Spanish mission in Mexico. In one of the doors is a round cat-hole, now covered with screen. Many outdoor weddings have been performed at the pulpit in the walled garden."</p><br>
<p>Chesham is an unincorporated community within the town of Harrisville in Cheshire County, New Hampshire, United States. Part of the village is listed on the National Register of Historic Places as the Chesham Village District, while the southernmost portions are included in the Pottersville District, also listed on the National Register.</p><br>
<p>Chesham began as a nucleus of agricultural development in the early 19th century; the area saw increased development with the arrival of the railroad in 1880. This included the construction of the depot, and the adaptation by George Bemis of his property (across the street from the depot) as a livery stable. The area was given its name by George Chase, a summer visitor whose nearby estate in Dublin was called Chesham. The area&#39;s economic activity began to subside after the end of railroad service in 1936.</p><br>
<p>Chesham has an elementary school called Wells Memorial School. It has approximately 55 pupils up to grade 6.</p><br>
<p>The Community Church of Harrisville and Chesham was formed from Chesham Baptist Church and Harrisville Congregational Church. Chesham Baptist Church dates back to 1785. The church building was originally built in 1797, re-modeled in 1830, and again re-modeled in 1844.</p><br>
<p>The historic district consists mainly of a stretch of Chesham Road, extending eastward from its junction with Roxbury and Silver Lake Roads. The junction is one of the village&#39;s central points, where the railroad station and a surviving store building are located, as is the temple-fronted Greek Revival house of George Bemis. There are six houses in the district, ranging in style from the Greek Revival to the Colonial Revival.</p><br>
<p>The Anderson–Aminur trank House  is a historic home in Tampa, Florida, United States. It is located at 341 Plant Avenue. On April 22, 1982, it was added to the USA National Register of Historic Places. The architects credited with designing the house are Francis J. Kennard and Michael J. Miller.</p><br>
<p>The house was built for James B. Anderson during 1898–1901. It is a two-and-a-half-story house which was deemed "significant as one of the best examples of Colonial Revival style architecture in Tampa, Florida....he house is a masterly example of Colonial Revival design, subtly combining materials, textures, and patterns in a free but harmonic relationship to each other." The house&#39;s asymmetrical design and a wraparound porch are elements of Queen Anne style architecture in the United States.</p><br>
<p>Copper Culture State Park is a 42 acre Wisconsin state park in Oconto, northeastern Wisconsin, United States. The park has natural areas, farmlands, archaeological sites, and a Native American museum.</p><br>
<h2>Features</h2><br>
<h3>Archaeological site</h3><br>
<p>The park contains an ancient burial ground used by the Old Copper Complex Culture of early Native Americans, between 5,000 and 6,000 B.C.E. during the Copper Age. It was rediscovered in June 1952 by a 13-year-old boy who unearthed human bones while playing in an old quarry. By July the first archaeological dig had commenced, as part of the program of the Wisconsin Archaeological Survey.</p><br>
<h4>Artifacts</h4><br>
<p>Utilitarian products were much more numerous than ornamental items in the grave goods found, and the ancient artifacts were created from various materials.</p><br>
<p>Copper: awls, crescents, clasps; and a spear-point, fishhook, bracelet, spirally-coiled tubing, rivet, and a spatula.</p><br>
<p>Chipped stone: scraper, projectile points.</p><br>
<p>Bone: awl (fish jawbone), and a "fine specimen of a whistle" (leg bone of a swan).</p><br>
<p>Antler: possible flaking tools.</p><br>
<p>Shell: pond snail (Campeloma decisum) beads.</p><br>
<p>The ancient burial ground is a National Historic Landmark, on the National Register of Historic Places listings in Wisconsin, and protected within Copper Culture State Park.</p><br>
<h3>Charles Werrebroeck Museum</h3><br>
<p>The Oconto Archaic Copper Museum is located within the Charles Werrebroeck Museum—Belgium Home, a traditional Belgian style farmhouse built in 1924 by Charles Werrebroeck. Artifacts and photographs from excavations on the park&#39;s grounds are displayed in the museum.</p><br>
<h3>Recreation</h3><br>
<p>Other features in the 40-acre Copper Culture State Park include picnic tables, BBQ grills, restrooms, and a community pavilion.</p><br>
<p>Nature trails explore various natural habitats in the park.</p><br>
<p>Laurentian Mixed Forest woodlands</p><br>
<p>Riparian zone of the Oconto River, and fishing in it.</p><br>
<p>Short-grass prairie</p><br>
<h2>Access</h2><br>
<p>Copper Culture State Park is managed by the Oconto County Historical Society, a non-profit organization, rather than the Wisconsin Department of Natural Resources, therefore admission is free. Visitors do not require a Wisconsin state park pass to enter, but are encouraged to make a donation at the museum.</p><br>
<p>The Charles Werrebroeck Museum, with the Oconto Archaic Copper Museum, is open in the summer daily from Memorial Day to Labor Day from 10am to 4pm, or by appointment. Free admission and guided tours are available.</p><br>
<p>11 East Forsyth, formerly known as the Lynch Building and the American Heritage Life Building, is a historic structure in Jacksonville, Florida. Originally developed by Stephen Andrew Lynch, as its current name suggests, it is located at 11 East Forsyth Street in Downtown Jacksonville. On December 23, 2003, it was added to the USA National Register of Historic Places.</p><br>
<p>Vestcor invested more than $24 million to restore the building&#39;s exterior and transform the former offices into loft apartments, which tenants began to occupy during 2003.</p><br>
<h2>Construction</h2><br>
<p>The 17-story, 153,000 ft&sup2; building originally contained commercial offices and was opened by entrepreneur and film pioneer Stephen Andrew Lynch. It was designed by architects Pringle & Smith in 1926 in the Chicago School style. It was constructed with limestone, marble and a facade of brick; the top of the structure contained a capital of terra-cotta. When it opened in 1926, it was Jacksonville&#39;s second tallest building, one floor less than the Barnett National Bank Building.</p><br>
<p>The building was renovated in 1962 and renamed the American Heritage Life Building when it was utilized as home office of the American Heritage Life Insurance Company. When the company built a new headquarters and left the downtown during the late 1980s, the structure was unoccupied for many years.</p><br>
<h2>Current use</h2><br>
<p>Jacksonville developer Vestcor began a historic preservation of the building in 2002 after obtaining a $17.8 million, 1.5% interest, 20-year loan from the city of Jacksonville. Elevators, HVAC, electrical, plumbing and other infrastructure was modernized and a six-story parking garage was constructed adjacent to the building. The second floor was converted into a large community club room, a fitness center and a media room. Modern amenities were added while respecting the historic integrity of the structure. The building was renamed to "11 East Forsyth" and 127 apartments were opened in 2003 after $24 million and a year of construction. A Starbucks coffee bistro opened, but subsequently closed, leaving no tenants in the 4,500 ft&sup2; of first-floor commercial space.</p><br>
<p>In late December 2009, Vestcor requested a modification to their loan terms, citing three years of operating losses at 11 East and their other renovated building, The Carling. The company asked for three years of interest-only payments plus low interest loans to potential tenants for the empty commercial space at 11 East. Three months later, the city approved the plan for principal deferral but took no action on tenant loans.</p><br>
<p>The Van Brunt House  is a historic home in Miccosukee, northeastern Leon County, Florida, US.</p><br>
<h2>Location</h2><br>
<p>Van Brunt House is located on State Road 59, north of the junction with Moccasin Gap Road. On February 27, 1997, it was added to the US National Register of Historic Places.</p><br>
<h2>History and construction</h2><br>
<p>The home was constructed in 1911 by Richard A. Van Brunt, a merchant who owned and operated a country general store in Miccosukee. It is a wood framed vernacular building with a symmetrical facade. There is a central main door with transom and side lights. It has a side gabled roof with dominant gable returns. Further, it has two chimneys that serve six fireplaces. The gable returns were possibly borrowed from the Methodist Church and Averitt-Winchester House. Van Brunt and his neighbor, Dr. Strickland, were from the Iamonia community, where Van Brunt ran a successful general store and cotton business. His business was also moved to Miccosukee but it was short-lived. Rinaldo F. Van Brunt died in 1914 and his widow continued in life by boarding teachers employed at the Concord School.</p><br>
<p>The William J. Burns House is a historic house located at 47 South Washington Drive in Sarasota, Florida. It is locally significant as an excellent example of the Mediterranean Revival style, as well as the work of local architect Thomas Reed Martin.</p><br>
<h2>Description and history</h2><br>
<p>It is a 2-story, Mediterranean Revival style house with an irregular floor plan. It rests on a concrete foundation and has exterior walls of stucco. Most of the house is covered with hipped roof segments, surfaced with clay barrel tiles. A few areas of the roof are flat due to its extensive use of built-up roofing material. Scuppers are placed right below the roof line at intervals around the house.</p><br>
<p>It was added to the National Register of Historic Places on March 21, 1997.</p><br>
<p>The Portal of the Folded Wings Shrine to Aviation is in Burbank, California. The shrine is a 75 ft structure of marble, mosaic, and sculpted figures and is the burial site for fifteen pioneers of aviation. Designed by Kenneth A. MacDonald Jr. and sculptor, Federico Augustino Giorgi, it was built in 1924 as the entrance to Pierce Brothers Valhalla Memorial Park Cemetery. Aviation enthusiast James Gillette was impressed by the rotunda&#39;s close proximity to the airport and Lockheed Aircraft Company. He conceived a plan to use the structure as a shrine to aviation and worked to that end for two decades. It was dedicated in 1953 by aviation enthusiasts who wanted a final resting place for pilots, mechanics, and other pioneers of flight.</p><br>
<p>Dedicated to the honored dead of American aviation on the 50th anniversary of powered flight, December 17, 1953, by Lieutenant General Ira C. Eaker USAF (retired). Beneath the memorial tablets in this sacred portal rest the cremated remains of famous flyers who contributed so much to the history and development of aviation. The bronze plaques upon the marble walls memorialize beloved Americans who devoted their lives to the advancement of the air age. Administered under the auspices of the Brookins–Lahm–Wright Aeronautical Foundation, this shrine stands as a lasting tribute.</p><br>
<p>On May 27, 1996, it was rededicated by Dr. Tom Crouch, Chairman of the Aeronautics Department at the National Air and Space Museum of the Smithsonian Institution.</p><br>
<h2>Burials</h2><br>
<p>Bertrand Blanchard Acosta (1895–1954), co-pilot with Admiral Richard Byrd in 1927</p><br>
<p>Jimmie Angel (1899–1956), discoverer of Angel Falls – cenotaph, his ashes were later removed and scattered over the falls.</p><br>
<p>Walter Richard Brookins (1889–1953), flew for the Wright brothers</p><br>
<p>Mark Mitchell Campbell (1897–1963), stunt pilot and aircraft designer</p><br>
<p>John Franklin Bruce Carruthers (1889–1960), Chaplain of the Portal of the Folded Wings and air historian. His epitaph reads: "At the grave, when my warfare is ended. Though no flowers emblazon the sod. May a prayer mark the good I intended. Leaving all decoration to God."</p><br>
<p>Amelia Earhart (1897–1937), pioneering aviator (lost at sea – cenotaph)</p><br>
<p>Warren Samuel Eaton (1891–1966), Colonel and early pilot who built airplanes for Lincoln Beachy</p><br>
<p>Winfield Bertrum Kinner (1882–1957), a.k.a. Bert Kinner, built "Kinner" airplanes. Amelia Earhart flew a Kinner.</p><br>
<p>Augustus Roy Knabenshue (1876–1960), balloon and dirigible pilot who flew in the Dominguez Air Meet in 1910 and manager of the Wright brothers exhibition team, the "Wright Fliers."</p><br>
<p>John Bevins Moisant (1868–1910), won the Statue of Liberty Race in 1910; first to carry a passenger across the English Channel.</p><br>
<p>Matilde Moisant (1878–1964), the second licensed female pilot in the United States in 1911</p><br>
<p>Elizabeth Lippincott McQueen (1878–1958), one of Los Angeles&#39;s first female pilots</p><br>
<p>James Floyd Smith (1884–1956), test pilot and instructor for Glenn Martin and manufacturer of parachutes. He built and flew his own plane in 1912 and invented the free-type manually operated parachute for the Army in 1918.</p><br>
<p>Hilder Florentina Smith (1890–1977), aerial acrobat and parachute jumper. She was married to James Floyd Smith.</p><br>
<p>Carl Browne Squier (1893–1967), World War I aviator, barnstormer, test pilot, and salesman. As Vice President of Lockheed Aircraft he sold Charles and Anne Lindbergh their Sirius airplane in 1931.</p><br>
<p>Charles Edward Taylor (1868–1956), machinist for the Wright brothers who helped design and build the first engine for the Wright Flyer flown at Kitty Hawk</p><br>
<p>The Burbank Aviation Museum, inside the shrine, is open on the first Sunday of each month from 1 to 3 p.m.</p><br>
<p>The Thomas Leiper Estate, also known as Avondale, is an historic, American estate that is located in Wallingford in Nether Providence Township, Delaware County, Pennsylvania.</p><br>
<p>It was added to the National Register of Historic Places in 1971.</p><br>
<h2>History and architectural features</h2><br>
<p>Built by Thomas Leiper circa 1785, this historic estate was named Strath Haven after Leipers birthplace in Strathaven, Scotland, and includes a three-story, yellow-stuccoed mansion house, a "Fireproof" vault, a communal outhouse, a barn, a carriage house, a smokehouse, a warehouse, a tenants house, and a quarry. Two local schools, Strath Haven High School and Strath Haven Middle School, are named for the estate.</p><br>
<p>It was added to the National Register of Historic Places in 1971.</p><br>
<p>The Friends of the Leiper House offers weekend guided tours of the house from April through December.</p><br>
<p>Leiper estate bank.jpgFireproof vault</p><br>
<p>Thomas Leiper Estate 8 seater.jpg"Necessary", seats eight</p><br>
<p>Memorial Plaque at Thomas Leiper Estate.jpgCommemorative Plaque at Thomas Leiper Estate</p><br>
<h2>Architecture and history</h2><br>
<p>In addition to the detailed ornamentation around the street-level entry way, the Garfield Building has an art deco lobby. It was a working office building for many years, but has been empty since its sale in 1991. The building has 99,970 ft&sup2; of rentable space for filming or other events. Located just off of South Hill Street at 403 West 8th Street, it is in the downtown Jewelry District, which in recent years, has had a revival, with lofts, artist&#39;s work spaces, and new shops, restaurants, and businesses around the Garfield.</p><br>
<p>The main entrance is marked by an elaborate wrought iron entrance canopy above and a terrazzo sidewalk below. Floral and grapevine patterns decorate the open grillwork above the entrance. The lobby is graced with polished nickel fittings, elegant display cases, and Gothic-style chandeliers in tones of gold and silver. The walls and floors of the lobby are clad in alternating bands of black and purple marble, and the twenty-foot lobby ceiling has a low bas relief pattern in plaster.</p><br>
<p>The building was sold in 1991 and since then has been vacant. The Los Angeles Downtown News named the building one of the "Ten Worst Eyesores" of downtown Los Angeles.</p><br>
<p>It has been declared as Los Angeles Historic-Cultural Monument No. 121.</p><br>
<p>In March of 2023, the building was sold for $19 million to a Bay Area firm that plans to turn the Garfield into a boutique hotel.</p><br>
<p>Muscle Shoals Sound Studio is an American recording studio in Sheffield, Alabama, formed in 1969 by four session musicians known as The Muscle Shoals Rhythm Section. They had left nearby FAME Studios in Muscle Shoals to create their own recording facility.</p><br>
