<p>St. Barnabas Episcopal Church is a former church building in the Episcopal Diocese of Iowa in Montrose, Iowa, United States. It was listed on the National Register of Historic Places in 1986. The building is now called St. Barnabas Wedding Chapel.</p><br>
<h2>History</h2><br>
<p>The congregation was founded as Grace Church and initially shared space with the local Methodist Episcopal Church. Land for the present church was secured in 1867 and funds were raised for the building. Construction began in 1869 and the main part of the sanctuary was completed in 1871. Local craftsmen built the church in blue-gray limestone, which was quarried 1 mi away. Matthew Richardson, J.S. Lakin, and J.N. Ballou finished the interior, which included its furnishings. The name of the congregation was changed to St. Barnabas in 1881. The women of the parish raised the money for the bell tower and narthex, which were built c. 1902. A second-hand bell had been given by a St. Louis parish and hung on a frame structure at the Methodist Church until this tower was built. St. Barnabas was never a parish in its own right, but was a mission that was served from St. Lukes in Fort Madison or St. Johns in Keokuk.</p><br>
<p>The church remained in use until it closed in 1960. An attempt was made to move the town library to the old church in 1974. The church was deconsecrated and some of its contents were given to active churches. The building was also vandalized and the churchyard was used to graze horses for a time. The old church sat empty until the Montrose Township Historical Society was formed in 1981 and began to restore it. In addition to serving as a wedding chapel, the facility hosts annual Memorial Day and Christmas programs.</p><br>
<h2>Architecture</h2><br>
<p>The rectangular structure measures about 41 by. There is a small chancel and vestry-room on the rear of the building. The bell tower, which gives the building a Norman Gothic appearance, rises to a height of 35 ft. The blue-gray limestone on the main body of the church is rough cut and irregularly coursed. The limestone on the tower is lighter in color and it is square cut, irregularly faced ashlar. The side elevations are three bays in length and each contain a lancet window. The bays are divided by stepped pilasters that are also located on the corners of the building. Three lancet windows are grouped together and are located on the back wall of the chancel. The original pews, two memorial windows, and the church bell are all that remain on the interior.</p><br>
<p>The Concord School House is a historic one-room schoolhouse in the Germantown section of Philadelphia, Pennsylvania. It is operated today as a museum. It is part of the Colonial Germantown Historic District which was named a National Historic Landmark District in 1965.</p><br>
<p>Built in 1775 by Jacob Knorr (or Knor), Concord was the first English-language school in Germantown, which was then a separate town about six miles northwest of Philadelphia. It is built on the corner of the Upper Burial Ground at Washington Lane and Germantown Avenue. It opened to students in October 1775, and served as a school room until at least 1889.</p><br>
<h2>Architecture</h2><br>
<p>The school is 25 by, two bays by three bays, and was originally one story with a cellar. In 1818 a second floor was added as a town meeting room which was long used as a library. A square open belfry with a spire tops the roof. The walls are made of rough random rubble which was once stuccoed. Both entrance doors are on the south side of the building. The cellar is accessed from two stairways, one from the outside in front of the school, and the other from the back of the classroom.</p><br>
<p>The teacher stood on a raised platform on the west side of the classroom. The building retains its original bell and belfry, schoolmaster&#39;s desk, books, and even a stool and dunce cap.</p><br>
<p>The schoolhouse sits on a raised lot about 5 ft above and about 20 ft east of Germantown Avenue. Seven stairs ascend from the street leading to the school which is on the same level as the Upper Burial Ground. A short retaining wall on Germantown Avenue, may have been built in 1777, when the much taller wall around the Upper Burial Ground was built.</p><br>
<p>Knorr, a master builder, is buried in the burial ground. He also constructed the John Johnson House across the street, Cliveden, and the original Germantown Academy.</p><br>
<h2>History</h2><br>
