<p>State Street Historic District is a national historic district located at Rochester in Monroe County, New York. The district consists of the last surviving continuous row of 19th-century masonry commercial buildings within Rochester&#39;s Inner Loop. They were developed between 1825 and 1900 and the row forms an unpretentious unbroken wall of 12 buildings. The oldest building is located at 141-147 State Street and was constructed about 1825.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>Madison Square–West Main Street Historic District is a national historic district located in the Susan B. Anthony Neighborhood of Rochester in Monroe County, New York. The district consists of 102 contributing structures and two contributing sites. Sixty five of the contributing structures are residential, with three contributing dependencies. Also in the district are 24 contributing commercial buildings and nine industrial buildings. The two sites are Susan B. Anthony Square and a former carriage company storage yard. Located within the district boundaries is the separately listed Susan B. Anthony House.</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>The Maplewood Historic District is located in Rochester in Monroe County, New York. The district is distinguished as having landscape designs, including Maplewood Park, originally laid out by Frederick Law Olmsted.</p><br>
<p>The district consists of 432 contributing structures and four contributing sites. They include 245 contributing primary buildings (234 houses, two apartments, three churches, two church-related residences, three buildings associated with a church school, and one recreational facility). There are also 187 contributing outbuildings (carriagehouses and garages). The four contributing sites are three parks and one archaeological site.</p><br>
<p>It was listed on the National Register of Historic Places in 1997.</p><br>
<p>East Avenue Historic District is a national historic district located at Rochester in Monroe County, New York. The district consists of a series of large 19th and early 20th century homes, houses of worship, meeting houses, and museums. It contains approximately 700 structures. Notable structures in the district include the Hiram W. Sibley House , home of Hiram Sibley; Edward E. Boynton House , Rochester&#39;s only work by Frank Lloyd Wright; the Culver House , moved to its present site in 1906; and the Strong-Todd House , once occupied by Henry A. Strong.</p><br>
<p>It was listed on the National Register of Historic Places in 1979.</p><br>
<p>The George Eastman House is a National Historic Landmark located within the district.</p><br>
<p>Hiram Sibley House.jpgThe Hiram Sibley House at 400 East Avenue</p><br>
<p>Culver House Rochester NY.jpgThe Culver House at 70 East Boulevard</p><br>
<p>St._Pauls_Episcopal_Church,_Rochester,_New_York.jpgSt. Pauls Episcopal Church, 25 Westminster Road</p><br>
<p>The Engineers Club of Dayton was founded by Colonel Edward A. Deeds and Charles F. Kettering in Dayton, Ohio in 1914. The club&#39;s building is listed on the National Register of Historic Places and the history of the club involves notable Daytonians and historical figures such as Orville Wright.</p><br>
<h2>Establishment</h2><br>
<p>Members cited the status of Dayton as one of the leading industrial cities in the country in support of their formation of the club. The charter members of the Engineers Club were Edward A. Deeds, Charles F. Kettering, Frank Morrison Tait, H.B. Canby, Arthur E. Morgan, H.M. Williams, H.J. Williams, H.G. Dorsey, H.G. Kittredge, D.A. Kohr, Harry I. Schenck, J.H. Hunt, O.H. Hutchings, Oscar, Kressler, and F.O. Clements. On April 15, 1914, the charter members signed the articles of incorporation of the Engineers Club of Dayton. Deeds was elected the club&#39;s first president (1914–1915).</p><br>
<p>Through a connection of Kettering, the club was originally permitted to meet at a property owned by Delco Electronics located on the corner of Second and Madison streets in Dayton. As membership grew, the need for a new, permanent location became evident and a building committee, funded by Deeds and Kettering, planned the construction of the present location of the club on Monument Avenue.</p><br>
<p>On February 2, 1918, the club&#39;s new home, designed by the Dayton firm of Schenck & Williams, was dedicated in front of more than 300 members and guests. Commemorating the occasion, Orville Wright gave a rare public speech. He emphasized the responsibility of the membership, both present and future. Among the distinguished guests present at the event were Governor James M. Cox, Major J.G. Vincent and William B. Mayo.</p><br>
<p>The first woman full member of the club was M. Elsa Gardner.</p><br>
<p>On October 17, 2007, the Engineers Club of Dayton was added to the National Register of Historic Places.</p><br>
<h2>Membership and Organizational Information</h2><br>
<p>According to the articles of incorporation, the mission of the Engineers Club is to "foster the advancement of business, education, engineering and science, and to promote the professional development of its members."</p><br>
<p>The Engineers Club is a private, non-profit professional-association, overseen by a Board of Governors and operated by a Club Manager and staff. The Engineers Club Foundation is a 501(c)(3) organization whose mission is to support education in engineering and business professions and the restoration and preservation of the historic Engineers Club of Dayton building. Donations to the Foundation are tax deductible.</p><br>
<p>The Engineers Club of Dayton is open to new members and offers "individual memberships, including special memberships for students and non-residents (outside the Miami Valley), as well as corporate and group memberships."</p><br>
<h2>Current operations</h2><br>
<p>The membership of the Engineers Club is currently primarily made up of professionals and academics throughout the Dayton area. The club holds lectures and other similar professional events throughout the year. In addition to such academic activities, the club frequently hosts social events for its members.</p><br>
<p>Financing for the club&#39;s operations comes through its endowed foundation, the Engineers Club Foundation, membership fees and food sales from the dining room, located within the Engineers Club building. Members are currently required to spend a certain amount on dining and social activities offered by the club within any given calendar year.</p><br>
<p>In addition to the sources of income already discussed, the Engineers Club earns operating revenue through renting various space within the clubs historic facility for banquet services. From the clubs website, the types of events for which the club is well suited include wedding receptions, showers, anniversaries, birthdays, tea parties, reunions, seminars, conferences, business meetings, awards dinners, presentations and other gatherings for 15-350 guests.</p><br>
<p>Third Ward Historic District is a national historic district located at Rochester in Monroe County, in the USA state of New York. When first listed, the district consisted of approximately 126 structures in a well known enclave of primarily Victorian homes. Located in the district are the separately listed Campbell-Whittlesey House and Hervey Ely House.</p><br>
<p>It was listed on the National Register of Historic Places in 1974, with a boundary increase in 2023.</p><br>
<p>Mt. Hope–Highland Historic District is a national historic district located at Rochester in Monroe County, New York. Its encompassed by the neighborhoods of Mount Hope and Highland Park. It has a diverse range of architectural styles. The district was the exclusive domain of the Ellwanger and Barry Botanic Gardens and Mt. Hope Cemetery throughout the mid- and late-19th century. It retains its elegant and spacious character of park land.</p><br>
<h2>Features</h2><br>
<p>The district is punctuated with notable architect-designed buildings combined with more tightly knit early 20th century subdivision along the district&#39;s fringes. Among the notable buildings are the Warner Castle (1854), a 22-room mansion that is home to the Rochester Garden Center. The Mt. Hope Cemetery includes a little Gothic chapel designed by Andrew Jackson Warner. The cemetery is also known for its beautiful landscaping and picturesque views.</p><br>
<p>It was listed on the National Register of Historic Places in 1974, with a boundary increase in 2024.</p><br>
<p>City Hall Historic District is a national historic district located at Rochester in Monroe County, New York. The district consists of four buildings arranged in a 19th-century civic complex. The buildings are the Rochester City Hall , Monroe County Courthouse , Rochester Free Academy , and St. Luke&#39;s Episcopal Church . Andrew Jackson Warner designed the City Hall and Free Academy buildings. His son, J. Foster Warner, designed the Monroe County Courthouse.</p><br>
<p>The National Register of Historic Places listed it in 1974.</p><br>
<p>Honeoye Falls Village Historic District is a national historic district at Honeoye Falls in Monroe County, New York, USA. The district encompasses 217 residential, industrial, commercial, religious, civic and educational properties in the historic core of the village of Honeoye Falls. It features substantially intact commercial architecture dating from about 1825 to about 1940.</p><br>
<p>It was listed on the National Register of Historic Places in 1993.</p><br>
<p>Pittsford Village Historic District is a national historic district located at the village of Pittsford in Monroe County, New York. The district encompasses 198 contributing elements on 107 properties. The district excludes the central business district. It includes 120 contributing dwellings, three churches, two schools and contributing outbuildings dating from the 1810s to 1930s. Note: This includes</p><br>
<p>and and</p><br>
<p>It was listed on the National Register of Historic Places in 1984. In 2016 it was greatly expanded, including almost the entire village.</p><br>
<p>Parkside Whispering Pines, once known as Tall Maples Miniature Golf Course, is a miniature golf course and national historic district located at the hamlet of Sea Breeze in the Town of Irondequoit in Monroe County, New York. It was built in 1930 and is a rare surviving example of a miniature golf course that dates from the sport&#39;s first period of broad based popularity.</p><br>
<p>It was listed, under its former name, on the National Register of Historic Places in 2002.</p><br>
<p>The South~West Middle School, formerly the South Junior High School and Reay E. Sterling Middle School, is a state of the art school building at 444 Granite Street in Quincy, Massachusetts. It is part of the Quincy Public Schools. The original school was in a Classical Revival style building was designed by Shephard & Stearns, and built in 1927. Of three junior high schools built by the city in the 1920s, it is the best preserved. It is a large U-shaped two-story brick building, with a flat roof and a raised basement. Its main facade is symmetrical, with slightly projecting end pavilions and a central entry pavilion.</p><br>
<p>The building was listed on the National Register of Historic Places in 1989.</p><br>
<p>The Lenoir Cotton Mill was a 19th-century cotton mill located in the USA city of Lenoir City, Tennessee. One of the earliest examples of industrial architecture in Tennessee, the mill operated variously from its construction around 1830 until the 1950s. The mill was documented by the Historic American Buildings Survey and placed on the National Register of Historic Places in the 1970s. Efforts to restore the mill began in 1980, but before the restoration could be completed, the mill was destroyed by arson in 1991.</p><br>
<p>The Lenoir Cotton Mill was one of several enterprises established by early settler and entrepreneur William Ballard Lenoir (1775&ndash;1852). Lenoir moved to the area in 1810 after his father, General William Lenoir, deeded to him the 5,000 acre tract of land comprising what is now Lenoir City. The younger Lenoir established the Lenoir Manufacturing Company in 1817, which engaged in multiple agricultural and industrial enterprises throughout the 19th century.</p><br>
<h2>Location</h2><br>
<p>The Lenoir Cotton Mill site is located near the corner of Depot Street and South Hill Street, just off USA Route 11 in downtown Lenoir City. Town Creek, which flows along the eastern base of the mill site, empties into the Tennessee River about a half-mile to the south. The William Ballard Lenoir house, built in 1821, still stands across the street from the mill site, although it has been drastically modified as a residential apartment complex.</p><br>
<p>Another structure related to the mill, the Lenoir Cotton Mill Warehouse, stands about a half-mile to the southeast, and has recently been restored and currently serves as a residence.</p><br>
<h2>History</h2><br>
<p>What is now Lenoir City was originally part of a 5,000 acre grant of land given to General William Lenoir (1751&ndash;1839) for service in the American Revolution. Lenoir deeded the land to his son, William Ballard Lenoir, who moved his family to the area in 1810. William Ballard Lenoir established the Lenoir Manufacturing Company in 1817, and engaged in numerous agricultural and industrial endeavors. Along with the cotton mill, Lenoir built a sawmill and gristmill on Town Creek, and raised livestock. The Lenoir family used both slave labor and paid labor in their enterprises.</p><br>
<p>The cotton mill was completed in the early 1830s. A Pittsburgh miller named E.F. Faber built a 113-spindle spinning jack and three looms for Lenoirs mill in 1831. Lenoirs farm grew and ginned its own cotton throughout the 1830s, but eventually Lenoir employed his sons to purchase raw cotton for the mill. By the mid-1850s, the mill had 620 spindles, and was powered by an overshot waterwheel. In 1855, the mills value was listed at $12,000, making it the Lenoirs most valuable asset.</p><br>
<p>After Lenoirs death in 1852, his sons continued operating the mill. During the Civil War (1861&ndash;1865), the Lenoirs supported the Confederacy, and when Union soldiers occupied the Lenoir estate in 1863, they burned the Lenoirs railroad depot, general store, and several other outbuildings. As they prepared to burn the cotton mill, William Ballard Lenoir&#39;s son, Benjamin Ballard Lenoir, walked through the ranks of the Union troops flashing a secret Masonic sign, and the troops spared the mill.</p><br>
<p>By 1890, when the Lenoir City Company purchased the Lenoir estate, the mill had been expanded to include over 1,000 spindles. The Holston Manufacturing Company used the mill for a hosiery operation in the 1890s, although the mill was eventually converted into a flour mill, which operated until the 1950s. In 1980, the Lenoir Cotton Mill Association was formed to preserve the mill, and eventually raised over $100,000 for its restoration. The mill was destroyed by arson in 1991, however, and in 1996 Lenoir City rejected a plan to rebuild the mill, choosing instead to include the mills ruins in plans for a city park. One of the mills warehouses, known as the Lenoir Cotton Mill Warehouse, was restored and placed on the National Register of Historic Places in 2006.</p><br>
<p>Hopkins Farm is a national historic district and farm complex located at Pittsford in Monroe County, New York, United States. It consists of 15 contributing buildings, eight contributing structures, and one contributing site on a 370 acre farm. The largest group of structures are clustered around the farmhouse, built about 1815 in a vernacular Federal style, and includes two barns, several outbuildings, and two tenant houses.</p><br>