<p>They attracted noted artists from across the United States and Great Britain. Over the years, artists who recorded at Muscle Shoals Sound Studio included Bob Dylan, The Rolling Stones, Aretha Franklin, Wilson Pickett, Willie Nelson, Duane Allman, Lynyrd Skynyrd, Joe Cocker, Levon Helm, Paul Simon, Bob Seger, Rod Stewart, Cat Stevens, Cher, George Michael, and The Black Keys.</p><br>
<h2>History</h2><br>
<h3>Founders</h3><br>
<p>The four founders of the studio, Barry Beckett, Roger Hawkins, Jimmy Johnson and David Hood, were session musicians at Rick Hall&#39;s FAME Studios; they were officially known as the Muscle Shoals Rhythm Section but widely referred to as "The Swampers," who were recognized as having crafted the "Muscle Shoals sound" in conjunction with Hall.</p><br>
<p>The Muscle Shoals Rhythm Section was the first group of musicians to own a studio and to eventually run their own publishing and production companies. They provided musical backing and arrangements for many recordings, including major hits by Wilson Pickett, Aretha Franklin, and the Staple Singers; a wide range of artists in popular music also recorded hit songs and complete albums at the studio. They had first worked together in 1967 and initially played sessions in New York and Nashville before doing so at FAME. Their initial successes in soul and R&B led to more mainstream rock and pop performers who began coming to record at Muscle Shoals Sound Studios, including the Rolling Stones, Bob Dylan, Duane Allman, Traffic, Bob Seger, Glenn Frey, Elton John, Paul Simon, Boz Scaggs, Willie Nelson, Dr. Hook, Elkie Brooks, Millie Jackson, and Julian Lennon.</p><br>
<h3>3614 Jackson Highway</h3><br>
<p>The Muscle Shoals Rhythm Section partnered with producer Jerry Wexler, who provided start-up funding, to found Muscle Shoals Sound Studio at 3614 Jackson Highway in Sheffield. The concrete block building, originally built around 1946, was previously a coffin showroom.</p><br>
<p>Cher&#39;s sixth album was titled 3614 Jackson Highway (1969) and this became the informal name for the studio in 1969.</p><br>
<p>The first hit to the studios credit was R. B. Greaves "Take a Letter Maria". By December 1969, the Rolling Stones were recording at this new location for three days.</p><br>
<h3>1000 Alabama Avenue</h3><br>
<p>The studio at 3614 Jackson Highway closed in April 1979, relocating to a larger updated facility in Sheffield located at 1000 Alabama Avenue. This location operated until it was closed and sold in 1985 to Malaco Records, Tommy Couch&#39;s Jackson, Mississippi-based soul and blues label, which also bought the publishing rights held by the Muscle Shoals Sound. Malaco used the Sheffield studios for its own artists, including Johnnie Taylor, Bobby Bland and Little Milton, while continuing to operate its original facility in Jackson. The Rhythm Section, minus Beckett, worked with other studio musicians at Malaco Records and at other studios. In 2005, Couch decided to close the Malaco studio on Alabama Avenue because he was having difficulty competing with more technologically advanced studios.</p><br>
<p>After the closure of the 1000 Alabama Avenue location, the building was taken over by a movie production company. In 2007, this location housed Cypress Moon Productions and the Cypress Moon Studio with functioning recording equipment, which was operating as a recording studio and was open for tours.</p><br>
<h3>Recent history</h3><br>
<p>Although it was no longer a working studio in 2009 and 2010, the Jackson Highway location was rented for recording some or all of two Grammy-nominated albums. Band of Horses&#39;s third CD, Infinite Arms, recorded in part at that studio, was nominated for a Grammy Award in the category Best Alternative Album.</p><br>
<p>Ten tracks of Black Keyss sixth album, Brothers, were also recorded at 3614 Jackson Highway. The album was nominated for a 2011 Grammy Award for Best Alternative Music Album. Two songs from the album, "Tighten Up" and "Black Mud", were nominated for Grammys: "Tighten Up" for Best Rock Performance by a Duo or Group with Vocal and Best Rock Song and "Black Mud" for Best Rock Instrumental Performance. Rolling Stone magazine placed the album at number-2 on its list of the Best Albums of 2010 and "Everlasting Light" at number 11 on its list of the Best Singles of 2010. The album was also featured on Spin magazines Top 40 Albums of 2010.</p><br>
<p>Chris Stapleton recorded his Grammy winning single, "Cold" at Muscle Shoals Sound Studio in December 2018 and received the Grammy in 2022 thus making the studio one that produces Grammy winning hit records once again.</p><br>
<h3>Restoration and reopening</h3><br>
<p>The original studio building on Jackson Highway, which had become an audio visual retailer and then an appliance store until 1999, changed ownership, the subsequent owner completing some renovations and retaining the old recording equipment, allowing for tours of the property. The building was listed on the National Register of Historic Places in June 2006.</p><br>
<p>In 2013, the documentary Muscle Shoals raised public interest in a major restoration of the studio, and in June that year, the owner sold the property (without the historic recording equipment) to the Muscle Shoals Music Foundation, an organization that had been formed earlier that year with the goal of establishing a music museum in the historic building. A large grant from Beats Electronics provided an essential $1 million. The state tourism director said that the 2013 Muscle Shoals film had significant influence. "The financial support from Beats is a direct result of their film." Additional donations were made by other groups and individuals.</p><br>
<p>The building closed when major restoration work began in September 2015, and reopened as a finished tourist attraction operated by the Muscle Shoals Music Foundation on January 9, 2017. The interior is reminiscent of the 1970s, with relevant recording equipment and paraphernalia. According to a journalist who was a recent visitor, the restored studio is impressive: "Muscle Shoals Sound&#39;s interior appears much as it did in its prime.... Some guitars and amps. A Hammond organ, Wurlitzer electric piano and black baby grand. The control room with recording console and analog tape machine... There are isolation booths, for vocals, percussion and such..."</p><br>
<p>The Alabama Tourism Department named Muscle Shoals Sound Studio as the state&#39;s top attraction in 2017, even before the Jackson Highway studio reopened. Over 62,000 people from 50 countries and every state in the USA have visited since it opened for tours again in 2013.</p><br>
<p>The studio is a working recording studio at night. Dan Auerbach of the Black Keys recorded a solo project in March 2017. Grammy winning producer Dave Cobb of Nashville recorded rockers Rival Sons in April 2017. Actor Kiefer Sutherland recorded with Swamper David Hood in May 2017. In 2018, Bishop Gunn released the first recording from the studio after the restoration, "Shine" from their album, Natchez. Donnie Fritts released tunes recorded at the studio on his June album, in conjunction with John Paul White and Single Lock Records.</p><br>
<h2>Documentary</h2><br>
<p>Filmmaker Greg Camalier premiered his documentary film Muscle Shoals at the Sundance Film Festival in January 2013. It is about Muscle Shoals sound, and features Rick Hall, FAME Studios, and the Muscle Shoals Rhythm Section (Swampers) who had founded the Muscle Shoals Sound Studios. The film includes interviews with Percy Sledge, Wilson Pickett, Aretha Franklin, Etta James, Mick Jagger, Keith Richards, Steve Winwood, Bono, Alicia Keys and many others.</p><br>
<h2>Selected recordings</h2><br>
<p>Fort Abercrombie, in North Dakota, was a United States Army fort established by authority of an Act of Congress, March 3, 1857. The act allocated twenty-five square miles of land on the Red River of the North in Dakota Territory to be used for a military outpost, but the exact location was left to the discretion of Lieutenant Colonel John J. Abercrombie. The fort was constructed in the year 1858. It was the first permanent military installation in what became North Dakota, and is thus known as "The Gateway to the Dakotas". Abercrombie selected a site right on the river. Spring flooding was a problem and the fort was abandoned. However, in 1860 the Army returned, moving the fort to higher ground.</p><br>
<h2>History</h2><br>
<p>Because the original location was prone to flooding, a new fort was built at a higher location in 1860, north of the original location. It was besieged by the Dakota (Sioux) Indians for more than six weeks during the Dakota War of 1862. The fort was abandoned in 1877 and the town of Abercrombie, North Dakota, was founded a half mile west in 1884. Abercrombie Township was settled, in part, due to the early presence of the fort.</p><br>
<p>The fort served as a transportation hub as it guarded the Red River Trails used by the Red River ox cart trains of the late fur trade, military supply wagon trains, stagecoach routes, and steamboat traffic on the Red River.</p><br>
<p>The original buildings were either destroyed or sold at public auction when the fort was abandoned, but a Works Progress Administration project in 1939–1940 reconstructed three blockhouses and the stockade and returned the original military guardhouse to the site. More recent renovations include dismantling the southeast blockhouse and using salvageable materials to renovate the two remaining blockhouses and the guardhouse.</p><br>
<p>A new stockade was constructed and native grasses are allowed to grow in the locations of the missing buildings for visitors to get an idea about the size and shape of the buildings. A visitor&#39;s center was built in the summer of 2007. Today it is known as Fort Abercrombie State Historic Site and includes a modern museum and pavilion in the town of Abercrombie. The fort itself is a quarter mile east.</p><br>
<h2>Dakota War of 1862</h2><br>
<p>During the 1862 hostilities the Sioux attacked Fort Abercrombie, Fort Ridgely, New Ulm, Lower Sioux Indian Agency, and all of the white settlements bordering the Minnesota River. The hostiles were divided between two main attacking forces. The first constituted the larger lower agency force of Mdewakaton, Wahpute, Yankton, and Winnebago warriors. They fought at Fort Ridgely, New Ulm, Redwood Ferry, and Birch Coulee. The smaller upper agency force of Sisseton attacked the Ottertail Land Office, the nearby Pillager Chippewa village on Pine lake, Breckinridge, Grahams Crossing and Fort Abercrombie.</p><br>
<p>At the outbreak of the uprising, Fort Abercrombie was garrisoned by Company D of the 5th Minnesota Infantry Regiment, commanded by Captain John Vander Horck. On 23 August the fort was preparing to escort the Chipppewa treaty provisions when word came of the uprising on the lower Sioux Reservation. On August 25, 1862, Van der Horck mustered a militia company from the settlers seeking the security of the fort. Captain T. D. Smith, fort quartermaster, was appointed their commander</p><br>
<p>In August 1862 the fort was tested. Pierre Bottineau and Indian Commissioner Dole were at Abercrombie in advance of the upcoming Chippewa treaty. Increased Indian activity caused nearby settlers to seek safety at the forts stockade. The Sioux besieged Fort Abercrombie for almost six weeks, alternating between occasional skirmishing and all-out attacks. The defenders, with rifles, shotguns, and howitzers held the fort. The shotguns came out of the Red Lake Chippewa treaty goods at the fort for safe keeping. The first incident was a raid in which the Sioux that took all of the cattle, horses and mules outside the fort. The number of animals was over 300 and included all the cattle intended as part of the treaty payment to the Red Lake and Pembina Chippewa. The planned treaty meeting was interrupted by the ongoing hostilities. Fort Abercrombie was attacked three times. The first started at day break on September 3, 1862. It lasted six hours and was broken by the arrival of the Chippewa of G Company 9th Minn and Captain Ambrose Freemans Company of Mounted Men, aka "Northern Rangers," from St. Cloud, Minnesota. Once darkness fell Bottineau slipped out of the fort, through the Sioux lines to travel 80 miles to Sauk Center for reinforcements. The second attack came three days later killing and wounding a few defenders. Accounts of the second attack relate that the garrison was impressed by the obvious organization of the assault. Howitzer fire from the garrison kept the fort from being lost. Afterwards the garrison constructed defensive breastworks of soil and timbers around the untorched portion of the fort. Van der Horck, not having received any word or support from Fort Snelling, turned to the Chippewa at La Grand Fourche for support. After a long deliberation the Chiefs said rejected the request even though many of their men wanted to help, according to a report by Pierre Bottineau who had returned. Then followed an extended siege which was broke by the arrival of a 500 man militia force. Later when the Red Lake Chiefs learned that the Sioux had cattle intended for them and were the reason the treaty commission never came they offered to defend the northern frontier.</p><br>
<p>A soldier&#39;s letter later described the corpse of one of the defenders killed outside the fort. He was mutilated in the same manner reported of the Redwood ferryman at the Lower Agency.</p><br>
<p>Also afterwards, fort defenders and civilians felt Capt. T. D. Smith was owed recognition for his leadership and saving their lives. In one letter the fort commander Van der Hoeck was labeled a coward. On his own volition, he transferred Abercrombie&#39;s command to a senior State militia commander. The troops and civilians blamed Van der Hoeck for the deaths of two men. Another letter describes one of the dead, (Joseph Comptois, G Co. 9th Minn), as "one of the bravest citizens, a soldier from the redskins"(a White Earth Chippewa). Capt. Smith had to intervene three times to save Van der Hoeck from being shot by his own men.</p><br>
<p>G Co. 9th Minn remained posted to the garrison for over a year. Hatch&#39;s Battalion, aka the Minnesota Volunteer Indian Regiment, would relieve them and A Company 1st USA Vol. came in 1865. They were ex-confederate POWs mustered into federal service. The 8th Minn. also had a Company posted to the garrison from 1862 until May 1864.</p><br>
<p>The Chippewa treaty commission returned to the Red River Valley in 1863 for the Treaty of Old Crossing at Fisher&#39;s landing.</p><br>
<h3>Casualties</h3><br>
<p>Killed:</p><br>
<p>Sgt Edward Wright (Sept 23, 1862)</p><br>
<p>Corporal James Bennett (with party sent to Breckinridge)</p><br>
<p>Private Joseph Comptois (Sept 6, 1862)</p><br>
<p>Ostler Charles W. Soell (Sept 6, 1862)</p><br>
<p>Private Augustus Ruchenell</p><br>
<p>Wounded:</p><br>
<p>Private C. P. Lull (Severely; Sept 23, 1862)</p><br>
<p>Private Edwin M. Wright (Severely; Sept 3, 1862)</p><br>
<p>1870 Intertribal Treaty</p><br>
<p>On August 14, 1870 Sioux and Chippewa leaders signed a peace agreement at Fort Abercrombie instigated by the Catholic priest Father Genin. Intertribal hostilities had commenced again in 1868 with the deaths of two Sioux at the Leech lake Reservation. Chief Flatmouth II was accused of what happened on his Reservation. The 1870 treaty brought a successful end to the Intertribal issues that continues to the present. There were many names signed on that treaty.</p><br>
<p>The H. Alexander Walker Residence or Walker Estate is a historic home located in the upper Nuuanu Valley of Honolulu, Hawaii.</p><br>
<h2>History</h2><br>
<p>The house was built in 1903 by George Rodiek of Hackfield and Company, a naturalised German immigrant. Originally the estate comprised a two-story home with a series of gardens featuring ferns, rocks and orchards, sometimes called the oldest formal Japanese garden in Honolulu.</p><br>
<p>Rodiek served as German consul as well as president of the Hawaiian Sugar Planters Association. In 1917, he was accused of involvement in the Hindu German Conspiracy to foment revolution in India. Though subsequently given a presidential pardon, he sold the house to Alan Wilcox in 1918 and moved with his family to San Francisco, never to return. In the 1930s the house was purchased by Mr. & Mrs. H. Alexander Walker. Mr. Walker was president of American Factors, the successor firm to Hackfeld and Company, and Hawaiian Sugar Planters Association. Mr. Walker, whose father J.S. Walker was a member of King Kalakauas cabinet, dubbed the gracious estate "Mamalu", meaning "Shady Lawns." The Walkers turned the estate into world-famous orchid gardens.</p><br>
