<p>The Lovell Beach House is located on the Balboa Peninsula in Newport Beach, California. The building was completed in 1926 and is now recognized as one of the most important works by architect Rudolf Schindler, second only to the Schindler House, built four years earlier for his family as a show house and studio. Both of these early houses by Schindler are considered landmarks of early modern architecture in America.</p><br>
<p>The residence is on the ocean front, not far from The Wedge at Newport Harbor, in a tightly packed neighborhood of buildings. The house is sheltered from the street on the west side by raising the living quarters above the ground level. The open space below reveals the reinforced concrete frames that were formed in the shape of a figure 8. Two stairways pass through the openings in the frames leading to the kitchen and the main entry. The garage is on the north side of the ground floor and the garden is on the south side, between the house and the beach.</p><br>
<p>The interior is arranged around a two-story living/dining room, with full height, curtain wall windows on the east and south side facing the ocean. The kitchen and breakfast area are located on the north side of the first floor, with a terrace on the ocean side over the garden. Lamps and built-in furniture were provided as part of the original design. Bedrooms on the second floor are connected by a corridor overlooking the main living room. Each of the bedrooms originally had access to an open sleeping porch, but these were enclosed by Schindler in 1928.</p><br>
<h2>Context</h2><br>
<p>The client for the project, Philip M. Lovell, was inspired by a style of healthy living, with guidelines for proper diet and exercise. Schindler also adopted these principles and addressed these concerns in the design of the beach house. The arrangement of the living quarters on the north side of the house maximizes the circulation of fresh air. Each bedroom is furnished with windows for cross ventilation to eliminate the need for air conditioning. The Lovell family continue to own the house.</p><br>
<p>Lovell also commissioned another house in Los Angeles. The Lovell "Health House" was completed in 1929 on Dundee Drive in Los Angeles, three years after the Beach House was finished. This commission was awarded to Richard Neutra, who was living with his wife in a part of Schindler&#39;s House and studio between 1926 and 1930. These two architects created houses that became classic forms of the new California residential design, and icons of the Modern movement in America.</p><br>
<h2>Historic significance</h2><br>
<p>The Los Angeles branch of the Historic American Buildings Survey (HABS) documented the house in 1968. The house today has much the same appearance as the photographs taken during the survey. The significance of the house was already apparent at the time:</p><br>
<p>The Lovell Beach House is generally considered one of the greatest works of pioneering modern architect, R. M. Schindler. It demonstrates an early use of concrete which predates and predicts the post-war Brutalist style, in which concrete is left unsurfaced, and structure is distinct from enclosure.</p><br>
<p>... The house is lifted above its beach site and cradled in five concrete frames in the shape of figure 8&#39;s. These were poured in place. The enclosed areas were shop-fabricated and hoisted into position. The play of forms in the advancing and receding planes are related to the De Stijl movement begun in the Netherlands in 1917.</p><br>
<p>The Beach House was listed as a Registered Historic Place in California on February 5, 1974.</p><br>
<p>The Prince Hall Mystic Cemetery, also known as the Prince Hall Cemetery, is a historic cemetery located on Gardner Street, Arlington, Massachusetts. It may be the only remaining African American Masonic cemetery in the United States.</p><br>
<p>The cemetery is a burial place for members of the Prince Hall Grand Lodge F & AM, founded by Prince Hall in Boston in 1776. Prince Hall Freemasonry was the first African American Masonic group in the United States. In 1864, Grand Master William B. Kendall deeded this site to his lodge. The cemetery was dedicated in 1868 and put in trust to be used exclusively as a Prince Hall Freemasonry burial ground. Records indicate it was in use until about 1897 when it fell into disuse.</p><br>
<p>As time passed it was forgotten until its rediscovery in 1987. It was rededicated in 1990 and added to the National Register of Historic Places in 1998. Today the cemetery is the last extant cemetery associated with Prince Hall Masons. It contains a small park with a monument. A 1988 survey found remains of the original gate and an obelisk.</p><br>
<h2>Current use</h2><br>
<p>Beginning in 1990, Masons from the Prince Hall Grand Lodge have held an annual ceremony on Memorial Day. This event features remarks by the Grand Matron and other Masonic representatives and has frequently included an address by the president of the Arlington Historical Society.</p><br>
<p>The Old Middletown Post Office, in Middletown, Connecticut, also known as the USA Post Office, was built in 1916. It was listed on the National Register of Historic Places  in 1982.</p><br>
<h2>Structure</h2><br>
<p>The building is made of limestone using a structural system of load bearing masonry. It was designed by the Office of the Supervising Architect under James A. Wetmore and built by W. H. Frissell & Co. of New York City.</p><br>
<h2>Relationship to surroundings</h2><br>
<p>This fine, two-story example of the Renaissance Revival style is located on the south west corner of Court and Main Streets facing the Connecticut River. Across Court Street to the north is the massive Liberty Bank building and to its south across a parking lot; is the Bank of America building. Together these three buildings give this section of the central business district a solid and classical look.</p><br>
<h2>Significance</h2><br>
<p>In 1911, the United States Government decided to build a new post office facility in Middletown. Preparations for construction began shortly thereafter. The selection of the buildings location was a topic of much controversy. The government finally chose this location, federally owned since 1841, in the center of Middletowns commercial and financial district.</p><br>
<p>Contemporary sources indicate that the new post office was a source of civic pride for the citizens of Middletown. Its facade of smooth limestone distinguished it in a city center where brick and Portland brownstone were the common building materials. The classical facade displays a two-story arrangement of arched windows and pilasters supporting an elaborate entablature. The interior features a large two story open lobby.</p><br>
<p>The old post office ceased operation in 1977, ending 136 years of federal use of that site.</p><br>
<h2>Current use and condition</h2><br>
<p>Liberty Bank uses this building as office space and keeps the building in good condition.</p><br>
<p>The Wilcox, Crittenden Mill, also known as Wilcox, Crittenden Mill Historic District, is a 17 acre property in Middletown, Connecticut that was listed on the National Register of Historic Places in 1986. It was the location of the Wilcox, Crittenden company, a marine hardware firm. The historic district listing included four contributing buildings and three other contributing sites.</p><br>
<h2>Buildings</h2><br>
<p>The mill complex consists of four surviving mill buildings, built between 1814 and 1917, and foundational remnants of others, as well as two brownstone dams. Mill A, built in 1814 to house weaving operations, was converted into an office when larger facilities were built. Mill B, located to its north, is 247 ft long, and was built between 1901 and 1912. Mill C is a concrete block structure built in 1907, and is 350 ft long. Mill D stands across the ravine of Pamachea Creek from Mill C, and is the youngest of the four buildings.</p><br>
<h2>Relationship to surroundings</h2><br>
<p>This building is sited on the north bank of Pameacha Creek. It is located in a commercial and industrial area and faces the busy intersection of Warwick and South Main Streets. Nearby are related, later factory buildings. A modern solar-energized bank is located across the intersection to the west.</p><br>
<h2>Significance</h2><br>
<p>The main part of this structure was erected in 1814 by John Watkinson as a woolen factory. Pamecha Creek was a prime source of water power in Middletown; a mill had occupied this site since the 1650s. Following Watkinson&#39;s death in 1836, this building was occupied by another woolen business, known as The Pamecha Manufacturing Company.</p><br>
<p>In 1849 William Walter Wilcox, a young and aggressive factory worker, went into business with Ira Penfield, his employer. Together they continued manufacturing Penfields recently patented grommet (a small metal device used in the raising and lowering of sails) in the basement of this building, and established the firm of Penfield and Wilcox. Wilcox then went on the road, successfully selling this new device, and establishing a coast-to-coast reputation. When Penfield retired in 1857, Wilcox took in Joseph Hall Jr. as a partner and the firm known as Wilcox and Hall was established. Hall left the business in 1867. in 1869 the firm acquired the name by which it has been known for over one hundred years, The Wilcox, Crittenden and Company. The firms prominent managers at this time were William Walter Wilcox, Albert R. Crittenden (a former Middletown Mayor), E. Bound Chaffee, and Homer Churchill. This firm brought force and strength to the ships&#39; chandlery business. They constructed additions to the existing structures to meet their rapidly growing needs. Their success was attributed to honesty, paying close attention to the business and having a good understanding of maritime needs.</p><br>
<p>On a summer night in 1907 a devastating fire attacked the premises. Virtually every building and its contents on Pamecha ravine was destroyed, except for a small brick structure and the addition to the south. This determined firm rebuilt within two years, without losing a customer or laying off an employee. Except for this building and a slightly larger and later structure on the south side of the Pamecha Creek, all the structures related to the firm were built after the 1907 fire.</p><br>
<p>This -story brick structure displays some of its early exterior features; brownstone sills and lintels, and two corbelled chimneys. The windows on the west facade were lengthened, the brownstone lintels removed and replaced by segmental-arched brick lintels. The cupola was replaced. The wing, attached to its south wall, probably dates from the late 19th century. More decorative, it displays corbelled brick work and an unusual arched window on the west facade. A large mural of a clipper ship is painted on the south wall.</p><br>
<p>The Pamecha Creek played an important role in Middletowns early manufacturing operations. The many water-powered factories located on its banks were largely responsible for this citys industrial prosperity in the early nineteenth century. This building is one of the few survivors of that prosperous era.</p><br>
<p>The site is additionally significant as an archeological site. Not only has it been in continuous use since 1650, but documents indicate that much of the machinery and tools damaged in the 1907 fire were not removed from the steep ravine.</p><br>
<h2>Current use and condition</h2><br>
<p>Three of the four surviving mill buildings have been converted to apartments. Mill B and the rather small Mill A are a condominium; Mill C on the other side of South Main Street is low-income housing).</p><br>
<p>Greenway Court is a historic country estate near White Post in rural Clarke County, Virginia. The property is the site of the seat of the vast 18th-century land empire of Thomas Fairfax, 6th Lord Fairfax of Cameron , the only ennobled British colonial proprietor to live in one of the North American colonies. The surviving remnants of his complex — a later replacement brick house and Fairfax&#39;s stone land office — were designated a National Historic Landmark in 1960.</p><br>
<h2>Description</h2><br>
<p>Greenway Court is located down a long private drive on the west side of White Post Road, south of the village of White Post. The property now consists of about 5 acre, although it was in the 18th century at the center of landholdings over 5 e6acre. Its principal feature is a brick farmhouse built in 1828, the original plantation house having been demolished c. 1834. The main historic structure surviving from the period of the Fairfax residency is the Land Office, a c. 1762 single-story gable-roofed limestone structure, and a timber smokehouse dating to the 18th century.</p><br>
<h2>History</h2><br>
<p>Greenway Court was the center of the "Northern Neck Proprietary" or "Fairfax Grant", which passed to Thomas Fairfax, 6th Lord Fairfax of Cameron from his mother&#39;s family, the Culpepers, who had taken proprietorship of the land in 1673. Fairfax laid out the Greenway Court estate in 1747, intending it to be a much larger establishment than it became. The main house was a -story timber structure with long sloping roofs and corbelled brick chimneys. It was originally intended to house the land steward, but Fairfax occupied it with his nephew, Thomas Bryan Martin, until he died in 1781. Fairfax employed a young George Washington on his extensive land holdings as a surveyor.</p><br>
<p>Abandoned, the roof of the main house at Greenway Court collapsed in 1834, after which the structure was pulled down.</p><br>
<p>A visit to this estate is the subject of "A Night at Greenway Court," an 1896 short story by Willa Cather.</p><br>
<h2>Unincorporated community</h2><br>
<p>Greenway Court is used as a name to describe the unincorporated community in which the former estate is located.</p><br>
<p>The Mount Baker Tunnel or Mount Baker Ridge Tunnel carries Interstate 90 under the Mount Baker neighborhood of Seattle, Washington. It is actually a group of three tubes  that carry eight lanes of freeway traffic, plus a separate path for bicycles and pedestrians. The original tubes are twin tunnel bores completed in 1940 and rehabilitated in 1993. The new Mount Baker Tunnel was built north of the original tunnels and opened in June 1989. The tunnel has a double-decked roadway with the bicycle/pedestrian path above the traffic lanes.</p><br>
<p>The tunnel was listed on the National Register of Historic Places in 1982 (ID #82004243). The east portals of the tunnel, with murals titled designed by artist James FitzGerald, along with the Lacey V. Murrow Bridge, are an official City of Seattle landmark.</p><br>
<p>The official length is 1,440 ft, though the perceived length while driving is closer to 1,000 m because of a cut-and-cover "lid" between the western portal and the beginning of the actual tunnel under the Mount Baker ridge. The former west portal, now located well inside the tunnel, is no longer discernible and its two arch structures were removed during 1989–1993 modification work. The eastern end of the tunnel links to the Lacey V. Murrow Memorial Bridge and the Homer M. Hadley Memorial Bridge (collectively the I-90 floating bridge) on Lake Washington, to Mercer Island.</p><br>
<p>At 63 ft in diameter, it is the world&#39;s largest diameter soft earth tunnel, having been bored through clay.</p><br>
<h2>Configuration</h2><br>
<h3>Original</h3><br>
<p>When completed in 1940, the twin tunnels connected the I-90 floating bridge on Lake Washington and Rainier Avenue South in Seattle. The bridge and tunnels were part of US Highway 10, which used surface streets between the tunnels and downtown Seattle. US 10 was a four-lane, undivided highway. Each tunnel held two traffic lanes. The north tunnel normally carried two westbound lanes. The south tunnel normally carried two eastbound lanes. In the 1960s, a lane-use signal system was added to improve peak commute traffic. During peak commute times, the signals were used to make the center two lanes reversible. In the mornings, three lanes flowed west and one lane flowed east. In the evenings, three lanes flowed east and one lane flowed west. During morning and evening commutes, one tunnel carried two lanes of traffic in the same direction while the other tunnel carried opposing traffic separated only by dashed yellow lines.</p><br>
<p>The highway would later become part of Interstate 90, be expanded, and upgraded to a controlled-access freeway. The freeway expansion and upgrade was completed in 1993.</p><br>
<h3>1983–1993 expansion</h3><br>
<p>The expansion included construction of a new, parallel tunnel with a larger diameter, located north of the original tunnel. Construction began in 1983. When the overall I-90 project was completed in 1993, the twin 1940 tunnels would be connected to the southern I-90 floating bridge (the Lacey V. Murrow Memorial Bridge) and carry eastbound traffic only, while the 1989 tunnel would be connected to the northern floating bridge (the then-new Homer M. Hadley Memorial Bridge) and be westbound-only for general traffic.</p><br>
<p>The original pair of tunnels were each 29 ft in diameter, while the new tunnel was 63 ft in diameter. The new tunnel was built to carry traffic on three levels: two lanes for buses and carpools on the bottom level, three lanes of general traffic on the middle level, and cyclists and pedestrians on the top level. Excavation was completed in 1986, and the new tunnel opened to traffic in June 1989. Although designed to carry only westbound traffic, the new tunnel and then-new Homer Hadley Memorial Bridge temporarily carried all traffic – in both directions – when opened in 1989, while work continued on modifying the old Mercer Island Bridge where it connected to the 1940 Murrow Bridge and on rehabilitation of the latter.</p><br>
<p>The new tunnel opened to westbound traffic on June 4, 1989, and to eastbound traffic on June 23. On the latter date, the old tunnel and floating bridge closed to all traffic, for renovation that was originally expected to take three years. When a long section of the Murrow Bridge sank during a storm in 1990, the reopening was delayed by about one year, until 1993.</p><br>
<p>With the reopening of the Murrow Bridge in 1993, the older Mount Baker Ridge tunnel also reopened, with all of its lanes now eastbound-only. Instead of carrying two traffic lanes in each tunnel, the reconfigured lanes in the twin 1940 tunnels comprised two lanes of eastbound traffic in the northern tunnel and one lane of eastbound traffic in the southern tunnel, and with pedestrians no longer permitted (because of the exclusive pedestrian and bicycle facilities now provided in the parallel new tunnel). A second eastbound lane was later reinstated in the northern tunnel. The reversible lanes in the older tunnels had been separated only by painted lines on the roadway surface, but the reversible lanes on the rebuilt and expanded freeway (which use only the newer, 1989 tunnel) are separated by concrete barriers, to improve safety.</p><br>
<p>The I-90 expansion project also effectively more than doubled the length of the Mt. Baker Tunnel. and a 2,000 ft concrete "lid" was built over the freeway, However, officially the lid is not considered to be part of the tunnel, and a 1993 Historic American Engineering Record survey stated that the lengths of the two 1940 tunnels remain 1,466 ft each. Inside the older tunnels, which had been arch-shaped, the ceiling and walls were made square, matching the shape of the "lidded" section. Equipment to boost radio reception was added.</p><br>
<h3>Current</h3><br>
<p>Upon completion of the Interstate 90 expansion program in the 1990s, the freeway capacity increased to three general-purpose lanes in each direction and two reversible HOV lanes. Eastbound traffic uses the original tunnels. Westbound traffic uses the upper deck of the northern new tunnel. A two-lane reversible roadway uses the lower deck. The reversible roadway served as express lanes for transit buses and carpools (2+ people) during peak commute periods until 2017. The express lanes flowed westbound on weekday mornings and eastbound on weekday afternoons and evenings. On weekends, the express lanes were open; traffic direction was variable depending on anticipated traffic volumes. When the express lanes were open to eastbound traffic, single-occupant vehicles headed to Mercer Island are allowed to use the lanes per an inter-local agreement signed in 1976.</p><br>
<p>Above the westbound traffic is the I-90 Trail tunnel. At 1,330 feet, it is the longest non-adapted trail tunnel in the world. On the western half, the trail emerges onto the lid and uses trails in Lid Park.</p><br>
<p>In 2017, the Washington State Department of Transportation added a pair of high-occupancy vehicle lanes (HOV lanes) to Interstate 90 from Seattle to Bellevue, replacing the reversible express lanes. The express lanes were closed in June 2017 for the construction of the East Link light rail project, which will extend Link light rail service from Seattle to Bellevue and Redmond in 2024-2025. On Mercer Island, WSDOT and Sound Transit are building direct access ramps to allow buses and HOVs to exit and enter I-90 from the HOV lanes.</p><br>
<p>Paul Bunyan and Babe the Blue Ox are the names of a pair of large statues of the American folk hero Paul Bunyan and his ox, located in Bemidji, Minnesota. This roadside attraction has been listed on the National Register of Historic Places since 1988.</p><br>
<p>Built in 1937 to attract attention of passing motorists, these are similar to such structures as the Benewah Milk Bottle, the Teapot Dome Service Station, or the comparably colossal Dinosaur Park sculptures in South Dakota. These were all built in a period of time when automobile travel became increasingly affordable and common.</p><br>
<p>This pair of statues are said by the Kodak Company to be the "second most photographed statues in the United States", behind Mount Rushmore in South Dakota.</p><br>
<h2>History</h2><br>
<p>The city of Bemidji is located in a vast woodland and lake region. As early as the 1890s, the town enjoyed a modest tourist trade. When rail connections were constructed to Bemidji in 1898, promoters began the development of lakeshore sites for cottages, hotels, and resorts. Most of these resorts catered to hunters and anglers. In the 1920s the rise in automobile usage and affordability contributed to a significant boom in Bemidji&#39;s tourist industry, but it suffered during the Great Depression. Enter Paul Bunyan and Babe the Blue Ox.</p><br>
<p>As a means of stimulating tourism in Bemidji, a number of local, civic organizations sponsored a winter carnival meant to promote the citys resources for winter sports. Due to Bemidjis once prominent status as a logging and lumbering center, the celebrations focused on Paul Bunyan, the larger-than life lumberjack who is an American folk hero.</p><br>
<p>On January 14, 1937 the carnival opened with Earl L. Grinols, Sr., elected as the carnival king. Two giant statues were unveiled at the event: one of Bunyan and the other of his giant blue ox, Babe; the pair were to serve as carnival mascots. Babe was brought into town on a Grinols Implement & Fuel Co. truck arranged so that its exhaust exited through Babe&#39;s nostrils. The statues were designed by Lennord L. Pitney of Park Rapids, Minnesota. Paul was built by Carl Aldal (1897–1966), a local cement man. Babe was built by N. Edward Johnson (1902 - 1999) who owned the Bemidji Boat Factory.</p><br>
<p>In March 2006, the Rotary Club of Bemidji raised $53,000; along with a $68,000 federal grant, the club undertook to repair some damage to the statues. The money was also allocated for use in maintenance, with the majority slated for stabilizing the ground beneath the statues, to lessen shifting in freezing temperatures. The work included repairing a 1 in crack in Babe from the neck to the hindquarters; this had continued to widen despite yearly fixes by the city with caulk and blue paint.</p><br>
<p>In October of 2013, local organizers ran the first Bemidji Blue Ox Marathon and planned the course to run past the statues.</p><br>
<h2>Dimensions</h2><br>
<p>Paul Bunyan is approximately 18 ft tall and measures 5 ft across at his base. From toe to heel, Paul Bunyan measures 3 ft. Babe the Blue Ox is about 10 ft tall and 8 ft across at the front hooves. From nose to tail, Babe measures about 23 ft.</p><br>
<h2>In popular culture</h2><br>
<p>The statues are featured on a postcard during the opening sequence of the 1983 film National Lampoon&#39;s Vacation.</p><br>
<p>The 8th track from the 2012 album Danza IIII: The Alpha – The Omega of American mathcore band The Tony Danza Tapdance Extravaganza is titled "Paul Bunyan and the Blue Ox".</p><br>
<p>The statues are featured in the 2014 film Kumiko, the Treasure Hunter.</p><br>
<p>The statues are featured in the first season of the FX series Fargo. While mainly shown throughout the season on Bemidji&#39;s fictional welcome sign, in the 2014 episode "A Fox, a Rabbit, and a Cabbage" the statues are depicted as smaller, life-size statues standing upon tall pedestals near railroad tracks and not Lake Bemidji.</p><br>
<p>Oakland Plantation, situated on a bluff overlooking the Cape Fear River in Carvers, Bladen County, North Carolina, was built over 200 years ago by General Thomas Brown, an American Revolutionary War patriot. It is one of a few houses of its period in North Carolina still being used today.</p><br>
<p>Listed on the National Register of Historic Places, Oakland depicts the architecture and skill of the artisans of that period. Bricks laid in Flemish bond were brought from England on sailing ships as ballast, transported up river, and unloaded by hand.</p><br>
<p>It was added to the National Register of Historic Places in 1972.</p><br>
<p>The Lehigh Canal is a navigable canal that begins at the mouth of Nesquehoning Creek on the Lehigh River in the Lehigh Valley and Northeastern regions of Pennsylvania. It was built in two sections over a span of 20 years beginning in 1818. The lower section spanned the distance between Easton and present-day Jim Thorpe. In Easton, the canal met the Pennsylvania Canal&#39;s Delaware Division and Morris Canals, which allowed anthracite coal and other goods to be transported further up the USA East Coast. At its height, the Lehigh Canal was 72 mi long.</p><br>
<p>Although the canal was used to transport a variety of products, its most significant cargo was anthracite coal, the highest quality energy source then available in the United States, and pig iron, a vital input product used in manufacturing steel. Both proved cornerstones of the Lehigh Valley&#39;s ascent as a central hub of the American Industrial Revolution, and their mining and transportation defined the rugged blue collar character of the Lehigh Valley towns that surrounded the canal.</p><br>
<p>The route initially consisted of canals and dammed-off sections of the Lehigh River. Boatmen had to navigate barges periodically from the canal through a lock onto the river or vice versa. This design saved time and money and made the canal functional while it was being built, although it made for a slower, more difficult trip for canal-boat captains.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<p>The Lehigh Coal Mine Company (LCMC) was founded in 1792, a few months after anthracite was discovered at Sharp Mountain, a peak of the Pisgah Ridge near present-day Summit Hill, Pennsylvania; Its principals secured rights to over 10,000 acre before the Lehigh Canal was built. The company found it fairly easy to find and mine coal from a pit on the mountainside. The coal had to be loaded into sacks and then onto pack animals, which carried the coal at least 9 mi to the Lehigh shore. Disposable skiffs known as arks were built from local timber, which were manned along the lower Lehigh River rapids. Despite many politically connected stockholders and officers, the operation was unsupervised by upper management.</p><br>
<p>With no officer willing to manage from the field, the LCMC hired contractors or sent out teams, which was only sporadically successful in getting coal to Philadelphia. Firewood and charcoal were expensive and hard to find in the eastern USA by the War of 1812. Before the war, the LCMCs record of getting coal to market was so dismal that coal imported from England was cheaper and more readily available. The War of 1812 gave the company an incentive to send another expedition by independent contractors in 1813. After a year, they had built five boats but brought only two to market. This resulted in another financial loss for the company and proved the last straw for many of the companys backers, who were unwilling to fund more expeditions.</p><br>