<p>At a meeting on March 24, 1775, the residents of the upper part of Germantown decided that the Union School was too far for their children to travel, and they needed a schoolhouse of their own. The Union School was perhaps the largest non-religious building in Germantown at the time. German was its main language of instruction. It was later known as the Germantown Academy and is located one mile south of the Concord School House. Other nearby schools were single rooms, including the Harmony School in Chestnut Hill and the Lutheran School, both founded in 1745.</p><br>
<p>Instruction in Germantown schools at this period was not based on religion but concentrated more on reading, writing, spelling, and arithmetic. Students generally attended the closest school. Schools were not seen as competitors, for example 14 trustees of the Union School donated to the Concord School, and the two schools shared two building managers. About 17% of the Concord Schools students were Dunkards, who are believed to have enrolled only because so many Dunkards lived in the immediate area.</p><br>
<p>The school&#39;s record book covers the founding through the early twentieth century and is held by the Historical Society of Pennsylvania. It lists 122 original subscribers.</p><br>
<p>Samuel Fitch Hochkin quotes the record of the first meeting extensively. Jacob Engle, Peter Keyser, Peter Leibert, and Jacob Knorr were chosen to be the managers of the building. Knorr "nearly completed" the building in October 1775. The total money subscribed was 245 pounds, 1 shilling, and 2 pence, but the record notes "the Continental that came to nothing 2 pounds. Real amount 243 pounds 1 shilling 2 pence."</p><br>
<p>The site beside the Upper Burial Ground was chosen, construction began, and in October 1775, the Concord School was nearly completed and opened. John Grimes was the first schoolmaster and instruction was entirely in English.</p><br>
<p>On October 4, 1777, the Battle of Germantown was fought outside the school, with a key action fought at Cliveden, just a block north. During the period of the Revolutionary War it is not clear whether the school was open, as no records were kept from 1776 to 1783. The Union School, located further south, was closed during this period.</p><br>
<p>On April 15, 1783, six trustees were appointed including the four original managers Jacob Engle, Peter Keyser, Peter Leibert, and Jacob Knorr, as well as John Johnson, Jr. and Winard Nice.</p><br>
<p>The school was supported by subscription and neighbors contributed to the fund, allowing any family that could afford the fee to enroll its children (around $2 per quarter, plus.25 for spelling books), including families of African descent who rented the school house in the 1850s.</p><br>
<p>When Pennsylvanias public school system was established in 1840, the local township school board rented the building through 1842, marking the end of Concord Schools use as an independent school. The building was however, rented out to other schools and social groups after this date.</p><br>
<p>The Hiram Lodge of the Masonic Order rented the upper floor from 1821 to 1823. The Senior</p><br>
<p>Order of United American Mechanics rented the upper floor from 1847 until at least 1853, when the Junior Order was established at the schoolhouse. The Charter Oak Library was established in the upper floor in 1855. The predecessor of the Germantown Historical Society, then known as the Site and Relic Society, used the lower floor as a museum from 1903 to 1908.</p><br>
<p>In 1889 the first floor housed a private school run by Miss Annie McMurtrie and the room of Mrs. Diilon, the janitor. The Charter Oak Library still occupied the second floor, and did so until at least 1902.</p><br>
<p>The origin of the school&#39;s name is uncertain. It was perhaps named after the ship Concord which brought the first Dutch and German immigrants to America. An alternate theory is that its foundations were built at the time of the first shot of the American Revolution fired in Concord, Massachusetts.</p><br>
<p>Concord School House is a contributing property of the Colonial Germantown Historic District, which is listed on the National Register of Historic Places and a National Historic Landmark. Several buildings within the district are also separately listed. These include the John Johnson House, across the street, and Cliveden, a block north of the school house, both National Historic Landmarks. The Germantown Mennonite Meetinghouse, Upsala, Michael Billmeyer House and Daniel Billmeyer House, all within three blocks of the school house, are listed on the National Register of Historic Places.</p><br>
<p>Pine Grove Community Church is a historic non-denominational, Christian chapel located at Pine Grove in Lewis County, New York. It was built in 1895 and is a two-story, wood-frame building three bays in width and five bays deep. It features a projecting two storybell tower attached to the center of the main block.</p><br>