<p>During World War II, Fleet Admiral Chester W. Nimitz enjoyed many dinners with his friends the Walkers and playing horseshoes at the residence. The irony was that the Walkers&#39; cook, a Japanese National named Hara, could have poisoned the entire Pacific Fleet high command during hundreds of meals. Nimitz always congratulated him for his fine meals. What a paradox it was, but Hara was totally loyal to the Walkers and an honorable man.</p><br>
<p>On April 24, 1973, at the request of Una Walker, H. Alexander Walkers widow, the house was added as site 73000665 to the National Register of Historic Places listings in Oahu and listed as a "valuable historic property" by Hawaii Historic Places. Una Walker maintained the estate by making the grounds available for weddings and visitors and as a movie and television set. It appeared in many Hawaii 5-0 and Magnum PI shows. Unas grandson, former Hawaii Attorney General Michael A. Lilly and his wife Cindy Walter were the last members of the Walker family to live on the estate. In 1989, two years after Unas death, the house and its 5.86 acre grounds were sold by the Walker heirs to Masao Nangaku of Minami Group (USA) Inc. for $8.5 million. His intention was to restore the original house to be used as a corporate retreat. He renovated the house and received a Preservation Honor Award from the Historic Hawaii Foundation, as well as a Grand Award in the Building Industry of Americas Renaissance competition.</p><br>
<p>After Nangaku experienced financial problems, Richard Fried and partners took the property over and, in 1998, asked for planning permission to build a chapel to facilitate weddings on the site. When this was refused, the estate was sold to Holy-eye.</p><br>
<p>Master Sun-Don Lee is the founder of Holly Eye, LLC. In 1999, he has renamed the property to Forshang Garden and dedicated this place to his beloved teacher Master YuanDao Bodhisattva. The house and grounds are still being maintained in their original condition.</p><br>
<p>Olds, Wortman & King, also known as Olds & King, was a department store in Portland, Oregon, United States, established under a different name in 1851 and becoming Olds & King in 1878, on its third change of ownership. The store was renamed Olds, Wortman & King in 1901; Olds & King again in 1944; and Rhodes in 1960. Moving several times within the downtown Portland area, the store settled at 10th & Morrison in 1910, in a large new building that remained in operation as a department store until 1974 and is now listed on the National Register of Historic Places. Since 1976, the building has been known as The Galleria.</p><br>
<h2>History</h2><br>
<p>The company traces its ancestry to a small store established in 1851 by Henry Corbett at the intersection of Front and Oak streets in downtown Portland; it was the citys first general merchandise store. Later in the 1850s, the store moved to Front & Taylor and was operated by brothers Robert and Finley McLaren, although Corbett continued to be a principal supplier of goods for the store. John Wilson purchased the store in 1856. Wilsons store moved in 1868, to Front Street near Morrison Street. In 1878, Wilson sold the shop to William Parker Olds, who had worked as a clerk there since 1869, and Olds stepfather, Samuel Willard King, and the business became Olds & King, or Olds & Kings. At that time, the store was located at 147 3rd Street. It moved again in 1881, 1887 and 1891, but never very far.</p><br>
<p>John Wortman joined the firm in 1890, and later Hardy C. Wortman also purchased into it, leading eventually to its renaming as Olds, Wortman & King at the beginning of 1901. The store&#39;s location since 1891 was 5th & Washington, but growth in business led the owners to begin planning in 1908 for a move to a larger building.</p><br>
<h3>Landmark store</h3><br>
<p>In 1909–1910, the company built its large new store in the block bounded by Morrison, Alder, 10th and 9th streets in downtown. The new building was five stories tall, plus a basement, and was the first store in the Northwest to occupy an entire city block (200 x in downtown Portland). The site had previously been occupied by the mansion of Sylvester Pennoyer, a former Oregon governor (1886–1895) and Portland mayor (1896–1898). The old store was closed upon the opening of the new one. The new location was criticized by some as being too far from the central business district, which generally extended a few blocks from the waterfront at that time, but within a few years the business district had expanded westwards.</p><br>
<p>The buildings interior was designed by the Portland architectural firm of Doyle, Patterson & Beach. The store included a 53 x atrium in the center, topped by a large skylight and was equipped with other amenities that were considered very modern for the time, at least in a city the size of Portland. Among these were the elevators, six in total (in two banks of three), which rose and descended in exposed shafts facing the atrium, within ironwork cages. Each was controlled by an elevator operator. Also considered novel and advanced at the time were the glass display cases illuminated with "hidden electric lights" and a telephone-based credit system that enabled instant verification of a customers credit status, making purchasing on credit simpler and faster than previously. There was a tea room with mahogany furniture, a nursery and children&#39;s playroom, and a roof garden. A 1926 remodeling replaced the hardwood floors in the main aisles with marble.</p><br>
<p>The buildings white exterior is lined with relatively simple terra cotta designs. There are rusticated columns at street level. Each of the roofs four corners is topped by a tall flagpole. The store had one entrance on each of its four sides, all but one in the center of the block.</p><br>
<h3>Ownership changes, second store</h3><br>
<p>The company was bought in 1925 by the B.F. Schlesinger Company (which also owned The City of Paris store in San Francisco, Schlesinger & Sons in Oakland, and Rhodes Brothers in Tacoma). At that time, Olds, Wortman & King was one of the largest retail businesses in the city and was employing 1,200 people. In 1941, B.F. Schlesinger Company changed its name to Western Department Stores, Inc. In 1944, the name of its Portland subsidiary was shortened again to Olds & King. A five-year remodeling in 1946–51, led by Portland architect Pietro Belluschi, included replacement of the passenger elevators with more modern ones, installation of escalators and closure of the atrium (in 1949), among other changes.</p><br>
<p>Western opened a second Olds & King store in Portlands then-new Gateway Shopping Center (at NE 102nd Avenue and Halsey Street) in 1956, but in 1960 Western changed its name to Rhodes Western and renamed as "Rhodes" all of its stores that were not already using that name (prior to this, Western had also operated stores under two other names, Kahns and Olds & King). The 13-store Rhodes chain was taken over by AMFAC Merchandising Corporation, parent of Liberty House, in 1969. The downtown Rhodes store, the last in Portland to carry the Rhodes name, closed on February 2, 1974. The building remained vacant for some time.</p><br>
<h2>The Galleria</h2><br>
<p>In 1975, Portland developers Bill Naito and Sam Naito purchased the building and began converting it into a multi-level shopping center, which they named The Galleria. Opened in 1976, the Galleria was an indoor shopping arcade for dozens of small stores and restaurants, and has been described as downtown Portland&#39;s first shopping mall. Retail shops and restaurants occupied the first three floors, while floors 4 and 5 were leased to companies in the wholesale apparel business.</p><br>
<p>Three months after the Galleria&#39;s opening, The Oregonian newspaper referred to the project as being possibly "the most exciting development in downtown merchandising in several decades." In the mid-1970s, retailing was increasingly migrating from the city center to new suburban shopping malls, and fewer and fewer shoppers were coming to downtown, a trend that the Naitos hoped to slow or reverse through this project and others. The renovations included opening up the interior by restoring the 1949-closed central atrium and adding a large central stairway. By 1977, when the reconfigured building reached full occupancy, 48 merchants were leasing space there. and continued to thrive for several years.</p><br>
<p>The building was added to the National Register of Historic Places in 1991, as the "Olds, Wortman and King Department Store". From 2003 to 2017, it was home to the Portland location of the Le Cordon Bleu College of Culinary Arts (formerly the Western Culinary Institute), on the 5th floor. Sanford–Brown college&#39;s Portland campus was on the 4th floor until its closure in 2014. The ground floor formerly had a Brooks Brothers store, from 2008 to 2018. A Le Cordon Bleu restaurant on the ground floor closed in 2020.</p><br>
<p>A MAX light rail station, Galleria/SW 10th Avenue station, was opened next to the building in 1986, across the street from its Morrison Street side. Since 2001, the Portland Streetcar line has passed the Galleria&#39;s west side, on 10th Avenue.</p><br>
<p>In spring 2011, it was reported that Target Corporation was considering remodeling the Gallerias second and third floors as a Target store, which would be that chains first Portland store set in a dense, urban location rather than a suburban-style environment. Construction began in February 2012, and the store opened in July 2013. It operated for more than 10 years, but closed in October 2023.</p><br>
<p>Historic Oakwood Cemetery was founded in 1869 in Raleigh, North Carolina, the state capital of North Carolina, near the North Carolina State Capitol in the city&#39;s Historic Oakwood neighborhood. Historic Oakwood Cemetery contains two special areas within its 102 acre, the Confederate Cemetery, located on the original two and a half acres , and the Hebrew Cemetery, both given for that purpose by Henry Mordecai in 1867.</p><br>
<h2>Notable burials</h2><br>
<p>* George B. Anderson, Confederate Army general</p><br>
<p>* Charles B. Aycock, Governor of North Carolina</p><br>
<p>* Cora Lily Woodard Aycock, First Lady of North Carolina and President of the North Carolina Railroad</p><br>
<p>* Lucile Aycock McKee, president of the Junior League of Raleigh</p><br>
<p>* George Edmund Badger, U.S. Congressman</p><br>
<p>* Josiah W. Bailey, U.S. Senator</p><br>
<p>* John Heritage Bryan, U.S. Congressman</p><br>
<p>* William Horn Battle, jurist and law professor</p><br>
<p>* Kemp P. Battle, lawyer, businessman, and educator</p><br>
<p>* Thomas Bragg, Governor of North Carolina</p><br>
<p>* Carrie Lougee Broughton, North Carolina State Librarian</p><br>
<p>* Needham B. Broughton, temperance activist and political figure</p><br>
<p>* Henry King Burgwyn, Jr., Confederate Army officer</p><br>
<p>* Lorenzo Charles, basketball player</p><br>
<p>* William Ruffin Cox, Confederate Army general</p><br>
<p>* Josephus Daniels, Newspaper publisher and political figure</p><br>
<p>* Elizabeth Edwards, attorney, author, and health care activist</p><br>
<p>* William G. Enloe, businessman and political figure</p><br>
<p>* Thad A. Eure, political figure</p><br>
<p>* Daniel Gould Fowle, Governor of North Carolina</p><br>
<p>* Winder Russell Harris, US Congressman</p><br>
<p>* Jesse Helms, U.S. Senator</p><br>
<p>* Robert Hoke, Confederate Army general</p><br>
<p>* William Woods Holden, Governor of North Carolina</p><br>
<p>* Cornelia Petty Jerman, North Carolina suffragist</p><br>
<p>* Nell Battle Lewis, journalist and lawyer</p><br>
<p>* Augustus S. Merrimon, U.S. Senator</p><br>
<p>* Bartholomew F. Moore, North Carolina Attorney General and legislator</p><br>
<p>* Dan K. Moore, Governor of North Carolina</p><br>
<p>* Jeanelle C. Moore, First Lady of North Carolina</p><br>
<p>* Cornelia Alice Norris, socialite, genealogist, and Regent of the Caswell-Nash Chapter of the Daughters of the American Revolution</p><br>
<p>* Leonidas L. Polk, journalist and political figure</p><br>
<p>* Edwin G. Reade, U.S. Congressman</p><br>
<p>* Mishew Edgerton Smith, socialite</p><br>
<p>* William N. H. Smith, U.S. Congressman</p><br>
<p>* Willis Smith, U.S. Congressman</p><br>
<p>* David L. Swain, Governor of North Carolina</p><br>
<p>* Thomas F. Toon, Confederate Army general</p><br>
<p>* Jim Valvano, college basketball coach</p><br>
<p>* Carle Augustus Woodruff, Civil War Medal of Honor recipient</p><br>
<p>* Jonathan Worth, Governor of North Carolina</p><br>
<p>Philosophy Hall is a building on the campus of Columbia University in New York City. It houses the English, Philosophy, and French departments, along with the universitys writing center, part of its registrars office, and the student lounge of its Graduate School of Arts and Sciences. It is one of the original buildings designed for the university&#39;s Morningside Heights campus by McKim, Mead, and White, built in the Italian Renaissance Revival style and completed in 1910. Philosophy Hall is listed on the National Register of Historic Places and has been designated a National Historic Landmark as the site of the invention of FM radio by Edwin Armstrong in the early 1930s.</p><br>
<p>The space now occupied by the registrar formerly housed electrical engineering laboratories in which Michael I. Pupin and Edwin Howard Armstrong made several major technological breakthroughs. The building has been home to such notable faculty members as philosophers John Dewey, Frederick J. E. Woodbridge and Ernest Nagel, Guadeloupean novelist Maryse Condé, French literary scholar Michael Riffaterre, poet Kenneth Koch and English literary scholars Lionel Trilling, Edward Said, Carolyn Heilbrun, Quentin Anderson, Gayatri Chakravorty Spivak and Mark Van Doren.</p><br>
<p>Philosophy Hall was not occupied by protesters during the 1968 protests. It served instead as a refuge for faculty and a site of contentious debates among them concerning student conduct.</p><br>
<p>The lawn in front of Philosophy Hall is the site of an original cast of The Thinker (Le Penseur), one of the most famous pieces by French sculptor Auguste Rodin.</p><br>
<p>The hall was designated a National Historic Landmark in 2003.</p><br>
<p>It is one of only a handful of buildings on the Columbia campus named for an academic discipline, and not an individual. The others include Mathematics and International Affairs.</p><br>
<p>The Cottonwood Paper Mill  is an abandoned stone structure located at the mouth of Big Cottonwood Canyon in Cottonwood Heights, Utah. It was listed on the National Register of Historic Places in 1971.</p><br>
<p>It was built in 1883 by the Deseret News under the direction of Henry Grow. Workers used paper making equipment brought in from the old Sugar House Paper Mill to grind logs from nearby canyons into pulp. Rags gathered from old clothes were also used to produce the pulp, which was then placed into molds and dried. During its operation, the mill could yield up to 5 tons of paper per day.</p><br>
<p>The mill provided jobs and paper for nearly ten years; the railroad increased the demand for cheaper paper manufactured outside the area. In 1892, the Cottonwood Paper Mill was sold to Granite Paper Mills Company. On April 1, 1893, a fire broke out among its indoor stored stockpile of paper. Many hearing the alarm thought it an April Fools&#39; Day prank. All that remained following the fire was a stone skeleton.</p><br>
<p>The structure was partially rebuilt in 1927 for use as an open-air dance hall, known as the Old Mill Club, and remained so until the 1940s. In the late 1960s, rock bands played there on Friday and Saturday nights. It was also used in the 1970s and 1980s as a haunted house and a craft boutique. It was declared a historic site by the Daughters of the Utah Pioneers in 1966, and was condemned by the city of Cottonwood Heights in 2005.</p><br>
<p>The Chicago Club, founded in 1869, is a private social club located at 81 East Van Buren Street at Michigan Avenue in the Loop neighborhood of Chicago, Illinois, in the United States. Its membership has included many of Chicago&#39;s most prominent businessmen, politicians, and families.</p><br>
<h2>History</h2><br>
<p>In the mid-1860s, a social group formed in Chicago, Illinois, that met on State Street. The group later met on the top floor of the old Portland Block on the southeast corner of Dearborn and Washington streets. Known as the "Dearborn Club", members would meet in afternoons to drink and play cards. Members included Western Union co-founder Anson Stager, former New York State Senator Henry R. Pierson, Judge of the Cook County Court Hugh T. Dickey, President of the American Bankers Association Frank C. Rathje and dry goods merchant Philip Wadsworth. The Dearborn Club was shut down by the Cook County Sheriffs Office in 1868.</p><br>