<p>It was listed on the National Register of Historic Places in 2000.</p><br>
<p>The winding, hillside road from Tantalus to Round Top in Honolulu, Hawaii, dates back to 1892. Tantalus Drive and Round Top Drive were gravel roads when they were completed in 1917, but were paved in 1937. In March 2007, a seven-mile stretch of the road was added to the State Register of Historic Places, and in August 2009 to the National Register of Historic Places, the first such designation for a roadway on Oahu. The more populated lower portions of Tantalus Drive and Round Top Drive were not so designated. This road joins the Hana Highway on Maui on the National Register, and 97 such Historic Roads nationally. Not all of the latter are on the National Register, but some are listed among the Federal Highway Administration&#39;s National Scenic Byways or All-American Roads.</p><br>
<p>Round Top Drive with view of UH Manoa, Diamond Head and the city of Honolulu.jpgUniversity of Hawaii at Manoa and Diamond Head from Round Top Drive</p><br>
<p>TantalusDr-DiamondHead-view.JPGView of Diamond Head from Tantalus Drive</p><br>
<p>PuuUalakaa-park-entrance-treelines.JPGTrees lining Puu Ualakaa State Wayside entrance, Round Top Drive</p><br>
<p>TantalusDrive-toward-NuuanuValley.JPGView toward Nuuanu Valley from Tantalus Drive</p><br>
<p>TantalusDr-hillside-home.JPGMountaintop home and tropical foliage, Tantalus Drive</p><br>
<p>RoundTopDr-UalakaaTrail-crossing.JPGUalakaa Trail crossing, Round Top Drive</p><br>
<p>The Compton Building is a historic building at 159, 161-175 Devonshire Street and 18-20 Arch Street in Boston, Massachusetts. The eleven-story Classical Revival office tower was built in 1902–03 to a design by Henry Forbes Bigelow of Winslow & Bigelow, and is a well-preserved example of a Chicago-style steel-framed skyscraper. The building was listed on the National Register of Historic Places in 2008.</p><br>
<h2>Description and history</h2><br>
<p>The Compton Building is located in Boston&#39;s Financial District, occupying a roughly rectangular parcel between Devonshire and Arch Streets south of Milk Street. It is connected by a late 20th-century connector to the International Trust Company Building, which stands facing Milk Street to the north. It is eleven stories in height, with a steel frame and exterior finished in stone. Its main facade faces Devonshire Street, and features a architectural plan typical of early 20th-century buildings. The lower two floors serve as an stylistic base, while the third through ninth floors have a largely repeated array of windows. The upper two floors form a sort of stylist cap for the building, featuring a level of detail similar to the bottom floors. The Arch Street facade has a similar arrangement, except that there is a recessed well in the upper middle bays, providing additional light to those floors.</p><br>
<p>The building was constructed in 1902–03 to a design by Henry Forbes Bigelow of Winslow & Bigelow to meet burgeoning demand for office space in the Financial District, with 65% of its space allocated to interested parties prior to construction. Its early tenants including a wide variety of businesses, including offices of manufacturers, insurance companies, and attorneys. The ground floor eventually became a more retail-oriented space, having had a long use as a showroom for manufacturing tenants. By the early 1960s the building was largely vacant, reflecting declining demand. In 1961, the building was under common ownership with the International Trust Company Building, and an older intervening 5-story structure. The latter was demolished c. 1981, and in its place a structure was built providing modern elevators and emergency egress facilities to both buildings. The Compton Building was afterward converted into a hotel, and now houses the Club Quarters Hotel, with a restaurant on the ground floor.</p><br>
<p>St. Mary&#39;s Episcopal Church is a parish of the Episcopal Church , noted for its historic church at 14&ndash;16 Cushing Avenue in the Dorchester neighborhood of Boston, Massachusetts. Founded in 1847, it remains an active congregation of the Episcopal Diocese of Massachusetts.</p><br>
<p>The first church building, on Bowdoin Street, burned down in 1887, prompting the formation of St. Mark&#39;s Church and the building of the current structure. Designed by the English architect Henry Vaughan, the Tudor Revival church building was built in 1888. In 1893 it was expanded in a matching style with the addition of transepts and the chancel by architects Hartwell & Richardson. The parish house was designed by Charles K. Cummings and built in 1907. The church contains a high-quality collection of stained glass windows, including the work of Tiffany Studios and Charles Jay Connick.</p><br>
<p>The property was listed on the National Register of Historic Places in 1998. One of the oldest food pantries in the area is located in the church.</p><br>
<p>Eliot Hall is a historic building at 7A Eliot Street in Jamaica Plain, Massachusetts, a neighborhood of Boston. It is sometimes referred to as "The Footlight Club," after "America&#39;s oldest community theatre," which owns and operates out of the building.</p><br>
<p>Originally built in 1832 in Greek Revival/Italianate style, the hall was slated for demolition by the time the clubs members purchased it in 1889. Since then it has served for over a century as the organizations home and performance venue. The Trustees of Eliot Hall were formed by the group in the 1980s to oversee renovations to the deteriorating building, saving it from closure, and in 1988 it was added to the National Register of Historic Places.</p><br>
<p>Currently, the hall is used as the offices and performance space of The Footlight Club, and is rented out by the club for private functions.</p><br>
<p>Old East Boston High School  is an historic school building at 127 Marion Street in East Boston, Massachusetts. It now acts as Section 8 housing for elderly or disabled people.</p><br>
<p>This building is currently under consideration for Boston Landmark status by the Boston Landmarks Commission.</p><br>
<p>The Renaissance style school was built in 1901 to a design by John Lyman Faxon and expanded in 1933 to a design by Charles R. Greco. It is a three-story structure, faced in yellow brick and limestone, with a flat roof and a raised basement. It is roughly in the shape of an H, with a central section that has side wings projecting to both the front and rear. A circular auditorium section stands behind the central section.</p><br>
<p>The building was added to the National Register of Historic Places in 2006.</p><br>
<p>The Charles Maynard House is a historic house at 459 Crafts Street in Newton, Massachusetts. The house was built in 1897, and is an example of a Queen Anne Victorian with Colonial Revival styling. It is also notable as the home of naturalist and taxidermist Charles Johnson Maynard. The house was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The Maynard House is located on the north side of Crafts Street, a historic thoroughfare connecting Waltham and Newton Corner. It is a -story wood-frame structure, with asymmetrical massing and a complex roofline typical of the Queen Anne period. The walls are finished in wooden clapboards, and the building rests on a fieldstone foundation. The hip roof is pierced by a number of gabled dormers, and there is an octagonal tower with pyramidal roof at one corner. The front porch has a flat roof, and is supported by Tuscan columns with a simple balustrade.</p><br>
<p>The house was built in 1897, and is fairly typical of the suburban residential construction taking place in Newton at that time. The house was built on part of what was once the Maynard family farm, subdivided from property owned by Charles Johnson Maynard&#39;s brother. Charles Johnson Maynard was a prominent naturalist and taxidermist who worked and lived in Boston for many years, but returned to Newton in 1897, and remained in this house until his death in 1929. Maynard was a prominent local lecturer, and published at least eleven books on bird-related topics.</p><br>
<p>The Myrtle Baptist Church Neighborhood Historic District encompasses a historic center of the African-American community in West Newton, Massachusetts. The district includes all of Curve Street, where the Myrtle Baptist Church is located, as well as a few properties on adjacent Auburn and Prospect Streets. The district was listed on the National Register of Historic Places in 2008.</p><br>
<h2>Description and history</h2><br>
<p>Curve Street, and adjacent areas that were razed to make way for the adjacent Massachusetts Turnpike, has been a center of Newton&#39;s African-American community since about 1870, and is the only such area to retain any sort of historic integrity in the city. The focus of the neighborhood became the Myrtle Baptist Church, a wood-frame structure built in 1875 and rebuilt in 1898 after a fire, and nearby railroad yards provided a source of jobs for laborers who lived in the neighborhood. Houses along densely packed Curve Street have in some cases remained in the ownership of the same families since the area was first settled.</p><br>
<p>The district contains one church, one commercial building, and twenty-two residential houses. Most of the houses were built between the 1880s and 1929, and are set on small relatively near the street. Most are single-family residences, although there is one large Second Empire house that has been converted to condominiums, and there are a few duplexes and one triple-decker. Stylistically they are diverse, typically done in vernacular versions of popular revival styles of the period. The most unusual house in the district is 15-29 Prospect Street, the converted Second Empire house, which was moved into the area sometime in the 19th century, and had been divided into apartments by the early 20th century. It retains many of its original architectural features, including a bracketed cornice, segmented-arch dormers in the mansard roof, and an elaborate cupola.</p><br>
<p>The Dennison Manufacturing Co. Paper Box Factory is a historic factory building at 175 Maple Street in Marlborough, Massachusetts.</p><br>
<p>It was built in 1923 and owned by the paper company until 1969. After Dennison left, a subsidiary of Dennison, Design Pak, was based in the building. In 2007, the building was converted into apartments. The building was added to the National Register of Historic Places in 2008.</p><br>
<p>Dennison, founded by brothers Aaron and Eliphalet W. Dennison as an adjunct to their father&#39;s jewelry business, was originally a jewelry-box making company run out of the family home in Brunswick, Maine, in the 1840s.</p><br>
<p>The West Main Street Historic District of Marlborough, Massachusetts encompasses a residential area west of the city center. It extends along West Main Street from Mechanic Street to Gibbon Street, along Pleasant Street from West Main to Lincoln Street, and also includes short pieces of Witherbee and Winthrop Streets abutting West Main. Most of the buildings in the district are houses built between 1820 and 1930, the period of the city&#39;s growth as an industrial center. The 15 acre district includes 77 properties, all but two of which contribute to its historic significance. The district was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The city of Marlborough developed as a small industrial city during the 19th century, with industry, business, and commerce focused in its downtown area. To the west of the downtown a residential area developed that followed a typical pattern for industrializing cities. The upper-class owners, managers, and merchants built high-quality housing on well-proportioned lots on major streets near the centers of commerce and industry, while lower-class workers and functionaries lived in more modest and densely packed areas. In Marlborough West Main Street and Pleasant Street were two major roads along which the finer houses were built, set back on lots with manicured lawns. Typical examples in this district include the Italianate Brigham-Cutting House (c. 1876-77)at 22 Pleasant Street, the Greek Revival William Pitt Brigham House (c. 1858) at 28 Pleasant Street, and the Queen Anne Stevens House (c. 1885) at 32 Pleasant. The latter two houses were both owned around the turn of the 20th century by factory owners.</p><br>
<p>The houses along Witherbee and Winthrop Street are in slightly smaller lots. Larger houses in this area were built and occupied by skilled workers, and many of them have since been subdivided into multiple units. Typical examples include the Second Empire George A. Howe House (c. 1870) at 59 Witherbee Street, the Bungalow-style Kelley House (c. 1915) at 17 Winthrop Street, and the Georgian Revival Ellis House (c. 1920) at 14 Winthrop.</p><br>
<p>There are two major non-residential buildings in the district. The Christian Science Church (corner of West Main and Winthrop) is a residential-scale structure built in 1920, while the St. Marys Credit Union Building (135 West Main) is an ahistoric oversized Colonial Revival structure that does not contribute to the areas historic significance.</p><br>
<p>St. Augustine&#39;s Church is located at 290 Henry Street between Montgomery and Jackson Streets on the Lower East Side of Manhattan, New York City.</p><br>
<p>In 2021, it reported 46 members, average attendance of 22, and $62,280 in plate and pledge income.</p><br>
<h2>History</h2><br>
<p>The church began in 1819 as a mission near the old Grand Street Ferry run by students of the General Theological Seminary. Led by former mayor, Marinus Willett, the mission grew. It was organized as a parish in 1824, and construction began on All Saints&#39; Free Church ("Free" meaning free of pew rent), around 1827. It was built of Manhattan schist. Around this time "Mount Pitt" (also known as Jones Hill), near Pitt and Grand Streets, was being leveled, and some of field stone used was taken from there.</p><br>
<p>The design – a Georgian structure with Gothic windows – is credited to John Heath, and includes a double pediment and a projecting tower. The church was consecrated in 1828 by Bishop John Henry Hobart. Edgar Allan Poe used to attend on occasion during the church&#39;s early years.</p><br>
<p>Traditionally, it is thought that two rough galleries on either side of the organ loft might have been for the use of slaves, despite the church having been built after slaves were emancipated in New York.</p><br>
<p>In 1949, the congregation merged with St. Augustine&#39;s Chapel of Trinity Church, then located at 107 East Houston Street, and the new combined congregation used the building on Henry Street. The parish became independent of Trinity in 1976.</p><br>
<p>The building became a New York City landmark in 1966, and was added to the National Register of Historic Places in 1980.</p><br>
<p>The Church of the Holy Apostles is an Episcopal parish located at 296 Ninth Avenue at 28th Street in the Chelsea neighborhood of Manhattan, New York City. Its historic church building was built from 1845 to 1848, and was designed by New York architect Minard Lafever. The geometric stained-glass windows were designed by William Jay Bolton. The church faces Chelsea Park across 9th Avenue.</p><br>
<p>The building is a New York City landmark and on the National Register of Historic Places.</p><br>
<p>In 2020, it reported 115 members, average attendance of 86, and $239,257 (~$ in ) in plate and pledge income.</p><br>
<h2>History</h2><br>