<p>It was listed on the National Register of Historic Places in 2009.</p><br>
<p>Lewis County Soldiers and Sailors Monument is a historic American Civil War monument located at Lowville in Lewis County, New York. It was built in 1883 by Monumental Bronze Company of Bridgeport, Connecticut, and is constructed of sand-cast zinc. It is 20 feet high and 78 inches square and consists of five parts: a three stepped base, a plinth, a tapered column, a capital, and on the top a soldier.</p><br>
<p>It was listed on the National Register of Historic Places in 2009.</p><br>
<p>The former Lincoln Park Post Office is a building located in Lincoln Park, Michigan. It now houses the Lincoln Park Historical Museum. It was listed on the National Register of Historic Places in 2004.</p><br>
<h2>History</h2><br>
<p>In the late 1930s, the city of Lincoln Park had a need for a new post office building. Congressional approval was obtained in 1938, and the land where this building stands was obtained for $15,000. The design of this building, created by supervising architect of the treasury Louis A. Simon, was used for a number of other post offices in the state of Michigan. The building was constructed by the Henry Dattner Co., who began construction in December 1938. The final cost of construction was $80,000. Lincoln Park Post Office began operating as an independent post office in 1954.</p><br>
<p>However, the Postal Service&#39;s Lincoln Park operations eventually outgrew the size of the building. The Post Office left the building in 1991. The Lincoln Park Historical Society purchased the building, renovated it, and opened it to the public. The building is now the home of the Lincoln Park Historical Museum.</p><br>
<h2>Description</h2><br>
<p>The former Lincoln Park Post Office is a one-story, flat-roofed building built of concrete and steel and faced with tan brick. St sits on a raised basement faced with limestone; limestone is also used for the parapet cap and a stringcourse below. he main facade is symmetrical, with a center entrance and two windows on each side. The outer windows are atop limestone panels. The inner window openings are broader and higher, rising to the stringcourse beneath the parapet, with the windows vertically centered between limestone panels. The front entrance is reached by a flight of stairs, and stone carvings on a panel over the entryway represent three modes of mail transportation: air, rail, and ship.</p><br>
<p>The simpler side elevations have six windows apiece. One side has a basement access stairs. The rear loading dock area has been renovated with vinyl siding.</p><br>
<p>The interior one-and-one-half-story main floor contains a lobby, Postmaters office, and mail workroom. The public lobby measures approximately 45 feet by 13 feet, and has a terrazzo floor with marble wainscoting. The lobby originally housed a mural, Hauling in the Nets, by Zoltan Sepeshy. The mural is now located in the Marine Museum on Beaver Island. The postmasters office measures approximately 12 feet by 14 feet, and the mail workroom approximately 40 feet by 59 feet. The basement contains three storage rooms.</p><br>
<p>The Staples Inn, now the Old Orchard Beach Inn, is an historic travelers&#39; accommodation at 8 Portland Avenue in Old Orchard Beach, Maine. Located in a building dating to the late 18th century, it is the oldest known property to have regularly had summer boarders, with a documented history of doing so dating to 1840. The building was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>The Old Orchard Beach Inn is prominently located in the center of Old Orchard Beach, on the west side of Portland Avenue (Maine State Route 8), opposite the town hall. It is a -story wood-frame structure, with two large blocks, that on the left offset to the rear. Both have side-gable roofs and are finished in clapboard siding. The right block has a hip-roofed porch extending across its width, and both sections have gabled dormers projecting from the roof. The right block&#39;s interior includes 18th-century features such as a narrow winding staircase, low ceiling, and fireplace mantel.</p><br>