<p>In January 1869, former members of the Dearborn Club organized a meeting in the Sherman House. Although nothing was decided, a second meeting was scheduled, and there a resolution was passed to create a new club for 100 Chicago citizens. For $100, a gentleman could join the Chicago Club. Wadsworth was elected the first president. Stager, Charles B. Farwell, George Pullman, George & David Gage, and Wirt Dexter each lent the club $500 to cover early expenses. Other charter members included Robert Todd Lincoln, the President&#39;s son, Perry H. Smith, the railroad magnate, Potter Palmer, and (later) Marshall Field.</p><br>
<p>Former state representative Edward S. Isham drafted incorporation papers and Wadsworth delivered them to the state capitol of Springfield. The club then rented the former Henry Farnam mansion on the corner of Michigan Avenue between Jackson and Adams Streets. The first meeting of the Chicago Club was held on May 1, 1869.</p><br>
<p>The first clubhouse was destroyed by fire in the Great Chicago Fire of 1871, so the club moved to 279 Michigan Avenue for two years, and then to the Gregg House at 476 Wabash Avenue. In 1876 the club built its first permanent home on Monroe Street across from the Palmer House.</p><br>
<p>In 1893, the club decided it needed larger quarters, and it purchased from the Art Institute of Chicago its former building on the corner of Michigan Avenue and Van Buren Street. This building has been put up in 1886-1887 and was designed by Burnham and Root to be the first home of the Institute, which moved across the street to its current location in 1892. This building remained the clubhouse until the 1920s, when it collapsed during remodelling.</p><br>
<p>To replace it, Granger and Bollenbacher designed an eight-story granite building in the Romanesque Revival style, which was completed in 1929. During construction, Burnham & Roots triple-arched entrance was moved around the corner from Michigan Avenue to Van Buren Street, where it remains the main entrance to the building, which was listed on the National Register of Historic Places in 2005, and continues as the clubs headquarters today.</p><br>
<h2>Privacy</h2><br>
<p>The Chicago Club&#39;s by-laws specifically forbid working members of the press from entering the building. The one exception to this rule seems to have been in 1982 when a Chicago Tribune editor was able to obtain limited access.</p><br>
<p>he interior splendor of the Chicago Club is as private as a stately home in England, which it much resembles in décor. Indeed, few pedestrians passing by the eight-story red-granite clubhouse at Van Buren and Michigan even know what the place is. Club members – with such names as Field, Pullman, Lincoln, McCormick, and Blair – may have shaped Chicago history. But they also have developed a sense of privacy that politely but firmly excludes: 1) The entire world, except for the clubs 1,200 carefully selected members; 2) Until recently, women; and 3) Reporters and photographers. "Well fight to the death on that one," growls one club board member...</p><br>
<p>How do you get in? Don&#39;t ask. How tough is it to join? In a word, very. Not only is there a long waiting list, but an applicant needs a sponsoring member, a seconder, lots of letters of support, and a good deal of patience. Most applicants test the waters first, so formal rejections are few. But not even the well-connected can breeze in...</p><br>
<p>Historians might argue that the Chicago Club no longer has the power it wielded in the days when its "millionaires table" was the lunchtime gathering place of Marshall Field, George Pullman, N. K. Fairbank, John Crerar, and a half-dozen others, each worth millions in the days when that sum meant something. "Everything to be done in Chicago was discussed by that group, and then word was passed out", as Stanley Field put it.... But a visitor, seated on a lobby sofa, and those who sweep in for lunch, could hardly disagree with the recent pecking-order manual, "Who Runs Chicago?" Its conclusion: "The Chicago Club is the center of power in Chicago. It is mandatory for the citys biggest executives to join it, unless they want to be considered not-so-big executives.</p><br>
<h2>University of California "Centrality Study"</h2><br>
<p>In 1975, G. William Domhoff, professor of sociology at the University of California, ran a network analysis study on the membership of think tanks, policy-planning groups, social clubs, trade associations, and opinion-shaping groups across the country for a research project he was doing on San Franciscos Bohemian Club. The Bohemian Club turned out to be the 11th "most connected" organization in the country. Only three social clubs ranked higher: New Yorks Links Club (3rd), San Francisco&#39;s Pacific Union (7th), and The Chicago Club (8th).</p><br>
<p>Stumphouse Mountain Tunnel in Oconee County, South Carolina is an incomplete railroad tunnel for the Blue Ridge Railroad of South Carolina in Sumter National Forest. The tunnel, along with nearby Issaqueena Falls, are now a Walhalla city park.</p><br>
<p>It was listed on the National Register of Historic Places in 1971.</p><br>
<h2>History</h2><br>
<p>The tunnel was first proposed in 1835 by residents of Charleston, South Carolina as a new and shorter route for the Blue Ridge Railroad between Charleston and the Ohio River valley area which until then was only accessible by bypassing the mountains entirely to the South and then traveling up north through Georgia and middle Tennessee. In 1852, 13 miles of tunnel were proposed to cross the Blue Ridge Mountains through South Carolina, North Carolina, and into Tennessee. Construction on the railway was begun in the late 1850s and was successful through most of South Carolina until hitting the mountains around Wallhalla in Oconee County. There Stumphouse tunnel along with three other tunnels was to be built.</p><br>
<p>Construction on Stumphouse tunnel began in 1856 when the George Collyer Company of London brought many Irish workers into the area for this project. Many of the workers lived in housing on top of Stumphouse mountain called Tunnel Hill. By 1859, the State of South Carolina had spent over a million dollars on the tunnel and refused to spend any more on the project, therefore the tunnel work was abandoned. The tunnel had been excavated to a length of 1,617 feet of the planned 5,863 total feet. Today, where the tunnel was meant to end on the other side of the mountain, there remains a mound of earth (intended for the railway tracks) submerged during the summer months under Crystal Lake, located just west of Highway 28.</p><br>
<p>As a part of the planned Blue Ridge Railroad, two other tunnels were begun in the 1850s and are all connected by terrain at railroad grade. Middle Tunnel, a quarter mile from Stumphouse Tunnel was successfully completed but mostly collapsed and was partially sealed off in the mid-1900s. It is only accessible by foot. Saddle Tunnel, the last of the South Carolina complex was also begun for a short distance 1.5 miles north of Middle Tunnel. Saddle is partially completed yet is mostly submerged by a small lake. Only the entrance to the tunnel is visible.</p><br>
<p>Beginning in the 1950s, Stumphouse tunnel was used by Clemson University to grow blue cheese until the 1970s when the blue cheese operation was relocated to air-conditioned cheese ripening rooms where the tunnel environment was duplicated.</p><br>
<p>Today, Stumphouse tunnel is operated as a public park along with nearby Isaqueena Falls by the city of Walhalla. It is open daily except Christmas Day and during inclement weather from 10am until 5pm. Inside the tunnel the temperature is a constant 50 degrees Fahrenheit (10 degrees Celsius) with humidity of 85%. The tunnel is easily accessible by foot, a few yards from a gravel parking lot. The structural integrity of the tunnel is solid and almost no cracking is apparent minus an enlarged vent halfway through the tunnel. In 1999 this vent was impacted by a rock slide, however in 2000 the town of Walhalla re-excavated the tunnel and safely returned it to public use.</p><br>
<p>After a developer attempted to purchase the property from the City of Walhalla in 2007, Naturaland Trust, a conservation agency created by C. Thomas Wyche, pledged about $2 million to protect the surrounding property; and a consortium of non-profit conservation groups, private individuals, and the state of South Carolina provided the money and resources to preserve the mountain for public use.</p><br>
<p>The Florida Gymnasium  is a historic building located on the campus of the University of Florida  in Gainesville. It opened in 1949 as a 7,000-seat multi-purpose arena and served as the home court of the Florida Gators men&#39;s basketball team and other UF indoor sports programs for over thirty years, acquiring the nickname of "Alligator Alley" during that time.</p><br>
<p>The Stephen C. OConnell Center replaced the Florida Gym as the universitys main indoor facility for intercollegiate sports upon its opening in 1980. The old gym was gradually repurposed for use by the University of Florida College of Health and Human Performance (HHP) in the following years, with a series of renovations and rebuilding projects converting most of the interior space into modern classrooms, laboratories, offices, and other educational facilities by the mid-1990s. The center of the gym still features a basketball court which is used for small assemblies and HHP classes and activities.</p><br>
<h2>History</h2><br>
<h3>Earlier facilities</h3><br>
<p>The University of Floridas first indoor sports facility was the University Gymnasium, a narrow brick building that opened in 1919. The schools men&#39;s basketball team used the University Gym for practices and games, but since the building had been designed primarily for student recreation, there was little room for spectators. By the mid-1920s, the university had decided that it was not suitable for hosting intercollegiate sports programs and a larger gymnasium was needed.</p><br>
<p>The universitys funding declined with the onset of the Great Depression, making the construction of a new brick gymnasium cost prohibitive. Instead, a wooden facility officially dubbed "Building R" but commonly referred to as the "New Gym" was built directly adjacent to the University Gym as a temporary home for the schools indoor sports teams. However, an ongoing lack of funds throughout the 1930s resulted in Gator basketball teams using the New Gym for over 20 years.</p><br>
<h3>The Florida Gym</h3><br>
<p>Design work on a larger gymnasium was started in the early 1940s by university architect Rudolph Weaver, but the project was postponed during World War II. Plans were completed by Guy Fulton soon after the war, construction began in 1947, and the Florida Gymnasium finally opened in 1949 at total project cost of $1.6 million. The university became co-educational about the same time, and the old University Gymnasium became the Womens Gymnasium while the "New Gym" was converted into a rehearsal space for the universitys marching bands.</p><br>
<p>The Florida Gymnasium was the second large indoor venue on campus after the University Auditorium and was the only space large enough to host the entire student body, which numbered about 10,000 when the facility was completed. Around the central arena, offices in the building housed the university&#39;s athletic administration along with the College of Physical Education, Health and Athletics. The court at the Florida Gym also became the site of student class registration at the beginning of each semester.</p><br>
<h4>Alligator Alley</h4><br>
<p>As a sports venue, the Florida Gym soon gained a nickname: Alligator Alley. It could be an intimidating place for opposing teams because the seating was very close to the court and, when full, the noise level was "deafening". However, it also had few amenities and no air conditioning, and the court had to be shared by all UF indoor sports programs. Over the years it came to be seen as small and outdated; observers likened it to a "dismal and dreary old high school gym" rather than a major-college arena.</p><br>
<p>By the early 1970s, Florida was the only school in the Southeastern Conference without a modern basketball facility, which hampered the recruiting of top players and held back the growth of its long-mediocre basketball program. The university initiated plans to build a large multi-purpose sports arena in the mid-1970s, and the OConnell Center opened in December 1980 as the new home for all of UFs indoor athletic programs.</p><br>
<h3>Later uses</h3><br>
<p>The Florida Gymnasium was gradually adapted to other uses during the 1980s. The basketball court and adjoining areas were used for student recreation and occasional events and assemblies while a series of minor renovations modernized the facilities of the re-named College of Health and Human Performance. The gym continued to be the site of class registration until the early 1990s, when an automated phone system and then online registration made in-person registration obsolete.</p><br>
<p>The Florida Gym was no longer needed for student recreation after a modern fitness center was constructed directly behind the gym in 1990 and the much larger Southwest Recreation Center opened across campus in 1994. The gym underwent a major renovation and repurposing project in the mid-1990s that removed the last of the original bleachers and converting much of the interior space into modern classrooms, laboratories, offices, and meeting rooms. The basketball court remained at the center of the building and is still used for College of Health and Human Performance activities and small events.</p><br>
<p>In 2008, Florida Gymnasium became a contributing property in the University of Florida Campus Historic District which was added to the National Register of Historic Places on April 20, 1989.</p><br>
<p>The Rising Sun Auto Camp, also known as the Roes Creek Auto Camp, East Glacier Auto Camp or simply Rising Sun preserves a portion of the built-up area of Glacier National Park that documents the second phase of tourist development in the park. Rising Sun is located along the Going-to-the-Sun Road, approximately 7 mi from the east entrance to Glacier National Park, Montana, United States. Rising Sun is a wayside area that has a National Park Service campground, a camp store and gift shop, picnic area, restaurant, as well as a motel and guest cabins which are managed by the park&#39;s concessionaire,. In the immediate area, there is also a boat dock as well as sightseeing boats which allow visitors to tour Saint Mary Lake, the second largest lake in the park. "The most popular spot for tourists is Rising Sun, an overlook of Goose Island in St. Mary Lake and one of the most photographed spots in the park."</p><br>
<h2>Establishment</h2><br>
<p>After the creation of a series of hotels for train-borne visitors, courtesy of the Great Northern Railway&#39;s hotel concession, facilities were developed for the increasing numbers of automobile-borne tourists, drawn to Glacier by the Going-to-the-Sun Road. The Rising Sun Auto Camp was created for these new tourists. Located in the Rising Sun region of the park, it includes a rustic general store, built in 1941 by the Glacier Park Hotel Company, surrounded by a number of log tourist cabins., as well as a shower and laundry house and other supporting structures.</p><br>
<p>The Rising Sun Motor Inn and Cabins preserves historic paintings donated by Glacier Park, Inc. The pieces were originally owned and/or commissioned by the Great Northern Railway, and many depict iconic scenes from in and around Glacier National Park. All are estimated to have originated between 1909 and 1915 and created by John Fery, Frank Stick, R.H. Palenske and Charles Defeo.</p><br>
<h2>Nearby features</h2><br>
<p>The Sun Camp Fireguard Cabin also known as the Baring Cabin was destroyed by the Reynolds Creek Wildland Fire in July 2015.</p><br>
<p>The Sun Camp Fireguard Cabin and the Rising Sun Auto Camp are listed on the National Register of Historic Places.</p><br>
<p>Duffy Square, officially named Father Duffy Square in 1939, is the northern triangle of Times Square in Manhattan, New York City. It is bounded by 45th and 47th Streets, Broadway and Seventh Avenue. It is now well known for the TKTS reduced-price theater tickets booth located there.</p><br>
<p>In the 18th and 19th centuries Lowes Lane connected Bloomingdale Road to Eastern Post Road. The west end of the lane was at the modern Duffy Square, and the east end at approximately the modern Third Avenue and 42nd Street. Lowes Lane and Eastern Post Road were suppressed late in the 19th century, but Bloomingdale Road survives under the name of Broadway.</p><br>