<p>The Lehigh Coal & Navigation Company, its founder Josiah White and White&#39;s protégé and partner Erskine Hazard (operations managers into the mid-1860s) established a reputation for innovation. White and Hazard researched (or invented) emerging technologies as needed, pioneering industrial innovations including the first wire suspension bridge over the Schuylkill River.</p><br>
<p>The river was first declared a public highway on the fourteenth of March, 1761, and an Act, supplementary to this, was passed in 1771. Acts, conferring corporate privileges on the Lehigh Navigation Company, were passed February 27th, 1798, March 7th, 1810, March 22d, 1814, March 19th, 1816, and March 24th, 1817. By 1818, however, considerable sums were expended with limited progress.</p><br>
<p>On March 20, 1818, the new Lehigh Navigation and Coal Company was given expanded ownership of the Lehigh Canal to encourage the canal&#39;s development with the understanding that the state might at some point exercise its right to require the canal be made a two-way water transport highway with appropriate locks and dams.</p><br>
<h3>Background</h3><br>
<p>The lower canal began as a collection of removed stone obstructions and low rock dams with a system of wooden "bear-trap locks" invented by Lehigh Navigation and Coal Company managing partner Josiah White, who debugged scale models of the lock design on Mauch Chunk Creek. Experiments with the bear-trap locks gave Bear Lane, an alley in Mauch Chunk off Broadway in today&#39;s Jim Thorpe, Pennsylvania, its name. White and partner Erskine Hazard, who operated a wire mill, foundry and nail factory at the Falls of the Schuylkill, needed energy. After learning the value of anthracite during the British blockades in 1814, White and Hazard joined a number of Philadelphians in a joint-stock venture to build the Schuylkill Canal but quarreled with those on the board of managers who did not favor rapid development. They learned that the managers of the Lehigh Coal Mine Company were willing to option their rights because of their long-term inability to make a profit by transporting anthracite nearly 110 mi from Pisgah Ridge. The Lehigh Navigation Company held a charter to improve the navigability of the Lehigh River, but had accomplished little and the charter would expire in 1817. White and Hazard made a proposal specifying improvements for downriver navigation only, and received a charter giving the company ownership of the river in March 1818. The charter had a fall-back provision allowing the legislature to require improvements enabling two-way navigation.</p><br>
<h3>Lower canal</h3><br>
<p>Sometimes called the Stone Coal Turnpike, the lower canal (46.5 mi) was built between 1818 and 1820 by the Lehigh Navigation Company to supply coal to Eastern seaboard cities and operated as a toll road with downriver traffic only. It was later rebuilt with locks supporting two-way traffic between 1827 and 1829 by the Lehigh Coal & Navigation Company and remained in operation until 1931. The lower canal connected the eastern part of the southern Coal Region to the Delaware River basin (primarily the Panther Creek Valley, Nesquehoning Creek Valley and mines in Beaver Meadows and along Black Creek), connecting via Penn Haven Junction to the canal head at Mauch Chunk in present-day Jim Thorpe, Pennsylvania.</p><br>
<p>The lower canal began below Packers Dam. A wing wall projected into the upper pool to create slack water next to the loading docks, at the same level as the top of the first guard dam. That dam (known as Dam 1) was downstream of Broadway, opposite Flagstaff Hill and the cross-canal Bear Mountain for which Mauch Chunk was named. The 44 lift locks begin with Lock 1 at the dam. This was a weighing lock, using a platform which lifted a barge and weighed the boat and its load. Each non-LC&NC barge on the canal was recorded. Empty weights were subtracted, and tolls were assessed by the ton per mile traveled. Most of the 44 locks on the descent to Easton were spillway variants of White&#39;s bear-trap lock. When tipped or triggered, they released several acre-feet (creating a wave to raise the water level as the canal boat sank downriver). The canal carried central Lehigh Valley anthracite to northeastern urban markets, particularly Philadelphia, Trenton and Wilmington, and supporting new industry in Bristol, Allentown and Bethlehem, Pennsylvania with the Morris and Delaware and Raritan Canals and a number of railroads. The privately funded canal became part of the Pennsylvania Canal system, a complex of canals, towpaths and (eventually) railroads.</p><br>
<h4>Initial construction</h4><br>
<p>The lower canal improvements were initially designed and engineered by LC&N founder Josiah White after the company become disenchanted with the Schuylkill Canal&#39;s board of directors. By the winter of 1814, the company was interested in transporting Lehigh Valley coal to Philadelphia.</p><br>
<p>By late 1822, skepticism about anthracite was waning. The cost of building an ark for every load of coal delivered to the Philadelphia docks in 1822 (as LC&N operations were hitting their stride) worried the company&#39;s board of directors. By mid-1822, managing director Josiah White was consulting with veteran Erie-Canal lock engineer Canvass White. By late in the year, White had shifted construction efforts from improving the one-way system (begun in 1818) to a test project on the four upper dams of the canal. The project involved two-way dams and locks with a wider lift channel and lengths of over 120 ft, capable of taking a steam tug and a coastal cargo ship from 45.6 mi from the Delaware to the slack-water pool at Mauch Chunk. In 1823, White and Hazard proposed a plan to the Pennsylvania legislature.</p><br>
<h4>Further construction</h4><br>
<p>In 1823, after building and testing four locks, Josiah White made a proposal to the Pennsylvania legislature to continue the improvements down the Lehigh River. His plan included locks suitable for a coastal schooner and towing steam tug, the types of boats which dominated ports along the 62 mi of the Delaware River controlled by the LC&N. The following year, the legislature rejected his proposal; lumber and timber interests feared that damming would prevent them from rafting logs on the rivers to local sawmills. White and Hazard scrambled to increase mine production while producing enough lumber for arks to send their coal along the Delaware to Philadelphia. In 1827, a revision to the Main Line of Public Works funded the promised Delaware Canal. The LC&N began converting the canal to support two-way operation, work which continued into 1829. In 1831, the LC&N stopped making one-way arks and began building large, durable barges, expecting their return via a connection with the Delaware Division of the Pennsylvania Canal in Easton.</p><br>
<p>The expanded Lehigh Canal extended 46 mi, between Mauch Chunk and Easton. Its 52 locks, eight guard locks, eight dams and six aqueducts allowed the waterway to rise over 350 ft in elevation. A weigh lock.5 mi south of Mauch Chunk determined canal-boat fees. A cable-ferry connection across the Delaware River to the Morris Canal and through New Jersey created a more-direct route from the Lehigh Canal to New York City. To the south, the Delaware and Raritan Canal had a complementary 22 mi canal built along the east bank of the Delaware.</p><br>
<h3>Upper canal</h3><br>
<p>Inspired by the successful transport of freight over the Allegheny Front escarpment via the Allegheny Portage Railroad system, during the mid-1830s the business community and the legislature sought a 26 mi extension. The Upper Lehigh Canal, designed by Canvass White, was built from 1837 to 1843 as authorized by the 1837 revision of the Main Line of Public Works.</p><br>
<p>The upper Lehigh was a turbulent river with steep sides; a large portion was in a ravine, the Lehigh Gorge. The upper canal rose over 600 ft in elevation to the Mauch Chunk slack-water pool. Unlike the lower canal (where most locks lifted less than 6 ft in easy stages, the upper-canal design relied on deep-lift locks. The maximum lift on the lower canal was less than 20 ft, but the upper-canal locks lifted a maximum of 58 ft; this is comparable to the lift of the lower canal in a bit over half the distance, using less than as many locks per mile. The upper canal design&#39;s 20 dams, 29 locks and a number of reservoirs provided working flow even in dry summers.</p><br>
<p>The project included four major construction hurdles and three new railroad projects, for which LC&N created a new subsidiary: the Lehigh and Susquehanna Railroad (LH&S). From north to south, the rail projects were:</p><br>
<p>The rail connection from the Pennsylvania Canal landing docks at Pittston to an assembly rail yard in Ashley</p><br>
<p>The Ashley Planes incline plane railway below Penobscot Knob and through a 1 mi cutting, a man-made ravine over 100 ft deep connecting to an assembly rail yard in Mountain Top</p><br>
<p>A marshaling yard in Mountain Top with a railroad running down a ridge to White Haven and the new upper-canal docks, with a turnaround staging yard at the docks. In 1855, as competition increased, the canal reached its peak of more than one million tons of cargo. After that, coal shipped through the Schuylkill Valley supplanted coal supplied by the Lehigh Canal.</p><br>
<h3>Collapse</h3><br>
<p>In 1862, the canal collapsed when a wet spring repeatedly overfilled embankment dam reservoirs until the dam above White Haven failed, triggering a cascade of failing dams in a flood on June 4. Between 100 or 200 people died in the villages and canal works below. The Pennsylvania legislature forbade the rebuilding of the upper canal. The canal was used for transportation until the 1940s, about a decade after similar canals ceased operations, and it was North America&#39;s last fully functioning towpath canal. In 1962, most of the canal was sold to private and public organizations for recreational use.</p><br>
<h3>Modern history</h3><br>
<p>Several segments of the canal were listed on the National Register of Historic Places in 1979, including "Lehigh Canal", "Carbon County Section of the Lehigh Canal" (#79002179), "Lehigh Canal: Eastern Section Glendon and Abbott Street Industrial Sites" (#78002437) and "Lehigh Canal; Allentown to Hopeville Section" (#79002307). For the Carbon County section, also known as "Upper Canal Lock #1 to Lower Canal Dam #3", the listing included 30 contributing structures.</p><br>
<p>The eastern section (now preserved as a recreational-boating area) runs along the Lehigh River from Hopeville to the confluence of the Lehigh and Delaware Rivers in Easton and includes the Chain Bridge, which was NRHP-listed in 1974. The eastern-section listing is for a 260 acre area with three contributing buildings, seven contributing sites and 11 contributing structures. The Allentown-to-Hopeville section is a 53.9 acre area which includes Greek Revival and Federal architecture in its contributing building and 13 contributing structures.</p><br>
<h2>Present activities</h2><br>
<p>An 8-mile (13-km) segment of the canal towpath has been converted into a multi-use trail from Freemansburg through Bethlehem to Allentown. The trail runs along the river and active railroad tracks. A section near Jim Thorpe is also accessible to recreational users. The final section in Easton is maintained and operated by the National Canal Museum. Other short sections are accessible, but portions of the canal towpath are worn and unsafe to access.</p><br>
<p>The Middletown Woodrow Wilson High School is a former high school, now used as residential apartments, located at 339 Hunting Hill Avenue, Middletown, Connecticut. Built in 1931, it was the city&#39;s first unified high school, a role it served until 1958. It then served as a junior high school before being adapted to its present residential use. The building was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The Middletown Woodrow Wilson High School is located in what is now a predominantly residential area south of downtown Middletown, on the west side of Hunting Hill Avenue south of its junction with Russell Street. It is a three-story structure, built of brick with concrete trim, and covered by a hip roof topped by a small tower and cupola. Its main entrance is in a prominent Classical Revival portico, with paired pilasters flanking the second and third-floor windows, garlanded panels between those floors, and a fully pedimented gable with modillion blocks and a round panel at the center.</p><br>
<p>The school was built in 1931, on what was then a more rural agricultural area. It was designed by Linus Baldwin, of Towner & Sellew Associates, to meet the growing demand for education in the citys more rural outlying areas. At first considered for use as a junior high school, and had what were then state-of-the-art facilities, including specialized classrooms, laboratory and vocational shop areas, and art and music rooms. It served as the citys high school until 1958, and then as a junior high school, before it was rehabilitated for residential use.</p><br>
<h2>Notable alumni</h2><br>
<p>Bill Denehy (baseball), former Major League Baseball pitcher</p><br>
<p>The Old Scotch Church, also known as the Tualatin Plains Presbyterian Church, is a church and national historic site located in an unincorporated part of Washington County, Oregon, near Hillsboro, Oregon, United States. The church dates to 1873 while the church structure with an eight-sided steeple dates to 1878. A cemetery on the church grounds holds the graves of church members and local pioneer settlers of the Tualatin Plains, including Joseph Meek.</p><br>
<h2>Organization</h2><br>
<p>The Tualatin Plains Presbyterian Church was organized in 1873 with the first service on November 16. This first service was held at the four-room Columbia Academy schoolhouse with the Reverend George Ross as pastor, four miles (6 km) northwest of the present site. Services were held at the academy until a permanent site for construction of a house of worship could be located by the congregation.</p><br>
<p>These first members of the congregation came primarily from the same area in Aberdeenshire, Scotland, which is located west of Aberdeen. In Scotland, they had been members of the Free Church of Scotland. After immigrating to the United States and traveling to Oregon, they settled near each other in the Tualatin Valley. Because of the settlers&#39; Scottish origin, their church building acquired its common name "The Old Scotch Church." The twelve original Scottish pioneers were: Mr. and Mrs. William Chalmers and their 11 children, their youngest Catherine was the first buried there. Mr. and Mrs. James Smith, Rev. and Mrs. George Ross, Mr. and Mrs. George Alexander, their daughter Eliza, Miss Alexander and John Milne. Eight of the twelve founders and many of their descendants are buried in the cemetery surrounding the church.</p><br>
<h2>Structure</h2><br>
<p>In 1876, 1 acre of land was donated to the church by Jacob Hoover to provide a place for a permanent church building and cemetery. On March 11, 1878, the church board began the process of building a permanent building by authorizing an estimate to determine the costs of building a church structure. His design included buttresses, stained glass windows, a steep roof, and the signature eight-sided steeple. Construction commenced with much of the material and labor being donated by the congregation. The stained glass windows in the building were imported from Scotland. The church building, adjacent to McKay Creek, was completed in 1878 and dedicated that same year. A church bell was added in 1926 to the steeple.</p><br>
<h3>Expansions</h3><br>
<p>In 1905, the church was expanded when an annex was built onto the back of the building, adding additional classrooms for Sunday school. Then in 1940 the annex was expanded and a half-basement added, followed by a second addition in 1955 that included the first indoor restrooms at the church. From 1959 to 1960 the building was raised, allowing for a full basement to by completed. In 1984 construction was completed that added four classrooms to the church structure.</p><br>
<h2>Cemetery</h2><br>
<p>Many pioneers of the Oregon Country are also buried in the cemetery. Joseph Meek is one of the best known of those buried at the Old Scotch Church. Meek died on June 20, 1875, and was originally buried at his homestead, located near a historic marker dedicated to him along the Sunset Highway. Meek was a mountain man, a member of Oregons Provisional Government, and the first USA Marshall of the Oregon Territory. After his land was sold, his remains were moved and re-interred at the churchs cemetery. The cemetery also contains a cairn added in 1985 as a memorial to ancestors in Scotland who were massacred at Glen Coe in 1692.</p><br>
<h2>Currently</h2><br>
<p>This structure is one of the oldest continuously used churches in the state. The Tualatin Plains Presbyterian Church still holds services in the Old Scotch Church building every Sunday.</p><br>
<p>Rocket Engine Test Facility was the name of a facility at the NASA Glenn Research Center, formerly known as the Lewis Research Center, in Ohio.</p><br>
<p>The purpose of the Rocket Engine Test Facility was to test full-scale liquid hydrogen rockets at thrust chamber pressures of up to 2100 psia and thrust levels to at least 20,000 pounds. Work on the design of the facility began in 1954 under the auspices of NACA&#39;s Rocket Branch of the Fuels and Combustion Research Division. It was built at a cost of $2.5 million and completed in 1957.</p><br>
<p>The facility was located at the south end of the center, adjacent to Abrams Creek 41.404&deg; latitude, -81.868&deg; longitude. It was demolished in 2003 in order to make way for the runway expansion of the Cleveland Hopkins International Airport.</p><br>
<h2>Capabilities</h2><br>
<p>It consisted of two major buildings and several support service buildings. Test Stand A was designed for sea-level testing of vertically mounted rocket engines that exhaust into an exhaust gas scrubber and muffler. The A stand had the capability of testing engines with chamber pressures up to 4300 psia and thrust levels up to 50,000 pounds.</p><br>
<p>Test Stand B was designed by Anthony Fortini and Vearl N. Huff in 1959, but it was not built until after 1980. It could test horizontally mounted rocket engines exhausting into an exhaust diffuser, cooler, and a nitrogen-driven two-stage ejector system. The B stand, for altitude testing in a space environment, had the capability of testing engines with chamber pressures up to 1000 psia and thrust levels up to 1500 pounds.</p><br>
<p>The support systems included storage dewars for cryogenic fuels and a large water reservoir. Smaller buildings included a block house for observation, a pump house, a helium compressor shelter, and a liquid hydrogen pump vaporizer shelter. In 1984 the facility was modified to provide the capability for testing extremely large area ratio nozzles (to 1000:1).</p><br>
<p>Both men received awards for Test Stand B under the Space Act, as recommended by the Inventions and Contributions Board in accordance with the provisions of Section 306 of the National Aeronautics and Space Act 1958 and granted by the Administrator of NASA.</p><br>
<h2>National Historic Landmark</h2><br>
<p>It was designated a USA National Historic Landmark in 1985, because of its significant role in the development of liquid hydrogen as a rocket fuel. It was used in the development of the Pratt & Whitney RL-10 engine for the Centaur upper stage, as well as for the J-2 engine, with its 200,000-pound thrust, for the second stage of the Saturn V rocket. The hydrogen-oxygen engines used by the Space Shuttle were also tested in this facility. After the facility&#39;s 2003 razing, it was de-designated on April 4, 2005.</p><br>
<p>The Piatt Castles are two historic houses near West Liberty in Logan County, Ohio. The houses were built by brothers Donn and Abram S. Piatt in the 1860s and 1870s, designed in a Gothic style. The houses are located 1 mi and 1.75 mi east of West Liberty. In 1982, the castles were listed on the National Register of Historic Places.</p><br>
<p>The houses were both operated as historic house museums, both still owned by the Piatt family, from 1912 to 2019. Mac-O-Chee, built by Donn Piatt, was sold in October of that year to local residents, to support the continued restoration of the Mac-A-Cheek estate. Mac-A-Cheek remains open to public tours.</p><br>
<h2>Piatt family</h2><br>
<p>The Piatt family descended from France as French Huguenots who wished to escape religious persecution in a Catholic nation. Upon moving to the United States, the family took root in the colony of New Jersey, where the grandfather of Abram and Donn, Jacob Piatt, offered support to the country in the American Revolutionary War. As reward for his deeds, the newly founded government gave Jacob land in Kentucky, where he built his home.</p><br>
<p>While Jacob was a farmer and his son Benjamin was a lawyer, the family was also involved in flat boat trading up and down the Ohio and Mississippi Rivers as well as real estate. By 1828, Benjamin had moved his family to Logan County, Ohio. It was here that he built a log cabin for his family. At the time of their move to Logan County, Donn was 9 years old and Abram was 7.</p><br>
<h2>Castles</h2><br>
<p>Mac-O-Chee (the home built by Donn, and designed by John L. Smithmeyer) and Mac-A-Cheek (built by Abram) were begun in 1864. Mac-A-Cheek was completed in 1871, and Mac-O-Chee was completed in 1879. The homes were built only about 3/4 of mile apart from each other. Abrams home was built slightly smaller, but is more secluded and set away from the road. Donns home is larger and sits closer to the road. Both homes have three stories and towers, boast painted ceilings, and have intricate woodwork. An 1880 county history speaks of Mac-O-Chee existing in a state of "almost baronial splendor". The two sat close to the Shawnee village of Mackachack, where Simon Kenton was forced to run the gauntlet after being captured by the Indians.</p><br>
<h2>Sale of Mac-O-Chee</h2><br>
<p>It was announced on July 26, 2019, that the Piatt Family would auction off Mac-O-Chee. The family cited renovation and maintenance costs of maintaining both properties for their decision. On October 19, 2019, Mac-O-Chee Castle, along with its farmhouse and land, was sold at auction to brothers Ryan and Jason Cole of West Liberty, Ohio for $561,000 ($510,000 with closing costs). The Coles also bought most of the estate&#39;s antique items, large and small, for approximately $30,000. The Piatt family plans to restore their remaining castle, Mac-A-Cheek, by using funds from the auction.</p><br>
<h2>Public tours</h2><br>
<p>Tours began in 1912 at Mac-A-Cheek four years after the death of Abram. When William McCoy Piatt (the fourth son of Abram) inherited the home, he had already amassed a large collection of artifacts and objects of interest. After commissioning a custom cabinet to display his collection, William opened his home to visitors who wished to view his curiosity cabinet. Thus the family entered into the tourist business, though it was a minor industry compared to the farm and grist mill located on the property.</p><br>
<p>Touring continued with the family living in the home until 1985, when the family moved out of their home. Tours of Mac-A-Cheek are still offered to the public. The Piatt family still owns and manages the museum at Mac-A-Cheek, a popular site for weddings, receptions and other events.</p><br>
<p>Christ Church is an Episcopal church located at 118 North Washington Street, with an entrance at 141 North Columbus Street, in Alexandria, Virginia. Constructed as the main church in the Church of England&#39;s Fairfax Parish, the building was designed by Col. James Wren, a descendant of Sir Christopher Wren.</p><br>
<p>George Washington, Henry Lee, Robert E. Lee, Charles Simms, Philip Marsteller, and Henry Fowler are a few of the church&#39;s notable parishioners (members). Until the twenty-first century, it was tradition for sitting presidents to attend a service. Franklin Roosevelt, Winston Churchill, and Eleanor Roosevelt visited the church on January 1, 1942 to commemorate World Day of Prayer for Peace. The church was known as Fairfax Church until given the name Christ Church in 1816. It was declared a National Historic Landmark in 1970.</p><br>
<h2>Description and history</h2><br>
<p>Christ Church is located in Alexandria&#39;s Old Town, at the southwest corner of North Washington and Cameron Streets. The brick two-story church measures about 60 ft by 50 ft. Comparable to Pohick Church in Truro Parish, which was gutted by Union troops, the church has stone quoins from nearby Aquia quarry. The roof is a simple hipped structure. The galleries, bell tower, and porch were added after the original construction, circa 1785 and 1815.</p><br>
<p>The Anglican congregation that commissioned the churchs construction was founded in 1765, when Fairfax Parish was established. The vestry commissioned the construction of two churches, this one, and another at Falls Church. The architect of both buildings was by Colonel James Wren. To finance construction of the church in Alexandria, the vestry raised 31,186 pounds of Oronoco tobacco from parishioners. Construction began in 1765, under the direction of James Parsons. After four years, the church was still unfinished. The vestry relieved Parsons of his duties as overseer of the construction. John Carlyle accepted the position and handed the keys of the completed building over to the vestry in February 1773. During the Revolutionary War, the church was a center of pro-revolutionary activity, with its Rector, David Griffith, being particularly outspoken in favor of independence. After independence, the church survived the disestablishment of the Church of England as the state church of Virginia by the Commonwealth, in large part thanks to private support from parishioners including George Washington. The church is distinctive among Virginias colonial churches in that its interior was spared the ravages of the Civil War. However, it was occupied by Union troops, and most of the tombstones were lost over the course of the war along with the church&#39;s silver. In the winter of 1869 – 1870, following the Civil War, Christ Church established Meade Memorial Chapel as a mission church in the north end of Alexandria.</p><br>
<p>Initially the pews were box pews and a two-tier pulpit was situated on the north side of the sanctuary. There was no font because until after the Civil War, weddings, baptisms, and the churching of women took place at home. In the mid-nineteenth century, stoves were put in the back of the church and the box pews were converted to the slips that are in use today. During a renovation later that century, the original pulpit was replaced by the current wine-glass pulpit. The only remaining hand-carved hymnal rack is in the Lee pew. The chancel is decorated on both sides with hand-lettered plaques displaying the Decalogue, the Lords Prayer, the Apostles Creed, and the Golden Rule. These plaques are original to the church, and painted by James Wren.</p><br>
<p>Among the burials in the churchyard is the mass grave of thirty-four Confederate prisoners of war who died in local hospitals during the Civil War. A memorial stone in the churchyard commemorates their deaths. Also buried in the church are Charles Simms and Philip Marstellar, two of George Washington&#39;s pallbearers; Anne Warren, a world-famous English actress; Henry Fowler; and William Ramsay, who is known as the Romulus of Alexandria.</p><br>
<p>In 2017 the congregation, vestry, and church leaders moved plaques in memory of Washington and Lee, each of which resided on either side of its sanctuary, to a more suitable public viewing space on the church grounds. Removal was decided based on a commitment to avoid "...a distraction in our worship space" and concern about creating "an obstacle to our identity as a welcoming church and an impediment to our growth and to full community with our neighbors."</p><br>
<p>The Jacob T. Walden Stone House is on North Montgomery Street  near the intersection with Wait Street in Walden, New York. It was built around 1785, around the time the thousand-acre  Gatehouse Patent was first sold, and is one of the oldest houses remaining in the area.</p><br>