<p>The Holy Apostles congregation "was founded in 1844 as the result of an outreach by Trinity Church to immigrants who worked on the Hudson River waterfront to the west of the Church’s location in the Chelsea section of Manhattan", evolving out of a Sunday school. Construction on the sanctuary began in 1845 and continued through 1848, although Lafever enlarged the building by 25 feet by adding a chancel in 1853–54. In 1858 the congregation needed to expand, so architect Charles Babcock of the firm of Richard Upjohn & Son enlarged the building into a cross-shaped sanctuary with the addition of transepts.</p><br>
<p>The church, the only one that Lafever designed which remains extant in Manhattan, is also one of the very few there of Italianate design, The vestry is in "pure Tuscan" style. Lafever&#39;s sanctuary was a three-aisled basilica. The ceiling was vaulted with plaster groins "small in scale but beautiful in proportion." Original Lafever touches in the details include the corbels from which the ribs spring.</p><br>
<p>The church&#39;s congregation has always been a socially active one. It is rumored that the church was a stop on the Underground Railroad during the American Civil War. In the 1970s, the church was instrumental in the foundation of Congregation Beit Simchat Torah, a synagogue for gays and lesbians begun by Jacob Gubbay. It hosted the congregation from 1973 to 1975, and again from December 1998 until it found a permanent home in April 2016. In that same decade, Holy Apostles hosted the ordination of the first woman priest (and openly lesbian) in the New York diocese, Rev. Ellen Barrett. In 1982, the congregation began the Holy Apostles Soup Kitchen, which continues to serve the indigent of the area.</p><br>
<p>The Church of the Holy Apostles is located in Penn South, a housing cooperative. During the construction of Penn South in 1959, builders considered demolishing the church to make way for Penn South. Ultimately, four churches on the site, including the Church of the Holy Apostles, were saved. The UHF&#39;s president, Abraham Kazan, later called the preservation a "mistake" because it had prevented Penn South from being developed earlier.</p><br>
<p>The sanctuary was badly damaged in 1990 by a fire, in which some of the stained-glass windows were lost, but most survived without serious damage. A restoration began almost immediately, and was completed in 1994 under the supervision of Ed Kamper, without interruption of the social services the church provides.</p><br>
<p>The Church of the Holy Apostles was designated a New York City landmark in 1966, and was added to the National Register of Historic Places in 1972.</p><br>
<p>"Hungry Minds," an extensive profile in The New Yorkers May 26, 2008, issue, gives an account of the churchs history with special attention given to the soup kitchen and the writing workshop that Frazier and others conducted there.</p><br>
<p>The Church of the Holy Communion and Buildings are historic Episcopal church buildings at 656–662 Avenue of the Americas  at West 20th Street in the Flatiron District of Manhattan, New York City.</p><br>
<p>The church is a New York City landmark, designated in 1966, and was added to the National Register of Historic Places in 1980. It is located within New York Citys Ladies Mile Historic District.</p><br>
<h2>History</h2><br>
<p>The Gothic Revival church building was constructed in 1844–1845 according to a design by Richard Upjohn, and was consecrated in 1846. In 1853 Upjohn completed the Parish House and Rectory on West 20th Street, and in 1854 he built the Sister&#39;s House. The design of the church, which features brownstone blocks chosen for placement at random, made the church "one of the most influential buildings of the 19th century". It was:</p><br>
<p>first asymmetrical Gothic Revival church edifice in the United States... Upjohn designed the building to resemble a small medieval English parish church... The church&#39;s founder, the Reverend William Muhlenberg, a leader of the evangelical Catholic within the Episcopal Church, was closely involved with the design...</p><br>
<p>Muhlenberg believed that the Gothic style was "the true architectural expression of Christianity."</p><br>
<p>At the time it was built, the neighborhood around the church was still a fashionable residential area, with homes lining Sixth Avenue. By the late 19th century, as the city continued to expand uptown, the area had become part of the "Ladies&#39; Mile" shopping district, with Sixth Avenue lined with giant department stores and dry goods emporia, which by World War I had all either moved uptown or closed.</p><br>
<p>The church had some esteemed organists and choirmasters, including Lynnwood Farnam from 1920 until his death in 1930, and Carl Weinrich from 1930 to 1943.</p><br>
<p>In 1975 the declining parish merged with those of Calvary Church, on Park Avenue South at East 21st Street, and St. Georges Church, at Stuyvesant Square, and the combined parish of Calvary-St. Georges the Church of the Holy Communion granted a ninety-nine year lease to the Lindisfarne Association.</p><br>
<p>The building became the Lindisfarne Association&#39;s headquarters from 1976 to 1979. Through the work of its founder William Irwin Thompson and start-up grants from the Lilly Endowment and the Rockefeller Brothers Fund, the church became a cultural center in which Gary Snyder, Robert Bly, Wendell Berry, Samuel Menash, and Kathleen Raine gave poetry readings, Paul Winter and David Hykes gave concerts, Jerzy Grotowksi and Andre Gregory lectured on theatre, and philosophers such as Gregory Bateson, Francisco Varela, and Thompson himself gave the lectures that became their subsequent books. Keith Critchlow and John Michel taught courses on sacred architecture, and representatives of world religions such as Nechung Rinpoche, Seyed Hosein Nasr, and Pir Vilayat Khan gave public presentations. The Lindisfarne Association, however, was unable to raise the funds to restore this historical landmark, consequently, Lindisfarne moved to Crestone, Colorado, and returned the church to the Episcopal parish.</p><br>
<p>The parish subsequently sold the building to Odyssey House, a drug rehabilitation program, in order to meet its fiscal obligations. Odyssey House, in turn, sold the buildings to nightclub entrepreneur Peter Gatien, who opened the New York Limelight club there in 1983.</p><br>
<h3>Later uses</h3><br>
<p>From 1983 until 2007, the church was utilized as a nightclub, The Limelight. After frequent problems with the police and charges of rampant drug abuse in the club, it was closed, but reopened in 2003 under the name "Avalon". It closed permanently in 2007. The church building during its time as the Limelight was the subject of the 1985 song "This Disco (Used to be a Cute Cathedral)" by singer Steve Taylor. The songs lyrics mentions the clubs name and history. It is included in his album On The Fritz. A live version appears on his album, Limelight.</p><br>
<p>On May 7, 2010, the building was reopened as a retail mall called the Limelight Marketplace. It was promoted with a campaign which utilized advertisements on local buses, taxicabs, and billboards.</p><br>
<p>In the fall of 2014, the church was converted to a David Barton Gym. On December 21, 2016, this location as well as all four other David Barton Gym locations in NYC abruptly closed their door for business. In June 2017, it reopened as Limelight Fitness.</p><br>
<p>The Church of the Incarnation is a historic Episcopal church at 205–209 Madison Avenue at the northeast corner of 35th Street in the Murray Hill neighborhood of Manhattan, New York City. The church was founded in 1850 as a chapel of Grace Church located at 28th Street and Madison. In 1852, it became an independent parish, and in 1864–1865 the parish built its own sanctuary at its current location.</p><br>
<p>In 2020, it reported 505 members, average attendance of 109, and $241,642 in plate and pledge income.</p><br>
<h2>Notable parishioners</h2><br>
<p>Notable among the parishioners of the church were Admiral David Farragut and Eleanor Roosevelt, who was confirmed in the church. The funeral for Sara Roosevelt, the mother of Franklin Delano Roosevelt, was held at the church, and a ramp was built so that FDR could attend. Several prominent families had pews and have memorials in the church, including the Delanos, Langdons, Sedgwicks, Seaburys, Brooks, and Rikers families.</p><br>
<h2>Buildings</h2><br>
<p>The sanctuary was built in 1864–1865, and was designed by Emlen T. Littell. It was "distinguished for both its architecture and refined interior decoration and artwork." The cornerstone was laid on March 8, 1864, by Bishop Horatio Potter of the New York Diocese, the first services were held on December 11, and the church was consecrated on April 20, 1865. The church rectory was constructed in 1868–1869, designed by Robert Mook.</p><br>
<p>Except for its tower and walls, the building was destroyed by a fire which began on March 24, 1882. It was rebuilt and enlarged by David Jardine, with a spire added in 1896 by Heins & LaFarge following Jardine&#39;s designs.</p><br>
<p>The building was designated a New York City landmark in 1979, and was added to the National Register of Historic Places in 1982. In 1991, a renovation of the building was supervised by Jan Hird Pokorny.</p><br>
<h2>Artworks</h2><br>
<p>The church contains art work by noted Victorian artists including Louis Comfort Tiffany, John Lafarge, Augustus Saint-Gaudens, Edward Burne-Jones, William Morris, Daniel Chester French and Henry Hobson Richardson.</p><br>
<h3>Stained glass windows</h3><br>
<p>A list of stained glass windows by various artists of the Victorian Era.</p><br>
<p>South Wall</p><br>
<p>"Christ&#39;s Resurrection and Ascension" by Henry Holiday Company</p><br>
<p>"Moses and the Law" by Heaton, Butler & Bayne</p><br>
<p>"St. Paul on Mars Hill" by Clayton & Bell</p><br>
<p>"Christ Calling Peter and Paul" by John LaFarge</p><br>
<p>"Christian Nurturing" by Henry Holiday Company</p><br>
<p>"God as a Good Vintner" by John LaFarge</p><br>
<p>"Infant Children" by William Morris of Morris & Company</p><br>
<p>"The Pilgrim" by Louis Comfort Tiffany</p><br>
<p>"Apostles" by Heaton, Butler & Bayne</p><br>
<p>North Wall</p><br>
<p>"Faith & Charity" by Edward Burne-Jones, Henry Holiday of London</p><br>
<p>"Feeding the multitudes" by Cottin & Company</p><br>
<p>"Love of Christ", designer unknown</p><br>
<p>"Victory over Death" by Tiffany Studios</p><br>
<p>"23rd Psalm" by Tiffany Studios</p><br>
<p>"Samuel"by Guthrie and Davis</p><br>
<p>West Wall</p><br>
<p>"Dignity of Labor" by Tiffany Studios</p><br>
<p>"Great West Window" by Charles Eamer Kempe</p><br>
<p>The Church of the Immaculate Conception and Clergy House at 406–412 East 14th Street between First Avenue and Avenue A in the East Village neighborhood of Manhattan, New York City were built in 1894–1896 by Grace Church, one of the most prominent Episcopal churches in the city at the time. The buildings were a free chapel – meaning there was no pew rent – called Grace Chapel and a connected Grace Hospital, which could serve 16 senior citizens and 10 children, and was physically connected to the chapel by a bridge, so that patients could be wheeled to services.</p><br>
<p>They were designed by Barney and Chapman in French Gothic style. The firm was working at the same time on the Church of the Holy Trinity in Yorkville, which was also designed in the same style. Grace Chapel has stained-glass windows by Clayton & Bell and Henry Holiday. In 1943 both buildings were sold to the Roman Catholic Archdiocese of New York, and were converted for the use of the Immaculate Conception Church, founded in 1855, as a sanctuary and Clergy House.</p><br>
<p>The buildings were designated a New York City landmark in 1966, and were added to the National Register of Historic Places in 1980.</p><br>
<p>Church Missions House  is a historic building at Park Avenue South and East 22nd Street in the Gramercy Park neighborhood of Manhattan in New York City. Part of an area once known as "Charity Row", the building was designed by Robert W. Gibson and Edward J. Neville Stent, with a steel structure and medieval-inspired facade. The design was inspired by the town halls of Haarlem and medieval Amsterdam. Church Missions House is so named because it was the headquarters of the Episcopal Church&#39;s Domestic and Foreign Missionary Society for much of the 20th century.</p><br>
<p>The facade is made of granite at the ground story and Indiana Limestone on the other stories. The facade&#39;s composition is based on the arrangement of the superstructure, which is arranged as a grid of rectangles. The main entrance is through a porch at the center of the Park Avenue facade. Inside, the building contains at least 33,600 ft2 of space., all six floors of the building are occupied by Fotografiska New York, an offshoot of the Swedish photography museum Fotografiska.</p><br>
<p>The Domestic and Foreign Missionary Society sought to develop a dedicated headquarters for much of the 19th century. The Church Missions House building was built between 1892 and 1894. The building was sold in 1963 to the Federation of Protestant Welfare Agencies (FPWA). The New York City Landmarks Preservation Commission designated Church Missions House as a landmark in 1979, and it was added to the National Register of Historic Places in 1982. The FPWA moved out of the building in 2015, and Fotografiska New York occupied it from 2019 to 2024.</p><br>
<h2>Site</h2><br>
<p>Church Missions House is at 281 Park Avenue South in the Gramercy Park neighborhood of Manhattan in New York City. The rectangular land lot is on the southeast corner of 22nd Street and Park Avenue South, covering approximately 5,600 ft2. The lot has a frontage of 70 ft on 22nd Street to the north and 80 ft on Park Avenue to the west. and is directly across from the United Charities Building to the north and 300 Park Avenue South to the northwest. Other nearby buildings include Gramercy Park Hotel to the southeast, the Russell Sage Foundation Building to the east, 121 East 22nd to the northeast, and Madison Square Park Tower and 304 Park Avenue South to the northwest. Right outside the building is an entrance to the New York City Subway&#39;s 23rd Street station, served by the.</p><br>
<p>Many of the surrounding buildings are commercial loft structures similar in design to Church Missions House. The New York Society for the Prevention of Cruelty to Children, the Xavier Society for the Blind, United Cerebral Palsy of New York City, and the Russell Sage Foundation were among the groups headquartered in Charity Row.</p><br>
<h2>Architecture</h2><br>
<p>The six-story building was designed by Robert W. Gibson and Edward J. Neville Stent for the Episcopal Church&#39;s Domestic and Foreign Missionary Society. The extent to which either man was involved in the project is unclear, but Gibson was known as an architect of Episcopal churches in New York state during the 1890s, while Stent specialized in interior designs of churches around the same time. The design was inspired by the town halls of Haarlem and Medieval Amsterdam.</p><br>
<h3>Facade</h3><br>
<p>The facade is made of granite at the ground story and Indiana Limestone on the other stories. The facade&#39;s composition is based on the arrangement of the superstructure, which is arranged as a grid of rectangles. At each corner of the building is a tourelle that extends the height of the building. The rest of the facade is subdivided by vertical columns, which separate the facade into bays of openings, and horizontal spandrels, which separate windows on each story. According to the AIA Guide to New York City, the Medieval-inspired facade was "equal to buildings of the Flemish and Dutch Renaissance."</p><br>