<p>Duffy Square was briefly dominated by a fifty-foot, eight-ton plaster statue entitled Purity (Defeat of Slander) by Leo Lentelli in 1909. Now the square has two statues: a bronze statue of Chaplain Francis P. Duffy of New York&#39;s "Fighting 69th" Infantry Regiment, after whom the square is named, sculpted by Charles Keck, and another statue depicting composer, playwright, producer and actor George M. Cohan, by sculptor Georg J. Lober. The statue of Duffy was dedicated by Mayor Fiorello LaGuardia on May 2, 1937, who also signed the law authorizing the renaming of the square to "Father Duffy Square" on March 29, 1939; on June 13 of that year, the street signs were changed. The statue of Duffy and the square itself were listed on the National Register of Historic Places in 2001.</p><br>
<p>The Hunt–Morgan House, historically known as Hopemont, is a Federal style residence in Lexington, Kentucky built in 1814 by John Wesley Hunt, the first millionaire west of the Alleghenies. The house is included in the Gratz Park Historic District. The Alexander T. Hunt Civil War Museum is located on the second floor of the Hunt–Morgan House.</p><br>
<p>Other notable people who resided at Hopemont include John Wesley Hunt&#39;s great-grandson, Thomas Hunt Morgan. Born in the house in 1866, he became the first Kentuckian to win the Nobel Prize in Physiology or Medicine.</p><br>
<p>The house has many beautiful architectural features, including the Palladian window with fan and sidelights that grace its front façade. In 1955 the was formed to save this home from impending demolition. The organization restored the home to its Federal appearance.</p><br>
<p>The Hunt–Morgan House is located on the corner of Mill and Second Streets, at 201 N. Mill Street, in Gratz Park in Lexington, Kentucky.</p><br>
<p>The Bluegrass Trust for Historic Preservation still maintains the Hunt–Morgan House.</p><br>
<p>Mount Mora Cemetery is the oldest public cemetery in St. Joseph, Missouri. Among those who are buried in the cemetery are three governors, a USA senator, soldiers from both sides in the American Civil War and riders of the Pony Express. In October 2006, several headstones including that of Missouri governor Silas Woodson were damaged by vandals.</p><br>
<p>The cemetery was added to the National Register of Historic Places in July 2006.</p><br>
<h2>Notable interments</h2><br>
<p>Daniel Dee Burnes (1851–1899) – US Representative</p><br>
<p>James N. Burnes (1827–1889) – US Representative</p><br>
<p>James Craig (1818–1888) – Civil War general and US Representative</p><br>
<p>Willard Preble Hall (1820-1882) – Governor of Missouri</p><br>
<p>Benjamin F. Loan (1819–1881) – US Representative and Union general</p><br>
<p>William Ridenbaugh (1821–1874) – St. Joseph Gazette founder</p><br>
<p>Robert Marcellus Stewart (1815–1871) – Governor of Missouri</p><br>
<p>M. Jeff Thompson (1826–1876) – Confederate general known as the "Swamp Fox"</p><br>
<p>Robert Wilson (1803–1870) – US Senator</p><br>
<p>Sir William Wiseman (1814–1874) – British Rear Admiral</p><br>
<p>Silas Woodson (1819–1896) – Governor of Missouri</p><br>
<p>Huston Wyeth (1863–1925) – industrialist</p><br>
<p>The Belton Chalets are a group of historic hotel buildings in the village of West Glacier, Montana, near the western entrance to Glacier National Park. The chalet buildings were built in 1910-11 by the Great Northern Railway  as the first component of the railroads ambitious program of hotel, road, and trail construction in Glacier. The buildings featured a "Swiss Chalet" architectural style that set the style for much of the Great Northerns building program in Glacier. Ultimately, the site included five buildings, including a dining hall and a hotel facility.</p><br>
<p>During the 1910s and 1920s the Belton Chalet was operated by the Glacier Park Hotel Company, the GN subsidiary responsible for the railroads concession operations in Glacier. The property was less successful than the GNs other Glacier facilities, however, probably due to its remoteness from the park&#39;s other railway-operated hotels, and by the 1930s it saw only intermittent use. The railway sold the chalet buildings in 1946, and the main hotel building stood empty for most of the next five decades, while a cafe and bar intermittently operated in the old dining hall. In 1997, the property was acquired by new owners who undertook a $1 million restoration of the entire complex, and the hotel reopened beginning with the 1998 summer season. The chalet buildings, together with other sites were included in the National Historic Landmark designation of Great Northern Railway Buildings in 2000.</p><br>
<p>The Lewis Round Barn is located in Mendon, Illinois, in northwestern Adams County. It is one of 14 round barns recognized by the Illinois Historic Preservation Agency. The barn was listed on the National Register of Historic Places on January 29, 2003.</p><br>
<h2>History</h2><br>
<h3>Construction</h3><br>
<p>When Charles E. Lewis decided he needed a large barn for his large herd of cattle and hogs, he thought outside the box, so to speak. Having heard about three round barns built around 1900 for the College of Agriculture at the University of Illinois, he was intrigued. The efficiency of the round barns structure is what impressed Lewis, but he didnt need the universitys barns - he needed a much larger barn. His mind began to build a vision of a barn that was much larger than any round barn built in the Midwest, at the time. He selected 40 acre of timbered land from the 160 acre Grove Place, a recent acquisition of his fathers estate. The land was thick with large elm and oak trees, as well as other native Illinois tree species. Lewis built a portable sawmill at the site and hired several men to log the land with cross-cut saws and axes, while also working the logs into lumber and piling them to air dry. This occurred during the fall and continued well into the winter of 1911.</p><br>
<p>Lambert Huber, a prominent carpenter in the area, was hired as architect, engineer and building foreman. Though he had never built a round barn, he decided to undertake the project. Even with Huber hired, construction on the barn could not commence until 1914, when all the lumber had sufficiently cured.</p><br>
<p>The project itself was somewhat complicated, even for a round barn. The roof of the barn was to be an entirely self-supporting dome without structural support, to save the outside walls of the building. The four-section rafters of the roof would be reinforced at each of the joints. The project began with the digging of ditches where concrete foundation footings were poured. The footings would support the outer, circular wall. A 24 ft diameter circle was laid out in order to accommodate the silo and silage feeding bunk around the silo.</p><br>
<p>A 40 ft stave silo was constructed at the site, with an 18 ft diameter. The silo was constructed out of Douglas fir staves that had been totally cleared of knots. The barn itself had siding of one inch by 12 in white pine, and long, wooden shingles made from Western red cedar. Of all the wood required to construct the Lewis Round Barn, only the shingles and siding materials had to be purchased; the rest came from the property&#39;s woodland that was logged to create the barn site.</p><br>
<p>Once concrete pillars were poured, foundations of the 6 X 6 posts supporting the circular haymow at the site were created, and the dome-shaped roof could be erected. The rafters were assembled on the mow floor, so the true challenge proved to be hefting them into place. Each of the rafters, 50 ft in length, were made of heavy, hardwood lumber. The roof construction required the building of a 46 ft scaffold structure from the haymow floor up. A 10 ft diameter laminated wooden, circular ring was built at a carpentry shop in Camp Point and placed atop the scaffold. These additions dramatically increased efficiency but there were not enough workers to raise the massive beams. The problem of the raising of the rafters would be solved by an old horse.</p><br>
<p>One of Lewis favorite horses, "Old Kit", came into play. With a series of ropes and pulleys, a boom pole and the horse the rafters were slowly lifted into place. Each rafter was raised and nailed into place on the barns top ring. As three or four of the rafters were raised into place it became apparent that a high wind could take the partially completed roof structure down, workers hoped for no high winds. Their hopes were granted and no high winds arose until all of the rafters were raised the roof was complete. To top off the dome a cupola roof was added with a lightning rod. At the very top a weather vane was added with a steer said to be covered in gold leaf.</p><br>
<p>With the barn complete Huber remarked that he had lost many hours of sleep trying to figure out the many specification of the building as well as its numerous parts. Though he thought the barn a complete success he said he would never build another round barn.</p><br>
<h3>20th century renovations</h3><br>
<p>The barn served Lewis&#39; purpose for many years but time began to take its toll. In the late 50s or early 60s the weight of the cupola caused part of the roof start sagging. The cupola was removed and the hole was shingled over. Eventually the entire roof was reshingled and in the recent past five of the Lewis brothers and a cousin held a working weekend to make repairs. A portion of the barn had to be jacked up and a major foundation buttress had to be replaced with new concrete. Window openings were covered with plexiglas and a cable was installed around the outside of the barn to prevent further spreading of the building. It was then that the Lewis family decided if the barn was to survive the 21st century it would need continued care and maintenance. The family donated the barn to the Adams County Olde Tyme Association. The association proposed a bold move for the historic site.</p><br>
<h3>Moving the barn</h3><br>
<p>The barn could be moved, the association proposed, moved 25 mi away, to a site near the Adams County Fair Grounds. The barn&#39;s importance was demonstrated when the Illinois Historic Preservation Agency awarded a $150,000 grant to assist in the moving and restoration of the Lewis Round Barn. The project faced much criticism, many thinking the Olde Tyme Association had lost its marbles if it believed the nearly 100 year structure could be successfully moved. Regardless, the project steamed forward. The plans got off the drawing board in early 2000 when a contract was awarded to a group of Amish carpenters and work began.</p><br>
<p>Two sets of old shingles were peeled from the roof. Chain saws hacked the roof into numerous pie-shaped pieces. The haymow and the outside walls were dismantled and moved to the new site. The barn was gone, only the silo remained standing, a solitary testament to history. The Association contracted a crane to pick up the entire silo and lay it down on a flat bed truck trailer. Then a heavy duty farm tractor came in to pull the silo down the hill. As the tractor started up the hill the silo looked as if it were going to collapse inwardly so the tractor was stopped and the silo chained off to a tree overnight until the Amish carpenters could reinforce the silo&#39;s bracing. The next day the silo was slowly pulled over gravel country roads, the State of Illinois would not permit the silo to travel over concrete State Highways, to its new site.</p><br>
<p>At the new site the walls were re-erected. High winds threatened to derail the entire project when the walls were blown down before they could be stabilized, oddly echoing the very concerns that the workers on the original construction of the barn had voiced nearly a century earlier. When the walls came down they took part of the first rafters with them and the project looked doomed. It was not, however, and the walls were re-erected, the project went forward. When the roof was finished off a replica cupola was installed on the top and the project was a total success.</p><br>
<p>Magnolia Manor is a manor located in Cairo, Illinois, located in Alexander County built in 1869. It has been listed on the National Register of Historic Places since December 17, 1969.</p><br>
<p>The house is operated as a Victorian period historic house museum by the Cairo Historical Association.</p><br>
<h2>History</h2><br>
<p>The manor was built by the Cairo businessman Charles A. Galigher in 1869. It is a 14-room red brick house which features double walls intended to keep out the city&#39;s famous dampness with their ten-inch airspaces. Inside the home are many original, 19th-century furnishings. Galigher became a friend of Ulysses S. Grant during the time Grant had command in Cairo. When Grant retired after two terms as president he was subject of a lavish celebration at Magnolia Manor.</p><br>
<p>Pettit Memorial Chapel or Pettit Chapel was designed by architect Frank Lloyd Wright and constructed in 1907. The Pettit Chapel is located in the Belvidere Cemetery in Belvidere, Illinois, United States, which is in Boone County. The cemetery was chartered in 1837 and contains 13,000 known graves. The chapel was listed on the USA National Register of Historic Places December 1, 1978. The Pettit Chapel is an example of Frank Lloyd Wright&#39;s famed Prairie Style. It is the only funerary structure designed by Wright to be built in his lifetime.</p><br>
<h2>History</h2><br>
<p>The Pettit Memorial Chapel is named in honor of Dr. William Henry Pettit (1850-1899) and was donated to the Belvidere Cemetery Association by his widow Emma Glasner Pettit (1855-1924) who commissioned Frank Lloyd Wright to design the structure in 1906, seven years after the death of her husband. The building was constructed in 1907 at a cost of approximately US$3,000 and stands near the graves of Dr. and Mrs. Pettit. W.H. Pettit received his medical degree from the Hahnemann Medical College in Chicago in 1874 and established a medical practice as a homeopathic physician in Cedar Falls, Iowa. Having himself been raised in Belvidere, Dr. Pettit married Belvidere native Emma Glasner in 1877. Following his sudden death in March 1899, his remains were returned to Belvidere for internment. His widow, Emma Pettit, soon returned to Belvidere to live with her mother. In 1906, the cemetery association set aside land for a future funeral chapel. Emma Pettit decided that this would be a suitable memorial to her deceased husband and donated the structure to the cemetery. Construction was begun in spring 1907 and completed later the same year. Emma Pettit was led to Frank Lloyd Wright by her brother, William A. Glasner, whose 1905 home in Glencoe, Illinois was designed by Wright.</p><br>
<p>Pettit Chapel has undergone two periods of restoration during its history. Beginning in 1977, the Belvidere Junior Womens Club raised $60,000 to save the chapel, which had deteriorated. Restoration work was completed in 1981 and the chapel was rededicated June 8, 1981 (Wrights birthday). From June until November 2003 the chapel underwent a second period of restoration and repair. The $40,000 worth of repairs included a new roof, new floorboards for the porch, new steps and painting. The repairs were paid for through a state of Illinois tourism grant and money from a trust fund set up through the cemetery.</p><br>
<h2>Architecture</h2><br>
<p>Preliminary design drawings by Wright show that the front or northeast side of the chapel was to be decorated with a modest fountain and pool, which, together with a bas relief plaque identify the structure as a memorial to Dr. Pettit. The building has a T-shaped plan which is about 57 ft (17.37 m) by 42 ft (12.8 m), with the meeting room forms the stem of the T and the two open porches form the cross bar. The building sits well within the cemetery grounds and is accessible in a car only by cemetery roadways. Its cemetery location is unique among Frank Lloyd Wright buildings as this is the only example of its type to be constructed within Wright&#39;s lifetime.</p><br>
<p>The interior is adorned with a fireplace at the Ts crossing point. The cross of the T is an open-air, covered porch. The porch not only incorporates the open terrace common to other Wright designed buildings of the era but also has an explicit functionality. Wright meant for the porch to be used by those attending funerals while they waited for cars. The wood framed buildings partial basement contains restrooms, storage, and a furnace room, although the building was originally unheated.</p><br>
<p>The low-pitched hipped roof presents the skyline as quiet and unbroken, a feature typical of some of Wrights important early Prairie buildings such as the Heurtley House, and the Winslow House. It embodies the very essence of Frank Lloyd Wrights Prairie style buildings: the roof and its overhanging eaves, the abstract geometric art glass windows, the raised functional floor and the "plastic expression" of the stucco exterior and its contrasting wood trim.</p><br>