<p>In the 1820s, Jacob Treadwell Walden, a successful shipping merchant, came to the area from New York City and saw the potential of the Wallkill River for powering textile mills. With him, he brought Jesse Scofield and Dr. Seth Capron who had expertise in running woolen mills. They formed the Franklin Company to finance mills in Walden and dammed the Wallkill above the falls, creating a power station that remains in use today. He resided there with his family beginning in the 1820s until sometime after 1840. (See USA Federal Census for 1840) On the waning of the textile mills, he returned to New York City and died there in 1855. The village of Walden, New York bears Jacob Walden&#39;s name.</p><br>
<p>The Jacob T. Walden House houses the Walden Historical Society, and is open to the public as a museum on a limited basis. In 2005, the exterior underwent extensive restoration.</p><br>
<p>The Tripoli Shrine Temple is a Shriners temple built 1926-28 in the Concordia neighborhood of Milwaukee, Wisconsin. The building&#39;s design incorporates Moorish and Indian elements, somewhat resembling the Taj Mahal in India, and is listed on the National Register of Historic Places as Tripoli Temple. It is not a religious building.</p><br>
<h2>Description</h2><br>
<p>The Tripoli Shrine was founded in 1885 by nobles from the Medinah Temple in Chicago, a fraternal order that traces its lineage to a Masonic lodge established in 1843 by early settlers of Milwaukee. This lodge later founded a dozen other lodges.</p><br>
<p>Tripoli Temple was designed by architects Alfred Clas and Shepard in Moorish Revival style. Built at a cost of $616,999.61, it formally opened on May 14, 1928 after over two years of construction. It was the first temple in Wisconsin, and was home to 13,000 Shriners in the area. The building is one of the best of examples of Moorish Revival architecture in the United States, a style that was particularly popular for synagogues and movie theaters. The Temple&#39;s design is loosely based on the Taj Mahal, with the addition of Mudéjar style polychrome stone coursing. An ornately tiled main dome that spans 30 feet in diameter crowns the structure and is flanked by two smaller domes of like design. Sculptures depicting a pair of kneeling camels grace the entrance, while the interior is decorated with ceramic tile of intricate floral designs and plaster lattice work.</p><br>
<p>Paradise Inn is a historic hotel built in 1916 at 5,400 ft on the south slope of Mount Rainier in Mount Rainier National Park in Washington, United States. The inn is named after Paradise, the area of the mountain in which it is located. The Henry M. Jackson Visitor Center and the 1920 Paradise Guide House are also at this location. The inn and guide house are where many climbers start their ascent of the mountain. The inn is listed in the National Register of Historic Places and is a major component of the Paradise Historic District. Additionally, it is part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park&#39;s inventory of National Park Service rustic architecture.</p><br>
<h2>History</h2><br>
<p>The inn was designed by Frederick Heath of Heath, Gove & Bell in 1915. It was initially planned to be built at Longmire. The National Park Service moved the planned location to Paradise when the original financier, John Reese, backed away from the project. The inn was built by the Rainier National Park Company, founded by Steven T. Mather, assistant to the Secretary of the Interior.</p><br>
<p>Native building materials were used including cedar shingles, native rock and weathered timbers salvaged from a fire in 1885. After 30 years of aging the timbers had developed a silver sheen. The original plan called for a red roof but the Park Service vetoed this in favor of a green roof which blended in with the natural environment. This is in keeping with the National Park Service Rustic style of architecture. The inn opened on July 1, 1917 and cost between $90,000 and $100,000.</p><br>
<p>The lodge is built with exposed cedar logs that provide its structural framework. It includes French doors in 14 bays to "allow summer breezes to enter" and dormer windows for natural lighting to enter on the second story, "augmented by hanging lamps".</p><br>
<p>In 1920 a four-story Paradise Annex was added. It was designed by RNPC architect Harlan Thomas and contained 100 rooms (85 with private baths).</p><br>
<p>In 1931 a golf course was designed by Roy H. Dobell and built at the lodge and in 1936 a ski rope tow was installed.</p><br>
<p>In 1942 to 1943 the US Army used the inn to house troops training for winter mountain conditions.</p><br>
<p>The extreme elements took their toll on the inn. In 1952 the Rainier National Park Company sold the inn to the National Park Service who contracted with concessionaires to operate the inn. The Park Service considered demolishing the inn but relented after a public outcry. US$1.75 million was spent in 1979 to strengthen and restore the building.</p><br>
<p>The building was declared a National Historic Landmark in 1987.</p><br>
<h2>Architecture</h2><br>
<p>The original building is two stories tall. Two rooms, the great hall and the dining room take up most of the ground floor. A three-story section on the building&#39;s east side makes the building a T-shape and contains additional guest rooms.</p><br>
<p>The great hall is 50 by 112 feet (15 m by 34 m) and has a wrap-around mezzanine level. There are 4-by-6 foot (1.2 m by 1.8 m) stone fireplaces at both ends of the room. The mezzanine level was added in 1925.</p><br>
<p>The dining room is 51 by 105 feet (15.5 m by 32 m) and has a 50 feet (15 m) high stone fireplace. The original guest rooms are above the dining room and are only 8 by 8 feet (2.4 m by 2.4 m). Each one fits between a set of rafters which support the roof.</p><br>
<p>Hans Fraehnke, a German-born carpenter created furniture from local materials for the inn including two 1,500 pound (680 kg) tables, a 14 feet (4 m) tall grandfather clock and a rustic piano which President Harry S. Truman played on during a visit to the inn in 1945. More tables and chairs are from the Old Hickory Company of Indiana.</p><br>
<h2>Two Year Closure</h2><br>
<p>The inn was closed in 2006 for two years to perform renovations and structural work to allow the inn to withstand a large earthquake. This was done as part of a US$30 million project which also included the groundbreaking for a new visitor center at Paradise. The inn reopened in May 2008.</p><br>
<p>Watertown Stadium is a stadium in Watertown, South Dakota. It was primarily used for baseball and American football and was the home of minor-league professional baseball including, most recently , the Watertown Expos of the Northern League. The ballpark has a capacity of 5,000 people and opened in 1940.</p><br>
<p>It is currently used by Watertown High School, to host baseball and football games.</p><br>
<p>The stadium was built around the 1930s as Works Progress Administration Project 4265, and still holds the original plaque dedicating the structure. It is the home of the Watertown Arrows.</p><br>
<p>In 2005, an additional building was built to the East of the field. This building houses restrooms, a concession stand, and both Varsity and Sophomore locker rooms.</p><br>
<p>The stadium was listed on the National Register of Historic Places in 2000.</p><br>
<p>Its NRHP nomination asserts:The Watertown Stadium is a physical reminder of the unprecedented use of government aid to construct community improvements, particularly for recreation and leisure. Built in 1940, the stadium was reportedly planned as a band shelter, since the W.P.A. wanted to build them as part of their music project. According to a local story, the structure was built in phases, and it initially looked more like a bandshell. During the last phase of construction, it was then modified for use as an athletic stadium. Although the story is rumor, the existing structure is an excellent example of W.P.A. construction and one of the more outstanding federal relief projects in the northeastern part of the state.</p><br>
<p>Built starting in 1852, the Stagecoach Inn of Salado, Texas, is thought to be the oldest extant structure in the village. The Inn was built as a stagecoach stop along the Chisholm Trail. The simple, two-story wood-frame building is in a frontier vernacular style. The structure was extended several times in the 1940s and 1950s to serve as a restaurant. The inn was listed on the National Register of Historic Places in 1983. The inn has also been a member of, the official program of the National Trust for Historic Preservation, since 2018., although its current name with the organization is the "Shady Villa Hotel."</p><br>
<p>The nearby Salado Creek was designated a natural landmark in Texas in 1867.</p><br>
<p>Our Lady of Perpetual Help, also known as St. Mary&#39;s Catholic Church, is a historic church just north of Altus, Arkansas. It is located on Franklin County Road 521, just outside the city limits. The Romanesque church building was built in 1902. The church is known for its Sistine Chapel-style paintings and grand Roman Basilical architecture. Brown stone blocks cover the outside of the church, and the inside walls are lined with ornate gold leaf. The organ inside the church is over 100 years old, as is the bell tower. The church was listed on the National Register of Historic Places in 1976.</p><br>
<p>Notable parishioners have included Johann Andreas Wiederkehr.</p><br>
<p>The Dutch Reformed Church is one of the most prominent architectural landmarks in Newburgh, New York. It was designed by Alexander Jackson Davis in 1835 in the Greek Revival style just after the dissolution of his partnership with Ithiel Town. It is his only surviving church in that style and is considered to be his latest building still standing that largely reflects his original vision. The church stands at 132 Grand Street, just north of the Newburgh Free Library.</p><br>
<p>Its historical importance comes from not just over a century of use as church, but its centrality in the struggle by modern preservationists to save and restore the city&#39;s many landmark buildings. Today it is a National Historic Landmark. It was almost razed in the late 1960s and is far from completely restored. The property was added to the National Register of Historic Places in 1970, aiding its rescue from demolition.</p><br>
<h2>Description and site</h2><br>
<p>The church is 50 ft wide and high, and 100 ft long. The four front Ionic order columns are 37 ft high (the capitals have been removed for safety considerations at the moment). It sits on a bluff 250 ft above the Hudson River, a few blocks away. In the 1830s there were no other buildings in the vicinity to impede the view, so Davis saw it as symbolizing the city to the considerable river traffic of the time.</p><br>
<p>The southward orientation of the columns and facade, the direction in which most shipping approached the city, was meant to echo the similar marine outreach of the Parthenon or the Temple of Poseidon at Sounion in Greece.</p><br>
<p>The original design included a small dome atop the roof, which Davis explained thus:</p><br>
<p>It was removed a few years after the building was completed for structural reasons. Other additions were built on to the property by the church as its growth warranted.</p><br>
<p>While the church had the neighborhood of Grand Avenue and Third Street to itself at the time of its construction, today it has become rather crowded. It is now a contributing property of the Montgomery-Grand-Liberty Streets Historic District, which includes other notable historic buildings such as the former Orange County Courthouse, another Greek Revival building (designed by locally prominent architect Thornton Niven) across the street, the library, several other large old churches (some still in use).</p><br>
<p>The current siting both enhances and complicate its aesthetic position. On the former hand, most of the buildings around it are of similar historic value. On the latter, the brutalist library that sits catty-corner from it is not only a serious contrast in styles, it blocks most of the view the river and the church once had of each other. The church, library and dilapidated former City Club of Newburgh form a small plaza; part of it is taken up by a small parking lot built by the Newburgh Enlarged City School District, which runs the library and is headquartered in it, for its own central office employees.</p><br>
<h2>History</h2><br>
<p>The building&#39;s history can be divided into two eras: its actual use as a church from 1835 to 1967, and the attempts to preserve and refurbish it since then.</p><br>
<h3>Church era</h3><br>
<p>In 1834 the Rev. William Cruickshank was sent upriver from New York City by Dutch Reformed Church elders to start a new church. He commissioned Davis for the design, completed in July 1835. The cornerstone was laid that October. Davis&#39; partner, Rhode Island architect Russell Warren, took the role of construction superintendent. After disagreements, Warren and Davis split in August 1836. Newburgh craftsmen Daniel Farrington and Benjamin Lander then took on construction efforts with Thornton M. Niven, stonecutter.</p><br>
<p>The church was completed and dedicated two years later. By 1839, the congregants had to mortgage the building to pay construction costs. The dome and its lantern were removed sometime between 1842–early 1845 due to structural issues.</p><br>
<p>The mortgage payments did not prevent the church from expanding the property, with a small Gothic Revival parsonage being erected on the southeast corner in 1852, where the library now stands. Seven years later, the mortgage was paid off. The church put the money it could now spend more freely to work on the structure, adding a pastor&#39;s study and recessed pulpit and repainting the interior (not completely enough; some of the original stenciled Greek motifs are still visible today).</p><br>
<p>After the Civil War, the congregation had reached 290 members. It was able to purchase an organ and add 20 ft onto the north side of the building, complete with brick transept arms designed by George E. Harney. By 1882, it had grown to 400 members and paid off all its outstanding debt. The church would get a new roof two years later, followed a decade after that by a replacement organ and pulpit.</p><br>
<p>The first years of the 20th century saw it get some electric lights, and another new roof. In 1909 an iron fence was built with money paid to the church by the city for the use of its lawn during the previous year&#39;s Fulton-Hudson celebration. The following year cement replaced wood as the flooring material for the portico, and in 1920 all lighting in the building became electric when the chandeliers switched from gas.</p><br>
<p>For the first time in its history, the church would finally take a stable form. No major work beyond routine repair was done until after World War II, when various storms damaged the roof. However, in 1950 a hurricane blew the roof completely off. While the church was able to repair it and in fact make further improvements such as adding telephone service and a public address system, the years had taken their toll and in 1964 the congregation had acquired land in the Town of Newburgh on which to build a new edifice. Three years later, they deconsecrated Davis&#39;s building and moved out.</p><br>
<h3>Preservation era</h3><br>
<p>It was soon slated for demolition as part of the citys urban renewal efforts. Helen Gearn, the citys historian at the time, urged that it be preserved and somehow reused. After a feasibility study concluded it could be done, the "Palatine Square" proposal for the blocks in the immediate vicinity included the church.</p><br>
<p>Nevertheless, the next year the city claimed the church as an urban-renewal parcel, and the next year its Urban Renewal Agency paid $96,000 for it. Public efforts against its demolition led to the churchs addition to the National Register of Historic Places in 1970, which meant that federal funds could no longer be used to demolish it. Newburgh had in the past taken the lead in historic preservation when Washingtons Headquarters had become the first officially designated historic site in the USA in 1850. The battle to save the church revived this tradition and marked the beginning of the city&#39;s modern historic preservation movement.</p><br>
<p>Orange County expressed interest in buying the building as part of the "Courthouse Square" project, a proposal to redevelop the area around the courthouse just across the street, which served as Ulster Countys when Newburgh was that countys seat prior to the redrawing of county boundaries that followed the creation of Rockland County in 1798. At the time, the county was still using the courthouse as a branch of the main county courts in Goshen. The Hudson Valley Philharmonic also looked into making the church its home.</p><br>
<p>The state&#39;s Office of Historic Preservation designated a historic district in nearby downtown areas of the city, but it did not include the church. The Greater Newburgh Arts Council continued working to save the church.</p><br>
<p>While the building was safe for the time being, its exterior, particularly the columns, were in an advanced state of decay. The federal Department of Housing and Urban Development which administered the city&#39;s urban-renewal grants, ordered in 1974 that it be either razed or sold. The city bought it for $7,000.</p><br>
<p>Three years later the Hudson Valley Freedom Theater (HVFT) bought the building, hoping to make it a playhouse. The purchase was conditioned on the theater company being able to renovate the structure within a certain time. The National Park Service repaired the roof. In 1984 the theater company defaulted on its contract and title reverted to the city. The following year the state expanded the citys historic district to include the church, while the NPS removed the columns Ionic capitals.</p><br>
<p>The 1990s saw the beginning of piecemeal efforts to restore the church. Another city historian, Kevin Barrett, called for the building&#39;s preservation in 1994, and the Council on the Arts intensified its efforts. It was suggested that the city or private donors restore one of the original columns, as a way of demonstrating that the restoration of the whole church, though a considerable task, was not impossible.</p><br>
<p>Hillary Clinton, then First Lady, spoke in front of the church before a large crowd on July 14, 1998, as part of the Save America&#39;s Treasures tour.</p><br>
<p>The 21st century began with two events that signaled the struggle over the church was not now for its preservation but its restoration. The Dutch Reformed Church Restoration Committee was formed by local activist Carla Decker, former president of the Historical Society of Newburgh Bay and the Hudson Highlands, in 2000 and the next year became part of the Newburgh Preservation Association. On August 7, 2001, the church was designated a National Historic Landmark by the Department of the Interior after a successful application by state preservation official William Krattinger.</p><br>
<p>A state grant made possible the repair and restoration of the church&#39;s drainage system and west foundation wall. The picket fence was repainted in 2004, and the following year the World Monuments Fund put the church on its list of the 100 Most Endangered Sites.</p><br>
<p>However, the work has not been enough to arrest ongoing structural decay. In 2012 much of the ceiling collapsed. Wood and plaster debris are, still scattered all over the floor. The west wall has also begun to show cracks as it sinks into the poorly drained underlying soil.</p><br>
<h2>Future projects</h2><br>
<p>Today, efforts to restore the church to its original glory continue. The DRCRC is actively involved in raising money for those efforts and promoting the church&#39;s historical importance. In 2002 the NPA commissioned the Albany firm Mesick Cohen Wilson Baker to do a Historic Structure Report summarizing what needed to be done to restore the building.</p><br>
<p>One column and window were restored in 2004, the first time since the churchs deconsecration that any work had been done on the buildings decorative elements. In 2006, the remaining three columns were restored through a combination of in-kind repayment and donated services.</p><br>
<p>Still, much work needs to be done. Estimates for implementing all the suggestions of the Historic Structure Report and completely restoring the church have ranged as high as $8 million. After restoration, ideas for what to do with the church have centered around cultural activities, consistent with similar such secondary uses in the past. In 2006 the Newburgh Preservation Association, with a grant from the Dyson Foundation, commissioned an Adaptive Re-Use Study to outline potential uses.</p><br>
<p>To address the collapsed ceiling and cracked west wall, the city announced in late 2017 that it was seeking an $850,000 state grant for stabilization work, in advance of fears that heavy snowfall expected the coming winter could completely collapse the roof. A New York City-based developer, Alembic, had already agreed that summer to redevelop the church, the nearby City Club building and another neglected structure on the citys waterfront. "Weve had 30 years to do something and we havent been able to pull it off," admitted Deirde Glenn, the citys planning and development director.</p><br>
<p>The Crocheron–McDowall House is a two-story Greek Revival-style house located in Bastrop, Texas, United States. The house was built in 1857 for wealthy New York merchant Henry Crocheron and his wife Mary Ann Tipple. Crocheron wanted a home that displayed his wealth, and built it with the finest-available materials and architectural decorations. After his death in 1874, Crocheron&#39;s niece Mary Ann McDowall  inherited the property. She was an accomplished musician and held music classes at the residence. During the late 1800s, the residence was the social and intellectual center of Bastrop, and hosted prominent guests. The house was sold after McDowall died in 1933, since when the property has had several owners who have showed interest in preserving and restoring the property for its historical significance.</p><br>
<h2>History</h2><br>
<p>The Crocheron–McDowall House is located on 1506 Wilson Street in downtown Bastrop, Texas, United States. The property was originally a farm owned by Confederate judge William Pinckney Hill, who was granted the land by a corporation in Bastrop on 2 July 1838. After failing to pay property taxes, however, Bastrop County authorities seized the farm. Wealthy New York merchant Henry Crocheron bought the land on 1 April 1841 for in a sheriffs sale. The houses construction began under the direction of architect Marcello Triplett. It was built for Crocheron and his wife Mary Ann Tipple, and was completed by 1857. Crocheron was originally from Staten Island; he moved to Bastrop from Alabama in 1837. When he arrived in Bastrop, he sold 12 slaves and used the proceeds to buy several properties and create Bastrop Steam Mill, the city&#39;s first industrial enterprise. He was one of the earliest local leaders to become involved in civic affairs and politics.</p><br>
<p>In 1861, the completion of the house coincided with the outbreak of the American Civil War. Mary Ann McDowall (formerly Nicholson and affectionately called "Mollie"), Crocherons niece, took residence in the house amid the wartime circumstances. During June 1861, Confederate Captain George Washington Jones, along with the Bastrop Volunteers—the inaugural company from Bastrop to join the Civil War—conducted a flag presentation ceremony at the Crocheron–McDowall House. This event marked the commencement of Bastrops participation in the conflict, and Nicholson was present to welcome them.</p><br>
<p>Throughout the conflict, Crocheron engaged in the importation of commercial goods to Bastrop from England and Matamoros, Tamaulipas, Mexico. In 1864, while on a business trip to Matamoros, Nicholson encountered William McDowall, a British individual. Their marriage took place at the Crocheron–McDowall House on May 14, 1868, following which they relocated to London, England. Later in the same year, William McDowall succumbed to yellow fever, a disease he contracted during a business journey to Central America. In 1869, Mary Ann, accompanied by her three-month-old daughter Ruth, returned to Bastrop to reside with Crocheron. Following Crocheron&#39;s death in 1874, McDowall inherited the house as specified in his will.</p><br>
<p>Mary Ann McDowall, a proficient musician, imparted her musical expertise by offering classes in piano, organ, guitar, and voice at the Crocheron residence. The house evolved into the focal point of Bastrop&#39;s social and intellectual life, hosting numerous parties, lectures, and concerts. Eminent figures, including Gail Borden, the inventor of condensed milk, and two nieces of USA President James K. Polk, were counted among the distinguished visitors who either stayed at or frequented the residence. Following the passing of her daughter Ruth in 1897, McDowall relocated to Houston to reside with her sister, actively participating in various clubs and organizations.</p><br>
<p>After McDowall&#39;s death in 1933, the house changed ownership multiple times, with subsequent owners expressing a keen interest in its preservation and restoration. Presently, the house serves as a private residence and is not accessible to the general public. On occasion, it functions as a conference center for the Lower Colorado River Authority (LCRA).</p><br>
<h2>Historical designations</h2><br>
<p>The Crocheron–McDowall House is one of several preserved mansions in Bastrop that remain substantially similar to their original external designs. On 12 September 1936, Arthur W. Stewart, a photographer from the Historic American Buildings Survey (HABS), went to the Crocheron–McDowall House, exposed five photographs and made eight measured drawings, and created two data sheets as part of a national historic preservation effort. The images taken at the scene were archived in the Library of Congress and are available digitally. In 1962, the Crocheron–McDowall House was accepted as a Recorded Texas Historic Landmark (RTHL). It received its building medallion the following year. On October 29, 1976, the State Board Review of the Texas Historical Commission (THC) met to discuss nominating the building for inclusion on the National Register of Historic Places (NRHP).</p><br>
<p>THC members Joe Williams and David Moore nominated the Crocheron–McDowall House for the NRHP on November 16, 1977. On the nomination form, they included a detailed historical summary of the property, including a biography of Crocheran and McDowall, and its architectural elements. the house was included on the NRHP on April 20, 1978. In the register data sheet, the houses condition is described as fair and in need of foundational repair. They also included details of an alteration at the buildings rear. The NRHP described the property as one of the "finest and most intact" Greek Revival buildings in Texas. The owners at the time of the designation were James "Jim" Haber and L.N. Duduy, during whose ownership a federal grant given to the THC was used to restore the property.</p><br>
<h2>Architecture</h2><br>
<p>According to the NRHP and the THC, the Crocheron–McDowall House is one of the most-exemplary Greek Revival architecture sites in Texas. Crocheron decided to build a home that would symbolize his affluence; materials were of the finest quality available. The house was the only residence in Bastrop to be constructed almost entirely of cedar wood and the first to include window weights. The windows and a hand-carved banister were imported from New York and shipped to Galveston, and then transported by rail and wagon to Bastrop. According to an early account in the Bastrop city archives, Crocheron owned a mill and personally chose which logs to use for his home. He hired carpenter George Orts to build most of the house with cedar wood. The account also says the floor was made of pine wood. In its early years, the house was not weather-proof but Crocheron later added a cornice and irons on the house&#39;s corners.</p><br>