<p>The main entrance is through a porch at the center of the Park Avenue facade. It consists of an archway, above which is a triangular pediment with a tympanum inside a bas-relief. The bas-relief is based on a scene from Christus Consolator, in which the ill are blessed by Christ. The spandrels at the top corners of the arch are decorated with icons inspired by 16th-century motifs. Originally, a screen with large wrought-iron gates was at the Park Avenue entrance. The remainder of the ground floor contains storefront windows, which are flanked by piers of rock-faced granite.</p><br>
<p>The second story consists of an arcade with double-width arches that mostly correspond to the storefront windows below. At the top corners of the windows are spandrels with foliate carvings. The third and fourth stories are composed of rectangular window openings. The fifth floor has round-arched openings that represent part of a triforium in a medieval church. The sixth floor has a tiled mansard roof with dormer windows. The central dormer on Park Avenue has a gable with a stone cross; it is flanked by a pair of smaller dormers. The center gable has a statue of St. Paul. A copper cresting and skylights run above the roof.</p><br>
<h3>Interior</h3><br>
<p>Sources disagree on the amount of space Church Missions House contains. According to the New York City Department of City Planning, the building has a gross floor area of 33,600 ft2. Church Missions House has several features that were used in the early skyscrapers of New York City during the late 19th century. The building has a self-supporting steel superstructure filled with brick, The ground floor has a cafe and a gift shop.</p><br>
<p>The storefronts facing the streets were initially rented to publishers of religious media. The space has a 20 ft ceiling The restaurant incorporates some of the historic stained-glass windows that were previously mounted on the facade. The space also contains a mural by Dean Barger, brass chandeliers, wood doorways and floors, and mohair chairs.</p><br>
<p>As designed, the upper stories were intended for offices and studios.</p><br>
<h2>History</h2><br>
<p>The Domestic and Foreign Missionary Society had been founded in Philadelphia in 1821. The Domestic and Foreign Missionary Society moved to New York City in 1835. The Foreign Committee took space at 115 Franklin Street in lower Manhattan, while the Domestic Committee was housed nearby at White and Center Streets. The Episcopal Church sought to combine the offices of the two committees as early as 1836. The effort stalled again through the 1880s.</p><br>
<h3>Construction</h3><br>
<p>William S. Langford was elected to Society leadership in 1885. Langford visited the headquarters of the Society for Promoting Christian Knowledge in London three years later. Upon his return to the United States, he wrote to the Society&#39;s Board of Managers that a church missions headquarters was needed. In October 1888, a bishop, two presbyters, and six laymen were appointed to a committee to select the site and raise money through subscriptions. Prominent businessmen William Bayard Cutting, William G. Low, and Cornelius Vanderbilt were all on the committee. By May 1889, the committee had identified a site near Fourth (now Park) Avenue and 22nd Street. The site was selected because it was on a major avenue; it was near 23rd Street, where a crosstown streetcar line operated; it was next to Calvary Church, a major Episcopal church; and Madison Square and Gramercy parks were both nearby.</p><br>
<p>Four alternative plans for a seven-story Missions House were presented to the Societys Board of Missions in September 1889. Church architect Robert W. Gibson was asked to review the plans. The following month, the Board of Missions approved the project. The winning plan was likely Stents entry, published in the journal Spirit of Missions in December 1889. Stents design was narrower than what was ultimately built, but the general design was almost the same. The Society sought to raise $200,000 for the buildings construction through subscription. Over half of the total amount, $110,000, was raised by March 1890. The subscription was completed with two $50,000 donations from the Edson family that May.</p><br>
<p>The Board decided to approve the project in October 1891. Afterward, Stent&#39;s plans were revised, allowing for the construction of a larger structure on the site. The firm of Robinson & Wallace did not start constructing the building until that December. By mid-1893, the cost of construction had risen to $500,000. The Domestic and Foreign Missionary Society unceremoniously moved to its new headquarters on January 1, 1894. The Society did not wish to dedicate Church Missions House until all debts were settled. The building was officially dedicated three weeks later, on January 25.</p><br>
<h3>Episcopal use</h3><br>
<p>The building originally had an Episcopal Church bookstore on the ground floor. Office space was rented to the American Church Missionary Society, the American Church Building Fund, the Society for Promoting Christianity among the Jews, the Church Temperance Society, the Church Periodical Club, and the Brotherhood of Saint Andrew. Church Missions House started hosting the annual House of Bishops upon its completion. Church Missions House also hosted meetings of the citys Episcopal clergy, as well as elections of bishops. In 1898, a memorial altar was dedicated in Church Missions Houses chapel in memory of W. S. Langford, who had long been a secretary for the Board of Missions. Four years later, Dean Hoffman willed $50,000 to the Board of Missions for real-estate investment. The money reportedly could have paid for an additional three or four stories, but these were not built.</p><br>
<p>The Domestic and Foreign Missionary Society celebrated its centennial at Church Missions House in 1921. The Episcopal Churchs National Council was headquartered in the building by 1925. That year, it was tasked with studying the feasibility of relocating the Episcopal offices from Church Missions House to Washington, D.C., the capital of the United States. It was around this time that the Episcopal Church nationally faced a deficit. In 1926, the council authorized the churchs finance department to sell Church Missions House. The building was valued at $400,000, though it was not sold at the time.</p><br>
<p>Relocation of the offices to D.C. was again proposed in October 1940. James E. Freeman, bishop of D.C., said at the time that he had been advocating for such a change since 1925. The Episcopal Church remained at Church Missions House. In 1947, it purchased the Herbert L. Satterlee estate in Greenwich, Connecticut, for a lodging center and presiding bishops residence, though the Episcopal offices continued to be in Church Missions House. The presiding bishops of the Episcopal Church (including Arthur C. Lichtenberger from 1958) had their offices at Church Missions House and lived at the bishops residence in Greenwich. Ultimately, in 1960, the Episcopal Church bought property on Second Avenue and 43rd Street. The church planned a new office building on that site to combine its offices at Church Missions House, the Greenwich estate, and a third structure at 317 East 23rd Street. By then, the church had long outgrown Church Missions House, and it had rejected several alternative office sites, including the then-new Interchurch Center in Morningside Heights, Manhattan.</p><br>
<h3>FPWA use</h3><br>
<p>In February 1963, the Episcopal Church moved to its new offices at 815 Second Avenue. George C. Textor, the president of the Marine Midland Trust Company, held a fundraising drive to cover the cost of purchase and renovation. As part of the project, the exterior was cleaned, the original interior details were restored, and the building was upgraded with modern elevators and mechanical systems. Church Missions House reopened in December 1963 as the FPWA&#39;s first permanent headquarters; the organization had previously occupied rented space. At that time, the Municipal Art Society and New York Community Trust had already designated the building as a landmark.</p><br>
<p>The New York City Landmarks Preservation Commission designated Church Missions House as a city landmark on September 11, 1979. The building was added to the National Register of Historic Places on June 3, 1982. Church Missions House lies immediately outside the Gramercy Park Historic District, though a neighborhood group has proposed adding the building to the district. While the district was extended in 1988, the building was not part of the extension.</p><br>
<p>Church Missions House was restored in the early 1990s by the firm of Kapell & Kastow. The architects created rental space for other non-profit organizations on two floors and the Laura Parsons Pratt Conference Center on the ground floor. J.P. Morgan & Co. provided a letter of credit to the FPWA for the restoration. The New York Landmarks Conservancy granted its Lucy G. Moses Preservation Award in 1994 to Kapell & Kostow for their renovation of Church Missions House.</p><br>
<h3>2010s to present</h3><br>
<p>By 2014, Church Missions House was for sale; at the time, it was the only remaining building in Charity Row that was still used by a nonprofit. The building was sold that July for approximately $50 million. The Real Deal magazine initially reported that the Garzoni family of Italy was the buyer, but it subsequently reported that Aby Rosen of RFR Realty was the true buyer. Rosen was acquiring several other structures across Manhattan at the time, saying that his firm was seeking "properties that are unique, with beautiful architecture". With the sale, the FPWA decided to move to the Financial District of Lower Manhattan. The joint venture of RFR Holding and HQ Capital Real Estate LP finalized their purchase in January 2015. The building was to be converted to condominiums, with shops on the ground floor and an office lobby on 22nd Street. The LPC approved the plans in March 2015.</p><br>
<p>The buildings varying ceiling heights and relatively small floor plates also made the building unwieldy for office use. By August 2015, RFR was looking to lease the building to a single tenant instead of converting it to office use. The same year, Jan Broman, cofounder of Swedish photography museum Fotografiska, decided to lease the building after his wife had pointed it out during a taxicab ride. Broman was looking to expand the museum to New York City, and he contacted the buildings leasing agent the day after his taxicab ride. Another contender for the building during this time was Anna Sorokin, who was looking to lease Church Missions House for the Anna Delvey Foundation, a private members club and art foundation that she hoped to create. Sorokin was subsequently indicted for fraud in 2018, having pretended to be a wealthy heiress. Several statues of naked men were displayed in the buildings storefronts in 2016.</p><br>
<p>In 2017, Fotografiska leased the entire building from RFR. The transaction included an adjacent chapel, which would be connected to a restaurant in the building. CetraRuddy was hired to redesign the interior for the museum, while Roman and Williams was hired to design a second-story restaurant space with a bar. Fotografiska New York opened in December 2019. however, a change in the buildings ownership would not affect Fotografiskas lease.</p><br>
<p>In May 2024, Fotografiska announced it would relocate that September and that the restaurant and Chapel Bar would close in June 2024. That month, RFR placed the building for sale once again, with an asking price of $125 million.</p><br>
<p>Zion-St. Mark&#39;s Evangelical Lutheran Church, formerly known as Deutsche Evangelische Kirche von Yorkville and Zion Lutheran Church, is a historic Lutheran church at 339-341 East 84th Street in Yorkville, Manhattan, New York City. The congregation is a member of the Evangelical Lutheran Church in America.</p><br>
<h2>Building</h2><br>
<p>The neo-Gothic structure was built in 1888 as the Deutsche Evangelische Kirche von Yorkville. The building became Zion Lutheran Church in 1892, when that congregation was founded. It is now Zion-St. Marks Church. The German-speaking congregation grew rapidly with the influx of mass immigration from Germany to the United States at the end of the 19th and the beginning of the 20th centuries and merged with St. Marks Evangelical Lutheran Church of New York City in 1946. The building was added to the National Register of Historic Places in 1995.</p><br>
<p>Angus Cobblestone Farmhouse and Barn Complex is a historic home and barn located at Benton in Yates County, New York. The complex consists of the farmhouse, was constructed about 1831–1834, and three contributing outbuildings. The farmhouse is an example of vernacular Greek Revival style, cobblestone domestic architecture. The exterior walls are built of variously shaped and colored field cobbles. Also on the property are two large frame barns and a small shed. The farmhouse is among the nine surviving cobblestone buildings in Yates County.</p><br>
<p>It was listed on the National Register of Historic Places in 1992.</p><br>
<p>Barden Cobblestone Farmhouse is a historic home located at Benton in Yates County, New York. The farmhouse was built about 1843 and is an example of vernacular Greek Revival style, cobblestone domestic architecture. It is a -story, five-bay center-hall building. It is built of small, multi-colored field cobbles. Also on the property are two sheds, two wells, and a hitching post. The farmhouse is among the nine surviving cobblestone buildings in Yates County.</p><br>
<p>It was listed on the National Register of Historic Places in 1992.</p><br>
<p>Jephtha Earl Cobblestone Farmhouse is a historic home located at Benton in Yates County, New York. The farmhouse was built about 1850–1860 and is an example of Italianate style, cobblestone domestic architecture. The main block is a two-story, L-shaped mass with a cross-gable roof and pedimented front gable, connecting a number of wings. It is built of tiny, reddish, oval-shaped cobbles. The farmhouse is among the nine surviving cobblestone buildings in Yates County.</p><br>
<p>It was listed on the National Register of Historic Places in 1992.</p><br>
<p>William Nichols Cobblestone Farmhouse is a historic home located at Benton in Yates County, New York. The farmhouse was built about 1844 and is an example of Greek Revival style, cobblestone domestic architecture. It is a -story, L-shaped residence. It is built of reddish lakewashed cobbles. The property includes a barn and smokehouse. The farmhouse is among the nine surviving cobblestone buildings in Yates County.</p><br>
<p>It was listed on the National Register of Historic Places in 1992.</p><br>
<p>The Appellate Division Courthouse of New York State, First Department, is a courthouse at the northeast corner of Madison Avenue and 25th Street in the Flatiron District neighborhood of Manhattan in New York City, United States. The courthouse is used by the First Department of the New York Supreme Court&#39;s Appellate Division. The original three-story building on 25th Street and Madison Avenue, designed by James Brown Lord, was finished in 1899. A six-story annex to the north, on Madison Avenue, was designed by Rogers & Butler and completed in 1955.</p><br>