<h2>Significance</h2><br>
<p>The Pettit Memorial Chapel was added to the USA National Register of Historic Places on December 1, 1978, Although the National Register nomination discusses Wrights work in relation to several significant monuments designed by Louis H. Sullivan, it is important to note that the Pettit Chapel is not a tomb or mausoleum but a functional building. As such, it is not especially useful to compare Wrights chapel to Sullivans Getty, Ryerson, or Wainwright tombs. It is more productive to view the Pettit Chapel and its architectural significance in the context of Wrights Prairie-style residential work of the period. The residential character of the chapel is consistent with its intended use as a place for funeral services and gatherings as well as a shelter for visitors to the cemetery. The chapel was used for funerals until the 1920s when the use of commercial funeral parlors became more popular.</p><br>
<p>The Normal Theater, also known as the Normal Theatre, is a cinema located in the downtown area of Normal, Illinois of the United States of America, which is located in McLean County. The theater closed for a time in the early 1990s but reopened in 1993 after being purchased and renovated by the town of Normal. It has since been in continuous operation, showing a mix of first run and classic films. The building has been on the National Register of Historic Places since July 25, 1997.</p><br>
<h2>History</h2><br>
<h3>Development</h3><br>
<p>Local architect Arthur F. Moratz designed the Art Moderne style building. The Streamline Moderne building was a state of the art cinema at the time which was built to "show sound movies in the best comfortable environment."</p><br>
<h3>Opening</h3><br>
<p>The Normal Theater opened for operation on November 19, 1937. At the time of opening, the theater had 620 seats. The grand opening featured the musical Double or Nothing starring Bing Crosby and Martha Raye, a Popeye cartoon, and newsreels.</p><br>
<p>"The Normal was known for genre and “B” pictures, especially westerns and musicals, as well as second-run fare."</p><br>
<h3>Decline</h3><br>
<p>In December 1974, the Springfield chain Kerasotes Brothers took over the theater. On January 8, 1982, Kerasotes closed the Irvin Theater in Bloomington and turned the Normal Theater into a “dollar house”.</p><br>
<p>In 1985, it was divided into a two screen theater, also known as twinning. The original commercial operation of the Normal Theater ended on May 16, 1991.</p><br>
<h3>Restoration</h3><br>
<p>The Town of Normal purchased the theater and reopened it in 1993 through a community restoration effort. The grand reopening on October 7, 1994 screened Singin’ in the Rain.</p><br>
<p>In June 1996, Normal received the “Preservation Project of the Year” award by the Landmarks Preservation Council of Illinois. On July 25, 1997, the Normal Theater was placed on the National Register of Historic Places.</p><br>
<h3>Present Day</h3><br>
<p>Today theater goers enjoy a "throwback" theater going experience in the fully restored art deco theater. The inside restoration installed plush, coral colored seating, blue, maroon and salmon colored walls, high-modern style aisle lights and layered ceiling of multicolored neon lights. Due to accessibility and building code changes, the Normal Theater now seats 385.</p><br>
<p>Beavertail Lighthouse was built in 1856 and is the premier lighthouse in Rhode Island, marking the entrance to Narragansett Bay. The 64 ft lighthouse lies on the southernmost point of Conanicut Island in the town of Jamestown, Rhode Island in Beavertail State Park, on a site where beacons have stood since the early 18th century. The light provides navigation for boats and ships entering Narragansett Bay in the East Passage between Conanicut Island and Newport, Rhode Island on Aquidneck Island. Other lighthouses are visible from Beavertail Lighthouse, such as Castle Hill Lighthouse, Point Judith Light, and Rose Island Light.</p><br>
<h2>History</h2><br>
<p>Records of the town of Jamestown from 1712 make reference to a beacon, and they mention a watch house in 1705. A wooden tower was built in 1749 (attributed to architect Peter Harrison), and the light became the third lighthouse established in the Thirteen Colonies, known at the time as "Newport Light". A fire was lit at the top of the tower, as was common for the time. Four years later, it burned down and was replaced by a stone tower.</p><br>
<p>British sailors retreating from Newport near the end of the American Revolutionary War left a trail of destruction behind them in 1779. This included burning the lighthouse and removing the optics, which left the light dark for the rest of the war.</p><br>
<p>In 1856, the tower was replaced with the current tower, made of granite which is 10 ft square and 64 ft from ground to beacon. A 3rd order Fresnel lens was placed in service, and it was the site of numerous fog-signal tests over the next 40 years under the supervision of the United States Lighthouse Board. In 1898, quarters were added to the keeper&#39;s house for an assistant keeper; the assistant helped with fog-signaling, among other things.</p><br>
<p>The whistle house was destroyed during the 1938 hurricane, revealing the original base for the 1749 structure which sits 100 ft from the current tower. Whale Rock can be seen a few miles southwest of Beavertail Point. Whale Rock Lighthouse and its keeper Walter Eberle were swept into the waters of Narragansett Bay during the hurricane of 1938; Eberle&#39;s body was never recovered.</p><br>
<p>In 1939, the US Coast Guard took command of all lighthouses and navigational aids, and in 1989 Beavertail light was automated as part of a program by the Coast Guard. The building was restored and opened to the public in 1989, following a joint effort by the US Coast Guard, Rhode Island Parks Management, the Rhode Island Department of Environmental Management, and the town of Jamestown. In 1993, the Beavertail Lighthouse Museum Association (BLMA) was established to oversee the operations of the Beavertail Lighthouse Museum, which is located in the assistant keeper&#39;s house. The museum includes a Fresnel lens and the history of many Rhode Island lighthouses.</p><br>
<h2>Keepers and assistants</h2><br>
<p>The University of Illinois Astronomical Observatory, located at 901 S. Mathews Avenue in Urbana, Illinois, on the campus of the University of Illinois Urbana–Champaign, was built in 1896, and was designed by Charles A. Gunn. It was listed on the National Register of Historic Places on November 6, 1986, and on December 20, 1989, was designated a National Historic Landmark.</p><br>
<p>Though none of the astronomical instruments are being used for professional research today, the observatory still contains a 12" Brashear refractor. The observatory played a key role in the development of astronomy as it was home to a key innovation in the area of astronomical photometry. The facility has been directed by such noted scientists as Joel Stebbins and Robert Horace Baker.</p><br>
<p>Erected at the behest of the Illinois General Assembly, the University of Illinois Observatory became important in the development of astronomy due, in large part, to pioneering research by Dr. Stebbins, from 1907 to 1922. Joel Stebbins left the University of Illinois in 1922 but left behind a legacy of discovery that helped alter the face of modern astronomy. The building served the University of Illinois astronomy department from its opening until 1979, when the department moved into a new, larger building to house its growing staff.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<p>Astronomy classes at the University of Illinois date to its earliest days. The first courses focused on measurement of the night sky and was taken by civil engineering students to sharpen their surveying skills. A small observatory consisting of a 4-inch refractor and a small transit telescope was constructed by 1872. The astronomy courses were typically taught by the mathematics department and by the early 1890s, several mathematics instructors wanted to do more with astronomy. An expanded astronomy curriculum would require a new larger facility.</p><br>
<p>The Illinois state legislature voted in 1895 to fund a new teaching observatory at the University of Illinois, providing $15,000 for construction. The site chosen was a grass knoll between Matthews Avenue and Burrill Avenue, just north of the Morrow Plots, a National Historic Landmark that is the nation&#39;s oldest experimental field. Contracts were extended to Charles A. Gunn, the architect and an instructor on campus, and Bevis and Company in Urbana as the general contractor with construction beginning in April 1896. The building was completed by August at a total cost of $6,800. The principle telescope was installed in November and the final telescope was in place by February 1897.</p><br>
<p>The first director of the observatory was George W. Myers. Myers was a Champaign county native who graduated from the university in 1888. He remained as a mathematics instructor also teaching the spring Descriptive Astronomy course. In preparation for the directorship he spent two years in Munich earning his Ph.D in astronomy. In his first year as director, G.W. Myers announced the discovery of the source of the variability in the star Beta Lyrae at the opening conference for Yerkes Observatory. W.C. Brenke, an astronomy instructor, served as acting director until a new director was hired in 1903.</p><br>
<h3>Stebbins&#39; research</h3><br>
<p>Before 1907, all magnitude measurements for stars were obtained through visual comparison of relative brightness, a process that was slow and inexact. Later photographic methods would use starlight to make a representation on a photographic plate. Regardless, neither method was adequate for quantitative measurements. The drawback of previous methods of measuring stellar magnitude made the use of electricity for empirically gathering astronomical data revolutionary for the science of astronomy. Joel Stebbins&#39; pioneering research for astronomical photometry took place at the observatory.</p><br>
<p>Stebbins arrived as director of the University of Illinois Observatory after he completed his Ph.D. at the University of California, Berkeley in 1903. Once Stebbins arrived fresh from his dissertation completed at Lick Observatory, he began a two-year study of the brightness of 107 binary stars using a Pickering visual photometer. The research, with the assistance of his wife, May Stebbins, investigated the relative brightness on binary stars using visual techniques. In a 1957 speech at the American Astronomical Society, Stebbins recalled the events which led to the electric cells:</p><br>
<p>She wrote down the numbers as the observer called them, but after some nights of recording a hundred readings just to get one magnitude, she said it was pretty slow business. I responded that someday we would do all this by electricity. That was a fatal remark. Thereafter she would often prod me with the question, "When are you going to change to electricity?" It happened that within two or three months, the Department of Physics gave an open house, and one of the exhibits was in charge of a young instructor, F.C. Brown. He showed how, when he turned on a lamp to illuminate a selenium cell, a bell would ring, when the lamp was off, the bell would stop. Here was the idea: Why not turn on a star to a cell on a telescope and measure a current?</p><br>
<p>Stebbins and Fay C. Brown soon became friends and in time, they had a selenium cell positioned on the 12 in telescope at the observatory. In the summer of 1907, after several attempts, the two achieved a light curve for Earths moon and measured the moons brightness during a lunar eclipse. This marked the first time in America that electricity was used to measure astronomical brightness. Later Stebbins went further, discovering that by cooling the cell to zero degrees Fahrenheit he would double the cell sensitivity and diminish irregularities in the circuit tenfold, still further, by reducing the size of the cell the irregularities were reduced more. The pair went on to detect stellar intensity and activity that were previously unrecorded. In 1909 their observations of Algol detected for the first time the second minimum as well as limb brightening. The coming of Comet Halley in 1910 allowed Stebbins, in May, to use his selenium photometer to study the comet. Two years later Stebbins used the photometer and discovered four stars to be eclipsing binary stars: Beta Aurigae, Spica, Alpha Coronae Borealis and Delta Orionis.</p><br>
<p>Although the selenium cell photometer was proving successful, it was difficult to use and not very sensitive. Illinois physics professor Jakob Kunz suggested that Stebbins try a photoelectric cell. Kunz had been experimenting on an improved photoelectric cell which was alkali based. Kunz&#39;s cell was the predecessor of the modern day "electric eye." Stebbins left for a sabbatical in Europe in fall of 1912. While he was gone, Kunz and another Illinois physicist, W.F. Schulz, successfully tested a photoelectric cell photometer at the observatory.</p><br>
<p>Upon his return from sabbatical in August 1913, Stebbins ended his pioneering work with the selenium cell and began working with Kunz on the new photometer.</p><br>
<p>In 1915, Stebbins object of study became the star involved in Myers first big discovery at the observatory, Beta Lyrae. He thus began an aggressive research program that produced a series of papers in the Astrophysical Journal on eclipsing binaries Lambda Tauri, Algol, 1H Cassiopeiae (HR 8926), ellipsoidal variables π5 Orionis, and b Persei, and Nova Aquilae (V603 Aquilae) in 1918. Stebbins and Kunz also travelled to Wyoming to study the Solar eclipse of June 8, 1918. Dr. Elmer Dershem joined the observatory staff in 1917 and rebuilt the photometer in the summer of 1919. By 1922, Charles Wylie completed the first Illinois astronomy doctorate for his photoelectric studies of the Cepheid Η Aquilae, and Sigma Aquilae noting its variations due to tidal distortions.</p><br>
<p>In 1913, Stebbins was awarded the Rumford Prize of the American Academy of Arts and Science, and in 1915 the Henry Draper Medal of the National Academy of Sciences. The research was also supported by grants from the Draper fund of the National Academy of Sciences and the Rumford Fund of the American Academy of Arts and Sciences. Stebbins served as an officer of the American Astronomical Society and was one of the American delegates in 1918 to attend the organizational meeting of the International Astronomical Union in Brussels.</p><br>
<p>Stebbins left the University of Illinois in 1922 for the Washburn Observatory in Wisconsin and Dr. Robert H. Baker took over as the new Director of the University of Illinois Observatory. However, discovery and science did continued at the university&#39;s observatory.</p><br>
<h3>Robert Baker, third director</h3><br>
<p>When Robert Baker arrived he continued a photoelectric photometry program focusing on variable stars. He continued to use the 12-inch refractor until 1927 when a new photometer was constructed and attached to the 30-inch reflector telescope in the observatory annex. He supervised two graduate students who worked on this equipment in the early 1930s. On May 27, 1933, the star Arcturus provided light which fell onto a photo cell in the observatorys annex and sent a signal to open the Chicago Worlds Fair.</p><br>
<p>The Great Depression was soon in full swing and the department budget fell from $1000 to $200. It was during this time that Dr. Baker authored a number of books. In 1930, he authored the textbook Astronomy, followed in 1932 by The Universe Unfolding, and his revision of Simon Newcomb&#39;s Astronomy for Everyone. In 1934 Baker described an imaginary trip to the moon in When the Stars Come Out. His second textbook, An Introduction to Astronomy also appeared in 1934. Introducing the Constellation was published in 1937 and, with the help of Howard Zim in 1951, Stars: A Guide to the Heavens. His textbooks were used across the country for undergraduate astronomy courses and praised as classics.</p><br>
<p>After two sabbaticals to Harvard, Bakers interest moved from photometry to the Milky Way. In 1939 the 30-inch reflector was replaced with a Ross photographic telescope and in the years 1939 through 1951, Baker used the observatorys photographic telescope to help count the stars in the Milky Way and determine their distribution as part of Harvard Universitys Star Counting Circuit. This would be the primary research until Bakers retirement in 1951. The 12-inch refractor was only used for instruction, public open houses and for visiting school groups.</p><br>
<h3>Modern department</h3><br>