<p>The original structure of the house consisted of a two-story main building and a one-story section at the back. It also included a detailed cornice on its flat roof on the main structure but this was altered after years of deterioration. The original dentil molding, however, remains in good condition and is visible throughout the structure. The gable roof ell wing on the west rear includes the same dentil molding as the main building. The front portico was inspired by Palladian architecture and is present in other historic Bastrop residences. This feature was common in Texan homes during the American Civil War. The house&#39;s attic served as the guest room, where prominent visitors spent time when visiting Crocheron and his family.</p><br>
<p>Both of the floors are supported by four squared wooden columns; the ones on the first floor are taller and thicker than those on the second floor. The first storys double doors are decorated with entablatures and pilasters. The second floors entrance opens up to a balcony that was once enclosed by a slat balustrade; this was later replaced with a cross-diagonal one. Entablatures and pilasters decorate the second-floor doors while other pilasters in this floor match with the first-floor exterior pilasters.</p><br>
<p>As is typical of Greek Revival buildings, the Crocheron–McDowall House has an aba pattern in its three-bay east facade, as shown with the central portico and doors with windows flanking on each side. The first floors windows have six overnight lights while the corresponding windows on the second floor have the same pattern of lights, which reinforce the buildings symmetry of the home. All of these windows are framed with a molded trim. In the southern facade, the second floor is symmetrically pierced by three six-over-six light windows. The first story&#39;s west and central facades have six overnight light windows that are symmetrical to the second-floor openings. To the western rear, there is a one-story ell wing with a small entrance, with two six-over-six light windows with a seam-tin roof. Similar to the southern facade, the northern facade has three bays with three six overnight light windows on the first and second floors.</p><br>
<p>Among the most-distinctive features of the house is the stairway, which has a handmade walnut newel post and a decorated rail. Unlike other contemporaneous houses, the hallway extends to the front of the house. The hallway served as a "reception hall" that connected it with two large rooms, which were originally a parlor and a music room. The hallway had a stair that connected to the upper floor on the western end. Farther in the hallway is a kitchen area, a dining room, and a cistern room; each of these rooms have openings to the outside. The original detailing of the home included a 12 ft ceiling and wainscoting. The additions made on the north side of the rear elevation included a small kitchen area and a bath.</p><br>
<p>The Villard Houses are a set of former residences at 451–457 Madison Avenue in the Midtown Manhattan neighborhood of New York City, United States. Designed by the architect Joseph Morrill Wells of McKim, Mead & White in the Renaissance Revival style, the residences were erected in 1884 for railroad magnate Henry Villard. Preserved as a historic landmark, the houses comprise a portion of the Lotte New York Palace Hotel, whose main tower is to the east. The residences are New York City designated landmarks and are listed on the National Register of Historic Places.</p><br>
<p>The building comprises six residences in a U-shaped plan, with wings to the north, east, and south surrounding a courtyard on Madison Avenue. The facade is made of Belleville sandstone, and each house consists of a raised basement, three stories, and an attic. Among the artists who worked on the interiors were artist John La Farge, sculptor Augustus Saint-Gaudens, and painter Maitland Armstrong. Some of the more elaborate spaces, such as the Gold Room, dining room, and reception area in the south wing of the complex, still exist.</p><br>
<p>The houses were commissioned by Henry Villard, president of the Northern Pacific Railway, shortly before he fell into bankruptcy. Ownership of the residences changed many times through the mid-20th century. By the late 1940s, the Roman Catholic Archdiocese of New York had acquired all of the houses, except the northernmost residence at 457 Madison Avenue, which it acquired from Random House in 1971. The houses were restored as part of the New York Palace Hotel&#39;s development, completed in 1980. The north wing was turned into office space for the preservation group Municipal Art Society, which occupied the space until 2010.</p><br>
<h2>Site</h2><br>
<p>The Villard Houses are in the Midtown Manhattan neighborhood of New York City, United States, occupying a site bounded by Madison Avenue to the west, 51st Street to the north, and 50th Street to the south. The residences take up two land lots. The rectangular land lot under the northern residence, at 457 Madison Avenue, has a frontage of 60 ft on Madison Avenue and 74 ft on 51st Street, and it covers about 4,485 ft2. The rest of the residences occupy the same land lot as the Lotte New York Palace Hotel immediately to the east. The L-shaped lot, carrying the address 455 Madison Avenue, has a frontage of 140 ft on Madison Avenue and 200 ft on 50th Street, and it covers 35,720 ft2. Nearby buildings include Olympic Tower, 11 East 51st Street, and 488 Madison Avenue to the northwest; St. Patrick&#39;s Cathedral to the west; and 18 East 50th Street and the Swiss Bank Tower to the southwest.</p><br>
<h2>Architecture</h2><br>
<p>The Villard Houses complex was designed by Joseph M. Wells of the firm of McKim, Mead & White. Charles Follen McKim of that firm was responsible for the overall plan, though Wells designed the individual details. The homes are among several projects that McKim, Mead & White designed for railroad magnate Henry Villard. The houses are designed in the Romanesque Revival style with Italian Renaissance touches; they were the first major structures that McKim, Mead & White designed in the Italian Renaissance style. At the time of the houses&#39; construction, Wells had been encouraging the firm to use more classical architectural styles.</p><br>
<p>The design was influenced by Romes Palazzo della Cancelleria, though some inspiration may have come from the Palazzo Farnese, also in Rome. The two palazzos had been Wellss favorite Renaissance buildings.</p><br>
<h3>Layout and courtyard</h3><br>
<p>The building was erected as six separate residences in a U-shaped plan, with three wings surrounding a central courtyard on Madison Avenue. At the time of the houses completion, they faced a similar courtyard at the eastern end of St. Patricks Cathedral.</p><br>
<p>The south wing consisted of a single residence, Henry Villard&#39;s residence at 451 Madison Avenue, also known as 29 East 50th Street. The center wing, on the east side of the courtyard, consisted of two residences at 453 and 455 Madison Avenue, which extended 40 ft eastward beyond the end of the north and south wings.</p><br>
<p>The courtyard was designed both as a symbol of Villard&#39;s wealth and as an "urban gesture" to traffic on Madison Avenue. A Florentine-style lamp is suspended from the wrought-iron arch. The driveway had been arranged to allow horse-drawn vehicles to enter the courtyard easily. The arrangement of residences around a courtyard was similar to the Apostolic Chancery at Vatican City. The Roman Catholic Archdiocese of New York used the courtyard as a parking lot during the mid-20th century. During the construction of the Palace Hotel in the 1970s, a marble and granite medallion was placed in the courtyard. The courtyard is decorated each holiday season; its Christmas tree contains over 4,500 lights and over 1,000 ornaments.</p><br>
<h3>Facade</h3><br>
<p>The facade is made of largely unornamented brownstone. Villard had chosen the material against the advice of the architects, who had recommended using limestone or granite. Each house consists of a raised basement, three stories, and an attic topped by a cornice. The houses measure 68 ft from the sidewalk to the top of the cornice. The horizontal lines of the facade continued across all of the houses. The rear or eastern facades of each house had no architectural decorations at all because they were never intended to be viewed from the street.</p><br>
<p>The basement and first story of each house are rusticated. The raised basement consists of rectangular openings, above which runs a molding with torus shapes. The first floor has arched windows, which are topped by spandrels with rosette-shaped medallions. The first floor is topped by an architrave with a plain frieze. and there are decorative medallions above the arches. Behind are the entrances to the center wing, as well as a barrel vault with rosette coffers and decorative moldings.</p><br>
<p>The ground story of the north and south wings has doorways leading into the courtyard. The residences at 22 and 24 East 51st Street had entrances from the street, rather than from the courtyard. Shortly after the houses were completed, an entrance portico measuring 11 by was added to the eastern side of 24 East 51st Street.</p><br>
<p>The upper stories are clad with plain stone ashlar. A plain band course runs above the second floor, and a torus-shaped molding runs above the third floor. The attic is designed as a set of small square windows. The dentilled cornice contains egg-and-dart molding as well as modillions with foliate patterns. Above all these houses are hip roofs with brown tile. Only the front portions of each house have hip roofs; the rears of the houses have brick parapets and pitched roofs.</p><br>
<h3>Interior</h3><br>
<p>The interiors were designed in a modified version of the High Renaissance style. McKim, Mead & White was involved in the original decoration of all the interiors, and the firms principals hired several friends to assist. These may have included artistic-glass manufacturer John La Farge, sculptor Augustus Saint-Gaudens, painter Francis Lathrop, and mosaic artist David Maitland Armstrong. Account books from the buildings construction did not mention any of these artists, except for Lathrop, but contemporary media sources did report on some of their work. Leon Marcotte, Sypher and Company, and A. H. Davenport and Company provided some of the furniture. Pasquali and Aeschlimann may have installed the mosaics; Numerous other suppliers may have been involved with other aspects of the houses&#39; designs.</p><br>
<p>The layouts of numbers 453 and 455 were mirror images of each other, while the other houses each had a unique layout. Each bedroom was fitted with its own bathroom. The attic story of all of the residences was devoted to servants&#39; rooms, storerooms, and other service facilities.</p><br>
<h4>Main residence</h4><br>
<p>The most ornate decorations were used in Villards residence, 451 Madison Avenue, in the south wing. His residence had four floors with several dozen rooms, whose designs were inspired by those of grand European houses. Aside from a guest room with medieval theming, Villards residence did not include any exotically-themed rooms, such as Moorish or East Asian rooms. There was a billiard room, kitchen, servants&#39; dining room, laundry, and wine room in the basement.</p><br>
<h4>=Ground story=</h4><br>
<p>The ground, or first, story of number 451 was the most elaborate story in the main residence. the music room is a restaurant, and the dining room is a bar.</p><br>
<p>The Villard residences reception vestibule was accessed through the southern side of the courtyard. The vestibule had a set of marble steps, a wall with a tile mosaic band, and a groin-vaulted ceiling. The vaulted ceiling of the hallway was also made of Siena marble. North of the hallway was a grand stairway decorated in golden marble, which led to the second floor. Each of the balusters in the stairs railing has a different design. The hallway also had a small carved-wood elevator door near the reception vestibule as a minor staircase for guests.</p><br>
<p>At the western end of the south wing&#39;s hallway was a drawing-room suite divided into three sections. The drawing rooms had mahogany and white wood finishes on a light reddish-brown and yellow color scheme. The family of the journalist Whitelaw Reid used these drawing rooms as a ballroom during the early 20th century, with green marble columns and a gilded ceiling. The drawing rooms also had ornate marquetry, which Reid subsequently reinstalled in his Purchase, New York, estate.</p><br>
<p>The eastern end of the south wings hallway contained a music room measuring 48 by, with an elliptical vaulted ceiling 32 ft high. The music room was also known as the Gold Room because the decorations were colored gold. A musicians balcony was suspended on the north wall John La Farge designed two lunettes called "Art" and "Music", as well as leaded glass windows on the east wall.</p><br>
<p>The southernmost portion of the ground story was a 20 by space that could be divided into a breakfast room and dining room. One of the mantels was relocated several times before being installed in the Palace Hotel lobby in 1980, A serving pantry opened off one side of the room.</p><br>
<h4>=Upper stories=</h4><br>
<p>The upper stories of number 451 were laid out similarly to the ground story and also contained fireplaces. Adjoining the private music room was a private library fitted in mahogany with carved medallions on the bookcases. The coffered ceiling contained medallions and three murals. The second-floor guest bedroom had oak paneling,</p><br>
<p>A stairway with a wainscoted wall and a decorated balustrade led between the second and third stories of the south wing. The upper-story bedrooms were decorated with painted woods and could be accessed by an elevator. The bedrooms on the third floor had chintz wall hangings and colorful decorations. Henry Villards bedroom was on either the third or the fourth floor. A stair led up to the family room, which had low ceilings and a cherry color scheme. Within the annex to the east, Whitelaw Reid had a second-floor dining room and library, which have become a meeting room with a pantry. The annex also included Whitelaw Reids study, which later became another meeting room for the hotel.</p><br>
<h4>Fahnestock residence</h4><br>
<p>A marble stairway rose to the second floor, which included the Fahnestocks&#39; bedrooms. When the eastern section of the north wing was demolished in the 1970s, one room was reconstructed on the third floor of the New York Palace.</p><br>
<h4>Other residences</h4><br>
<p>The courtyards central loggia led to a vestibule, which connected with both 453 and 455 Madison Avenue. Although the residences originally had similar layouts, Number 455 had an entrance hall with an oval dome, as well as a living hall with mahogany paneling and a filigreed clock. The reception room had a decorative frieze, molded plaster ceiling, and walls with alternating wood paneling and mirrors. The decorative stairway at 455 Madison Avenue was moved to the Brooklyn Museum in the 1970s. Both residences interiors were demolished in 1978. The main entrance to the New York Palace, within the former central loggia, contains a grand staircase down to the main hotel lobby. This lobby includes a fireplace originally designed by Saint-Gaudens. In addition, a former study at 455 Madison Avenue was repurposed into a meeting room for the New York Palace.</p><br>
<p>The residence at 22 East 51st Street was in the middle of the northern wing. Unlike most of the other houses in the complex, it had an elevator from the outset. There was also a reception room with a skylight and a small living hall with a fireplace. The main staircase hall had a pantry on one landing, and there was an oval opening above the staircase. This residence was merged with 457 Madison Avenue in the 1920s.</p><br>
<h2>History</h2><br>
<h3>Development</h3><br>
<h4>Planning</h4><br>
<p>The houses were commissioned by Henry Villard, the president of the Northern Pacific Railway. Villard wanted a building that resembled palaces in his native Bavaria. In April 1881, Villard bought a plot on the east side of Madison Avenue between 50th and 51st streets from the trustees of St. Patricks Cathedral. The site was 200 ft wide The land itself was occupied by the Church of St. John the Evangelist, which had been abandoned in 1879 and subsequently sold to a colonel named J. Augustus Page. Villard paid $260,000 for the land after St. Patricks trustees declined a higher offer from another potential buyer who wanted to build an entertainment venue there.</p><br>
<p>Charles Follen McKim of McKim, Mead & White was hired to design a group of houses for Villard, Villard had previously hired the firm to design other buildings; Villard also wanted a landscaped garden east of the houses, but this was never added to the official plans. He planned to move into one of the houses and rent the remaining residences to his friends. The writer Elizabeth Hawes wrote that, by doing so, Villard wanted to create "a pleasant neighborhood unit" that positively impacted future urban developments. A later New York Times article said that Villard had planned the entire complex as his own residence, but he was obligated to split it into multiple smaller units when his wealth declined.</p><br>
<p>Details of the design were revised through late 1881, when McKim temporarily left New York City to work on a railroad terminal for Villard in Portland, Oregon. The job was reassigned to Stanford White, who, after a short time, left the city to visit his brother in New Mexico. White reassigned his projects to various junior architects in his office, and Joseph M. Wells agreed to take over the design of the Villard Houses from the firms remaining partner, William Rutherford Mead. According to Leland Roth, one account had it that McKim and White had "immediately advocates of Renaissance classicism" upon returning and seeing the updated plans. Roth wrote that McKim and White were probably responsible for the general style of the facade, although Wells was definitely responsible for the architectural details. Villard wanted to use brownstone rather than another material such as limestone. Whites original architectural drawings for the project no longer exist.</p><br>
<h4>Early construction</h4><br>
<p>Workers were excavating the northeast corner of Madison Avenue and 50th Street by November 1881. The contractors drilled down until they had exposed the underlying layer of bedrock, since Villard did not want to damage Columbia College&#39;s buildings nearby. In May 1882, McKim, Mead & White submitted plans to the Bureau of Buildings for a four-story residence at 451 Madison Avenue (on the corner with 50th Street), measuring 100 by 60 feet. This was to be the first of a series of six residences surrounding a courtyard. Work on 451 Madison Avenue began on May 4 of that year.</p><br>
<p>By late 1882, the houses exteriors had been completed, and parts of the interiors were being furnished. The residences appeared so large that the public assumed Villard could only occupy the center wing. One residence on the north wing, the unit with a doorway facing the courtyard, was to have been occupied by Villards adviser, Horace White, but this did not happen. One of the three wings had been built by mid-1883, and Villard&#39;s legal adviser Artemas H. Holmes indicated in an April 1883 letter that the foundations for 453 and 455 Madison Avenue were being built.</p><br>
<p>McKim, Mead & White designed the interiors of all of the residences as well. The Villard Houses cost $1 million without furnishings (equivalent to about $ million in ), and the decoration cost another $250,000 (about $ million in ). The residences were New York City&#39;s first houses designed in the Roman High Renaissance style and, at the time, differed significantly from the more ostentatious houses on Fifth Avenue nearby.</p><br>
<h4>Villard bankruptcy</h4><br>
<p>The construction of the houses coincided with a decline in Villards personal finances, which in turn was caused by his excessive investments in railroads. Villard moved into his mansion on December 17, 1883, on the same day that he resigned from the Oregon and Transcontinental Company. He was bankrupt by that time and could not formally sell the houses due to liens placed on his property. Villards own mansion was transferred to trustees William Crowninshield Endicott and Horace White to pay off a $300,000 debt.</p><br>
<p>Amid the bankruptcy proceedings, a crowd protested in the courtyard in early 1884, believing all the houses around the yard belonged to Villard.</p><br>
<p>Work on the houses continued until 1885, The residence at 457 Madison Avenue was then sold to Harris Fahnestock, He had waited several months to obtain number 457, but the trustees refused to sell the property until the other houses, save for number 451, had been rented. Fahnestock also bought Adamss ownership stake in 22 East 51st Street, Fahnestock had planned to combine 457 Madison Avenue and 22 East 51st Street as early as 1886, but this did not happen at the time. that house became the residence of Millss daughter Elisabeth Mills Reid, who was married to New-York Tribune editor Whitelaw Reid. or $400,000.</p><br>
<h3>Residential use</h3><br>
<p>Originally, the residences were known as Cathedral Court because they faced St. Patrick&#39;s Cathedral. In the late 19th and early 20th centuries, the Villard Houses retained many of its original residents, even when neighborhoods further uptown became more fashionable. The Wells, Reid, Holmes, Adams, and Fahnestock families lived in the Villard Houses during the 1900s. By the early 1920s, the northern three residences belonged to the Fahnestock family, while two of the three southern residences were owned by the Reid family.</p><br>
<h4>North wing</h4><br>
<p>The residence at 24 East 51st Street was purchased by Scribner&#39;s Monthly publisher Roswell Smith in September 1886, Harris Fahnestock bought 24 East 51st Street in 1910</p><br>
<p>When Harris Fahnestock died in 1914, his son Clarence moved into number 457. Clarence lived there until his death four years later, when Clarences brother William inherited that house. The next year, Helen Campbells husband John Hubbard died at number 24.</p><br>
<h4>Central and south wings</h4><br>
<p>The Reid family had moved into 451 Madison Avenue by early 1887, The expansion was finished by 1892 and consisted of an L-shaped stairway leading to a double-arched entrance porch. The Reid family also redecorated number 451&#39;s drawing rooms in 1891, and they hired Edwin Austin Abbey to create a painting for their dining room in 1896.</p><br>
<p>By 1904, the Reid family expanded their basement into a vacant lot to the east so they could continue to entertain guests. A local architect, Louis Thouvard, designed the basement expansion and drew up plans for a Beaux-Arts–style expansion above it; however, the latter plans were not carried out. The next year, the firm designed alterations to number 451, including new elevators. The architects also replaced a guest suite on the second story with a drawing room. The 1920 United States census recorded Elisabeth Mills Reid, as living at number 451 with seventeen servants. Whitelaw Reid died in England while serving as the ambassador to England in 1912.</p><br>
<p>Number 453 was leased to William Sloane by 1916 and was placed for sale the following year. Elisabeth Reid acquired the house, loaning it during World War I to the American Red Cross. Reid hired Raymond Hood in 1920 to make alterations to number 453, and an elevator was installed in that house the same year. No other structural changes to the house were documented until World War II.</p><br>
<h3>Commercial conversion</h3><br>
<h4>1940s</h4><br>
<p>The Fahnestock and Reid houses, which had been vacated when their owners died, continued to be unoccupied until World War II. The Reid family lent number 451 to the Coordinating Council of French Relief Societies in March 1942. The following May, the French Relief Societies moved across the courtyard to number 457, and the Womens Military Services Club opened its clubhouse in number 451. At the opening of the Military Services Club, New York City mayor Fiorello La Guardia declared, "You wont see any more private mansions like this. You&#39;ll see more wholesome houses for more people."</p><br>
<p>Robert J. Marony acquired number 457 for around $200,000 in June 1944. and it continued to be occupied by the French Relief Societies. The Womens Military Services Club closed in January 1946 after the end of World War II, having served 200,000 people. Number 457, as well as a one-third interest in the courtyard, was acquired the same year by the publishing company Random House, which renovated the residence into its own offices. Random Houses publisher, Bennett Cerf, bought the house for $450,000, believing that to be the price Kennedy had paid.</p><br>
<p>The Archdiocese of New York purchased the houses at 451 and 453 Madison Avenue and 29 East 50th Street in October 1948 for an unknown amount in cash. The residences, which had been vacant for three years, had an assessed value of $825,000. The archdiocese needed space for its various agencies near St. Patricks Cathedral, and the agencies old headquarters had been sold to make way for the office structure at 488 Madison Avenue. The archdiocese also purchased 455 Madison Avenue and 24 and 30 East 51st Street, as well as the vacant lot at 26–28 East 51st Street, in January 1949; these properties were valued at $600,000. Francis Cardinal Spellman dedicated the archdiocese&#39;s offices at 451 and 453 Madison Avenue that May. Clergy members who worked at these offices slept in the house at 455 Madison Avenue.</p><br>
<h4>1950s and 1960s</h4><br>
<p>Following World War II, many of the neighboring residential buildings were razed to make way for office structures like the Seagram Building and Lever House, though the Villard Houses remained. The Archdiocese of New York hired Voorhees, Walker, Foley & Smith to renovate its office space during the early 1950s, though the renovation was not carried out. Helen Fahnestock Hubbard continued to reside at 24 East 51st Street until she died in 1955. The archdiocese then rented number 24 to the Capital Cities Broadcasting Corporation, which was headquartered there. Capital Cities removed some of the architectural details, including wainscoting and paneling, from number 24. In 1960, Random House subleased the first story of number 24 from Capital Cities.</p><br>
<p>By the late 1960s, Random House owned number 457, and the Archdiocese of New York owned all of the other houses. Random House initially intended to keep its space at 457 Madison Avenue, but ultimately leased space at an under-construction skyscraper at 825 Third Avenue in 1967. but Monsignor James Rigney said: "At some point we would have to wonder whether we are justified in keeping property as valuable as this." On September 30, 1968, the New York City Landmarks Preservation Commission (LPC) designated the complex as official landmarks, preventing them from being modified without the LPC&#39;s permission. The landmark designation applied only to the sections of the buildings within 100 ft of Madison Avenue.</p><br>
<h3>Redevelopment</h3><br>
<h4>Preservation efforts</h4><br>
<p>In 1970, Richard Ottinger leased the old Random House mansion for his USA Senate campaigns offices. Architectural writer Ada Louise Huxtable said the entire complex was in danger of being redeveloped if the archdiocese were to gain control of the Random House residence and thus full control of the land. After receiving $2.25 million from Gillette CEO Henry Jacques Gaisman, the archdiocese purchased number 457 in early 1971. According to the archdioceses real estate adviser, John J. Reynolds, the archdiocese wanted to preserve the houses so there would be open space in front of St. Patrick&#39;s Cathedral. Later in 1971, the archdiocese announced it would move to 1011 First Avenue by the following year and would lease out the Villard Houses. When the new archdiocesan headquarters opened in November 1973, the archdiocese said it hoped to find a lessee for the Villard Houses rather than sell them. Around the same time, the 1973–1974 stock market crash led to a decline in demand for real estate, and the Villard Houses sat entirely vacant except for Capital Cities offices.</p><br>