<p>The facade of both the original building and its annex are made almost entirely out of marble. The courthouses exterior was originally decorated with 21 sculptures from 16 separate artists; one of the sculptures was removed in 1955. The main entrance is through a double-height colonnade on 25th Street with a decorative pediment; there is also a smaller colonnade on Madison Avenue. The far northern end of the annexs facade contains a Holocaust Memorial by Harriet Feigenbaum. Inside the courthouse, ten artists created murals for the main hall and the courtroom. The interiors are decorated with elements such as marble walls, woodwork, and paneled and coffered ceilings; the courtroom also has stained-glass windows and a stained-glass ceiling dome. The remainder of the building contains various offices, judges&#39; chambers, and other rooms.</p><br>
<p>The Appellate Division Courthouse was proposed in the late 1890s to accommodate the Appellate Divisions First Department, which had been housed in rented quarters since its founding. Construction took place between 1896 and 1899, with a formal opening on January 2, 1900. Following unsuccessful attempts to relocate the court in the 1930s and 1940s, the northern annex was built between 1952 and 1955, and the original courthouse was also renovated. The structure was again renovated in the 1980s and in the 2000s. Throughout the courthouses existence, its architecture has received largely positive commentary. The Appellate Division Courthouse is listed on the National Register of Historic Places, and its facade and interior are both New York City designated landmarks.</p><br>
<h2>Site</h2><br>
<p>The Appellate Division Courthouse is in the Flatiron District neighborhood of Manhattan in New York City, on the northeast corner of the intersection of Madison Avenue and 25th Street. The original structure measured 150 ft wide along 25th Street, with a depth of 50 ft on its western end (facing Madison Avenue) and 100 ft on its eastern end.</p><br>
<p>Madison Square Park is across Madison Avenue, while the New York Merchandise Mart occupies a site directly to the north. Other nearby buildings include the New York Life Building one block north, the Metropolitan Life North Building across 25th Street to the south, and the Metropolitan Life Insurance Company Tower one block south.</p><br>
<h2>Architecture</h2><br>
<p>The original three-story Beaux-Arts courthouse, at the corner of Madison Avenue and 25th Street, was built between 1896 and 1899. It was designed by James Brown Lord in an Italian Renaissance Revival style with Palladian-inspired details, which include tall columns, a high base, and flat walls. and it was similar in scale to low-rise residential buildings at the time of its construction. A six-story annex next to the original building on Madison Avenue was designed by Rogers & Butler in 1952.</p><br>
<p>Sixteen sculptors, led by Daniel Chester French, worked on the courthouses exterior; all of the sculptors were members of the then-new National Sculpture Society. According to the New York City Department of Citywide Administrative Services, at the time of the buildings construction, it featured decorations by more sculptors than any other edifice in the United States.</p><br>
<h3>Facade</h3><br>
<p>The facade is made almost entirely of marble. The original marble was quarried from North Adams, Massachusetts, except for small portions quarried from Proctor, Vermont, but this was replaced in 1954 with Alabama marble. The sculptures were treated as a key part of the design, rather than "mere adornment", The New York Times wrote in 1935 that the courthouse "is said to have more exterior sculpture than any other building in the city".</p><br>
<p>All of the sculptures were of fictional or dead figures. Although members of the then-prominent Tammany Hall political ring had advocated for the inclusion of sculptures of living people, the artists were against the idea of "a number of pants statues, which at a distance would have looked alike". at the time, such large statues were usually installed on much larger buildings. The freestanding figures were carved out of Lasser marble</p><br>
<h4>25th Street</h4><br>
<p>The primary elevation of the facade is along 25th Street to the south. The columns measure 24 ft tall. At street level, "two pedestals holding two monumental seated figures" Both statues are variously cited as measuring 6 ft tall They each depict a heroically sized male figure; the Force sculpture is of a man wearing armor, while the Wisdom sculpture holds an open book.</p><br>
<p>Recessed behind the columns of the portico are five bays of doorways; the outer two bays are topped by triangular pediments with sculptures, while the center three bays are topped by arched pediments. which were intended to represent the four periods of the day: The triangular pediment to the left (west) is ornamented with representations of morning and night, while those to the right (east) are ornamented with representations of noon and evening. The spandrels above these openings are 5 ft long. There are windows with balustrades on the second story, above the doorways.</p><br>
<p>On either side of the central portico are four bays of windows with molded frames. Within these bays, the first-story windows have triangular or arched pediments, while the second-story windows are almost square. the center of the grouping depicts a seated woman flanked by two nude male figures.</p><br>
<h4>Madison Avenue</h4><br>
<p>The Madison Avenue elevation to the west is narrower than that on 25th Street. The original facade there contains a colonnade of four fluted columns with Corinthian capitals, There is a balustrade running between the bottoms of each column. Behind the colonnade, there are arched windows on the first floor and rectangular windows with balustrades on the second floor, similar to the windows in the entrance portico. As on the 25th Street elevation, the second floor is topped by an entablature and a cornice.</p><br>
<p>The third floor is also set back slightly and is similar in design to that on 25th Street. The third-floor windows on Madison Avenue are flanked by four caryatids representing seasons. Thomas Shields Clarke sculpted a group of four female caryatids on the Madison Avenue front, at the third-floor level, representing the seasons.</p><br>
<p>The six-story annex north of the original building is made of Alabama marble and was intended to relate to the original courthouse. There are plain rectangular windows on each story of the annex except the first story, where the windows are topped with lintels and cornices. In addition, there is a belt course and cornice above the annex&#39;s sixth floor.</p><br>
<h4>Roof</h4><br>
<p>As designed in 1896, the original courthouses roof is 56 ft above ground level. Originally, there were ten freestanding sculptures (eight facing 25th Street and two facing Madison Avenue). Between Confucius and Moses is Karl Bitters sculptural group Peace.</p><br>
<p>Charles Albert Lopezs Mohammed originally stood on the western end of the 25th Street elevation but was removed in 1955 following protests against the image of the prophet from Muslim nations. The next sculptures to the east are Edward Clark Potters Zoroaster, depicting the founder of Zoroastrianism; Jonathan Scott Hartleys Alfred the Great, depicting an Anglo-Saxon king; George Edwin Bissells Lycurgus, depicting a Spartan legislator; and Herbert Adams&#39;s Solon, depicting an Athenian legislator. The remaining sculptures on 25th Street were each relocated to the next pedestal to the west after Mohammed was removed, The center of the facade contains a sculptural group with three sculptures by Daniel Chester French. A female sculpture of Justice is at the center and is 12 ft high, while male sculptures of Power and Study stand on either side.</p><br>
<h4>Other sculptures</h4><br>
<p>The far northern end of the annex&#39;s Madison Avenue facade contains a Holocaust Memorial by Harriet Feigenbaum. The memorial was conceived in 1986 by Francis T. Murphy, chief justice of the First Department, who believed that "a symbol of injustice is just as important" to the court as the "symbols of justice" on the original courthouse. Sixty-two artists participated in a design competition for the memorial, with Feigenbaum being selected in 1988. It was dedicated on May 22, 1990. The sculpture consists of a map of the Auschwitz concentration camp at its base, as well as a 38 ft marble column intended to resemble the smokestack of a Nazi concentration camp.</p><br>
<p>During 2023, a golden sculpture of a female lawgiver, known as NOW, was temporarily mounted atop the easternmost pedestal on 25th Street. Created by Pakistani-American artist Shahzia Sikander, the sculpture was intended to draw attention to gender inequality and gender biases.</p><br>
<h3>Interior</h3><br>
<p>The first story was built with an 18 ft ceiling, the second story has a 14 ft ceiling, and the third story has an 11 ft ceiling. In addition, there are a 10 ft basement and a sub-cellar. Siena marble, onyx, stained glass, and murals are used throughout the courthouse.</p><br>
<p>The interior has artwork from ten muralists. Alfred Collins had also been hired to design a courtroom mural but was replaced by George W. Maynard at the last minute. John La Farge was also hired to review the quality and consistency of the paintings and to adjudicate any artistic disputes that arose. The Baltimore Sun wrote that the courthouse was "the only public building in the United States that from the beginning was designed with a view to complete harmony of detail—architectural, mural decoration and sculptural effect". Blashfield later said that he feared the artwork had been overdone because of the massive efforts that went into decorating the building. Specially-designed furniture was made by the Herter Brothers.</p><br>
<h4>Main hall</h4><br>
<p>There are three paneled-wood doors leading from the portico on 25th Street to the courthouses main hall; these doors are topped by tympana, which are also paneled. and functions as a lobby and waiting area, with leather-and-wood seats designed by the Herter Brothers. The north wall of the main hall contains a pair of staircases with openwork railings made of bronze; the stairs lead to the second and third floors. There is also an elevator on the north wall. During the 20th century, the lobby had busts of lawyers Charles OConor and Bernard Botein, but OConors bust was removed in 1982.</p><br>
<p>Above the marble walls are friezes with murals, which wrap around the room. Mowbrays figures are painted in green, yellow, and blue Robert Reids artwork of justice occupies the east wall, as well as the eastern part of the south wall, and depicts various topics, tenets, and types of art. Charles Yardley Turner designed two figures, signifying equity and law, above the main entrances on the south wall. Willard Metcalf&#39;s justice artwork occupies the west wall, as well as the western part of the south wall, and depicts personifications of tenets related to justice.</p><br>
<h4>Courtroom</h4><br>
<p>As designed, the courtroom was placed on the eastern half of the first floor, extending northward to the rear of the building. This may have been motivated by a desire to place the courtroom so it faced away from Madison Square Park. The western wall of the courtroom contains the judges bench, which is placed on a dais; the bench is curved outward and is elaborately decorated. The front portion of the judges bench contains colonettes and panels. Behind each of the bench&#39;s five seats are ornamental panels with scallop-shaped tympana; each panel is separated by engaged columns, and there is an entablature above the columns.</p><br>
<p>There is a wooden balustrade separating the spectators seats on either side from the court officials area in the middle.</p><br>
<p>At the top of each wall, a frieze runs across the entire room, except on a portion of the eastern wall (directly opposite the bench); From right to left, these panels are Power of the Law by Edwin H. Blashfield; Wisdom of the Law by Henry O. Walker; and Justice of the Law by Edward Simmons. All of these panels contain personifications of numerous concepts related to law. George Maynard carved a pair of seals of the city and state governments of New York, with one seal mounted on either side of the triptych. The north and south walls are decorated with Judicial Virtues by Joseph Lauber, which consists of eight mural panels depicting virtues on either wall; the leftmost and rightmost panels on either wall depict "four cardinal virtues". mostly in a yellow color scheme.</p><br>
<p>The gilded ceiling is divided into multiple panels and coffers, similar to in the main hall. As in the main hall, the gold-on-red color of the ceiling was intended to harmonize with the marble used on the walls. The space is illuminated by a 30 ft ceiling dome and three large windows, which in turn were designed by Armstrong. The dome bears the names of the Appellate Divisions presiding justices. This courtrooms ceiling was protected by a second dome, which extended to a glass dome in the roof. The circumference of the dome contains wrought letters spelling out the names of "past leaders of the American bar" at the time of the building&#39;s completion in 1899.</p><br>
<h4>Other spaces</h4><br>
<p>The lawyers anteroom is located at the southeastern corner of the building, on 25th Street; most of the rooms original decorations are still extant. It is accessed by paneled wooden doors at the southern end of the main halls east wall. The lawyers anteroom has elaborate woodwork doorways and window frames, and the plaster ceiling has a frieze and cornice. In addition, there are ornate, paneled coat stalls with decorations such as griffins and finials, and there are stained-glass windows on the north wall (shared with the main courtroom), behind the coat stalls. The anteroom has holes for holding canes and hooks for holding hats, which are illuminated by the stained-glass windows. There is also a lawyers room next to the waiting room, with similar decorations to the lawyers anterooms. There are bronze-and-glass lights in both rooms.</p><br>
<p>Placed on the western half of the ground floor, near Madison Avenue, are the judges chambers and other rooms, including clerks and stenographers&#39; offices. A private passage allows judges to access an elevator to the second floor without running into other occupants.</p><br>
<p>On the second story are the library, judges quarters, stenographers room, and bathrooms. Each of the judges quarters has a large antechamber attached to it, and there was also a consultation room. The third floor has one additional judges quarters due to a lack of space on the second story. There are also janitors rooms and storage rooms on the third floor. The basement, accessed directly from the street, had attendants rooms, as well as an engine room and a public bathroom. The cellar is used as storage space and a heating plant. To the north of the original courthouse is the six-story annex, which contains additional offices and is connected to the original courthouse by various hallways.</p><br>
<h2>History</h2><br>
<p>The First Department of the New York Supreme Court&#39;s Appellate Division was established in 1894 and had occupied rented quarters at 111 Fifth Avenue, at the intersection with 19th Street. The First Department, the intermediate appellate court serving Manhattan and the Bronx, Although the department had seven judges, only five would hear cases at any given time; hence, the bench of the current courthouse has five seats.</p><br>
<h3>Development</h3><br>
<h4>Site selection</h4><br>