<p>The university increased the size of the department and hired Dr. George C. McVittie as the next director. After his arrival in the fall of 1952, McVittie began the refurbishment of the Observatorys major instruments. The 12-inch refractor and the 3-inch transit telescope were restored in 1954 by the J.W. Fecker Company. He also began expanding the faculty. Dr. Stanley Wyatt joined the faculty in 1953, George Swenson and Ivan King in 1956, Kennth Yoss, John Dickel and James Kaler in 1964 and Edward Olson in 1966. With George Swensons arrival, Illinois began a program of radio astronomy resulting in the Vermillion River Radio Observatory that opened in 1962. Prairie Observatory was an optical observatory consisting of a 40-inch telescope and was completed in 1967. By the time of Dr. McVittie&#39;s retirement in 1971, the one-astronomer department had expanded to nine faculty with research interests in relativity, cosmology, celestial mechanics, perturbation theory, dynamics of star clusters, planetary nebulae, planets, supernovae and radio astronomy. The department which produced only five advanced degrees prior to 1951 graduated 29 Masters and 14 Doctoral students during the McVittie administration.</p><br>
<p>On October 4, 1957, the very evening of the launch of Sputnik, students and faculty met at the observatory and constructed an improvised radio interferometer. They published the first precise ephemeris in the journal Nature in November. Their success helped gather momentum and funding for the radio astronomy program.</p><br>
<h3>Current history</h3><br>
<p>The observatory underwent major renovations and additions in 1956 and 1966 to accommodate the growing faculty (see architecture section below). In 1967, the 12 inch telescope at the observatory made its last professional photometric observations. The University of Illinois Astronomy Department moved out of the building in 1979. In 1986, thousands gathered at the site to observe Comet Halleys journey into the inner Solar System.</p><br>
<p>The observatory is no longer used for research purposes, though the telescope is still used as a teaching tool in the university&#39;s astronomy classes. In addition, the University of Illinois Astronomical Society uses the telescope often for amateur astronomy and astrophotography. The observatory dome underwent a renovation that included repainting in 1996.</p><br>
<p>In 2009, Professors Leslie Looney and Benjamin McCall constructed a spectrometer on the ground floor of the observatory, and ran an optical fiber cable to the telescope in the dome. They used this to teach an astrochemistry class until the 50-fiber bundle was broken.</p><br>
<p>In 2013, the telescope was detached from its mount, lifted out of the dome through the dome slit, and placed on a truck to be shipped to Swarthmore, Pennsylvania to be refurbished by Ray Museum Studios. The telescope&#39;s optics were cleaned, as well as the exterior refinished. While the telescope was away, the dome was repainted, as were the interior walls and flooring. The total cost of the renovation was approximately $54,000.</p><br>
<h2>Equipment</h2><br>
<p>The primary instrument is a refractor of 12 inches clear aperture and of 15 ft. focal length. The optics are by John A. Brashear of Pittsburgh and the mechanical parts by the Warner & Swasey Company of Cleveland. Eyepieces provide magnification ranging from 130 to 720 power.</p><br>
<p>It is mounted on a rectangular cast-iron column of two-tons weight that rests on the masonry pier. Through a glass door in the column you can see the driving clock that keeps the telescope turning westward in keeping with the stars, so that a star remains in view as long as the astronomer wishes to observe it. The telescope turns on two axes at the top of the column. One axis slants upwards toward the north pole of the heavens; the other at right angles to it, and it is to this one that the tube of the telescope is attached. Two large circles provide graduated scales for locating objects by their coordinates. The instrument can be turned on these axes toward any part of the sky. It is a heavy instrument, but so well balanced that the astronomer moves it easily with one hand.</p><br>
<p>The principle transit circle was a 3-inch Combined Transit and Zenith telescope designed by Warner & Swasey especially for Illinois. The objective, by John Brashear, was held in place by a special cell that compensated for the different temperature conductivities of the brass and glass so that temperature had no effect on the location or separation of the lenses. Designated as model M-505, the transit included a handing level, micrometer and a built in reversing mechanism. This transit was located in the east-central transit room allowing direct access to the clock room through a small window. The instrument cost $1200 in 1896.</p><br>
<p>The transit circle was capable of determining both right ascension and declination of a star, unlike the more simple and common transit instrument that can only determine the right ascension. Such an instrument could also be used to set the observatory&#39;s clocks by observing standard stars whose position was precisely known.</p><br>
<p>In addition there were three other smaller transit telescopes, two clocks by Clemens Riefler of Munich, and other accessories including sextants, chronometers, and teaching tools.</p><br>
<h2>Architecture</h2><br>
<p>The building, itself, is in a traditional observatory design, Colonial Revival style, following a T-plan. The dome rises 35 ft in the air. The observatory was built on a one-story T-plan, facing north, of buff-colored Roman brick (from Indiana) and features limestone lintels and sills. The cross of the T is 75 ft long east to west and 25 ft deep, its stem is located to the south, centered along the east-west axis and is 26 ft deep by 25 ft wide. The octagonal observation tower rises 25 ft into the air at the intersection of the T where it becomes a dome and continues to a height of 35 ft. At floor level of the second equatorial room a balustrade circles around the exterior of the tower. The tower is capped by a great circular limestone plate, which carries the dome track. Internally, the diameter of the dome is 24.5 ft and its zenith 24 ft above the floor. The dome slit, which still operates, has an opening of 44 in and can be opened or closed by hand in seconds. The dome tower and equatorial room are original save a motor drive which replaced the old rope and sheave method of rotating the dome. As of September 2014, the motor drive was being serviced and the rope and sheave method was once again in use.</p><br>
<p>In the center of the equatorial room is the 1896 12 in refractor telescope. Built by the firm of Warner and Swasey, Cleveland, Ohio, the scope is stabilized on a brick pier which extends down into the bedrock and is not attached to the building in any way. The telescope cost $4,500 and still has the original observer&#39;s chair mentioned in the contract with Bevis and Company at a cost of $25. The entrance hall, below the equatorial room, octagonal in shape, is centered on a brick pier. The entrance hall retains original stairs, newel posts, balustrades, and wood floors; it is still used for its original purpose, storage.</p><br>
<p>The east and west wings of the building once each contained a transit room. Each of the rooms had a mounted transit telescope on a brick pier; the piers are still visible in the basement below the transit rooms. The western transit rooms were converted into office space by the 1920s. The eastern transit rooms were converted to office space more recently.</p><br>
<p>The exterior of the observatory building has a brick cornice, with stone sills and lintels, stone water course, ornamental gutters, and original copper downspouts. Most of the building&#39;s windows are of the wooden double-hung variety and original, as are the front entrance door transom and concrete stoop. The original front balustrade has been replaced, however, the western stoop and ornamental iron balustrade is still original.</p><br>
<p>Aside from the transit room conversion to office space the building has seen other major work in the past. The southwest corner of the building was built in 1956, of cream colored brick, to house additional classrooms and office space. The addition of 1956 took care to replicate nearly every aspect of the original building except for color. Another major addition occurred in 1966 with the construction of the large east wing. Of the same cream colored brick as the 1956 addition, it also tried to mimic the building&#39;s finer details. The 1966 east wing addition provided for more office space. This project also included space for a new darkroom and a radio telescope laboratory. The observatory basement and the dome housing the refractor are still in use by the astronomy department at U of I and the University of Illinois Astronomical Society, a student organization on campus.</p><br>
<h2>Historic significance</h2><br>
<p>The observatory holds significance in astronomy because of its association with the development of selenium and photoelectric cell. The cell revolutionized the science of astronomical photoelectric photometry by the use of electricity to measure the brightness of stars by providing a more precise and accurate measurement compared to the visual and photographic methods common at that time. This branch of astronomy measures stellar magnitude. The research regarding photometry was conducted on a 12 in Warner and Swasey refractor telescope in the second-story equatorial room. As a result of Dr. Stebbins&#39; work determining stellar magnitude using photoelectric photometry, it became standard technique. Due to this astronomical importance the observatory was listed on the National Register of Historic Places on November 6, 1986, and on December 20, 1989, the USA Department of Interior designated the U of I Observatory a National Historic Landmark.</p><br>
<p>Kirby&#39;s Mill is a historic grist mill in Medford, Burlington County, New Jersey, United States. Originally known as Haines Mill, it was built in 1778 by Isaac Haines and partners along the Southwest Branch of Rancocas Creek. It was the last commercial operating mill in New Jersey.</p><br>
<h2>History</h2><br>
<h3>18th and 19th centuries</h3><br>
<p>A sawmill was built along the creek, and an adjacent brick house, called the Miller&#39;s House, was built about 1785. The grist mill was enlarged to three stories about 1830. A blacksmith shop and barn were also built during this period.</p><br>
<p>William S. Kirby purchased the mill complex in 1877 and added a fourth floor to the grist mill. The original water wheel was replaced with water turbines, which provided more power and were submerged, permitting year-round operation.</p><br>
<p>The mill produced wheat, buckwheat and rye flour, cornmeal and chicken feed. The sawmill produced lumber for the mid-Atlantic region into the 20th century.</p><br>
<h3>20th century</h3><br>
<p>Flour production stopped in the 1920s. The gristmill was converted to electrical operation in 1961. Livestock feed was produced until 1969.</p><br>
<p>Kirby&#39;s Mill was relatively unaffected by a disastrous storm that struck upstream from the site in Medford, Medford Lakes, and Shamong Township on July 14, 2004. While the mill, grounds, roadway and surrounding property were inundated under up to 12+ feet of water, the structure remained intact, with little to no noticeable and appreciable damage. Medford Township, Burlington County, New Jersey State, and Federal Engineers, and Historic/Preservation Architects performed detailed surveys, and inspections to certify the building as safe, and only receiving "minor, cosmetic, or relatively inconspicuous" damage.</p><br>
<p>Each year, the Medford Historical Society hosts its annual Quilt Show, as well as the annual Apple Festival. Highlighting local artisans, crafts-workers, period scenes, and historical memorabilia. Attendance has been growing over the years, with 2012 being approximately 20,000 attendees. Kirby&#39;s Mill Apple Festival is one of the most popular festivals in the tri-county area.</p><br>
<h2>Renovations</h2><br>
<p>Recently, historic renovations to the Millers House have been started. These have been started to return the structure to its original, more historically correct design and appearance. Removal of 1930 as well as 1950 additions, the return to timber structural members, glazing, and decorative fixtures, as well as historic renovation of the interior are expected to be completed by 2009. Additionally, construction of a period style carriage house has been started on the Mill&#39;s grounds.</p><br>
<p>Kirby&#39;s Mill is currently owned by the Medford Historical Society. The mill has been entered in the National Register of Historic Places in the United States.</p><br>
<p>The society is working to restore the mill, which is part of a museum complex that includes a country store, milliner&#39;s shop, print shop, carpenter shop, working blacksmith shop and sawmill. The museum is open during special events and on Sunday afternoons in the summer.</p><br>
<p>The Ellwood House was built as a private home by barbed wire entrepreneur Isaac Ellwood in 1879. It is located on First Street in DeKalb, Illinois, United States, in DeKalb County. The Victorian style home, designed by George O. Garnsey, underwent remodeling in 1898-1899 and 1911. The house was originally part of 1,000 acre which included a large stable complex known as "Ellwood Green." Isaac Ellwood lived here until 1910 when he passed the estate to his son, Perry Ellwood.</p><br>
<p>After Perry Ellwood inherited the home he remodeled the interior and exterior, drastically altering the homes appearance. Thus, the Ellwood House incorporates elements from several architectural styles. In 1964 the home was donated to the city of DeKalb and converted into a museum. The house was listed on the USA National Register of Historic Places in 1975. The Ellwood House Museum site contains six structures in addition to the main house. A 50 ft tall water tower dominates the west side of the property while a 14-foot (4.3-m) tall miniature Stick style house is located nearer the main house. There is also a Visitor Center, built as an addition to the Perry Ellwood familys original garage, and a museum house that was once used to hold Harriet Ellwoods (Isaacs wife) collection of "curiosities." The property also includes the "Ellwood-Nehring House," the home given to Perry and May Ellwood as a wedding gift in 1898. From 1940 until 2011, the house was privately owned by Paul Nehring, owner of DeKalb&#39;s Nehring Electrical Works, and his wife Shirley.</p><br>
<h2>History</h2><br>
<p>Construction on the original mansion began in April 1879, George O. Garnsey, a Chicago architect, designed the Ellwood Mansion for DeKalb barbed wire entrepreneur Isaac Ellwood. At the time, Garnsey had designed other structures in DeKalb and Sycamore. By November 1879 the Ellwood family occupied the home. Newspaper accounts of the day put the cost somewhere between US$40,000 and $50,000. The original Ellwood House had a number of elements common to Victorian designed homes and combined several styles. Its mansard roof remains one of the home&#39;s most striking features. In addition, the home still incorporates Gothic columns, pitched gables, and a cast iron roof cresting with a trefoil design.</p><br>
<p>While Isaac Ellwood lived in the home large dinner parties, popular during the 19th century, were commonplace. The Ellwood House hosted prominent visitors throughout Isaac Ellwood&#39;s residence there. Theodore Roosevelt dined in the Ellwood House dining room while he was a candidate for Vice President of the United States in 1900. The dining room has also hosted USA Senators and USA state governors among other notable guests. Dinner parties at the Ellwood House followed customs typical to 19th century dinner partie. Guests "dressed" for the party, followed proper etiquette and were expected to know how to use the silverware properly.</p><br>
<p>The first remodeling work on the Ellwood Mansion took place as the 19th century drew to a close. The changes, commissioned by Isaac Ellwood, were meant to reflect more popular architectural styles including the Georgian and Colonial Revival. Many of the buildings original Gothic features were replaced with more Classical elements. On the homes exterior, some of these changes can be observed in the addition of the portico and porte-cochere. Inside the home, the dining room was enlarged with the addition of the semicircular bay on the mansion&#39;s north facade.</p><br>
<p>Perry Ellwood inherited the house in 1910, and, together with his wife, May Ellwood (née Gurler), altered the mansion once again. The biggest changes were the addition of the terrace on the home&#39;s south face, a sunroom wing, and the relocation of the porte-cochere to the north side of the portico. This is the mansion that is visible today.</p><br>