<p>In early 1974, the archdiocese was negotiating with developer Harry Helmsley to sell him the air rights above the Villard Houses. Helmsley planned to build a 50-story hotel tower next to or above the houses, Though the landmark status prevented Helmsley from modifying the houses&#39; exteriors, he was free to redesign the interiors. As such, an early plan for the hotel called for demolishing the rear of the houses and gutting much of the interior, including the Gold Room. This prompted concerns from preservationists who feared that the remaining interiors would become little more than a "meaningless stage set".</p><br>
<p>Following objections, Helmsley presented a modified plan in June 1975, which still called for demolishing part of the rear and interior. The houses were placed on the National Register of Historic Places on September 2, 1975, which prevented federal funds from being used to finance the demolition of any of the houses without the federal governments approval. The archdiocese hired William Shopsin in January 1976 to conduct a historical survey of the Villard Houses. Shopsin recorded the buildings architectural details for the Historic American Buildings Survey. After further delays, the New York City Planning Commission and the New York City Board of Estimate approved Helmsleys 51-story hotel in late 1976. Although there were efforts to preserve all of the interiors, many of the rooms had been modified multiple times or had no architecturally notable figures. Ultimately, only about one-fifth of the houses interiors were preserved and reused.</p><br>
<h4>Incorporation into Helmsley Palace Hotel</h4><br>
<p>Emery Roth & Sons hired James W. Rhodes in early 1977 as an architectural consultant for the project. The archdiocese was obliged to pay $700,000 or $800,000 per year in taxes from 1975 to 1977 because the vacant houses were no longer tax-exempt. By mid-1977, Helmsley was planning to begin demolishing the easternmost portions of the Villard Houses. A groundbreaking ceremony for the hotel occurred on January 25, 1978, and construction began two months later.</p><br>
<p>The decorative interiors of the Villard Houses were placed into temporary storage, For instance, seismographs were installed in the houses to record any effects of blasting, while padding was installed within the building to prevent damage to the decorations. Sarah Lee was largely responsible for the redesign of the interior spaces. The Gold Room was renovated and turned into a cocktail lounge, while the old library was refurbished with 4,000 false books. The old drawing room of the south wing was redesigned as a cocktail lounge as well, while the old dining room became the hotels Hunt Bar. The facade and courtyard were also restored, though the easternmost section of the complex, including much of the central wing and the additions on 50th and 51st streets, was demolished. The project even involved replacing some city streetlights outside the Villard Houses. One of the houses roofs was damaged in October 1979 when a heavy object fell through it.</p><br>
<h3>Post-redevelopment</h3><br>
<p>Helmsley leased 30,000 ft2 in the Villard House&#39;s northern wing to Jacqueline Kennedy Onassis in June 1979. The northern wing was to contain the Urban Center, the headquarters of four civic organizations: the American Institute of Architects, the Architectural League of New York, the Municipal Art Society (MAS), and the Parks Council of New York. That August, Capital Cities Communications leased space in the hotel tower. Capital Cities took over the central and south wings, with offices at 24 East 51st Street and the upper stories of 451, 453, and 455 Madison Avenue.</p><br>
<h4>1980s and 1990s</h4><br>
<p>James Stewart Polshek and Associates renovated the north wing of the Urban Center. The carved cornice and parquet floors of the north wing were restored, but the reception rooms were repainted and lighted for the new tenants. The Urban Centers space opened in August 1980, and the hotel opened the next month. An architecture bookstore run by MAS opened in the north wing in October 1980; the stores first exhibition was about the Villard Houses themselves. The Architectural League of New York also operated gallery space on the ground floor. The ground story of the south wing had a cocktail lounge in the former drawing room, a bar in the former dining room, and the Gold Room in the same place as before. The second floor was used for exhibitions, the third and fifth floors were used for organizations, and the first and fourth floors were rented as commercial space. The Urban Center&#39;s offices were rearranged from 1981 to 1982 because the original layout was inefficient.</p><br>
<h4>2000s to present</h4><br>
<p>The owners of the Palace Hotel renovated the brownstone facade for $300,000 in late 2003. At the time, James W. Rhodes estimated that 99 percent of the facades original brownstone remained; some of the pieces for the restoration had come from the demolished rear portions of the houses. MAS paid $175,000 in rent annually at the time, The building stood vacant afterward, and the Palace Hotels owners wanted to incorporate the Villard Houses into a portion of the hotel.</p><br>
<p>In 2011, the hotel was sold to Northwood Investors, which extensively renovated the hotel and the Villard Houses. The hotel&#39;s new owners sought to lease the north wing for at least 2,000 $/ft2 per year. Lotte New York Palace Hotel rented out some of the rooms in the southern residence in 2016. In 2017, the Archdiocese of New York mortgaged the land under the Lotte New York Palace Hotel and the Villard Houses for $100 million to pay settlements to Catholic sexual abuse victims. The Gold Room restaurant was opened in 2019 within the room of the same name.</p><br>
<h2>Reception</h2><br>
<h3>Contemporary commentary</h3><br>
<p>At the time of the houses completion, wealthy New Yorkers found the buildings design to be restrained compared with other mansions. The trade magazine Real Estate Record initially said there was "nothing indeed to indicate architecture except the delicacy of some of the detail". By contrast, the British magazine The Architect said the Villard residence "will be the most magnificent residence building in the States, far surpassing the Vanderbilt houses" along Fifth Avenue.</p><br>
<p>After the houses were complete, a critic for the Real Estate Record characterized the Villard Houses as "a mild success" and said that despite their large size and plain facade, the houses were "in no way offensive and can never come to look trivial or vulgar". Another article for the same publication described the Villard residence in particular as "the only example of consistent adherence to one style" in New York City. The New York Evening Post said the residences were unique among New York City residences and were a departure from the château-style residences elsewhere in the city. Matthew Josephson wrote that the luxurious appearance of the houses was a source of resentment from the general public.</p><br>
<p>The main residence was the subject of an 1897 handbook published by Edith Wharton.</p><br>
<h3>Retrospective commentary</h3><br>
<p>The Christian Science Monitor wrote in 1934 that the buildings retained "the same dignity that accompanied them in 1883" and that their construction had spurred the start of interior decoration. Ada Louise Huxtable described the buildings in 1968 as "one of the best buildings New York could and can claim, then or now". The New York Times reported in 1971, "The complex has long been regarded as one of New York City&#39;s architectural treasures."</p><br>
<p>The houses remained relatively nondescript through the late 20th century. Harmon Goldstone and Martha Dalrymple wrote in 1974 that the houses continued existence was "a minor miracle". Another architectural historian, Leland M. Roth, described Villards residence in particular as "a standard of restrained elegance in interior decoration". The history of the houses was also detailed in Mosette Broderick and William Shopsin&#39;s 1980 book The Villard Houses: Life Story of a Landmark.</p><br>
<p>During the 1970s, when the Palace Hotel was being developed, preservationists fought strongly to keep the houses. She had similarly criticized the June 1975 plan, saying: "By any measure except computerized investment design, the results are a wretched failure."</p><br>
<p>Chinqua Penn Plantation is an English manor home in Reidsville, North Carolina in Rockingham County, North Carolina, United States, . It is a private residence and was closed to the public in 2012. The home was built by Thomas Jefferson Penn  and Margaret Beatrice Shoellkopf Penn  in the 1920s. The name "Chinqua Penn" was derived from the chinquapin, a species of American chestnut that was once plentiful in the area.</p><br>
<p>Chinqua Penn Plantation ranks high among North Carolina&#39;s finest well-preserved early 20th century homes, including Reynolda House, and Duke Mansion.</p><br>
<h2>History</h2><br>
<p>After inheriting a portion of the Penn family tobacco interests, they relocated from Penns Store, Patrick County, Virginia to North Carolina; Jeff Penn then augmented his fortune in stocks and bonds during the depression. He also operated a dairy husbandry and raised Holstein cattle. In later years he raised Black Angus. The Penn Tobacco Company was later purchased in 1911 by American Tobacco Company, the Duke family behemoth that made Lucky Strike cigarettes. The coats-of-arms above the picture window show the Penn family crest, as well as that of the Spencer family of Spencer, Virginia, to whom the Penns were related. Betsys father was Arthur Schoellkopf, chairman of the board of directors of Niagara Falls Power Company and Mayor of Niagara Falls, New York. Betsy Penn survived Jeff by nearly twenty years, during which time she became increasingly involved in philanthropic and community activities. She created the Betsy-Jeff Penn 4-H Educational Center on part of the estate. Most of the furnishings and art, showcasing 30 countries, were placed by the Penns.</p><br>
<p>The house and related buildings, and ultimately the internal furnishings, were given into the trusteeship of the University of North Carolina System in 1965. Because of high costs, N.C. State University closed the site to tours. Three years later Calvin Phelps, the founder of Renegade Tobacco Company, in August 2006, acquired the estate, claiming he intended to build a replica in Davie County. He decided to have a second home nearby and operate the site as a tourist attraction. But Phelps used funds from his tobacco company, which was successful for a while due to being exempt from the Tobacco Master Settlement Agreement which required a $5 per carton surcharge on cigarettes. He could sell his cigarettes more cheaply until the government began requiring exempt tobacco companies to pay "escrow" fees. Later, needed to finance his debt, Phelps obtained a mortgage backed by his companies. Bank of Granite, which had lent him money, cut him off. Federal agents seized the property and assets on September 28, 2010, as part of an ongoing bankruptcy proceeding. In September 2011, a bankruptcy trustee took over, and an order filed December 12 said a bankruptcy judge would require that all items in the house be sold at auction in April 2012. The two-day auction took place at the Greensboro Coliseum Complex in Greensboro, North Carolina, April 25 and 26, 2012, was conducted by Leland Little Auction & Estate Sales, Ltd. and Iron Horse Auction Company, Inc.</p><br>
<p>In August 2012, the Museum and Archives of Rockingham County was expected to open, and certain items acquired at the auction were expected to be displayed.</p><br>
<p>On September 18, 2013, Chinqua Penn went into foreclosure. SunTrust Bank bought the property from Phelps for $1.4 million. Though SunTrust wanted $1.9 million, the property sold for considerably less to a private buyer.</p><br>
<p>The house and gardens were once open for tours, and the plantation offered tours through March 17, 2012.</p><br>
<p>Farmland adjoining the property is still operated as an experimental agricultural station by North Carolina State University.</p><br>
<p>Middleton Place is a plantation in Dorchester County, along the banks of the Ashley River west of the Ashley and about 15 mi northwest of downtown Charleston, in the USA state of South Carolina. Built in several phases during the 18th and 19th centuries, the plantation was the primary residence of several generations of the Middleton family, many of whom played prominent roles in the colonial and antebellum history of South Carolina. The plantation, now a National Historic Landmark District, is used as a museum, and is home to the oldest landscaped gardens in the United States.</p><br>
<p>John Williams, an early South Carolina planter, probably began building Middleton Place in the late 1730s. His son-in-law Henry Middleton (1717&ndash;1784), who later served as President of the First Continental Congress, completed the houses main section and its north and south flankers, and began work on the elaborate gardens. Middletons son, Founding Father Arthur Middleton (1742&ndash;1787), a signer of the Declaration of Independence, was born at Middleton Place, and lived at the plantation during the last years of his life. Arthur Middletons son and grandson, Henry Middleton (17701846) and Williams Middleton (1809&ndash;1883), oversaw Middleton Places transition from a country residence to a more active rice plantation. In 1865, toward the end of the American Civil War, Union soldiers burned most of the house, leaving only the south wing and gutted walls of the north wing and main house. The 1886 Charleston earthquake toppled the walls of the main house and north wing.</p><br>
<p>The restoration of Middleton Place began in 1916 when Middleton descendant John Julius Pringle Smith (1887&ndash;1969) and his wife Heningham began several decades work of meticulously rebuilding the plantations gardens. They had New York architect Bancel LaFarge design a stableyard complex of barn, stable, work buildings, and cottages; the buildings were constructed of brick salvaged from the ruined main house. In the early 1970s, approximately 110 acre of the 7,000 acre plantation&mdash;including the south flanker, the gardens, and several outbuildings&mdash;were placed on the National Register of Historic Places. During the same period the Middleton descendants transferred ownership of the historic district to the non-profit Middleton Place Foundation, which presently maintains the site.</p><br>
<h2>Location</h2><br>
<p>Middleton Place is set on the southwest bank of the Ashley River. At this point, the southward-flowing river bends sharply to the east en route to its mouth at Charleston Harbor about 15 mi downstream. A small northeastward-flowing creek, which has been dammed to form the plantations rice mill pond, empties into the Ashley at this eastward bend, and forms the historic districts southern boundary. Ashley River Road (part of South Carolina Highway 61), which connects Middleton Place to Charleston to the southeast and the Legend Oaks area to the northwest, forms the historic districts western boundary. The plantations south flanker and residence area sit atop a hill that rises just over 20 ft above the river, allowing an unobstructed view of the river for nearly a mile downstream.</p><br>
<h2>History</h2><br>
<h3>Colonial and Revolutionary period</h3><br>
<p>Middleton Place was established in the 1730s by early South Carolina planter John Williams. He likely began construction on the main block of the house, selecting the site for its strategic view of the Ashley River. After Williams death, the plantation became part of the dowry of his daughter, Mary Williams. In 1741, Mary Williams married Henry Middleton, whose name was subsequently applied to the plantation. Middletons father had immigrated from Barbados and had established a plantation in the area which is now part of the cities of Goose Creek and North Charleston. Henrys older brother, William, built the Crowfield plantation in the 1730s, but eventually moved to England, leaving Henry in charge of the familys affairs in South Carolina. Henry continued acquiring land, eventually becoming one of South Carolina&#39;s wealthiest planters. At one point, he owned 20 plantations consisting of 50,000 acre and 800 slaves.</p><br>
<p>Henry likely planned Middleton Place as a country residence more than as an active rice plantation. The original main house, completed around 1741, was three stories tall, built of brick in Jacobean-style. In 1755, Middleton added two two-storey free-standing wings, or "flankers", to the north and south ends of the house. The free-standing north wing contained a library and ballroom, while the south wing was used as a guest house.</p><br>
<p>Middleton began work on the plantations gardens in 1741. Determined to outshine his neighbors, who were laying out neat four-squared patterned parterres, Middleton employed an English gardener named Simms, of whom little is known. Rather than base his designs upon his own trip to England, Middleton and Simms derived their inspiration from the engraved plans in the popular garden book by Dezallier dArgenville, translated into English as The Theory and Practice of Gardening. Middleton and Simms extended a main axis centered on the main block of the house, expressed as a gravel carriageway leading through a greensward to the first of six shaped turf terraces with bowed centers. At the level of the river a pair of lakes (the "Butterfly Lakes") were excavated on either side of a turf causeway prolonging the axis. With the river beyond, the lakes were flanked by more water, a stream dammed to the right to form the long narrow Rice Mill Pond, and a levee extended to the left to enclose floodable rice fields.</p><br>
<p>After Mary Middletons death in 1761, Henry moved to a small house north of Charleston and gave Middleton Place to his son, Arthur. In 1776, at the outbreak of the American Revolution, Arthur signed the Declaration of Independence. Four years later, at the height of the war, the British landed several thousand troops at Charleston with plans to invade the southern colonies. In the ensuing Siege of Charleston, British troops ransacked Middleton Place, beheading many of the statues and looting the plantations artwork and furniture. Arthur Middleton was captured and imprisoned until 1781.</p><br>
<h3>Antebellum period</h3><br>
<p>Newly discovered records show that Middleton Place imported water buffalo from Constantinople in the late 18th century, the first in the United States. They were experimental draft animals, suited to the deep muck in which rice was grown. In the gardens, Arthurs son Henry Middletons friendship with French botanist André Michaux resulted in the first camellias grown in an American garden, a house gift during Michauxs visit in 1786. Three of the four planted at the corners of the main parterre survive, grown to fifteen feet: One is Camellia japonica "reine des fleurs&quot the other is an ancestor of the modern cultivar Charles Sprague Sargent. The second Henry Middleton expanded and enriched the gardens, introducing the gardens first Asiatic azalea (Rhododendron indica), and the crape myrtle ( Lagerstroemia indica), one of the oldest in America. He also filled greenhouses with exotics and imported plants and seeds to give antebellum Middleton Place something of the air of a botanical garden.</p><br>
<p>Upon Henry Middleton&#39;s death in 1846, Middleton Place passed to his son, Williams Middleton.</p><br>
<p>In 1860, Williams Middleton signed the South Carolina Ordinance of Secession, in which the state declared it was no longer part of the United States. South Carolina&#39;s actions led to the attack on Fort Sumter in April 1861, sparking the USA Civil War. In February 1865, near the end of the war, Union troops captured Middleton Place and burned the main house and north flanker, and part of the south flanker. The soldiers also killed and ate five of the water buffalo and stole six. These six later showed up in Central Park Zoo.</p><br>
<p>In 1868, Williams Middleton restored the roof to the south flanker at Middleton Place, and converted it to the main residence. He lacked the money for major restorations, however, and managed to obtain only limited success as a large-scale planter. After his death in 1883, Middleton Place passed to wife, Susan. Three years later, the Charleston earthquake toppled the walls of the main house and north flanker and further damaged the gardens. The gardens lay neglected for several decades afterwards.</p><br>
<h3>Restoration</h3><br>
<p>Williams Middletons daughter, Elizabeth, inherited Middleton Place in 1900, and made minor restorations. Upon her death in 1915, she left the plantation to her cousin, John Julius Pringle Smith (Smith was a great-great-great-grandson of Henry Middleton). Smith and his wife, Heningham, used Middleton Place as their winter residence. Determined to restore the gardens to their original splendor, the Smiths labored for several years, replanting and reworking the gardens. They opened the plantations gardens to the public in the late 1920s. In 1941, the Garden Club of America called the Middleton Place gardens "the most interesting and important garden in the United States".</p><br>
<p>In the 1930s, the Smiths began restoring the house and outbuildings at Middleton Place to their late 18th-century appearance. In 1971, the plantation was added to the National Register of Historic Places and designated a National Historic Landmark District. Shortly thereafter the Middleton Place Foundation was established, with Smith&#39;s grandson Charles Duell acting as its first president. In recent years, the Middleton Place Foundation has carried out extensive research to document the thousands of African-American slaves once owned by the Middleton family.</p><br>
<h2>Middleton Place today</h2><br>
<h3>Layout</h3><br>
<p>The original access to Middleton Place was a roadway that ran due east from Ashley River Road for approximately 1,000 ft before terminating in a large loop. The main residence (now consisting of only the south flanker) lay at the east end of the loop, the stables (now part of a demonstration area) were at the south end of the loop, and the family burial grounds and main garden area were at the north end. The terraced gardens and butterfly ponds lay east of the main residence. The original roadway, the main gate of the original residence, and the levee separating the two Butterfly Lakes were all situated on a continuous east-west axis.</p><br>
<p>The northwest section of Middleton consists of a densely forested woodland which gives way to a marsh at the riverbank. This natural area is separated from the north gardens by an 800 ft by 100 ft rectangular pool (known as the Reflection Pool) on the west side of the gardens and a smaller less-defined pool (known as the Azalea Pool) on the north side. The north gardens are laid out in grid-like fashion with each surrounded by hedges and separated by walkways. On the east side of the gardens is a "spoked wheel" formation roughly 100 ft in diameter. Perhaps the most notable feature of the gardens is the "Middleton Oak", or "Great Oak", a massive live oak tree with a trunk more than 10 ft in diameter.</p><br>
<p>The east gardens stretch eastward from the main residence for approximately 200 ft before descending in a series of terraces to the floodplain of the Ashley River. Two congruent ponds at the eastern base of the terraces resemble butterfly wings, and are thus known as the "Butterfly Lakes". Levees separate the ponds from the river to the north and from the mill pond to the south. A smaller 150 ft by 150 ft garden (subdivided into four still smaller gardens) lies between the north and east gardens.</p><br>
<p>The vast majority of Middleton&#39;s 6,000 acres is forest. In 2013, half of the property was dedicated to a carbon offset program, ensuring it will not be developed.</p><br>
<h3>Middleton Place House (south flanker)</h3><br>
<p>The Middleton Place House, formerly the south wing or south flanker, was built in 1755 by Henry Middleton (one stone of the house contains Middleton&#39;s initials and the year "1755"). The roof was added in 1868, after the original roof was destroyed when Union soldiers burned the property. The house is a two-story, 52 ft by 20 ft structure with a gabled roof and stepped and curvilinear gable ends. An 18 ft by 28 ft service wing was added to the south side of the house in the 1930s (the wing was built in the same 18th-century style as the house). The first floor of the house originally contained a parlor, living room, and dining room, while the second floor contained three bedrooms. The interior has been outfitted with original furniture.</p><br>
<h3>Notable outbuildings</h3><br>
<p>The Middle Place rice mill&mdash; located immediately east of the Butterfly Lakes, where a natural east-flowing stream empties into the Ashley River. Williams Middleton built the mill in 1851 as he began more intensive planting at Middleton Place. The mill has undergone several alterations in modern times.</p><br>
<p>The Middleton Place springhouse, located behind the south flanker, was built in the 18th century (springhouses were used for refrigeration). In 1850, the second story of the springhouse was converted into a chapel.</p><br>
<p>Elizas House is a freedmans residence built around 1870. The house is named after its last occupant, Eliza Leach (1891&ndash;1986).</p><br>
<p>The Stableyard is a demonstration area that includes a barnyard and stable, both built in the 1930s.</p><br>
<p>The Lexington Battle Green, also known as Lexington Common, is the historic town common of Lexington, Massachusetts, United States. It was at this site that the opening shots of the Battles of Lexington and Concord were fired on April 19, 1775, starting the American Revolutionary War. Now a public park, the common is a National Historic Landmark.</p><br>
<h2>History</h2><br>
<p>Unlike many other towns, Lexington did not set aside a separate common area when the town was laid out. In 1711, the townspeople raised funds by subscription, and purchased 1.5 acre of land as a militia training ground. This was enlarged by one more acre in 1722. The common is a triangular parcel of land, bounded by Massachusetts Avenue, Bedford Street, and Harrington Road, and is located just northwest of Lexingtons commercial center. The Buckman Tavern, one of the areas busiest local taverns, stands across Bedford Street; it is also a National Historic Landmark.</p><br>
<p>On April 19, 1775, local militiamen emerged from Buckman Tavern adjacent to the common and formed two rows on the common to face arriving British troops. The militiamen suffered the first casualties of the American Revolution.</p><br>
<h2>Description</h2><br>
<p>The battle green, now a public park, is a grassy expanse with a few mature trees. There are several memorials on the fringes of the common, the most iconic being the statue representing Captain John Parker, the leader of the Lexington militia, which stands at its eastern corner. It was erected in 1900 at the bequest of Francis Brown Hayes, and was sculpted by Massachusetts artist Henry Hudson Kitson.</p><br>
<p>A bronze plaque, placed in 1910 by the Daughters of the American Revolution, marks the original location of the Old Belfry. The Belfry was moved several times before being destroyed by a gale in 1909. It was rebuilt the following year and is now located on a hill just south of the park. Near the western corner of the park stands what is considered the oldest memorial to the Revolution: the Revolutionary War Monument, a granite obelisk erected in 1799. In 1835, the remains of seven of the eight militiamen killed in the battle were exhumed from the nearby Old Burying Ground and reburied within the monuments iron fence. The monument also marks the approximate western end of the Patriot line. The lines eastern end is marked with an inscribed boulder.</p><br>
<p>The battle green is one of only eight locations in the United States where the USA flag is specifically authorized by law to fly twenty-four hours a day, though the USA Flag Code (4 USAC. §4-10) allows for the flag to be displayed anywhere "24 hours a day if properly illuminated during the hours of darkness." The flag pole was dedicated in 1976 to commemorate the battle&#39;s bicentennial. The pole is a National Historic Landmark.</p><br>
<p>Inside the municipally-operated Lexington Visitors Center is a diorama depicting the Battle of Lexington.</p><br>
<p>Physical Education Building/La Crosse State Normal School was the original physical education building at the La Crosse Normal School, now the University of Wisconsin–La Crosse, in La Crosse, Wisconsin. The building was constructed in 1916 and was named Wittich Hall after one of the school&#39;s physical education professors, Walter J. Wittich.</p><br>