<p>In June 1895, the New York City Sinking Fund Commission approved the Appellate Divisions request to rent the third floor of the Constable Building at 111 Fifth Avenue, at the intersection with 19th Street, for two years. The justices wanted to develop a permanent courthouse, and they first looked to the site of the Sixth Avenue streetcar depot between 43rd and 44th streets. The New York City Bar Association was developing its own building on part of the depot site, and the remainder of the lot would have accommodated the courts 50,000-volume library easily.</p><br>
<p>The justices also considered a site at the intersection of Madison Avenue and 25th Street. At the time, the site at Madison Avenue was occupied by the houses of Henry C. Miner and Edward H. Peaslee. A group of commissioners was appointed to assess the 25th Street site before it was acquired through eminent domain. The commissioners determined in April 1896 that Miners land lot was worth $283,000 and that Peaslees lot was worth $87,500. There was a delay in issuing construction contracts due to difficulties in acquiring the site.</p><br>
<h4>Construction</h4><br>
<p>The justices next received permission from the state government to hire an architect without an architectural design competition. James Brown Lord was hired to design a three-story marble courthouse at a cost of $650,000, with various allegorical statues and porticoes on Madison Avenue and 25th Street. Although the justices claimed that they had selected Lord simply because he was the most qualified candidate, Lord&#39;s father was a lawyer with the firm of Lord Day & Lord, and his grandfather Daniel Lord had founded that firm. In any case, Lord was paid $3,500 to draw up the initial plans, with the stipulation that he would be retained as supervising architect if his plans were approved. The building plans were jointly approved in June 1896 by the city sinking fund commissioners and the Appellate Division justices.</p><br>
<p>Lord organized a committee, which included Augustus Saint-Gaudens and Daniel Chester French, to invite select sculptors to design the statuary without a design competition. Ten contractors submitted bids for the project later that month. Charles T. Wills received the contract for $638,968, Although there were four bids that were lower than Wills&#39;s bid, the justices rejected these other bids due to "irregularities".</p><br>
<p>Lord filed plans for the site with the citys Department of Buildings in March 1898. As the site of the courthouse was being excavated, Lord discovered that stone from the site was strong enough to be reused for the courthouses foundation walls. As a result, he decided not to order brick for the foundations, thereby saving thousands of dollars. The next month, the city began looking to sell $10 million worth of bonds, including $390,000 for the courthouse. There was relatively little media coverage of the building during its construction; by March 1899, the courthouse had been completed up to the first floor.</p><br>
<h3>1900s to 1940s</h3><br>
<p>Work on the courthouse was nearly complete when, on December 20, 1899, Lord invited a small group of guests, including Appellate Division justices and their friends, to tour the interior. The Appellate Division, First Department, had moved the last of its furnishings from its old courthouse on Fifth Avenue by the end of that month. At the time, only the sculptures on Madison Avenue had been completed. All of the sculptures had been installed by mid-1900, except for the Force and Wisdom statues at the courthouse&#39;s main entrance.</p><br>
<p>The courthouse had cost $633,768, less than the $700,000 that had been budgeted for the project. This stood in contrast to other municipal projects like the Manhattan Municipal Building; the Hall of Records; and the Williamsburg, Manhattan, and Queensboro bridges, all of which had gone significantly over budget. The decorations alone cost $211,300, which Lord said was justified by the fact that artwork on public buildings was invaluable to the city. as well as other events such as a memorial service for First Department justice Edward Patterson. At the time of the new courthouses opening, Midtown Manhattan was growing into a business center. Shortly after the Appellate Division Courthouse opened, the lawyer Austen George Fox said that the Appellate Divisions relocation had been a "wise move".</p><br>
<p>Originally, the Appellate Division Courthouse had a 48 ft chimney, but this was expanded in 1908 because the construction of a neighboring building blocked the chimney&#39;s opening, forcing gas and dirty air back into the courthouse. The courthouse was also used to conduct examinations of the "character and fitness" of prospective lawyers. At the 25th anniversary of the First Department in 1921, the department had heard 30,000 appeals, most in the courthouse.</p><br>
<p>By 1936, there were plans to relocate the Appellate Divisions First Department. Mayor Fiorello La Guardia proposed converting the Appellate Division Courthouse into a municipal art center that presented theatrical performances. The state acquired a site at 99 Park Avenue (between 39th and 40th Streets) and filed plans for a new appellate courthouse at that site in early 1938, although officials predicted that the new courthouse would not be completed for several years. Plans for the replacement courthouse had been postponed by that October, when funding earmarked for the new courthouse was used instead to finance the construction of the Belt Parkway. After the postponement of the replacement courthouse, La Guardia proposed in June 1939 that the Appellate Division Courthouse be converted into a public health museum. The citys health commissioner John L. Rice requested $50,000 for the renovation that August. The city eventually announced plans in 1949 to sell the site of the replacement courthouse, and the site was acquired by a developer the next year.</p><br>
<h3>1950s expansion</h3><br>
<p>In late 1950, the citys public works commissioner Frederick Zurmuhlen approved an $800,000 plan by architecture firm Rogers & Butler to erect a six-story annex to the courthouse. The annex would add 25,200 ft2 of space, including an enlarged library and six justices chambers, while the existing building would be retrofitted with two additional justices&#39; chambers. Zurmuhlen also planned to install a steam-and-warm-air heating plant in the existing courthouse, replace the masonry and stone on the facade, add air-conditioning to part of the interior, and repair the roof. Rogers & Butler filed plans for the annex in July 1952, at which point the building was projected to cost $1,184,761; the city borrowed $1.25 million to pay for the project.</p><br>
<p>The buildings sculptures had become rundown by the 1950s, when the New York Herald Tribune reported that some of the sculptures were standing "only by the grace of guy wires". As part of the renovation, Zurmuhlen announced in January 1953 that the sculptures would be taken down. A restoration expert had estimated that the cost of replacing the works would be similar to the cost of the buildings renovation, which was expected to range from $1.2 million to $1.4 million; restoring the sculptures was planned to cost even more. That March, Zurmuhlen announced that the city would spend $8,500 to restore the sculptures. Sources disagree on why Zurmuhlen changed his plans for the sculptures; The New York Times cited a survey expressing interest in the sculptures and extensive public opposition to their removal, while the New York Herald Tribune said Zurmuhlen changed his mind after the department conducted a survey of its own.</p><br>
<p>The governments of three majority-Muslim nations, namely Indonesia, Pakistan, and Egypt, asked the United States Department of State to compel the Appellate Division to remove or destroy the Mohammed sculpture, as some sects of Islam prohibited visual depictions of Mohammed. The sculptures existence was largely unknown before the plans to remove the sculptures were publicly announced. The existing buildings offices were completed in June 1955.</p><br>
<h3>1960s to present</h3><br>
<p>The New York City Landmarks Preservation Commission (LPC) hosted hearings in April 1966 to determine whether the Appellate Division Courthouse should be designated as a city landmark. The buildings exterior was designated as a city landmark that June. As part of the agreement, the Merchandise Marts developer Samuel Rudin agreed to pay out $3.45 million to the New York City government over 75 years. After leasing the air rights, he subleased the courthouse back to the city government.</p><br>
<p>By the early 1980s, both the facade and interior were deteriorating. Pieces of the sculptures had fallen onto the street, and, in one case, a stained-glass pane fell out of the courtrooms ceiling dome during a trial. The interior of the courthouse was designated a New York City landmark in 1981, The New York City government spent $642,000 during the early 1980s to renovate the sculptures and ceiling dome. A bust of 19th-century lawyer Charles OConor was moved from the courthouses lobby to its basement in 1982 after the First Departments chief justice, Francis T. Murphy, learned that O&#39;Conor had actively opposed freeing black slaves in New York state. Murphy also proposed a Holocaust memorial on the building in 1986; the memorial cost $200,000 and was formally dedicated in 1990.</p><br>
<p>Queens–based firm Nab Interiors was hired in 1999 to restore the interior of the courthouse for $1.5 million. Over the next year, architectural firm Platt Byard Dovell White restored the courtroom in conjunction with restoration consultant Building Conservation Associates. The courthouse continues to house the Appellate Division&#39;s First Department in the 21st century, although the department had expanded to 16 judges by the 2000s. The department does not hear any jury trials, so only judges, their staff, and lawyers are allowed into the courthouse.</p><br>
<h2>Reception</h2><br>
<p>At the time of the courthouse&#39;s construction, the American Architect and Building News predicted that "the rest of the country will envy New York the possession of this building". The World article likened the courthouse to non-municipal buildings such as the New York Public Library Main Branch and USA Custom House, rather than to municipal buildings like the Tweed Courthouse and the City Hall Post Office.</p><br>
<p>After the courthouse opened, Charles DeKay wrote in The Independent that it "shines like an ivory casket among boxes of ordinary maple". The Municipal Art Society of Baltimore used photographs of the completed courthouse as an inspiration for decorations on Baltimores then-new Clarence M. Mitchell Jr. Courthouse. One of the courthouses original justices said the decorators and artists "seem to have conspired with the architect to woo our spirits back from these sombre robes and waft us back to youthful dreams of fairyland".</p><br>
<p>In 1928, The New Yorker called the building "the rather pleasant little Appellate Court House with its ridiculous adornment of mortuary statuary." Another New York Times columnist likened the interiors to the "residence of a Middle Western industrialist", while yet another reporter for that paper described the edifice as a "small marble palace".</p><br>
<p>Commentary of the building continued in the 21st century. Matthew Postal of the LPC described the building in 2009 as an "outstanding" example of the City Beautiful movement. The historian Barbaralee Diamonstein-Spielvogel wrote in 2011 that "the interiors represent a zenith in the synthesis of architecture, decorative arts, and fine arts".</p><br>
<p>The Lewis Gouverneur and Nathalie Bailey Morris House is a historic building at 100 East 85th Street on the Upper East Side of Manhattan in New York City. The five-story dark red brick house was built in 1913-14 as a private residence for Lewis Gouverneur Morris, a financier and descendant of Gouverneur Morris, a signer of the Articles of Confederation and United States Constitution, and Alletta Nathalie Lorillard Bailey. In 1917, Morris & Pope  is bankrupt but the family retains ownership of this house as well as their house in Newport, RI because his wife owned the property as collateral for a loan to him for his brokerage business. Alletta Nathalie Bailey Morris was a leading women&#39;s tennis player in the 1910s, winning the national indoor tennis championship in 1920.</p><br>
<p>Designed by the famous architect Ernest Flagg using an asymmetrical plan, the house&#39;s distinctive style was inspired by English Queen Anne architecture, along with Colonial and Federal architectural styles. The building features staggered stair windows, half-fan windows in pairs, a double height oriel over the garage, and a square cupola.</p><br>
<p>The building was later also called the New World Foundation Building. Its address is 1015 Park Avenue, although its entrance is around the corner at 100 East 85th Street. The house was made a New York City Designated Landmark on January 24, 1967, and was added to the National Register of Historic Places in 1977. Its facade was restored by the Avi Chai Foundation in 2000.</p><br>
<p>St. Ignatius of Antioch Episcopal Church is a historic Episcopal church, located at 552 West End Avenue, on the southeast corner of 87th Street, in Manhattan&#39;s Upper West Side neighborhood. It was built in 1903 and added to the National Register of Historic Places in 1999.</p><br>
<p>In 2021, it reported 239 members, average attendance of 45, and $242,038 in plate and pledge income.</p><br>
<h2>History</h2><br>
<p>The congregation was founded in 1871 by the, as part of the Anglo-Catholic movement. The rather unusual choice of titular saint, the first-century bishop and martyr Ignatius of Antioch, seems to have been motivated by Ignatius&#39; emphasis on the centrality of the Eucharist and on the unifying role of the bishop. Ironically, the parish was to have somewhat rocky relations with the bishops of New York in its first several decades due to tensions over its Anglo-Catholic practices.</p><br>
<p>The parish first met in the former Holy Light Church (New York City) (a parish for the blind), at 437 Seventh Avenue, then in the former St. Pauls Dutch Reformed Church, located at 54-56 West 40th Street and facing what is now Bryant Park, before erecting the present building. The present church, built under the parishs second rector, Arthur Ritchie, was designed to ritualist standards, including features such as a permanent stoup for holy water at the entrance and a built-in confessional. The first services were held in the new building in 1902. The Bishop of New York, the Rt. Rev. Henry Codman Potter, expressed his disapproval of the parish&#39;s ritualist tendencies by his absence from the opening; Bishop Charles C. Grafton of Fond du Lac, a noted leader of the Anglo-Catholic party in the Episcopal Church, presided in his stead.</p><br>
<p>St. Ignatius of Antioch was among the first Anglo-Catholic parishes to welcome the ministry of ordained women. In 1980 the Rev. Ellen Barrett, the first openly gay woman ordained in the Episcopal Church, preached at Good Friday services; she was later invited to become an associate priest of the parish. This move was controversial at the time, and it tended to divide St. Ignatius from many of its sister Anglo-Catholic parishes that were slower to welcome and affirm the ministry of women. Around the same time, the parish moved from using various editions of the Anglican Missal to using Rite I of the 1979 Book of Common Prayer, with the continuation of traditional ritualist features, such as the Angelus, the Asperges, and minor propers chanted in Latin to Gregorian chant tones.</p><br>
<h2>Architecture</h2><br>