<p>The house&#39;s oldest portion was built sometime in the 18th century, possibly as early as 1730. Initially a one-story farmhouse, it was bought by Elisha Staples in 1790 and enlarged by raising the roof. About 1840 his grandson Ebenezer began taking on summer visitors, who began arriving in the area in larger numbers after railroad access to the area increased in the 1840s and 1850s. By the 1870s, the establishment was one of the largest in Old Orchard Beach, with 300 beds. Much of the complex, remarkably sparing the original farmhouse, was destroyed by fire in 1875. A new, larger hotel was built adjacent, that was demolished in the 20th century. The exterior of the surviving house, now the Old Orchard Beach Inn, is much as it might have appeared late in the 19th century, and its upstairs rooms appear as they might have been in the mid-19th century.</p><br>
<p>The Boley Building in Kansas City, Missouri was designed by Canadian-born American architect Louis Curtiss and built in 1909. It was listed on the National Register of Historic Places in 1971. It is the world headquarters for Andrews McMeel Universal, parent company to Universal Uclick, Andrews McMeel Publishing and GoComics.</p><br>
<h2>Architecture</h2><br>
<p>The six-story steel frame building was constructed in 1909 and was designed in the Art-Nouveau style by architect Louis Curtiss. The building is one of the world&#39;s first metal-and-glass curtain-wall buildings and the first to use rolled-steel columns. It was listed on the National Register of Historic Places in 1971.</p><br>
<p>The six-story building also features cantilever floor slabs, cast iron structural detailing, and terra cotta decorative elements. The interior of the building features many of the comic strips and other publications from Andrews McMeel Publishing including Calvin and Hobbes and Doonesbury.</p><br>
<p>The Allen House is a historic house at 4 Burritt&#39;s Landing North in Westport, Connecticut. Built in 1958, it is the only known example in Westport of work by Chicago architect Roy Binkley, Jr., and is a good example of Bauhaus-style mid-20th Century Modern architecture. It was listed on the National Register of Historic Places in 2010.</p><br>
<h2>Description and history</h2><br>
<p>The Allen House is located in southwestern Westport, on 1.1 acre set between Burritt&#39;s Landing North (a private lane) and Saugatuck Avenue (Connecticut Route 136). The house is set near the northern edge of the property, overlooking a small pond. It is a single-story wood-frame structure, its exterior finished in fieldstone, redwood, and glass. It is covered by a flat roof. The house is in the shape of an H, with two substantial wings connected by a central hyphen. The main entrance is on one side of the hyphen, and a private courtyard with views of the pond is on the other side. The west wing houses the public rooms as well as the master bedroom, and has a lower level open to the pond due to the sloping terrain. The east wing houses the garage, a guest bedroom, and library.</p><br>
<p>The house was built in 1958 to a design by the Chicago-based architect Roy Binkley, Jr., a protegé of Mies van der Rohe. It was built for Ernst and Marcia Peterson Herrmann. The property was originally landscaped by Frank Okamura, but only a few elements of his design survive. The only notable alteration to the house has been the addition of retractable awnings on the extensive south-facing facades to shelter them from the summer sun.</p><br>
<p>The Old Nassau County Courthouse, also known as the Nassau County Courthouse and the Historic Nassau County Courthouse, is an historic two-story courthouse building located at 1550 Franklin Avenue in Garden City, in Nassau County, on Long Island, in New York, United States.</p><br>
<h2>History</h2><br>
<p>Designed by noted New York City architect William B. Tubby in the Classical Revival style of architecture with a grand rotunda capped by a white dome, it was built of poured-in-place reinforced concrete. Then governor Theodore Roosevelt laid its cornerstone in 1900 and it was finished in 1901. Wings designed by Tubby were added in 1916. Later additions and renovations were 1924-1928 under the supervision of architect William J. Beardsley, who had designed the Dutchess County Court House in Poughkeepsie.</p><br>
<p>In the late 1930s and early 1940s, a new courthouse and other county buildings were built nearby. Some interior alterations to the old building were done in the 1940s and 1950s, but by the time it was added to the National Register of Historic Places in 1978, it was in a state of neglect.</p><br>
<p>In 2002 the firm of John G. Waite Associates restored the dome to its former glory. Renovations continued until 2008, when county executive Thomas Suozzi presided over a ceremony to celebrate the building, now known as the Theodore Roosevelt Executive and Legislative Building.</p><br>