<p>It was designed by architects Parkinson & Dockendorff.</p><br>
<p>The Josiah Day House is a historic house museum at 70 Park Street in West Springfield, Massachusetts, United States. Built about 1754, it is believed to be the oldest known brick saltbox style house in the United States. It was listed on the National Register of Historic Places in 1975. It is owned by the local historical society, and is occasionally open for guided tours.</p><br>
<h2>Description</h2><br>
<p>The Josiah Day House stands on the north side of Park Street (United States Route 20), a busy parkway divided by the town common, not far from the Connecticut River. It is a -story brick building, set facing south toward the common. It has a side gable roof, which extends down to the first floor in the rear, giving the house its saltbox profile. A large chimney rises at the center of the house. The main facade is three bays wide, with the entry at the center. A single-story wood-frame ell extends to the rear of the house. The interior follows a typical Georgian central chimney plan, with parlors on either side of the chimney, and a large kitchen space behind it, with small chambers in the rear corners.</p><br>
<h2>History</h2><br>
<p>Josiah Day bought the land at the current site of the house in 1746. By 1754, the house had been built and became the home of Josiah and his family. The house was passed down from generation to generation until the last of the Day House residents, Lydia Day, died in 1902. At that time, the remaining Day family members sold the house to the Ramapogue Historical Society.</p><br>
<p>While the main part of the house has remained in its original state, an addition was added to the back of the house in 1812, to accommodate Aaron Day II, the grandson of Josiah, and son of Aaron I. Aaron II and his family moved in with his parents and utilized the new wing.</p><br>
<p>Once the house was purchased by the Ramapogue Historical Society in 1903, it was preserved in its original state. Tours of the house are held on special town days or holidays. All artifacts in the house are time period appropriate, and include original Day family items, such as the high boy, writing desk, and other furnishings.</p><br>
<p>The house was listed on the National Register of Historic Places in 1975. It is the oldest brick building in Hampden County.</p><br>
<p>Bailey Hall is the largest auditorium at Cornell University, an Ivy League university in Ithaca, New York. The auditorium seats 1,300 people, and it is named for Liberty Hyde Bailey, the first dean of what is now Cornell&#39;s College of Agriculture and Life Sciences.</p><br>
<h2>History</h2><br>
<h3>20th century</h3><br>
<p>Bailey Hall was constructed in 1912, according to the Greek Revival architecture design of Buffalo-based architect Edward Brodhead Green, an 1878 graduate of Cornell University. It is shaped as an amphitheatre, with a colonnaded portico wrapping around its south side, and monumental stairs leading up to 11-foot main doors.</p><br>
<p>It was built by New York state and initially intended for use by Cornell University agriculture students, but it also filled the need for a large auditorium that could be used by the entire university.</p><br>
<p>As originally configured, Bailey seated 1,948. It was described as having "acoustics by God, seats by Torquemada," a referce to its wooden seats and severely raked floor.</p><br>
<p>In 1984, Bailey Hall was added to the National Register of Historic Places.</p><br>
<h3>21st century</h3><br>
<p>In 2006, the building reopened after a major rehabilitation which brought it up to modern building codes and made it handicapped-accessible, albeit at the cost of several hundred seats of audience capacity.</p><br>
<p>The road and small parking lot immediately in front of Bailey were converted into a pedestrian plaza which was opened to the public in 2007. The flagstones of the plaza are hewn from bluestone, similar to the material used to construct the Stone Row on the Arts Quad. Some of the stones were thermally treated to alter their colors to achieve a cosmetic effect.</p><br>
<p>The benches ringing the plaza extend to 300 feet in length, each having been hewn from a single Oregon Douglas fir. A fountain carved from local stone into a natural, sloping shape invoking Ithaca&#39;s gorges is featured on the southern edge of the plaza.</p><br>
<p>Jack London State Historic Park, also known as Jack London Home and Ranch, is a California State Historic Park near Glen Ellen, California, United States, situated on the eastern slope of Sonoma Mountain. It includes the ruins of a house burned a few months before Jack London and family were to move in, a cottage in which they had lived, another house built later, and the graves of Jack London and his wife. The property is both a California Historical Landmark and a National Historic Landmark.</p><br>
<p>The Jack London home, called the Wolf House, is a sizable stone structure, which was destroyed by fire and whose ruins are visible within the state park property. The sloping terrain of the park has a considerable occurrence of Goulding clay loam soils, particularly in the lower reaches.</p><br>
<h2>History</h2><br>
<p>Jack London State Historic Park was occupied by a winery called Kohler & Frohling. Jack London purchased the property when it was abandoned in 1905 with hopes of becoming a rancher. He named it Beauty Ranch. While London was there, he expanded the small cottage to 3,000 square feet (279 square meters) and converted the stone house next to it into a study where London would write his works. Between 1909 and 1911, London bought more land to expand his ranch.</p><br>
<p>In 1910, he began work on his mansion on his ranch called the Wolf House. Jack and Charmian spent more than $80,000 in pre-World War I money on the house. It was to be 15,000 square feet (1,393 square meters), have custom made furniture and decorations, and feature a reflection pool stocked with mountain bass. On August 22, 1913, while the Londons were away from their ranch, they received word that their new mansion was on fire. By the time they got there the building was completely overtaken by the fire, and it was too late to save the house.</p><br>
<p>London was devastated after the fire burnt down the house that he never got to live in. This put London in debt and forced him to literally work to death, as he tried to earn enough money to run his ranch and have a good lifestyle.</p><br>
<p>On November 22, 1916, London died of a cause that is still disputed today. He wished to be cremated and have his ashes interred on the property. He also stated that he wanted to be buried near the pioneer children on a hill underneath a rock from the Wolf House, which was just down the road.</p><br>
<h3>After Jack London</h3><br>
<p>After Jack London died, his wife Charmian inherited the property. During that time she built a house on the land called the House of Happy Walls, which is a smaller version of the Wolf House. Charmian lived there until her death in 1955. Jacks half-sister Eliza Shepard superintended Beauty Ranch until her own death in 1939; her grandson Milo Shepard later inherited the same role. Charmian died in 1955 and, by 1959, the land and its structures were given to the state of California with the help of Elizas son Irving Shepard and his wife Mildred. The next year, 1960, the property was declared a California Historical Landmark and a National Historic Landmark in 1962.</p><br>
<p>Today, more than 800 acres of London&#39;s Beauty Ranch have been preserved. The site is owned by the California State Parks system, and operated by Valley of the Moon Natural History Assn. DBA Jack London Park Partners</p><br>
<p>The park has been entrusted to the Valley of the Moon Natural History Association (VMNHA) due to the statewide budget problems experienced in 2012. The California State Park system is breaking new ground by allowing private non-profit groups to operate State Parks slated for closure.</p><br>
<p>The Winery ruins next to the cottage were host to the Transcendence Theatre Company&#39;s benefit performance on Saturday, October 1, 2011, for the VMNHA. The Theatre Company planned to partner with the VMNHA to produce a concert series in summer of 2012 which would also benefit the Annadel, Sugarloaf Ridge, and Jack London State Parks.</p><br>
<h2>Park features</h2><br>
<h3>Winery Cottage</h3><br>
<p>The Winery Cottage was the main living quarters throughout London&#39;s time on the ranch, and the location where many of his visitors stayed. London bought it in 1911 and expanded it later that year. London further expanded by adding a west wing to the cottage, which served as a study where he wrote many of his stories. London died in this cottage, on the sunporch, on November 22, 1916.</p><br>
<h3>House of Happy Walls</h3><br>
<p>Charmian London constructed The House of Happy Walls in 1919, in memory of Jack. It is a smaller and a more formal version of the Wolf House, and much of its furniture was originally intended for use in the Wolf House. Charmian lived in The House of Happy Walls until her death in 1955. In her will, written in 1938, she asked that the various properties of Beauty Ranch become a museum open to the public but was especially concerned about the House of Happy Walls: "In case of my death, it is my wish that my home, House of Happy Walls is not to be lived in by anyone except a caretaker. This building & its arrangements are peculiarly an expression of myself and its ultimate purpose is that of a museum to Jack London & myself. It can be used for the purpose of revenue." Today the building serves as the visitor center and a museum for Jack London State Historic Park.</p><br>
<h3>Wolf House</h3><br>
<p>The Wolf House is an unfinished property that was intended to be the main residence of the Londons. Construction on the 15,000 square foot (1,393 square meters) house began in 1910. Its design included only materials native to the area, a reflection pool stocked with mountain bass, and custom made furniture. The house was nearly complete in 1913, but before the Londons got to move in, the house burnt down on August 22 of that year. The ruins still stand today. Losses were estimated at $35,000 to $40,000 but the Londons collected only $10,000 in insurance claims. They pledged to rebuild the house and workers began drying redwood logs in preparation. Jack was in poor health, however, and he died in 1916 before the wood was ready. Construction halted with his death.</p><br>
<h3>Jack and Charmian London&#39;s grave</h3><br>
<p>Jack and Charmian London are both buried on the property not far from the Wolf House. After his earlier funeral in Oakland, Jacks ashes were spread at sunset on November 26, 1916, at this small knoll overlooking the Valley of the Moon. Charmian, Jacks sister Eliza, and a few workers were the only people in attendance. In accordance with his wishes, his ashes were laid next to some pioneer children, under a rock that belonged to the Wolf House. After Charmian&#39;s death in 1955, she was also cremated and then buried with her husband in the same simple spot that her husband chose.</p><br>
<p>Mount Morris Park Historic District is a 16-block historic district in west central Harlem, Manhattan, New York City. It was designated by the New York City Landmarks Preservation Commission in 1971, and is part of the larger Mount Morris Park neighborhood. The boundaries are West 118th and West 124th Streets, Fifth Avenue, and Adam Clayton Powell Jr. Boulevard .</p><br>
<p>"Doctors Row" comprises the nearby stretch of West 122nd Street, Mount Morris Park West and Malcolm X Boulevard; one of the doctors of "Doctors Row" was the father of the composer Richard Rodgers. Mount Morris Square, the core of the district, is now called Marcus Garvey Park.</p><br>
<h2>Early history</h2><br>
<p>Before the European settlements, the rocky hill of Manhattan mica-schist was used by the Native Americans as a lookout station to see over the entire island. During the American Revolutionary War, Hessian soldiers "mounted a battery" at the hill "to command the mouth of the Harlem River".</p><br>
<p>Despite the 18th-century local prominence of the Gouverneur Morris family, the name "Mount Morris" for the rocky formation, one of two the Dutch called the Ronde Gerbergte is of 19th-century origin. Little Hill was leveled when the right-of-way was graded for the New York and Harlem Railroad, following the present route of Park Avenue.</p><br>
<p>On September 4, 1839, a 20 acre residential square was set aside. The square was relocated from the Commissioners&#39; Plan of 1811, which had planned for a square in the neighborhood, in order to take advantage of the rugged topography that stood squarely in the path of Fifth Avenue. "Mount Morris Square" was officially opened December 1, 1840, but was originally unimproved until 1869, when it was landscaped to a plan by the City surveyor Ignaz Pilat.</p><br>
<p>Late 19th- and early 20th-century residential row houses and church architecture fill Mount Morris Park Historic District. There are several unaltered streetscapes. Romanesque Revival, neo-Grec, Queen Anne, and 1893&#39;s World Columbian Exposition in Chicago were among the influences that created the eclectic style from the Gilded Age.</p><br>
<h2>Community</h2><br>
<p>In the 1930s, New York City Parks Commissionmer Robert Moses installed playgrounds and a pool. The Boys Choir of Harlem was established in the neighborhood in 1968.</p><br>
<p>In 1973, the name of the land was changed to Marcus Garvey Park. This was in honor of the international Pan-African movement leader. In 1973, a part of the current district was listed on the National Register of Historic Places.</p><br>
<p>In 1981, the Mount Morris Park Community Association (MMPCIA) was created. The organization promotes the preservation of buildings such as Apollo Theatre, National Black Theatre. It has also supported the Schomburg Center for Research in Black Culture and the Studio Museum in Harlem. The MMPCIA sponsored annual Historic Neighborhood House Tours, held on the second week of June.</p><br>
<p>The association features historic brownstones and landmark buildings open for the public to view. In 1996, the boundaries of Mount Morris Park District were expanded. They were pushed west to include blocks between Lenox Avenue and Seventh Avenue, and south to include some of West 118th Street. An extension is contemplated to reflect the area on National Register of Historic Places.</p><br>
<p>The Belmont County Courthouse is located at 101 West Main Street in St. Clairsville, Ohio, United States. It sits on the highest point in the St. Clairsville area and is thus visible from Interstate 70 and many other points in the Ohio Valley. It is a contributing property in the St. Clairsville Historic District, which was added to the National Register of Historic Places in 1969.</p><br>
<h2>History</h2><br>
<p>Belmont County was created in 1801, and organized in 1815. The county seat was Pultney, now called Shadyside. This courthouse was a simple two-story brick building, and was only used for a few years until the county seat was removed to the more central St. Clairsville.</p><br>
<p>St. Clairsville was a developing community along the National Road and the courthouse was planned along this road. The courthouse constructed in 1805 was a log structure standing two stories high. It cost the county just over $1,000. When this building was destroyed, a new courthouse rose from its site. This new building was made of brick in the popular Federal style in 1815. The new courthouse stood two stories high and had long rectangular windows lining the facade. A cupola rose from the pitched roof. This courthouse served the county until 1885.</p><br>
<p>The new courthouse built between 1885 and 1888 was designed by noted Ohio (and later New York) architect, Joseph W. Yost, who also designed the similar Miami County Courthouse built at the same time in Troy as well as six other Ohio courthouses. The three-floor Second Empire building hosts many county functions. It contains three courtrooms, the county commission meeting room, and offices for county officials.</p><br>
<h2>Exterior</h2><br>
<h3>The courthouse</h3><br>
<p>The three-story building is constructed of rusticated sandstone blocks with high arched windows. The building is rectangular with a central projection housing the entrance. The stairs once led to the main entrance, but due to security measures the building is now entered through a tunnel under the stairs. Above the stairs is a false balcony supported by Corinthian columns. A pair of arched windows are flanked by a set of Corinthian pilasters supporting a pediment and a frieze bearing the year "1886" in the center with a fanlight above. The central projection is topped with a pediment with a circle light framed by a carved wreath of flags. Standing guard over the entrance is a statue of Justice.</p><br>
<p>The rest of the facade on either side of the central projection is symmetrical, with three arched windows on each floor and out-thrust corners. The corner projections contain a single arched window with Doric pilasters on the second floor and Corinthian pilasters on the third. The corners are topped by a pediment with a tower which contains Doric pilasters and arched pediments. The top of each tower is crowned with an urn.</p><br>
<p>A central tower housing a clock tower and dome rises from the mansard roof. The tower contains high arched windows, Corinthian pilasters, and a small lantern. A steel bell weighing 3,800 pounds once hung from the tower but was taken down during restoration and now rests in front of the courthouse. It rang continuously for an hour in 1945 to celebrate the end of World War II.</p><br>
<h3>Grounds</h3><br>
<p>A memorial stands to the right of the building in honor of the veterans who served in various wars. The courthouse tower bell sits in the northern courtyard and the bicentennial bell sits in the southern courtyard. A brick building to the right used to house local government, but now houses one of many sheriffs posts. The southern portion of the lot consists of a series of stairs with the main landing the site of the local farmers market in the summer and the public Christmas tree in the winter.</p><br>
<h2>Interior</h2><br>
<p>The interior first floor corridors are lined in tile mosaic forming geometric shapes. The courtrooms and county offices have been refitted with modern conveniences, like an elevator, central air and heating, as well as weather-proof windows. A new metal detector purchased on a state grant protects the many county employees within.</p><br>
<p>The second floor used to be the main floor and shows evidence of this past. In the atrium is an information desk, staffed during business hours. The deed office is located down the hall.</p><br>
<p>The third floor contains the since covered dome, now illuminated by surrounding lights. This floor also houses the courtrooms. When the courthouse first opened there were three courtrooms, but the third has since been converted into the county law library.</p><br>
<p>An attic above cannot be easily accessed and houses the old bell tower and the protruding hump of the dome. The attic has since been turned into file storage for the expanding court records.</p><br>
<h2>Courthouse annexes</h2><br>
<p>There are three courthouse annexes:</p><br>
<p>St. Clairsville: 147 West Main Street in St. Clairsville, west of the main complex. This building houses the offices of the prosecuting attorney and the Western Division County Court.</p><br>
<p>Bellaire: 400 West 26th Street, Suite 100. This building houses the Eastern and Northern Division County Court.</p><br>
<p>The Victory Theatre is a 1,950-seat venue in Evansville, Indiana. It is home to the Evansville Philharmonic Orchestra and also hosts local ballet and modern dance companies, theatre companies, and touring productions.</p><br>
<p>Opened on June 16, 1921 and originally seating 2,500 patrons, the theater was part of the Sonntag Hotel – Victory Theater complex that was organized by Marcus Sonntag and associates who were stockholders in the American Trust and Savings Bank across Sixth Street from the theater. Along with Frederick H. Gruneberg, St., President of the Consolidated Theaters Corporation, Sonntag and his associates contracted with Hoffman Construction Company to build the theater. It was air conditioned with commercial ice.</p><br>
<p>The Victory featured a daily program of four vaudeville acts, a movie, a comedy routine, organ music and a ten-piece orchestra. In 1926 the Victory was leased to Loews Theatres as a movie chain and was renamed Loews Victory. In 1928 Loews featured Evansvilles first "talking picture," an epic titled "Tenderloin." Later that year, "The Jazz Singer," featuring Al Jolson, became the first stand-alone talkie shown in the city. The Loewss Victory Theatre closed in 1971. As the independent Victory Theatre it was divided into a triplex, but was closed in 1979. The theater was restored to its former glory and reopened in 1998 after a $15 million renovation.</p><br>
<p>The Victory was designed by architect John Pridmore of Chicago. The exterior is in the restrained style characteristic of commercial buildings of the era, but the auditorium is more ornate. The stage, 68 ft wide and 82 ft deep, was at the time it was built one of the largest in the Midwest. In 1982 it was added to the National Register of Historic Places.</p><br>
<p>It is owned by the City of Evansville and is co-managed with The Ford Center by VenuWorks.</p><br>
<p>The Tate House is a historic property east of Tate, Georgia on Georgia State Route 53. Colonel Samuel Tate began construction in 1921 and the mansion was completed in 1926. Designed by Walker and Weeks, architects in the Neo-Classical style, the home is made of pink and white marble  supplied by Tate&#39;s Georgia Marble Company, and sometimes called the "Pink Palace" or "Pink Marble Mansion". Tate was president of the marble company.</p><br>
<p>In 1938 Colonel Sam Tate died and the mansion began to fall into disrepair. The surviving Tates (Luke & Flora) resided in the mansion until 1955 when they left the home unoccupied.</p><br>
<p>The Tate House is two stories, rectangular, with a hipped roof, two interior chimneys, and a pedimented tetrastyle front entrance portico. At the rear is a slightly projecting pedimented section with a one-story portico. The interior features excellent mural wallpaper and parquet marble floors.</p><br>
<p>In 1974, Mrs. Ann Shattuck of Bisbee, AZ and her husband at the time, Mr. Columbus J. Southerland, bought the house; it was added to the National Register of Historic Placeson May 17, 1974. Ann & Columbus then divorced and she later married Joseph P. Laird in 1981, who completed some of the restorations himself, including the beautifully built sand filled bar in the pub. The restoration project was completed 10 years after the initial purchase by Ann, and it was opened to the public in 1985.</p><br>
<p>In January 2001, the estate was purchased by Holbrook Properties, LP. Lois Holbrook and Marsha Mann plan to continue the restoration of the mansion and gardens.</p><br>
<p>It is a contributing building in the Georgia Marble Company and Tate Historic District.</p><br>
<p>The Cathedral Basilica of Saint Peter in Chains is a Catholic cathedral of the Latin Church in the Archdiocese of Cincinnati. The basilica is a Greek revival structure located at 8th and Plum streets in downtown Cincinnati, Ohio in the United States. It is dedicated to Saint Peter&#39;s imprisonment and liberation.</p><br>
<p>The church&#39;s cornerstone was laid on May 20, 1841, under the direction of then-bishop&mdash;later archbishop&mdash;John Baptist Purcell, and the church was formally dedicated on November 2, 1845, as the first large church west of the Allegheny Mountains. On June 29, 2020, Pope Francis conferred the title of minor basilica on St. Peter in Chains.</p><br>
<h2>Architecture</h2><br>
<p>St. Peter in Chains striking single spire, made of pure white limestone, rises 224 ft above street level, which made the church the tallest man-made structure in the city for many decades. The columns are 33 ft high, symbolizing the number of years in Jesus life.</p><br>
<p>The interior of St. Peter in Chains is distinctly unique among Roman Catholic cathedrals in America, with its Greek-themed mosaics depicting the Stations of the Cross, its ornate Corinthian columns and its massive bronze doors. The crucifix is by Benvenuto Cellini, the murals by Carl Zimmerman and the mosaic in the apse is the work of Anton Wendling.</p><br>
<h2>History</h2><br>
<p>The first Catholic church in Cincinnati was Christ Church, originally located at Liberty and Vine streets, then later at 6th and Sycamore streets, at what is now the site of St. Francis Xavier Church. Christ Church served as the young dioceses de facto cathedral until the first St. Peters Cathedral was built on the site. St. Peter&#39;s was dedicated on December 17, 1826, becoming the seat of the diocese.</p><br>
<p>The second and current St. Peter&#39;s Cathedral was dedicated in 1845. The large stone angels that flanked the main altar were created by Odoardo Fantacchiotti in the late 1840s. They were among the first European sculptures to come to Cincinnati and now grace the Cincinnati Art Museum.</p><br>
<p>By the 1930s, St. Peter in Chains had become dilapidated, its signature white limestone covered in soot. In 1938, Archbishop John T. McNicholas moved the archdiocesan seat from St. Peter in Chains to the more modern St. Monicas in the Clifton Heights neighborhood north of downtown. St. Peter in Chains deteriorated further as an ordinary parish church. In the mid-1950s, under Archbishop Karl Joseph Alters urban-renewal program and in accordance with the city&#39;s master plan, St. Peter in Chains underwent significant restoration and expansion. Architect Edward J. Schulte designed new transepts, a rectory, a sacristy, and archdiocesan offices. The church was re-dedicated as a cathedral on November 3, 1957, amid celebration and fanfare.</p><br>
<p>In 1977, the cathedral hosted a visit from Polish Archbishop Karol Wojtyla, who the following year became Pope John Paul II. To date, more than two dozen Roman Catholic bishops have been consecrated within its walls, and the cathedral is a popular venue for weddings, as well as the annual ordination of the archdiocese&#39;s priests and deacons.</p><br>
<p>Imbrie Farm is an Italian Villa style home in Hillsboro, Oregon. It was built by Robert Imbrie and was a working farm for over a century. It was added to the National Register of Historic Places in 1977.</p><br>
<p>Located just south of USA Route 26 on Cornelius Pass Road, the estate, as of late 1970s is home to a McMenamins brewpub, the Cornelius Pass Roadhouse. Original structures on the farm include the home, a unique eight-sided barn, and a shed.</p><br>
<h2>Currently</h2><br>
<p>The old farmstead is a brewpub operated by Portland, Oregon based McMenamins. The property contains English chestnut and black walnut trees that have been there for more than 130 years.</p><br>
<h2>History</h2><br>
<p>The Imbrie family arrived in the mid-1840s as part of Oregons first flood of white settlers. The Imbries came to Oregon from the Midwest, but the familys patriarch, James Imbrie, Jr., was born and raised in the Kingdom of Fife on the southeast coast of Scotland.</p><br>
<p>James sons, James III and Robert, each developed farms in Washington County. James area was in North Plains, while brother Robert took over and expanded a neighboring farm (Lenox Farm), where the current buildings are located. Robert immigrated to Oregon via ship around Cape Horn.</p><br>
<p>Robert built a granary in the mid-1850s, then a decade later built the three-story, Italian Villa-style home that still stands today. It took three years beginning in 1866 to complete construction on the home, which they named the Gables. At this point, the family included 12 children and Roberts mother. During this time the family raised Morgans as draft animals to sell to other farmers. Once Roberts son Frank (d. 1945) took over, he turned the farm into a dairy and added the unique eight sided barn around 1900.</p><br>
<p>Later generations of the family lived in the home, adding electricity and indoor plumbing in the 1930s. James Hay, Frank&#39;s son, transitioned the farm into grain and hay production, including barley that was used in Blitz-Weinhard beer in the mid-1900s.</p><br>