<p>St. Ignatius graceful English Gothic building was completed in 1902 to designs by architect Charles C. Haight, who also built New Yorks General Theological Seminary. The cruciform interior is made of Roman brick with stone arches carrying a wooden truss roof. The undercroft and several of the subsidiary spaces feature Guastavino tile ceilings. Further enrichment of the interior furnishings was carried out in 1924–1930 under the direction of architect Ralph Adams Cram. These additions include the spire-like cover for the baptismal font, the carved wooden Stations of the Cross, the altarpiece and other furnishings of the Lady Chapel, and polychromed statues of the Blessed Virgin Mary, St. Ignatius, and the Sacred Heart of Jesus.</p><br>
<h2>Music</h2><br>
<p>The church&#39;s organ was built in 1966 by Casavant Frères of Québec. In the wake of extensive damage to the instrument caused by the failure of a water tank located above the pipes, the organ was extensively refurbished in 2010–2011. The church is noted for the excellence of its professional choir, which has a particular affinity for the music of the Renaissance. Thanks to its excellent acoustics, the church also plays host to a notable concert series.</p><br>
<p>The Metropolitan Baptist Church, located at 151 West 128th Street on the corner of Adam Clayton Powell Jr. Boulevard in the Harlem neighborhood of Manhattan, New York City, was originally built in two sections for the New York Presbyterian Church, which moved to the new building from 167 West 111th Street. The chapel and lecture room were built in 1884-85 and were designed by John Rochester Thomas, while the main sanctuary was constructed in 1889-90 and was designed by Richard R. Davis, perhaps following Thomas&#39;s unused design. A planned corner tower was never built.</p><br>
<p>In 1918, the church was acquired by the Metropolitan Baptist Church, a congregation founded in 1912 which was one of the first African American congregations in Harlem. They moved to this building from the Metropolitan Baptist Tabernacle at 120 West 138th Street, which later became Liberty Hall, a focus of the Back-to-Africa movement.</p><br>
<p>The church was designated a New York City Landmark in 1981, and was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description</h2><br>
<p>Despite the split construction, the granite-faced building, which combines Romanesque Revival and Gothic Revival elements, holds together as a single design. Thin finialed towers are prominent on the west facade of the building. The total effect is "handsome" and "monumental".</p><br>
<p>St. Walburga&#39;s Academy of the Society of the Holy Child Jesus is an historic academy located at 630 Riverside Drive and 140th Street in New York City.</p><br>
<p>Construction on the Gothic Revival structure designed by architect John W. Kearney began in 1911, and in 1913 the school opened, serving as both a boarding and day school for girls. In 1957, the school relocated to Rye, New York and changed its name to the School of the Holy Child. On July 28, 2004, St. Walburga&#39;s Academy was added to the National Register of Historic Places.</p><br>
<p>The Rye African-American Cemetery, also known as the African Cemetery in Rye, is a historic 1.4 acre cemetery on North Street in Rye, New York. It was established as a burying ground for local African-Americans in 1860 through a donation of land by the Underhill family with the intent that it “shall forever hereafter kept, held and used for the purpose of a cemetery or burial place for the colored inhabitants of the said Town of Rye, and its vicinity free and clear of any charge". At least 35 of the individuals buried there are American veterans including men who served with the 20th United States Colored Infantry Regiment. The last documented burial in the cemetery was in 1964.</p><br>
<p>The cemetery was added to the National Register of Historic Places in 2003. In 2004, it was added to the African American Heritage Trail of Westchester County, a group of 14 sites which include Stony Hill Cemetery, Villa Lewaro and the Jay Estate.</p><br>
<h2>Stewardship</h2><br>
<p>The cemetery is cared for and being restored by the non-profit Friends of the Rye African-American Cemetery together with descendants of those buried there and the local NAACP chapter. The Friends have led the preservation effort since 2010 In 2021, over 40 stones were conserved in a joint effort between the Friends of the Rye African American Cemetery, World Monuments Fund, Jay Heritage Center and Woodlawn Conservancy. The preservation effort was launched to coincide with the new federal Juneteenth celebration.</p><br>
<p>The Rye African-American Cemetery is located next to the southwest portion of Greenwood Union Cemetery and is accessed through the front entrance of Greenwood Union. New signage for the burial ground to make it easier to locate and reinforce its identity as a separate entity was installed in 2021 as part of revitalization efforts.</p><br>
<p>Amawalk Friends Meeting House is located on Quaker Church Road in Yorktown Heights, New York, United States. It is a timber frame structure built in the 1830s. In 1989 it and its adjoining cemetery were listed on the National Register of Historic Places.</p><br>
<p>Quakers had been active in north central Westchester County since the mid-18th century. The current meeting house was the third they built; fire destroyed both predecessors. Not only is it one of the most well-preserved and intact in the county, it is a rare surviving meeting house built by a Hicksite meeting during that schism in American Quakerism.</p><br>
<p>Architecturally the meeting house shows some signs of Greek Revival influence, also unusual for Quaker buildings. The addition of a porch later in the 19th century also brought in some Victorian touches, again unusual. Its interior was renovated and the building resided when meetings were revived after a brief period of dormancy. However, many of its original furnishings remain.</p><br>
<p>Taking up most of the property is the meeting&#39;s cemetery, which contains many graves of its members from the earlier years, along with that of Robert Capa, the accomplished mid-century war photographer, and his brother Cornell, although neither were members of the meeting, much less Quakers. The headstones of those graves strongly reflect Quaker burial practices, and thus the cemetery is included in the listing as a contributing resource. An architecturally sympathetic First Day School building added when meetings resumed in the 1970s is non-contributing due to its newness.</p><br>
<h2>Buildings and grounds</h2><br>
<p>The 2.9 acre lot on which the meeting house, First Day school and cemetery are located is on the west side of Quaker Church Road,</p><br>
<p>Topographically the area consists of small low hills with occasional narrow depressions, often filled by creeks or wetlands, in between. The meeting house property slopes upward to the west, draining into the valley of an unnamed tributary of Hallocks Mill Brook, a tributary of the Muscoot River, which drains Amawalk Reservoir on its way to Muscoot Reservoir. Its neighborhood is residential, with most houses on large mostly wooded lots.</p><br>
<p>Across Quaker Church are two houses on such lots. Behind them is a cleared power line right-of-way closely paralleled by the North County Trailway rail trail. To the meeting house&#39;s west is Amawalk Hill Cemetery, with another cemetery, Carpenter Hill, to the north, buffered by a woodlot.</p><br>
<h3>Meeting house</h3><br>
<p>A short gravel driveway gives access to the property from the road, passing under the century-old oak and maple trees that shade and screen most of the lot. The meeting house is on the north of the parking area at its end. It is a two-and-a-half-story rectangular wood frame building measuring 30 by, with one bay per 10 feet (3 m) of space on the facades. Wooden shingles make up most of the siding of the main block, with a small section of clapboard below the roofline. At its base is a fieldstone foundation; a single brick chimney pierces the center of the slate-shingled gable roof. A hip roofed porch runs the length of the first story&#39;s south (front) facade at ground level; on the west end is a small shed-roofed clapboard-sided one-story one-bay addition.</p><br>
<p>Two separate entrances with paneled wooden double doors are located just inside the outermost windows of the ground floor underneath the porch. The windows themselves are six-over-six double-hung sash windows in plain wooden surrounds with paneled wooden shutters echoing the doors. On the east facade&#39;s first story are similarly treated six-over-six double-hung windows. The western addition has a single similar window but without shutters, as does the northern facade.</p><br>
<p>The porch has a low concrete deck. In its middle are three plain wooden benches with curved backs arranged in a square pattern, facing outward. At its west end a single paneled wooden door leads into the shed-roofed addition. The roof is supported by seven square wooden pillars with curved brackets at the top. It has a molded cornice.</p><br>
<p>On the second story all windows are two-over-two double-hung sash, set in plain wooden surrounds without shutters. A smaller two-over-two is set in the apex of both gables at the attic level. On the south, scrolled brackets against the clapboard section support a molded cornice similar to that on the porch.</p><br>
<h4>Interior</h4><br>
<p>Both entrances open into the main meeting room, with cushioned wooden benches similar to those on the porch arranged facing the center. Some, meant for the meetings, are fixed in place; The elders benches, fixed in place, are arranged in three ascending steps; the other benches are not and can be reconfigured as necessary. Two small collapsible tables for the recording of minutes are located at either end of the first elders&#39; bench. In the middle of the benches are two small wood-burning stoves, one of which dates to the late 19th century.</p><br>
<p>The room is floored in linoleum. On the plain plaster walls traces of the wall that partitioned the meeting room into separate sections for men and women are still visible. The frame of a door that once breached that wall is also present, on the south side. A door in the west wall leads to the addition, which serves as a cloakroom and privy. Inside, the meeting house&#39;s hand-hewn pegged structural beams are exposed.</p><br>
<p>Several wooden pillars, some with original kerosene lamps attached, hold up the wooden gallery, reached by stairs in the southern corners. It is 8 feet (8.5 ft) above the ground floor, 9 ft deep on the southern side and 7 ft on the east and west sides. The former has loose benches while the latter sections have fixed ones. A ladder on the east side climbs to the full-length attic. There, as in the cloakroom, the building&#39;s structural beams are exposed.</p><br>
<h3>First Day School and cemetery</h3><br>
<p>On the south side of the parking lot is the First Day School building. It is a smaller timber frame gable-roofed structure with the same siding and color treatment as the meeting house. Since it was built on the site of the meetings stable in the 1970s, it is considered a non-contributing resource to the propertys historic character.</p><br>
<p>Conversely, the cemetery, rising up the hillside to the west, is considered a contributing site. Its graves, some of which are thickly overgrown, date from the late 18th century when the meeting was established to the present. The oldest with an identifiable name on its marker is that of Eugent Weeks, who died in 1805. Early markers are of sandstone, giving way to marble for later burials.</p><br>
<p>Many of the headstones reflect the Quaker virtue of simplicity and are devoid of funerary art, save for some on the southwest corner with a weeping willow design. They simply list the deceased&#39;s name, relationship to any others nearby, date of birth and date of death on the side facing away from the meeting house. Some graves have no markers at all.</p><br>
<h2>History</h2><br>
<p>From its emergence in the mid-17th century, the Religious Society of Friends, later known as the Quakers, faced religious persecution in England. As Dissenters, their opposition to maintaining a leadership hierarchy or indeed any clergy at all was considered blasphemous and heretical,</p><br>
<h3>1760–1797: Establishment of Amawalk Meeting</h3><br>
<p>With the new tolerance came a growth in Quaker meetings. Northern Westchester County was one of the hotbeds of that growth. Quakers established Chappaquas original center around a 1754 meeting house that remains in use. The Amawalk meeting seems to have gotten its start around 1760. Six years later, the Purchase Monthly Meetings minutes note that the "Cortlands Manor" meeting had sustained itself for at least a year, and the following year formally extended it for another year.</p><br>
<p>Growth continued, and the Amawalk meeting requested and received permission to build its first meeting house, on the current site, in 1772. It was completed the following year, and Amawalk was granted Preparative Meeting status in 1774. Five years later, the first meeting house was damaged by fire. Repairs were not done until 1783, and by that time the meeting had already decided to build a new house. The new meeting house was completed and paid for two years later. It was described as being of similar dimensions to the current building, with timber posts 17 ft and cedar facing.</p><br>
<p>While the new house was being built, the Amawalk Quakers met in Chappaqua. In 1785 it was merged with that Monthly Meeting for administrative purposes. The meeting began establishing itself in the community—it started educating its children. In 1791 it started a school but had to close it down two years later when it could not find enough qualified teachers. In its stead, the meeting decided in 1796 to support a boarding school being planned by the Nine Partners Meeting outside the village of Millbrook in Dutchess County to the north.</p><br>
<p>The meeting engaged in social activism as well. In 1783 a member who had bought a slave in order to set him free asked the meeting to consider whether such an act was appropriate; the next month it was decided that it was not. The Amawalk meeting nevertheless followed the strong and growing abolitionist stance of American Quakers; by the next year it reported that none of its members owned slaves.</p><br>
<h3>1798–1839: Growth and schism</h3><br>
<p>At the end of the century, in 1798, Amawalk finally received its own status as a Monthly Meeting. With the newer, bigger meeting house, members kept being added. By 1828, Amawalk had had under its care five Preparative Meetings: Peach Pond (discontinued 1811), Salem-Bedford, Peekskill and Croton.</p><br>
<p>That same year, the meeting had to make a choice between two sides in a schism dividing American Quakers. In response to the growing fervor among evangelical Protestants in the country as a whole that has since come to be known as the Second Great Awakening, many orthodox Quaker meetings adopted practices similar to more mainstream Protestant denominations, adding rituals like hymns and prayers to their services. This was opposed by Elias Hicks, a Long Island Quaker influenced by the freethought movement, who not only reaffirmed the inner light as the traditional Quaker path to the divine but held it superior to the Bible. Many meetings chose one side or the other, and Amawalk&#39;s Quakers went with Hicks. The Orthodox members, who at one point had barred the Hicksites from the building, left to build their own meeting house closer to contemporary Yorktown Heights in 1832; it is no longer extant.</p><br>