<p>During World War II, and after Perry Ellwood died in 1943, May Ellwood again altered the home; to save on fuel oil, she had the upper floors of the house closed off. In 1964 the home was donated to the city of DeKalb and converted into a museum.</p><br>
<h2>Architecture</h2><br>
<h3>Exterior</h3><br>
<p>The three-story brick house includes a full elevated basement and a mansard roof with steeply pitched gabled dormers. Projecting from the roofline are plain corbeled chimneys and iron gillwork, the original roofing material was slate. The 1879 version of the Ellwood House featured dormer ornamentation with finial work. The original windows were all double-hung and of modest size, occurring both singly and in pairs while showing a variety of lintel designs. The original front (east) facade appeared much different than it does at present. The front entryway has been completely altered, due to Perry Ellwood&#39;s 1911 remodeling. The original entryway featured a one-story stone porch supported with two pilasters and two granite columns. The square projecting porch bay was connected to the ground via 12 stone stairs. In the southeast corner of the house was a full three-story projecting tower set at a 45° angle to the rest of the front facade.</p><br>
<p>Isaac Ellwood&#39;s 1898-1899 renovations were superficial, especially when compared to the alterations his son made to the original design a decade later. He had the bracketed cornice replaced with a Classical cornice with dentils and a projecting molding. The window lintels were altered in a style similar to the new cornice. On the tower, the two windows on the first floor were replaced with one larger window while the projecting bay over the east portico was removed and made flush with the rest of the house. The windows over that portico were replaced with a heavy double door that opened onto the roof over the veranda, which had been built over the entire front of the house. It was during this time that the first porte-cochere was built on the south side of the home.</p><br>
<p>Perry Ellwood undertook major renovations which added and changed rooms in 1910. On the homes exterior the porte cochere was moved from the south facade to its present position on the north facade. On the south side of the home a large brick terrace was added and the conservatory moved from the southwest side of the house to the rear (west). The full-length tower on the homes southwest corner was entirely removed during this renovation.</p><br>
<h3>Interior</h3><br>
<p>The general layout of the homes interior has remained basically the same throughout the remodelings; the rooms on each floor are accessed via a large central hallway which ends in an elegant rotunda. However, some of the changes made in 1910 and 1911 did alter the interior appearance. The parlor was converted into the library and the library was converted into the dining room after an extension was added on. In the homes northwest corner a large kitchen was added, on the second-floor, the room above the kitchen became servant&#39;s quarters.</p><br>
<p>Upon entering the Ellwood House, guests of Isaac or Perry Ellwood would have been greeted or formally welcomed by members of the family. After Perry Ellwood inherited the house in 1910 the entry parlor began to become known as the library. Prominent among the librarys features is a carved Italian marble mantle with a large gilt mirror hung above it. The librarys bookshelves are cast in a Neo-Italian Renaissance style and constructed of fine mahogany. Presently filling the shelves in the Ellwood House are a large collection of books with Ellwood family nameplates. Near the library window, which is adorned with its original walnut shutters, is an 1890s French statue. The statue was donated to the Ellwood House Association from someone in Sycamore who bequeathed it to the museum.</p><br>
<p>The dining rooms underwent an extensive remodel in 1898 because of Ellwoods rise to national prominence through his barbed wire partnership with Joseph Glidden. The room was enlarged through the addition of a semi-circular bay. Beyond the addition, the room was refurnished and redecorated to reflect the Georgian Revival alterations that were occurring on the homes exterior. Elements of Georgian Revival architecture that were incorporated into the Ellwood dining room remodel include, mahogany paneling with dentil molding around the windows and doors, a cornice with Classical details, and brackets. Almost all of the dining rooms 1898 furniture and woodwork was custom made by Tobey & Company of Chicago and each piece is affixed with a dated brass plate. The main dining room table and chairs were cast in an early Georgian style and the table has twelve extra leaves which can extend it the length of the room. The dining room&#39;s smaller table, situated within the bay addition, was used for Ellwood family breakfasts.</p><br>
<p>The Ellwood House living room did not exist until Perry Ellwood&#39;s 1911 remodeling. The living room features a "pargework" ceiling constructed of molded plaster and designed with a geometric theme. The large, Caen stone fireplace was carved in Chicago in 1911. The sunroom was designed in the late 19th century and early 20th century Arts and Crafts style causing it to stand in stark contrast to the living room. The room was originally furnished with Mission style furniture to complement the oak woodwork.</p><br>
<h2>Museum</h2><br>
<p>Shortly before her death in 1964 May Ellwood donated the house to the DeKalb Park District for use as a historic house museum. The house is now a museum, operated jointly by the Ellwood House Association and the DeKalb Park District and they offer guided tours for a fee. The museum offers tours seasonally beginning in late spring and ending after the annual holiday celebration in December. The Ellwood House Museum has a visitor&#39;s center, which includes a barbed wire gallery, carriage gallery, special exhibits gallery, and a gift shop. The museum offers tourists a chance to glimpse what life was like for the Ellwoods. As part of the DeKalb Park District, the grounds are open to the public, and available for rental for use on public and private events. The DeKalb Area Garden Club hosts an annual Flower Show, community members hold weddings in the garden or visitors center, and the Ellwood House Association holds an annual Art Show, Ice Cream Social, and other events.</p><br>
<h2>Outbuildings</h2><br>
<h3>Water tower</h3><br>
<p>The Ellwood House grounds hold several extant outbuildings as well: the museum house, the carriage house, the water tower, and the Little House.</p><br>
<p>On the west (rear) of the Ellwood House, the circular limestone water tower is about 50 ft tall and has a diameter of 18 ft. The tower has windows occurring at different levels, which are arched and include keystones in their design. The water tower was built in 1879, the same year as Ellwood House, and at that time the structure was topped with a wooden water tank with a conical roof. Between 1897 and 1910 the wooden tank was removed and replaced with an additional 30 courses of stone which matched the original structure. The arched door at the base of the water tower was replaced with a larger square-shaped double door. The roof remained conical and of wood construction until about 1950 when it was replaced with sheet metal.</p><br>
<p>The water tower is the only surviving structure from what was once a large horse stable facility owned by Isaac Ellwood. The complex, known as "Ellwood Green," was affiliated with the family&#39;s Percheron horse business. Two major structures within the complex, were the 1879 brick stable buildings, both of which featured mansard roofs. Those buildings, along with all other original stable buildings (save the water tower and including the home stable) were demolished through the years.</p><br>
<h3>Carriage house</h3><br>
<p>Another of the property&#39;s buildings, commonly called the carriage house, never lived up to its popular name. The building never housed any carriages; it was, in fact, built to house automobiles. The southern section of the carriage house was constructed sometime between 1908 and 1912 and features a mansard roof. The building is sheathed in stucco and presently houses a collection of antique carriages and sleighs as well as a barbed wire history museum.</p><br>
<p>The carriage house, today the Ellwood House Museum&#39;s Education and Visitors Center, was built by Perry Ellwood as a multi-car garage. It had a grease pit for automobile repair work. On the second floor was an apartment for the Ellwood family chauffeur. The building originally had garage doors on both sides so cars could drive in one side and out the other side of the structure. The original doors are on display inside the Ellwood House Visitors Center.</p><br>
<h3>Museum House</h3><br>
<p>The one-story red brick Museum House, another of the sites outbuildings, stands to the south of the main house and was built in 1905 for Isaac Ellwoods wife Harriett. The Ellwoods grandchildren and other family members referred to the museum house as the "Curiosity Shop." She used the building to store the many curiosities and items she collected while traveling throughout the world. Some of these items included Native American artifacts, minerals, seashells, and other specimens. The museum house measures almost exactly 25 ft on all four sides and has two doorways, one on the east and one on the north side. On its interior some of the museum houses original oak display cases are still intact.</p><br>
<p>The Museum House is cast in Classical Revival style and was the last outbuilding constructed for Isaac Ellwood on the property. Today the Museum House&#39;s exterior appears much the same as it did when it was newly constructed but for many years the structure was badly deteriorated. Prior to the addition of the Visitors Center to the Carriage House, the Museum House served as the visitors center and housed staff offices.</p><br>
<h3>Little House</h3><br>
<p>On the west (rear) side of the home, near the carriage house, is a miniature Stick style house known as Little House. Little House is 13 by and stands 14 ft above its concrete foundation. The house was used by Wills two daughters and later by Perry Ellwoods children.</p><br>
<p>Between that time and 1973 the house had four or five other owners and it was moved several times. Eventually, the Little House wound up at the property of Mr. and Mrs. Burt Oderkirk, on Annie Glidden Road, where it again served as a playhouse for the couple&#39;s children. At this point it was painted white, with green shutters. In 1973 Mrs. Oderkirk donated Little House to Ellwood House Association and it was returned to its place on the Ellwood property. In 1986 the Little House was restored to a Victorian paint scheme.</p><br>
<h2>Significance</h2><br>
<p>The house is most significant for its connection to Isaac Ellwood, who has been given credit, in part, for Joseph Gliddens invention of barbed wire. Gliddens patent was earlier, thus Ellwood&#39;s connection with the actual invention is vague. He did, however, play a chief role in organizing the barbed wire industry into a viable and profitable business.</p><br>
<p>The Beardstown Grand Opera House is an opera house on South State Street in Beardstown, Cass County, Illinois. It was added to the National Register of Historic Places on May 11, 2000, and is in the process of restoration.</p><br>
<h2>History</h2><br>
<p>The Beardstown Opera House was originally built in 1872. Nearing completion the opera house was almost completely destroyed by a tornado. After the Opera House was rebuilt by the owners and volunteer townsfolk, the first troupe to play the theater was General Tom Thumb of P.T. Barnum fame.</p><br>
<p>Through the years there have been many owners of this historic building. From 1872 to 1893 a partnership between Henry Krohe and Georgee Schneider controlled the building; facts about Krohe are known, but Schneider is lost to history. A team of five owners took over the opera house for the years 1893 to 1899: they were T.K. Condit, J.P. Harris, Merton Harris, William Deppe and August Deppe. For the five-year period from 1899 to 1904 a set of three owners, three of the previous owners dropped out and a replacement owner came in, controlled the Grand Opera House, Condit, Harris and J.F. Duvall. In 1904 the Deppe family took over control for the next 50 years until, in 1954, the Huss family took over until 1968.</p><br>
<p>In more recent history it was owned by the Irene Schroll family. In March 2004, the opera house was purchased by the Heritage Preservation Foundation, a non-profit organization created for the purpose of owning the Opera House. Four years before, it had been added to the National Register of Historic Places; it is one of two such locations in Cass County.</p><br>
<p>The Fife Opera House is a theater in Palestine, Illinois, in Crawford County. It is on the National Register of Historic Places and has been since January 26, 1990.</p><br>
<h2>History</h2><br>
<p>Construction at the David Fife Opera House started in 1898 and finished in 1901. In the building David Fife operated a hardware store on the ground floor. Upon completion the opera house seated several hundred in a building that measured 55 X 70 ft. The raked floor was filled with upholstered, red leather theater seats. Audiences were cooled by electric fans in summer and heat provided by a coal furnace kept them warm in cooler weather. The two original ceiling fixtures included a mirrored collar which reflected the glow of the high wattage light bulbs. At the west end of the building is the stage with a 25 ft long opening and 15 ft high, the stage is encircled by 25 lights.</p><br>
<p>A handpainted rolled canvas fire curtain was hand painted by artists from Sosman and Landes, a Chicago company. The curtain art shows a Venetian canal scene. Side and top panels along the stage depict draperies surrounding a tree-lined river. Recently, other painted scenes showing gardens, waterfalls and a turn of the century scene have been discovered in the building. Fifes mother demanded that one of the buildings five interior art panels, the one that featured cherubs, be painted over to cover their nakedness.</p><br>
<p>It is said the lights all over Palestine dimmed when Fife threw the switches to the lights at the opera house on opening night.</p><br>
<p>Stacy&#39;s Tavern is a historic wayside stagecoach inn in the village of Glen Ellyn in DuPage County, Illinois. It was added to the National Register of Historic Places on October 29, 1974.</p><br>
<h2>History</h2><br>
<p>Among the settlers coming to northern Illinois following the Black Hawk War in 1832 were Moses Stacy and his family. Stacy often opened his home as a boarding house for passing travelers, so when he constructed his new home in 1846 he opened it as a wayside inn. Stagecoach travelers moving between Chicago and Galena, area farmers heading to market in Chicago, and settlers moving westward farther still all made use of Stacy&#39;s Tavern.</p><br>
<p>For 50 cents guests could overnight, including two meals and enough hay for two horses. At the inn they could wash with water from the indoor tavern well or warm themselves near the cast-iron stove. Stacys was limited by law to allowing only five travelers per bed. The home was built in a modified Greek revival style and the boards were milled at a nearby sawmill, Garys Mill and the bricks were handmade.</p><br>
<p>It was the railroad that hailed the death knell of Stacy Tavern as a wayside inn. Even after the arrival of the railroad, Stacy and his wife continued to use the house as their residence until Moses died in 1870 and his wife in 1899. They are buried in nearby Forest Hill Cemetery.</p><br>
<h2>Restoration</h2><br>
<p>The Village of Glen Ellyn purchased the property in 1968, and along with the Glen Ellyn Historical Society restored it to the state of a typical tavern inn of the late 1840s. Restorers studied old photos, removed numerous paint layers, and analyzed architectural elements to detail the original construction of the tavern. Artifacts furnishing the tavern were collected by the Society from across the United States, and the chairs in the Tap Room were made by an Illinois carpenter in the 1840s.</p><br>
<p>In 1974 it was added to the National Register of Historic Places and was honored by Illinois as the only tavern from its period still standing on its original foundation at its original location. In 1976 Glen Ellyn opened Stacys Tavern to the public as a museum as part of the towns contribution to the American bicentennial.</p><br>