<p>By the 1970s the family had stopped the agrarian activities, and in 1977 Gary (James, Jr.&#39;s great great grandson) opened the Imbrie Farmstead Restaurant at the old home.</p><br>
<p>In 1984 the property was purchased by Donald and Billie Jean Herman who continued to operate the restaurant until they leased the operations to McMenamins.</p><br>
<p>In 1986 current owner McMenamins took over operations (eventually purchasing and restoring the buildings) and turned the property into the Cornelius Pass Roadhouse, a brewpub. McMenamins&#39;s Cornelius Pass Roadhouse is located at 4045 NW Cornelius Pass Rd in Hillsboro, OR 97124. The property features a brewery, distillery, outdoor meadows and groves, the historic Octagonal Barn, Imbrie Hall, and the 1866 Italianate Roadhouse. The Roadhouse features original artwork and Victorian-era furnishings, and is often used for large special events.</p><br>
<h2>Key dates</h2><br>
<p>1843: 18-year-old Edward Henry Lenox (from Kentucky) travels over the Oregon Trail and stakes a claim to the present farm site.</p><br>
<p>1850-59: Robert Imbrie acquires the Lenox farm and builds the current granary.</p><br>
<p>1863-66: Robert has the three-story, gabled farm home built.</p><br>
<p>1897: Robert dies.</p><br>
<p>1933: Imbries begin selling barley to Blitz-Weinhard.</p><br>
<p>1945: Frank Imbrie dies.</p><br>
<p>1962: James Hay Imbrie shuts down the family&#39;s centennial farm.</p><br>
<p>1968: James Hay dies.</p><br>
<p>1969: James Hay&#39;s son, Frank, moves his family onto the old homestead. His children are the sixth and final generation of Imbries to live there.</p><br>
<p>The Old Lyford High School is a historic school building in Lyford, Texas. Built in 1923 as the first high school in Willacy County it was designed by the architectural firm Smith & Kelly. It was added to the National Register of Historic Places and designated a Recorded Texas Historic Landmark in 1985.</p><br>
<h2>History</h2><br>
<p>On 22 June 1922 the bond issue to build a new high school held by the Lyford Board of Trustees passed by a landslide of 64 to 4. The design by Smith & Kelly of San Antonio" (or Galveston) was approved by the board on 6 January 1923 and a contract for construction of the new school was awarded to Roland Moore of Donna, Texas on 1 April 1923 for. Formal opening ceremonies were held 29 February 1924 presided over by the Raymondville lodge of Masons. Students came from Lyford and the surrounding communities including, Sebastian, Turner Tract and Stockholm. They were transported by trucks as these were the only vehicles that could traverse the rough dirt roads at the time. The school auditorium hosted all high school graduations from 1924 to 1958 when a new high school was built. With the completion of the new high school Old Lyford High School became Lyford Junior High until 1983 when another new school was built. An Official Texas Historical Marker signifies the school&#39;s designation as a Recorded Texas Historic Landmark.</p><br>
<h2>Building</h2><br>
<p>The one story building is constructed of tawny brick with cast stone trim and has a T-plan shape. Located just to the west of the city reservoir on flat land, landscaped with palm and elm trees the school faces south. The facade is approximately 129 ft while the north wing extends 131 ft. In the original plan five classrooms filled the head of the T while the auditorium was in the north wing. The entry is the centerpiece of a five part composition. The only ornamentation is on this elevation and includes cast stone details around and above a recessed entrance. A pedimented cornice above the door has an entablature carved to read "Lyford High School". The flanking inner bays have three windows each with 2 over 3 double hung sash. The end bays project as does the entry bay, the former with five windows in the same 2 over 3 pattern. A massive cast stone lintel spans the windows of each outer bay.</p><br>
<p>The classroom block (the head of the T) is identical on the east and west elevations. Each has a central set of doorways framed with monumental brick and a window bay with five windows to north of the doors. The rear wing is less ornamented having three doors and five windows on each side.</p><br>
<h2>Interior and Changes</h2><br>
<p>The interior has sustained some water damage but retains much of the original plan and details. The classroom block has a central hallway terminating in the doors on the east and west sides. Doorways with transom windows lead to the classrooms on either side as do ventilation windows. This hallway is lined with student lockers. The buildings wooden windows were replaced in 1949 with steel frame windows that duplicated the original design. The auditorium originally occupied the north wing which was remodeled in 1958 to accommodate an additional five classrooms and a teachers lounge. Metal canopies have been added to the sides of the north wing which did not remove any substantial building fabric.</p><br>
<p>Old Lyford High School 2.JPG</p><br>
<p>Old Lyford High School 3.JPG</p><br>
<p>The Marquette Building, completed in 1895, is a Chicago landmark that was built by the George A. Fuller Company and designed by architects Holabird & Roche. The building is currently owned by the John D. and Catherine T. MacArthur Foundation. It is located in the community area known as the "Loop" in Cook County, Illinois, United States.</p><br>
<p>The building was one of the early steel frame skyscrapers of its day, and is considered one of the best examples of the Chicago School of architecture. The building originally had a reddish, terra cotta exterior that, prior to restoration, was somewhat blackened due to decades of Loop soot. It is noted both for its then cutting edge frame and its ornate interior.</p><br>
<p>Since construction, the building has received numerous awards and honors. It was designated a Chicago Landmark on June 9, 1975, and is considered an architectural masterpiece. It was added to the National Register of Historic Places on August 17, 1973, and named a National Historic Landmark on January 7, 1976. The building&#39;s preservation has been a major focus of the Landmarks Preservation Council of Illinois. The John D. and Catherine T. MacArthur Foundation completed an extensive four-year restoration in 2006.</p><br>
<h2>History</h2><br>
<p>The building was named after Father Jacques Marquette, the first European settler in Chicago, who explored the Chicago region in 1674 and wintered in the area for the 1674-5 winter season. It was designed by William Holabird and Martin Roche, with Coydon T. Purdy, architects of the firm Holabird & Roche.</p><br>
<p>In the 1930s, the building was the downtown headquarters for over 30 railroad companies. The building has been in continuous use as an office building since its construction.</p><br>
<p>In 1977, Banker&#39;s Life and Casualty Company, owned by John D. MacArthur, acquired the Marquette Building. After his death in 1978, the building became the headquarters for the MacArthur Foundation, which bears his name.</p><br>
<p>The lobby of the Marquette Building connects with the D.H. Burnham & Company–designed The National to the west, providing a pedway from Dearborn to Clark. After the September 11, 2001 attacks, many downtown buildings closed to the public, which eliminated warm, dry, indoor walking routes providing shortcuts through full city blocks, but the Marquette Building did not.</p><br>
<h2>Architecture</h2><br>
<p>The building features several distinct elements that have earned it honors as a Chicago Landmark, a National Historic Landmark, and a National Register Historic Place. It is considered an exemplary model of the Chicago School of Architecture. These are large panes of glass flanked by narrow sash windows. The grid-like window frames and spandrels are facilitated by the steel structure which enables non-load-bearing masonry walls. The Marquette is 16 stories tall. This was one of the first steel framed skyscrapers. Wave-like moldings decorate the façade, which is made of horizontally banded brown terra cotta. The building is constructed around a central light court and features an ornate, two-story lobby.</p><br>
<p>The ensemble of mosaics, sculptures, and bronze of the Marquette Building entry and interior honors Jacques Marquettes 1674-5 expedition. Four bas relief panels over the main entrance by sculptor Hermon Atkins MacNeil show different scenes from Marquettes trip through the Great Lakes region, ending with one depicting his burial. The revolving door panels feature carvings of panther&#39;s heads. The hexagonal railing around the lobby atrium is decorated with a mosaic frieze by the Tiffany studio depicting events in the life of Jacques Marquette, his exploration of Illinois, and Native Americans he met. The mosaics are by Louis Comfort Tiffany and his chief designer and art director, Jacob Adolph Holzer; they contain panels of lustered Tiffany glass, mother-of-pearl, and semi-precious stones.</p><br>
<h2>Restoration</h2><br>
<p>The preservation of this building was championed by the Landmarks Preservation Council of Illinois. In 2001, the John D. and Catherine T. MacArthur Foundation, its current owners, began a multi-year renovation. The restoration to the exterior proceeded in two phases: reconstructing the cornice and replacing the 17th story windows to match the original windows; and cleaning and restoring the masonry and restoring the remainder of the windows. Restoration architect Thomas "Gunny" Harboe directed this work.</p><br>
<p>On September 12, 2006, The Commission on Chicago Landmarks honored 21 landmark buildings, homeowners, and businesses with the Chicago Landmark Award for Preservation Excellence at the eighth-annual Landmarks ceremony. The award recognizes work involving notable improvements to individual Chicago landmarks or to buildings within Chicago Landmark Districts.</p><br>
<p>On October 16, 2007, the Foundation opened a new interactive audio visual exhibit on the first floor, detailing the history of the building and its contribution to Chicago architecture. The free exhibit, which is open to the public, will run indefinitely.</p><br>
<p>Beauregard Town, also known as Beauregard Town Historic District, is a historic district in downtown Baton Rouge, Louisiana, anchored by Government Street. It was commissioned in 1806 by Elias Beauregard, and was listed on the National Register of Historic Places in 1980. It is the second-oldest neighborhood in Baton Rouge .</p><br>
<p>Beauregard Town is the area bounded by North Boulevard, South Boulevard, East Boulevard, and on the west by Saint Louis Street. Government Street (or the "Grand Rue" as Beauregard wanted it) runs through the middle of Beauregard Town, with four streets &mdash; Beauregard, Grandpre, Penalvert, and Somerulos &mdash; approaching it on diagonal angles in the form of an "X", typical of the European manner of town design at the time. Its boundaries were increased twice in 1983, and once more in 2000.</p><br>
<p>Those streets are named for Beauregard himself, for Don Carlos Louis Boucher de Grand Pré (the Spanish administrator in 1806), for Roman Catholic Bishop Luis de Penalver (the bishop in 1806), and for the Marquis de Someruelos, Captain General of Cuba. Beauregard named other streets after rulers: Philip, Louis, Ferdinand, Charles, Napoleon, and Maximilian (several of these namesakes became saints through later translation error). Other streets Beauregard named after countries and continents: Spain, France, America, and Europe.</p><br>
<p>Historic homes in Beauregard Town include the Governor Henry L. Fuqua House (circa 1834) and the Williams House (circa 1890), both on Napoleon Street, as well as the Judge Robert D. Beale House (circa 1840) on the corner of St. Louis and Government streets. It includes the Old Louisiana Governor&#39;s Mansion, separately listed on the National Register.</p><br>
<p>The first 1983 increase added the privately owned Levy Hay Warehouse, built in 1920, on Front Street. The second 1983 increase added the state-owned Armour Building, built in 1929, on Mayflower Street. The 2000 increase added state-owned houses of Bungalow/Craftsman and Queen Anne architecture.</p><br>
<p>The United States Coast Guard Yard or just Coast Guard Yard is a United States Coast Guard operated shipyard located on Curtis Bay in northern Anne Arundel County, Maryland, just south of the Baltimore city limits. It is the Department of Homeland Securitys largest industrial facility. It is a division of the Coast Guards Surface Forces Logistics Center command. It is the Coast Guards sole shipbuilding and major repair facility, and part of the Coast Guards core industrial base and fleet support operations. Engineering, logistics, and maintenance responsibilities and complete life-cycle support; installation, operations, maintenance and ultimately replacement. Its annual budget is $100 million.</p><br>
<h2>History</h2><br>
<h3>1899–1909</h3><br>
<p>Since 1899, the United States Coast Guard Yard has built, repaired and renovated ships for the USA Coast Guard. It is the service&#39;s sole shipbuilding and major repair facility. The Coast Guard Yard was established on the shores of Arundel Cove off of Curtis Creek and Curtis Bay in south Baltimore, Maryland and neighboring northern Anne Arundel County. In April, 1899, the former United States Revenue Cutter Service (RCS) leased 36 acre of farmland surrounding Arundel Cove. Two months later, Lieutenant John C. Moore, USRCS, arrived aboard the side-wheeler steamboat to begin establishing a shipyard. Lieutenant Moore set up four small buildings including a lumber mill. The following year saw the arrival of the, a training ship for the USRCS. The crew set up permanent quarters, marking also the beginning of the United States Coast Guard Academy. Five years later, in 1905, the United States Congress authorized the purchase of the land on which the depot sat and with additional surrounding properties ending the previous leasing arrangements. Throughout its first decade, the depot repaired many lifesaving boats, constructed a variety of small boats, conducted overhauls and painted USRCS cutters.</p><br>
<h3>1909–1919</h3><br>
<p>The depot&#39;s facilities were consistently improved during the 1910s. New construction included a boiler and pump house, a foundry, boat, sheetmetal, electrical, paint, upholstery and blacksmith shops, new mess halls, barracks, garages, recreation building and storage structures. In 1915, when the Revenue Cutter Service and Lifesaving Service combined to form the U. S. Coast Guard, the depot was selected as the site to train surfmen in the care and operation of gasoline engines. The engine school was housed in a shed along the west depot boundary.</p><br>
<h3>1919–1929</h3><br>
<p>During the 1920s, production of boats, canvas work and numerous other articles for the needs of the service were stepped up. Extensive overhauls and repairs were performed on the then-modern vessels, and many 100, 125 patrol boats and tugs. The 500 workers of the depot included civilian employees along with enlisted men. In 1928, there were 245 wage board and 2 classified employees on the civilian payrolls while the military complement was 250. The work load was flexible, increasing considerably in the summer months and decreasing in the winter months.</p><br>
<h3>1929–1939</h3><br>
<p>By the 1930s, many of the original buildings and equipment at the depot had become outdated. New boat, gas engine and machine shops were built and a 40-ton marine railway was installed. With the transfer of the United States Lighthouse Service of the Department of Commerce to the Coast Guard in 1939, buoy construction became another major depot function.</p><br>
<h3>1939–1949</h3><br>
<p>With the onset of World War II, the depot underwent extensive expansion. Improvements included a 3000-ton floating drydock, two shipways and a 320 x 60 concrete pier with tower crane. The depot, now comparable in size and functions to a medium-size navy shipyard, was officially designated the USA Coast Guard Yard. Work involved repair of vessels including submarines, buoy manufacturing, production of canvas work for the Coast Guard and building over 300 small wooden boats annually. Additional work included the construction of the largest cutters ever built at the yard – the 255 cutters and. The yard employed 3100 civilian workers during World War II. Besides the assigned military complement, the Coast Guards wartime training station or boot camp added to the number of personnel at the yard.</p><br>
<h3>1949–1959</h3><br>
<p>As the yard reduced its work force to fit the services post war needs, vessel overhaul, gun repair work, buoy construction and miscellaneous manufacturing made up much of the yards work load. The 1950s saw the construction of three hundred 40 steel lifesaving patrol boats, the Coast Guard lightships San Francisco and Ambrose and small craft like the 368" motor lifeboats. In February, 1953, the first of the 95 steel patrol boats was launched at the yard. In total, fifty-eight 95-footers were built for the Coast Guard and the Navy throughout the 1950s and early-1960s. The yard continued to overhaul aging Coast Guard and Navy ships. Such cutters were Chilula, Avoyel, Dexter, and Commanche. In March, 1958, the Coast Guard Cutter Azalea, a 100 buoy tender, was launched at the yard.</p><br>
<h3>1959–1969</h3><br>
<p>The first of 53 cutters built at the yard under the 82 patrol boat program was launched in February, 1960. During the Vietnam War, 26 of the yard-built 82-footers served with Coast Guard Squadron One as a part of the Navys Operation Market Time. In April, 1962, the prototype of the 44 steel self-righting motor lifeboats (MLB) was launched. One of these was later built for the Royal National Lifeboat Institution in the United Kingdom as the prototype for their. During the next 10 years, the yard built 110 44 MLBs. In May, 1965, the yard sent its first 210 USCG Medium Endurance Cutter down the shipways. The 210 cutters, and were also constructed at the yard. During the 1960s and into the early-1970s, the yard constructed five 157 buoy tenders – Red Wood, Red Beech, Red Birch, Red Cedar and Red Oak. Construction began on the Red Cedar in July, 1969. Small boat construction during the 60s, included 206 25&#39;8" fiberglass motor surfboats.</p><br>
<h3>1969–1979</h3><br>
<p>The 1970s engaged the yard in a flurry of activity. The trades continued the manufacturing of the Coast Guards lighted buoys, a program which began at the yard during the Second World War. Constructed in an assembly-line mode, lighted reflector buoys – large, steel buoys used for around-the-clock aids-to-navigation and lighted ice buoys used for heavy ice conditions were manufactured at the yard. Begun in 1975, the yard became the sole source for overhaul of the Coast Guards 5" 38 caliber gun mount. The 5" gun mounts were used on the services 378 cutters. In 1971, the yard completed construction of a prototype 41 utility boat (UTB) which had an aluminum hull and fiberglass superstructure. The yard-built boat was adopted and from 1973 through the early-1980s, the yard constructed 207 41 UTBs. The craft was well known to recreational and commercial boaters throughout the United States and was used primarily for search and rescue. The yard had a proven record for the design of experimental maritime projects. The construction of the prototype Stable Semi-Submerged Platform, or SSP, was the highlight of the 1970s. The SSP Kailmalino used the SWATH concept – Small Waterplane Area Twin Hull. The craft operated successfully for many years in the Hawaiian Islands. In 1974, the yard laid the keel for a 160 single unit construction tender, the CGC Pamlico. Throughout the remainder of the decade, 3 more 160 construction tenders were built at the Yard: the CGC Hudson, CGC Kennebec, and CGC Saginaw. From the late 1970s into the early 1980s, the yard renovated sixteen 95 patrol boats. Built at the yard in the 1950s, the cutters were in need of modernization or repair.</p><br>
<h3>1979–1989</h3><br>
<p>Entering the 1980s, the yard constructed a prototype oil skimmer used to clean up oil spills. The Zero Relative Velocity Skimmer (ZRV) represented the best available technology in the Coast Guards field of fast current pollution control research. The first of the new 270 medium endurance cutters, the Bear, arrived at the yard in 1983 to begin post-construction and electronics work. The yard accomplished a retrofit on 12 additional 270 cutters throughout the 1980s. Beginning in 1984, the yard began the Service Life Extension Program (SLEP) for nine 180 buoy tenders in the Coast Guard fleet. From the mid-1980s through the early-1990s, the cutters Sorrrel, Gentian, Cowslip, Conifer, Madrona, Laurel, Papaw, Sweetgum and Buttonwood. received mid-life overhauls and given an anticipated 20 additional years of service life as a result of the yards renovation. In 1984, the yard recommissioned the first 210 medium endurance cutter under the Coast Guards Major Maintenance Availability Program (MMA). The cutters Active, Confidence and Reliance received their upgrades during the 1980s. Eleven more vessels would undergo renovation throughout the 1990s before the program came to a close. The yards overhaul gave each MMA cutter an anticipated additional 15 years of service life. In 1985, the yard completed a major renovation of a ferryboat for Coast Guard use at Governors Island, New York. The Kulshan, a 30-year-old vessel bought by the Coast Guard from the State of Washingtons ferry system, was renamed the Governor following renovation at the yard. As the 1980s came to a close, the Coast Guard tasked the yard with construction of six river barges for Coast Guard use on the Mississippi and Missouri Rivers. The project was transferred to the yard when the awarded private contractor filed for bankruptcy prior to contract completion.</p><br>
<p>In 1983, the USA Coast Guard Yard at Curtis Bay was listed on the National Register of Historic Places.</p><br>
<h3>1990–Present</h3><br>
<p>After completing an extensive, four-year repair project on the barque USCGC Eagle in the 1980s, the cutter returned to the yard in 1995 and 1998 for repair availabilities. The yard is building an anticipated 26 small aids-to-navigation workboats, the 49 BUSLs, through the year 2000. The first BUSL was launched in August, 1997. The yard completed the 210 Major Maintenance Availability Program in October, 1998, with the recommissioning of the cutter Decisive. Fourteen of the Coast Guards 210 cutters underwent, respectively, an 18-month, $21 million renovation at the yard since the program began in 1984. With the dedication of the new $18 million shiplift in November, 1997, the yard increased its capability to accommodate repairs of Coast Guard vessels. The land-based shiphandling facility replaced the yards nearly 60-year-old drydocks. It is environmentally-friendly and offers lower maintenance costs. The yard is the sole source for major repair of naval weapons systems used by the Coast Guard. Topping the list is the repair of the MK 75 76 mm guns and includes a contract with the Naval Sea Systems Command for the overhaul of the Saudi Arabian MK 75 weapons systems. The yard expanded its market base in the mid-1990s to include the overhaul of the Paxman engine, the main propulsion engine in the 110 patrol boat. The work is considered a primary example of core work for the shipyard. The yard became the first organization in the United States government to achieve ISO 9001 certification in 1995 and ISO 9001 recertification in 1998. ISO 9001 is a set of internationally recognized standards for quality management systems.</p><br>
<p>The Old Stone Church is a former church building West Boylston, Massachusetts. It was built in 1891 and abandoned in 1902 due to construction of the Wachusett Reservoir. It was added to the National Register of Historic Places in 1973.</p><br>
<h2>History</h2><br>
<p>In the 19th century, the Quinapoxet River joined the Stillwater River to become the southern branch of the Nashua River in the town of West Boylston. The predecessor of the Old Stone Church was the second house of worship for the Baptist Society in West Boylston, dedicated on December 6, 1832. The church was constructed east to the confluence of the rivers.</p><br>
<p>The church and its neighboring church, Saint Anthony&#39;s Roman Catholic Church, were destroyed by a fire on May 2, 1890. The present Old Stone Church was built on the same site and was scheduled for dedication on March 17, 1892, but a fire again badly damaged the interior of the church and the dedication was postponed until May 19, 1892.</p><br>
<p>From 1896 through 1905 West Boylston endured the building of the Wachusett Reservoir and the destruction of its mills and farms. When the Wachusett Reservoir was completed, the Old Stone Church remained standing as the last remnant of the town which was once in the valley, but was now flooded by the new reservoir. In June 1897, the Metropolitan Water Board awarded the Baptist Society $22,500 for the loss of the church for the construction of the reservoir. The last Baptist service was held in April 1902.</p><br>
<p>On April 13, 1973, the Old Stone Church was listed on the National Register of Historic Places. On June 27, 1974, the State awarded $87,000 for reinforcing the roof and walls of the church building. The following month, the church roof and three walls collapsed requiring rebuilding which was completed in the Spring of 1977. On September 25, 1983, on the occasion of the year of the 175th Anniversary of the Incorporation of the Town of West Boylston, the Rededication of the Old Stone Church was held.</p><br>
<p>The Kintner-Mcgrain House, also known as Cedar Glade, is on the National Register of Historic Places, located north of downtown Corydon, Indiana. It attained the "Cedar Glade" name due to the giant red cedars Jacob Kintner, the builder, planted in front of the house. It was built in 1808 by Jacob Kintner and his wife Agnes Crist, the same year Corydon became a town. Cedar Glade had Corydon&#39;s first water works, with Mr. Kintner laying pipe from springs behind the home to supply ever-flowing clear and cool spring water to the house, barns and his tan yard across the road. Few homes anywhere in those early days would have had such a system. It has been owned by three different families: Kintners , McGrains, and Bennetts . It is the second-oldest building in Harrison County, Indiana. It was built in 1808, and is a Late Federal/Early Republic Style, L-shaped, brick dwelling.</p><br>
<p>One of Jacob Kintners sons, Peter Shipley Kintner, often traveled abroad. After Jacob Kintners death, Peter S. Kintner "the world traveler" traded Cedar Glade in 1849 to Thomas McGrain Sr. for a business building on Main Street in Louisville. McGrain moved from Louisville to Corydon and young Peter Kintner moved to Paris, France. When Peter died, his remains were shipped back to Corydon and he was buried in the family plot on Cedar Hill. Of course, this was before the age of refrigeration and embalming, and Peter&#39;s body was shipped across the Atlantic in alcohol.</p><br>
<p>During John Hunt Morgan&#39;s raid in 1863, noncombatants took refuge in the house. Ironically, several cannonballs landed in the front yard, none hit the house. Until 1946 it was a working farm.</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>Hillcrest Historic District is a historic neighborhood in Little Rock, Arkansas that was listed on the National Register of Historic Places on December 18, 1990. It is often referred to as Hillcrest by the people who live there, although the district&#39;s boundaries actually encompass several neighborhood additions that were once part of the incorporated town of Pulaski Heights. The town of Pulaski Heights was annexed to the city of Little Rock in 1916. The Hillcrest Residents Association uses the tagline "Heart of Little Rock" because the area is located almost directly in the center of the city and was the first street car suburb in Little Rock and among the first of neighborhoods in Arkansas.</p><br>
<h2>History</h2><br>