<p>Near the end of 1830, the Amawalk meeting house burned. This time the damage was complete. The following year the current meeting house was built. Its construction costs came in slightly over the budgeted $1,250 ($ in modern dollars).</p><br>
<p>It stands out from other Quaker meeting houses in two ways. Since the Orthodox meetings had, like the Amawalk splinter group, generally been the ones to leave and build their own meeting houses, while the Hicksites stayed in the existing buildings, the Amawalk meeting house is a rare meeting house built by a Hicksite meeting. Also, its design shows some of influence of the contemporary Greek Revival style, in the use of clapboard siding below the roof eave on the south (front) facade, creating a frieze. Quaker meeting houses built by the meetings, as opposed to structures adapted for their use, usually shun any architectural influences of their time in favor of a restrained plainness. Originally the meeting houses interior had a wall to allow for separate mens and women&#39;s business meetings, since women sometimes felt overwhelmed in the presence of men; this is the reason for the two entrances as well.</p><br>
<p>By the mid-1830s the minutes record that 74 families were members of the meeting. There was turnover among them—some members left the area or were disowned for alcohol use, marrying non-Quakers, or failure to attend meetings; but they were replaced by members who moved in from other areas and new converts. Activism continued; one member was imprisoned for 16 days in 1839 over his refusal to pay a "military demand" of $5.</p><br>
<h3>1840–1903: Decline</h3><br>
<p>Membership began to decline in the 1840s, due in part to the effects of the schism on the meetings and the general fragmentation of society. In 1848 the Croton meeting was dissolved. At some point around this time, the shed addition was built on to the western side of the meeting house to serve as a cloakroom and privy. A belief that the building was a station on the Underground Railroad during this era has never been substantiated.</p><br>
<p>The Civil War, fought over slavery, tested the beliefs of all Quakers, including Amawalk. Near the wars end in 1865, the meetings minutes record that "Friends have not been as careful to bear our testimony against war as the discipline requires". A footnote clarifies this, noting that five members had paid for substitutes to go into the Union Army in their stead, and at least one had enlisted himself.</p><br>
<p>In the years after the Civil War, the meeting&#39;s decline continued. Realizing that its insularity and withdrawal from society at large had been part of the reason for this, in 1869 the Society stopped discouraging its members from holding public office. The Amawalk meeting also improved its amenities, purchasing two wood-burning stoves, one of which remains, to heat the building during colder weather in 1883. Another 19th-century addition, the porch, reflects contemporary architectural trends in the curved brackets that connect its roof and the wooden support pillars, a Victorian touch that like the clapboard frieze reflects contemporary architectural trends, unusually for Quaker meeting houses.</p><br>
<p>While the members remained politically and socially active, writing the state legislature in 1882 in support of prohibition, these measures were not enough to stop the decline. Although Amawalk was able to sustain itself, its remaining preparative meetings, in Peekskill and Salem, could not. They were discontinued in 1883 and the remaining members merged into Amawalk. Even so, two years later the separate mens and womens meetings were merged. By the end of 1886 Amawalk&#39;s records indicate that it had just 96 members; no new members joined that year. Three years later, the land that had been purchased to build a meeting house in Peekskill was sold, followed by the Salem property in 1891.</p><br>
<p>The remaining members continued their activism, again writing the legislature in protest of its passage of legislation that lowered New York&#39;s age of consent to 13 later that year, and urging that it replace the death penalty with life imprisonment. Amawalk became an executive meeting in 1897, and it was incorporated in 1903.</p><br>
<h3>1904–1976: Capa burial and closure</h3><br>
<p>Meetings continued despite the continuing decline in members, although they were not held regularly. In 1920 Hicksite and Orthodox Quakers reached out to each other and began the long process of reconciling; it would take almost a half-century.</p><br>
<p>Ten years later the carpet in the interior was taken up and replaced by linoleum. The Amawalk meeting remained active, becoming involved in activities that were more supportive than advocacy. They collected books for Faith Cabin Libraries serving African-American communities in Georgia and South Carolina. During World War II, they knitted patchwork quilts to be sent overseas and, afterwards, sponsored two of the Hiroshima Maidens who came to the United States for plastic surgery on their injuries.</p><br>
<p>In 1954 war photographer Robert Capa, whose gritty "Magnificent Eleven", taken under heavy German fire, are considered iconic images of the Normandy landings during World War II, died after he stepped on a land mine in Vietnam while covering the First Indochina War. John Morris, Capas editor at Life magazine in London during the Normandy landings and at Magnum Photos at the time of his death, felt that a Quaker funeral would be a fitting tribute to Capa, a nonobservant Jew who had immigrated from Hungary. Morris reasoning was that, even though Capa had not been a Quaker, he sought to promote peace through his depictions of the horrors of war. As a member of the Purchase Quarterly Meeting, which oversaw Amawalk, he arranged for a Quaker service there. At the service, Capa&#39;s brother Cornell said Kaddish. A young Dirck Halstead was among the attendees.</p><br>
<p>The few remaining members of the Amawalk meeting allowed Capa to be buried in their cemetery. Later his mother and sister-law were buried in the same plot, and Capa&#39;s biographer Richard Whelan joined them when he died. In 2008 Cornell, who had founded the International Center for Photography during the intervening years, was laid to rest alongside his brother. None of them were Quakers.</p><br>
<p>Ten years later, the meeting no longer had enough members to sustain itself. In 1964 it was officially closed. The house remained, suffering from neglect. What members there had been remained socially active, helping a Vietnamese family resettle in the area.</p><br>
<h3>1977–present: Revival and renovation</h3><br>
<p>Four years after Amawalk closed, the Hicksites and Orthodox Quakers fully reconciled and ended the schism after a century and a half. Along with the spiritual quests by baby boomers that have been called the Fourth Great Awakening, that helped rekindle interest in the Society. Meetings began being held again in 1977, and shortly afterward the window was added to the south side of the cloakroom, the most recent change to the meeting house&#39;s exterior.</p><br>
<p>The new members made the property their priority. The First Day School building was completed in 1987, with full modern amenities, on the site of a former horse stall. During the week it was used by a local nursery school. That same year, Amawalk had enough members to become a monthly meeting again.</p><br>
<p>In 1993, four years after the property was listed on the National Register, the meeting secured a $50,000 matching grant from the state&#39;s Historic Preservation Office to renovate the interior of the building, which had suffered from insect infiltration and water seepage over the years. The meeting raised its half through an auction of historic photos organized by Cornell Capa.</p><br>
<p>Asbury United Methodist Church and Bethel Chapel and Cemetery is a national historic district containing a Methodist church, chapel, and cemetery at 19 Old Post Road in Croton-on-Hudson, Westchester County, New York. The church was built in 1883 and is a rectangular brick building with a multi-colored slate-covered gable roof in the Gothic Revival style. It features large Gothic-arched stained and leaded glass windows added in 1891 and a square, engaged, two stage tower. The chapel was built about 1790 and is a -story, two-by-two-bay, clapboard-sided building on a granite foundation. Francis Asbury  is known to have visited the chapel on September 20, 1795. The cemetery is in two sections and contains about 5,000 graves; the date of the earliest burial is 1801. It includes the grave of noted playwright and author Lorraine Hansberry .</p><br>
<p>It was added to the National Register of Historic Places in 2000.</p><br>
<p>Church of St. Joseph of Arimathea, originally known as Worthington Memorial Chapel, is a historic Episcopal church at 2172 Saw Mill River Road in Greenburgh, Westchester County, New York. It was designed by architect Richard M. Upjohn  and built in 1883 in an eclectic Victorian Gothic Revival style. It was built in four phases: The original 1883 chapel, the 1901 addition, the addition in 1953 of a ground floor meeting room, and an enlargement and remodeling of the 1953 addition in 1990. The original chapel and 1901 addition are built of random-coursed, rock faced ashlar with corner buttresses, and high pitched gable roof with low parapets. The chapel is cruciform in plan and features a three-story bell tower with large segmental arched opening and a conical roof. A large three-part stained glass window and smaller three part windows in the two transepts are attributed to John La Farge  and installed around 1883. It was originally built by the family of pump manufacturer Henry Rossiter Worthington  as a chapel and crypt.</p><br>
<p>It was added to the National Register of Historic Places in 2002.</p><br>
<p>Elmsford Reformed Church and Cemetery is a historic Dutch Reformed church/meeting house and cemetery at 30 S. Central Avenue in Elmsford, Westchester County, New York, United States. It was built in 1793 and is a two-story, wood-frame building. It is constructed of hand-hewn beams, shingles, and hand-wrought nails. Most of the ornamentation in the church dates to the 1820s. It is almost identical to nearby Old St. Peter&#39;s Church. The cemetery dates to the 18th century and includes the graves of a number of Revolutionary War veterans including Isaac Van Wart .</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>First United Methodist Church, also known as Chester Hill ME Church, is a historic United Methodist church at 227 E. Lincoln Avenue in Mount Vernon, Westchester County, New York, United States. It was built in 1900-1901 and is a Romanesque Revival style building. It is constructed of granite with limestone details and a red slate roof. It features an 85-foot bell and clock tower and multi-gabled roof. The interior features a semi-circular, amphitheater-like seating plan in the Akron Plan.</p><br>
<p>It was a work of architect George W. Kramer.</p><br>
<p>It was added to the National Register of Historic Places in 2000.</p><br>
<p>The St. George Plantation House, in Schriever, Louisiana was added to the National Register of Historic Places in 1982.</p><br>
<p>It is a raised, one-story, frame and weatherboard plantation house reflecting late Greek Revival style. It has "handsomely landscaped grounds" in its semi-rural location in the center of Schriever, in Terrebonne Parish, Louisiana. Its "most prominent architectural feature is its front facade. This composition is dominated by a heroically scaled colonnade of six sixteen-inch square columns rising 13-1/2 feet to support a massive entablature. The fenestration beyond this colonnade is composed of a center pair of large glazed doors with a transom, side lights and a heavy overdoor. The doors are balanced on each side by a pair of double hung windows which open to the floor level giving access from the gallery to the front rooms."</p><br>
<p>The interior features a grand center hall which is 14x56 ft in dimension, and has a large fireplace near its center.</p><br>
<p>Cashpoint Plantation House, also formerly known as Ash Point and Woodlawn, is located shortly north of Louisiana Highway 71 between Taylortown and Elm Grove in Bossier Parish, Louisiana. It was built in about 1875 and added to the National Register of Historic Places on August 11, 1982.</p><br>
<p>Its NRHP nomination described it as "a late provincial example of a Greek Revival raised cottage of moderate size. It is located off Louisiana Highway 71 in the flat cotton farming country of southern Bossier Parish. Several alterations were made in the twentieth century; however, in the judgment of the State Historic Preservation Office, the house retains sufficient integrity to warrant listing."</p><br>
<p>It was built as a one-story wood frame central hall plan raised plantation house with a rear wing for kitchen and dining room. It had one room on each side of the hall. It has a five-bay facade with a gallery with square posts having molded capitals. It has an entablature which is "unusually large". Greek Revival elements include transoms and side lights at the front and rear central doors. The house also has some Italianate influences: large round head panels of the front doors and "jig sawn balustrade work".</p><br>
<p>Breston Plantation House in Caldwell Parish, Louisiana, was built in the 1830s. It was added to the National Register of Historic Places in 1980.</p><br>
<p>It is located behind the levee on the east bank of Riverton Lake, formerly the bed of Ouachita River, approximately 5 mile above Columbia, Louisiana, near the community of Riverton.</p><br>
<p>The house shows a mixture of French Creole architecture and Greek Revival architecture. Exterior Greek Revival elements are its five-bay front facade, with center emphasis; six molded Doric posts and entablature of the front gallery; six matching pilasters along the front wall of the house.</p><br>
<p>Daniel Supplee Cobblestone Farmhouse is a historic home located at Starkey in Yates County, New York. The farmhouse was built about 1835 and remodeled sometime before 1876. It began as a vernacular, L-shaped, late Federal / early Greek Revival style farmhouse. The cobblestone house is built of variously colored and irregularly shaped field cobbles. The farmhouse is among the nine surviving cobblestone buildings in Yates County.</p><br>
<p>It was listed on the National Register of Historic Places in 1992.</p><br>
<p>Richland Plantation is a cotton plantation comprising a historic plantation house located at 7240 Azalea Street , about 4.4 mi east of Norwood, Louisiana.</p><br>
<p>Elias Norwood built the house in 1820 following the typical layout of the period with a large central hall separating rooms on either side.</p><br>
<p>The 25 acre area comprising the mansion was added to the National Register of Historic Places on March 28, 1979.</p><br>
<h2>Skirmish at Richland Plantation</h2><br>
<p>On January 30, 1865, a skirmish between US and Confederate Forces took place near Richland Plantation, as reported by Col. Willard Sayles (3rd RI Calvary). "...The party moved south from Richland plantation, driving a party of twenty or more guerrillas, commanded by one Brown, a Confederate captain, to another camp on a small plantation owned by Alexander Ambreaux. Here they disappeared in the swamp, where it was entirely impracticable to follow them. Our party then retired two miles, to the Richland plantation, posted pickets, and encamped. During the night the guerrillas attempted to break through our pickets, were fired upon, and retreated with one man severely wounded."</p><br>