<p>The Hillcrest Historic District includes several neighborhood additions platted between 1890 and 1920, including Hillcrest, Pulaski Heights, Auten & Moss, The Hollenberg, Midland Hills, Elmhurst, Lincoln Park, and several others. The area was once part of the town of Pulaski Heights. In the 19th Century, this hilly area outside of the Little Rock city limits was simply referred to by city locals and developers as The Highlands or The Heights and extended west of Little Rock three to four miles. Investors in the City Electric Street Railway Company acquired much of the land in 1888 before any residential or commercial development began. The street car company was second in a line of street car companies in Little Rock but the first to run on electricity, steam, or coal. The plan to extend electric and steam powered street car service to the area in the 1880s was a means to promote the area&#39;s development and increase ridership of the street car.</p><br>
<p>In the early days, there were only two ways to get to the highlands and neither were easy. A shorter and more direct route required a bridge over a deep ravine where the St. Louis & Choctaw Railroad tracks ran at West 3rd Street. The street car company contracted with the railroad to build a steel bridge, but it was delayed by the Panic of 1893. Several railroads had already gone bankrupt and steel was expensive. Michigan real estate developers moved to Little Rock on advice from lumbermen harvesting timber and bought out the street car company and lumbermens interest. These investors established a land company and built homes for themselves, but it took a few more years for a wooden bridge to be built over the ravine. The street car line was finally extended to the area in 1902 by a subsequent railway company. The street car traveled from downtown Little Rock to near the current intersection of Markham Street and Kavanaugh Boulevard called Stiffts Station. From there, it followed the hill along Kavanaugh, then named Prospect Avenue, to where North Martin intersects today. Another stop was at the current intersection of Kavanaugh and Woodlawn and the fourth at Beechwood. The street car continued around the horseshoe bend to the Country Club with several stops in between. With more convenient transportation, building of residences for wealthier, prominent citizens of Little Rock began in earnest, and the area grew to include many diverse architectural styles and structures built over several decades until the mid-century. Only a few houses that were built in the 19th century are standing today, and belonged to the original investors who came to Little Rock from Michigan. Most of the homes in Hillcrest Historic District today were built in the early part of the 20th century and are of the Arts & Crafts or Bungalow styles.</p><br>
<p>The Hillcrest Historic District includes the first story of the former town hall building on the southeast corner of Kavanaugh and Beechwood; the second floor burned in the 1970s and was never rebuilt. One of the oldest educational institutions in Arkansas—Mount St. Mary Academy—a girls Catholic school is located in the district and has been in operation for over 100 years. Hillcrest Historic District contains some of Little Rocks most historic construction in both commercial and residential areas, and the district design overlay helps ensure the integrity of these architectural features.</p><br>
<p>Additionally, the Hillcrest Historic District includes Allsopp Park, a major city park situated on the slopes of two ravines north and south of the old Hillcrest neighborhood which runs along a ridge on the districts northern section. Hillcrest Historic District tends to be more politically liberal than other areas of the city, including the nearby Heights area. In 2006, Hillcrest voters formed the core of a majority in Arkansass House District 37, electing Arkansass first openly gay member of the states House of Representatives.</p><br>
<h2>Hillcrest Historic District Design Overlay</h2><br>
<p>When originally listed on the National Register of Historic Places in 1990, it covered an area that was bounded by Woodrow, Jackson, and Markham Streets and North Lookout Rd. In 1992 the boundaries were increased to include an additional area roughly bounded by Jackson Street, Harrison Street, Lee Avenue, and Evergreen Street. The historic district is distinctive within the city for its well-preserved cross-section of architectural styles popular before World War II.</p><br>
<h2>Architectural styles</h2><br>
<p>Many of what make Hillcrest an historic district and famous neighborhood are the sought-after houses of diverse architectural styles. Ranging from Prairie to Queen Anne style, the houses were built from all different time periods to represent Hillcrest as a different type of suburb. The different types of houses contained in the historic district include:</p><br>
<p>Queen Anne</p><br>
<p>Colonial Revival</p><br>
<p>Pyramid Cottages</p><br>
<p>Prairie</p><br>
<p>"Foursquare"</p><br>
<p>Craftsman</p><br>
<p>Craftsman Bungalow</p><br>
<p>"Period Houses" - English Revival</p><br>
<p>Modernistic Houses</p><br>
<p>Commercial</p><br>
<p>Most residences were developed between about 1890 and 1940. The district includes a number of individually-listed properties, including:</p><br>
<p>Retan House, at 2510 Broadway</p><br>
<p>Werner Knoop House, at 6 Ozark Point</p><br>
<p>Reid House, at 1425 Kavanaugh St.</p><br>
<p>Williamson House, at 325 Fairfax St.</p><br>
<p>Boone House, at 4014 Lookout.</p><br>
<p>Architect Theo Sanders designed several houses in the neighborhood.</p><br>
<p>The Hull–Rust–Mahoning Open Pit Iron Mine in Hibbing, Minnesota, United States, is the largest operating open-pit iron mine in Minnesota. The pit stretches more than 3 mi long, 2 mi wide, and 535 ft deep. It was established in 1895 and was one of the world&#39;s first mechanized open-pit mines.</p><br>
<p>The mine, located in the Mesabi Range, supplied as much as one-fourth of all the iron ore mined in the United States during its peak production from World War I through World War II. This prodigious output made Minnesota the nations largest iron ore producer and the USA the worlds largest steel manufacturer.</p><br>
<p>The Hull–Rust–Mahoning Mine was named a National Historic Landmark in 1966.</p><br>
<h2>History</h2><br>
<p>The first mine on the Mesabi Range was the Mountain Iron Mine, discovered in 1890. Iron ore was discovered near present-day Hibbing in early 1892. The Lake Superior Consolidated Iron Mines developed the underground Burt Mine (William Olcott, manager) and The Sellers Ore Co (C.H. Munger) the underground Sellers Mine. William C. Agnew directed stripping and development of the open-pit Mahoning Mine for the Mahoning Ore Company. All three mines began shipping in 1895, and with development of the Hull and Rust Mines soon merged into one large mine.</p><br>
<p>The town of Hibbing, founded in 1893 on word of the rich iron deposits, prospered considerably as the mine grew. By 1910, though, the northern end of the community was surrounded by the mine on three sides, and it was well known that the ore continued under the town. In 1916 the Oliver Mining Company, operator of the mine, declared that the northern part of Hibbing, which contained many of its homes and businesses, had to be moved. The town government agreed and in 1918 they accepted a proposal from the company to build a new downtown for Hibbing 2 mi to the south.</p><br>
<p>A total of 188 buildings ranging in size from small family homes to the large Colonial Hotel were moved by Hibbing&#39;s residents using horses, farm tractors, and a steam crawler provided by the mining company. To move all of the buildings, they gradually placed logs underneath the structures and secured them with steel cables. They then rolled the buildings to their new location on specially constructed wooden rails. If the building was too large, they cut it into two or three pieces and moved each separately. If it was too tall, they removed the chimney or had a worker stand on the roof with a long stick to lift up electrical lines as it passed underneath.</p><br>
<p>The Oliver Mining Company also funded the construction of new buildings and services in the new townsite, such as the Androy Hotel, Hibbing City Hall, and Hibbing High School, sewage, and electric lines.</p><br>
<p>While the moving of Hibbing succeeded in dramatically shifting the focal point of the town, houses and other buildings remained close to what became known as North Hibbing. In 1935, the mining company decided that they needed to mine that land as well. At that point, they did not attempt to move the remaining houses. Instead, they tore them down, paying their owners just a fraction of their value.</p><br>
<p>Since ore shipments began in 1895, over 1.4 billion tons of waste material and 800 million tons of iron ore have been removed from the 2,000 acre mine site.</p><br>
<p>The mine was listed as a National Historic Landmark and added to the National Register of Historic Places on November 13, 1966. It was listed for its national significance in the themes of commerce and industry.</p><br>
<h2>Present operation</h2><br>
<p>Since 1976, the mine has been operated by Hibbing Taconite Company (HibTac for short). Iron-bearing taconite pellets are produced at the rate of 8.2 million tons annually (not counting tailings, waste rock, or overburden). Hibbing Taconite was initially managed by Pickands Mather on behalf of owners Bethlehem Steel and Stelco. ArcelorMittal assumed the role of a managing partner in August 2019. On September 28, 2020, ArcelorMittal sold its USA business to Cleveland-Cliffs Inc. for about $1.4 billion. As of 2021 the company is managed by Cleveland-Cliffs, with ownership divided between Cleveland-Cliffs (85.3%), and USA Steel (14.7%).</p><br>
<p>St. Rose of Viterbo Convent is the motherhouse of the Franciscan Sisters of Perpetual Adoration, an American religious congregation, which is located in La Crosse, Wisconsin. The convent is dedicated to Rose of Viterbo, a 13th-century Franciscan tertiary who was a noted mystic and street preacher in Italy who died while still a teenager.</p><br>
<p>The convent contains three chapels, of which one, Mary of the Angels Chapel, is listed on the National Register of Historic Places of the United States. Another, the Adoration Chapel, is the site of perpetual adoration of the Blessed Sacrament, was the site of 141 years of uninterrupted practice of the Sisters from August 1, 1878 to February 2020. The sisters continue to pray in shifts between 6 a.m. and 10 p.m.</p><br>
<h2>History</h2><br>
<p>The central portion of the convent was built in 1871, when the Sisters moved their motherhouse from Jefferson, Wisconsin, at the invitation of Michael Heiss, Bishop of the newly established Diocese of La Crosse. The convent was initially built both as the administrative center of the congregation and also as a secondary school for girls. With the growing numbers of members of the congregation and of the student body, two wings were added to the initial building which were completed in 1914.</p><br>
<p>The original convent building was gutted by a fire on December 2, 1923, which collapsed its roof and the two upper floors its annex on Market Street. At the time, the convent was home to 135 sisters, one of whom died in the fire. According to the sisters records, the fire was first noticed at 11:30 a.m. in the dumbwaiter shaft connected to the kitchen. It took the fire department at least 20 minutes to arrive after the alarm had been sounded, by which point the flames had spread. It wasnt until 2 p.m. that the fire was contained, and it was finally extinguished at 6 p.m. Although the convent building was directly adjacent to the Chapel, the chapel was spared from the flames and sisters continued their practice of perpetual prayer while the neighboring building was on fire. The cause of the fire was never determined, though the city&#39;s fire chief suspected there had been a short circuit in the wiring near the roof. At the time, it caused an estimated $175,000 worth of damage, and rebuilding the convent took two years.</p><br>
<p>The convent was renovated in 1996, adding two closed porches to the rear of the building. A recent renovation effort which began in 2018 aimed to make the facilities more accessible, by adding an elevator in addition to several access-ways and an accessibility ramp. The renovation also sought to make the building more environmentally efficient by replacing old systems with modern, lower consumption alternatives. Nearly half of the building&#39;s interior space was remodeled, much of which was private rooms for sisters and guests.</p><br>
<h2>Mary of the Angels Chapel</h2><br>
<p>The Sisters built the first Chapel of Mary of the Angels (Maria Angelorum) to serve their own spiritual needs and that of their students. It was dedicated on August 2, 1873, the Feast of the Dedication of the Basilica of Our Lady of the Angels in Assisi, Italy, the first home of the Franciscan Order. In 1903, they began construction on a new chapel, designed by Eugene R. Liebert, which was completed on August 2, 1906. Thaddeus von Zukotynski was the artist for the oil-on-canvas painting located immediately above the main altar of the chapel. This work shows St. Francis of Assisi, founder of the Franciscan Order, at prayer in the Porziuncola, having a famous vision of Jesus and Mary in which he was granted the Porziuncula Indulgence.</p><br>
<p>This chapel, along with the Adoration Chapel, have over 100 windows of Munich-style stained glass created by the Royal Bavarian Stained Glass Factory in Munich, Germany. Bulletproof glass was installed outside all the stained-glass windows after a BB pellet was shot through a piece depicting Jesus, near his hand.</p><br>
<p>The statues and altar in the chapel are largely carved from Carrara marble, though its pillars and walls are faux-marble and were elaborately painted in a 19-step process to make them appear so. The main altar painting in the Chapel depicts Saint Francis of Assisi kneeling before Jesus and Mary. The altar steps in the painting are a replica of those in the chapel itself, as it used to have red carpet like that in the painting.</p><br>
<p>The chapel was restored in 1992. As of 2014, more than 4,500 people tour the chapels annually.</p><br>
<p>The Museum of Nebraska Art  is the official art museum of the state of Nebraska. The museum is located in Kearney, Nebraska, and is administratively affiliated with the University of Nebraska at Kearney. The official charter of MONA makes it home to the Nebraska Art Collection, which is home to works by artists who were born in Nebraska, have lived in Nebraska, or have some connection to Nebraska. MONA also hosts regular rotating exhibitions by living or historic artists who have some connection with the state of Nebraska.</p><br>
<h2>History</h2><br>
<p>The Nebraska Art Collection was first created in 1976 but initially lacked a permanent home. In 1985 a state-appointed commission settled on a historic post office building in Kearney which was built in 1911 but was badly outmoded and slated for demolition. The Neoclassical architecture, marble interiors, and spacious, well-lit rooms attracted the attention of museum officials, who purchased the disused building and refitted it. In 1986 MONA opened there in its new permanent location.</p><br>
<p>The post office building was added to the National Register of Historic Places in 1981 as a fine example of the Neoclassical style, and is believed to be the oldest of its type in Kearney.</p><br>
<h2>Collection</h2><br>
<p>The Nebraska Art Collection covers over 175 years of art and art history. Many historic artists with Nebraska connections have their work in the permanent collection, such as Alice Eliza Cleaver, Robert Henri, John Philip Falter, and Frank Rinehart. MONA is also home to works by more modern artists, like Thomas Hart Benton, Wright Morris, and Leonard Thiessen, as well as living artists such as Jun Kaneko and Jane Golding Marie.</p><br>
<p>Additionally, the Collection includes works by artist explorers who documented early Native American life and natural history in Nebraska, including George Catlin, John James Audubon, and Karl Bodmer. Exhibitions of these artists are often supplemented with art and historical artifacts from other Nebraska museums, including the Stuhr Museum of the Prairie Pioneer, Joslyn Art Museum, and the University of Nebraska State Museum.</p><br>
<p>MONA and the Nebraska Art Collection also play host to rotating exhibitions by currently active Nebraska artists who are building reputations but do not yet have their work in permanent collections. Notable exhibition participants have included polymer artist Sandra Williams, photographer Roger Bruhn, and sculptor Elizabeth Kronfield.</p><br>
<h2>Special programs</h2><br>
<p>In addition to its role as a museum, MONA is host to several special programs. It cultivates close relationships with public schools and frequently has students in for art viewing, hands-on art-making events, and summer art camps. MONA also has periodic art-making classes for adults, usually in the summer. The museum usually participates in Christmas activities put on by downtown Kearney merchants, and has hosted evening fairs where Nebraska artists and artisans sell small art objects.</p><br>
<p>MONA is host to ARTreach, a program of touring art exhibitions throughout Nebraska. Host organizations pay a nominal fee and are permitted to host an exhibition for four to six weeks. The exhibitions are drawn from the permanent collection, not the rotating exhibitions. Most ARTreach exhibitions are organized around themes, including Women Artists from the MONA Collection, Images of Land, and Afro Psalms.</p><br>
<p>In recent years MONA has also played host to the Reynolds Readers and Writers Series, organized by Charles Fort. This series brings writers, novelists, and storytellers to Nebraska for public readings and classes. The series is primarily organized and funded by the University of Nebraska at Kearney, and the visiting artists participate in creative writing classes on campus in addition to their evening readings at the museum.</p><br>
<p>The Church of Our Saviour is a historic Carpenter Gothic Episcopal church located at 2979 Coloma Street, in Placerville, El Dorado County, California, in the United States. The church is part of the Episcopal Diocese of Northern California. On November 17, 1977, it was listed in the National Register of Historic Places as the Episcopal Church of Our Saviour.</p><br>
<p>It was designed by English-born architect William Patton.</p><br>
<h2>History</h2><br>
<p>The Church of Our Saviour was originally organized by the Rev. Charles Caleb Peirce on July 20, 1861, in the midst of the California Gold Rush. Our Saviours’ first services were conducted by The Rev. Mr. Peirce in the Old Court House in Placerville. The Rev. Mr. Peirce (he stated that he disliked being called "Father") expected to find a parish called "Saint Mary&#39;s Episcopal Church," that was allegedly begun in 1857. Unfortunately, the parish could not be found. There is no record of its demise.</p><br>
<p>The new congregation continued to use the Court House as a place of worship, and it was not until 1864 that a move to erect a church building was initiated. The ladies of the church on the Fourth of July of that year held a faire. They donated the proceeds from that event for the building fund. This was the first of many fairs that the Episcopal Church Women (ECW) held.</p><br>
<p>Following this were a series of events; the final effort occurring in May 1865 when a three-day fair and bazaar was held, netting $1,200. At this time, the lot on Coloma Street was purchased and work on the church building begun.</p><br>
<p>The Rev. Mr. Peirce was famous for his good character in that he is reported to "have looked for and found good in all people." An excerpt from C. E. Upton&#39;s book, The Life and Work of the Rev. C. C. Peirce, illustrates this facet of his character.</p><br>
<p>The Mountain Democrat newspaper in June 1865, told how the El Dorado Lodge of Free & Accepted Masons laid the cornerstone of the Church of Our Saviour. On December 23 of the same year the newspaper reported: “The opening of the new, elegant and beautiful Episcopal Church on Coloma Street will take place this Saturday evening with the annual distribution of books by Rev. C. C. Peirce”.</p><br>
<p>Bishop William Ingraham Kip of San Francisco consecrated the building on April 15, 1866. The completed church cost about $10,500.</p><br>
<p>Architect William Patton of San Francisco designed the structure. Mr. O. Taylor of Placerville built the parish building. When the Rev. Mr. Peirce died on March 14, 1903, schools and businesses closed in his memory.</p><br>
<p>The first renovation of the church was in 1927. The cost of the work amounted to $10,000. In 1938, the second restoration of the church building was undertaken. The $4,000 project included repairs to the outside of the building, new paint and a new roof for the nave. The interior also underwent extensive repairs. A coal-burning furnace was added and the brickwork at the front of the church was laid. The paneling for the sanctuary was designed and installed. In 1957, chimes were given to the parish in the memory of Fr. Peirce and other additions, such as the aluminum roof, were added.</p><br>
<p>In 1976, the house behind the church was purchased and demolished to provide a much-needed parking lot. The old rectory next to the church was torn down and a new one-story building was erected with classrooms and office space.</p><br>
<p>In 1982, more was accomplished. New composition shingles were installed following a storm that blew off half of the old tin roof. This happened during Holly Faire that year. The stained glass windows were repaired and three new beautiful ones were installed. Also a hand carved Corpus was hung on the plain wooden cross above the sanctuary.</p><br>
<p>The Sunday school building that was built in 1976 was not adequate to meet the needs of the growing parish, so a new two-story building was erected with a capital funds drive raising about $110,000 and completed in 1999. A round stained glass window honoring the ministry of the Rev. Canon James Burnett was installed in 2003. A columbarium was installed in 2005.</p><br>
<p>On this hill overlooking downtown Placerville, the Church of Our Saviour continues to be the landmark in the area that it has been since it was built. It is the oldest continually occupied church building in El Dorado County. The church and parish celebrated their 150th anniversary in 2011.</p><br>
<p>The Model Tobacco Factory is a historic industrial complex located in Richmond, Virginia. It was built beginning in 1938, and consists of ten contributing structures, including a prominent six-story rectangular factory building designed in the Art Deco style. The building was designed by the Chicago architecture firm of Schmidt, Garden and Erikson and is known for its Moderne "sky sign" that dominates the north end of the building.</p><br>
<p>It is one of many Art Deco buildings in Richmond, including assorted buildings on Grace Street including the Central National Bank building, the Virginia Union Belgian Building, Medical College of Virginia&#39;s West Hospital, Henrico Theatre, Thomas Jefferson High School (Richmond, Virginia), and Nolde Bakery, 306-308 North 26th Street, and the Patrick Henry Building on 1111 E. Board Street built in 1938-40.</p><br>
<p>The building was listed on the National Register of Historic Places in 2019. the site was being redeveloped as an apartment complex.</p><br>
<h2>History</h2><br>
<p>The complex was constructed beginning in 1938 by the United States Tobacco Company. Model Tobacco was the companys bestselling brand, and was one of many brands produced at the factory. The site consists of ten contributing structures, grouped primarily in three sections: a six-story factory, a power plant, and storage warehouses. The horizontal nature of the factorys construction reflected changes in tobacco production during the mid-20th century. The most prominent building in the complex is the factory building, which was designed by architects Schmidt, Garden, and Erikson in the Art Deco style, with additional elements of International Style.</p><br>
<p>In 2008, a developer had proposed turning the property into over 600 apartments at a projected cost of $84 million. That development fell through due to the Great Recession, however. In 2020, the property was sold to Christopher Harrison, a former NFL player turned real estate developer.</p><br>
<p>The Dyckman House, now the Dyckman Farmhouse Museum, is the oldest remaining farmhouse on Manhattan island, a vestige of New York City&#39;s rural past. The Dutch Colonial-style farmhouse was built by William Dyckman, c.1785, It is now located in a small park at the corner of Broadway and 204th Street in Inwood, Manhattan.</p><br>
<h2>History and description</h2><br>
<p>Dyckman was the grandson of Jan Dyckman, who came to the area from Westphalia in 1661. William Dyckman, who inherited the family estate, built the current house to replace the family house located on the Harlem River near the present West 210th Street, which he had built in 1748, and which was destroyed in the American Revolutionary War.</p><br>
<p>The current two-story house is constructed of fieldstone, brick and white clapboard, and features a gambrel roof and spring eaves. The porches are typical of the Dutch Colonial style, but were added in 1825. The houses interior has parlors and an indoor winter kitchen in the basement, thus serving as heating for the first floor. The rooms have floors of varying-width chestnut wood. The houses outdoor smokehouse-summer kitchen, in a small building to the south, may predate the house itself. The back of the house holds a short hedge that resemble a maze.</p><br>
<p>The house stayed in the family for several generations until they sold it in 1868, after which it served as a rental property for several decades. By the beginning of the 20th century, the house was in disrepair and in danger of being demolished, and in 1915, the Dyckman family bought it back.</p><br>
<p>In 1915–16, two sisters of the Dyckman family, Mary Alice Dyckman Dean (Mrs Bashford Dean) and Fannie Fredericka Dyckman Welch, began a restoration of the farmhouse under the supervision of architect Alexander M. Welch, Fannie&#39;s husband. In 1916, they transferred ownership of the house to the City of New York, which opened it as a museum of Dutch and Colonial life, featuring the original Dyckman family furnishings.</p><br>
<p>The farmhouse – which is not only the oldest remaining in Manhattan, but the only one in the Dutch Colonial style, – has been a New York City Landmark and a National Historic Landmark since 1967.</p><br>
<p>In 2003, the house underwent a major restoration, after which it re-opened to the public in the fall of 2005.</p><br>
<h2>In popular culture</h2><br>
<p>The Dyckman House was featured in Bob Vila&#39;s A&E Network production Guide to Historic Homes of America.</p><br>
<p>The Tippecanoe Battlefield Park preserves the location of the Battle of Tippecanoe fought on November 7, 1811.</p><br>
<p>The 16 acre site of the battle was deeded to the State of Indiana by John Tipton, a veteran of the fight, on November 7, 1836, the twenty-fifth anniversary of the battle. The site was used for a number of major political rallies during its earlier years, those most significant being on May 29, 1840 in favor of William Henry Harrison&#39;s bid for the White House attended by 30,000 people.</p><br>
<p>The location was attracting visitors by the 1850s, and the battlefield was bordered by the Louisville, New Albany, & Salem Railroad during that decade. A refreshment stand was built adjacent to the site to accommodate visitors, and this land was later purchased by the Northwest Indiana Conference of the Methodist Church and used for the Battle Ground Collegiate Institute and later for a Methodist youth camp. Despite interest in the location for the sesquicentennial of the battle in 1961, the camp was abandoned in 1971 and the location was neglected. It was designated a National Historical Landmark in 1960. It is located in the Battle Ground Historic District.</p><br>
<p>Local residents acquired the Methodist property upon its closure, and created a museum in the camps lodge. The citizens group merged with the Tippecanoe County Historical Association in 1990 which took over operation of the museum. The museum was extensively renovated in 1995.</p><br>
<p>The Battlefield Monument was ceded to the Tippecanoe County Park Board in 1972.</p><br>
<h2>Recreational opportunities</h2><br>
<p>Hiking (including access to the Wabash Heritage Trail).</p><br>
<p>Nature Center</p><br>
<p>Battlefield Monument</p><br>
<p>Museum</p><br>
<p>Tippecanoe Battlefield Park is operated by the Tippecanoe County Park Board and the Battlefield Museum is operated by the Tippecanoe County Historical Association.</p><br>