<p>The North Hill Historic District is a residential neighborhood in the city of New Castle, Pennsylvania, that was entered into the National Register of Historic Places in 1999. The 91-block district consists of roughly 450 acre of land that sit slightly north of New Castle&#39;s business district.</p><br>
<h2>Architecture</h2><br>
<p>The district includes a variety of architectural styles. Its 1,888 Also located in the district is the Scottish Rite Cathedral.</p><br>
<p>Most of the homes in the district are built of either masonry or wood and contain multiple floors. Though the district consists primarily of single and multiple dwellings, there exists a very small percentage of commercial and health care properties. Four schools and four religious buildings also reside within the district. The sidewalk patterns have remained unchanged since at least 1904. Queen Anne, Folk Victorian, Neoclassical, and Colonial Revival are the most common design styles of homes overlooking the downtown area.</p><br>
<h2>Notable Contributing Structures</h2><br>
<p>Greer Residence (1904–05), 408 North Jefferson Street (now Lawrence County Historical Society )</p><br>
<p>Hoyt Residences (now Arts + Education at the Hoyt )</p><br>
<p>Henderson Residence (1895) (now Meehan Funeral Home )</p><br>
<p>Ohl Residence</p><br>
<p>Scottish Rite Cathedral</p><br>
<p>Trinity Episcopal Church</p><br>
<p>Clen-Moore Presbyterian Church (1929), 220 Clen-Moore Boulevard</p><br>
<p>George Washington Intermediate School (1928), 101 East Euclid Avenue</p><br>
<p>Garfield Terrace (1897), 417-421 East Garfield Avenue</p><br>
<p>Bower Residence (1886-1889), 328 Highland Avenue</p><br>
<p>Johnson Residence (1901), 318 Highland Avenue (now Signature Hill )</p><br>
<p>Reis/Brown Residence (c. 1885), 312 Highland Avenue (now Highland House, Inc. )</p><br>
<h2>Significance</h2><br>
<p>With urban residential growth in the historic district beginning in 1870 and ending in 1949, the National Register&#39;s 50-year guideline for significance is met. The district is significant under National Register Criterion C for architecture, and Criterion A for industry; the neighborhood is where executives of local industries (steel, tin, and iron) lived.</p><br>
<h2>News Coverage</h2><br>
<p>Lugene Pezzuto, "Review board against razing Speedway properties", December 7, 2016, l.</p><br>
<p>Susan Linville, PhD, "1950s saw tide of downtown demolition start to roll", May 27, 2017, l.</p><br>
<p>Susan Linville, PhD, "Urban renewal fervor strikes in 1960s", May 29, 2017, l.</p><br>
<p>Susan Linville, PhD, "In the 1970s, the bubble burst", May 30, 2017, l.</p><br>
<p>Susan Linville, PhD, "In the 1990s, preservation interest flares, then falters", May 31, 2017, l.</p><br>
<p>Nancy Lowery, "HARB seeking new role in city", June 6, 2017, l.</p><br>
<p>Nancy Lowery, "Planners favor historic district", June 9, 2017, l.</p><br>
<p>The Mary and Eliza Freeman Houses are historic residences in Bridgeport, Connecticut. The simple, clapboard-covered dwellings were built in 1848 in what became known as Little Liberia, a neighborhood settled by free blacks starting in the first quarter of the nineteenth century. The houses are the oldest remaining houses in Connecticut built by free blacks, before the state completed its gradual abolition of slavery in 1848. The homes and nearby Walter&#39;s Memorial A.M.E. Zion Church are also listed sites on the Connecticut Freedom Trail.</p><br>
<h2>The Houses</h2><br>
<p>The Mary and Eliza Freeman Houses are transitional late-Greek Revival/early-Victorian houses typical of their time and place. They are wood-frame structures built atop high masonry basements, necessitated by their location in a low-elevation shore front environment. Mary&#39;s house, the northernmost, was erected first, begun in April 1848 and completed by the following September. It is of Italianate vernacular design. It is a double house, four bays in width, with opposite side entrances, and two stories in height over a full English basement. It is surmounted by a pair of low-pitched hip roofs, and there is a veranda across the facade.</p><br>
<p>The interior has undergone very little remodeling from its time of construction, and retains original doors, mantels, and window and door casings. There are indications that it was originally constructed as a single-family house, and that portion to the south was a subsequent addition. Eliza&#39;s house was built beginning in September 1848, and completed over the fall and winter months. It is a Greek Revival half-house, three bays wide with a side entrance and side-gable roof. An attic dormer in the Victorian Gothic style was added circa 1862. A storefront was extended out from the facade in 1903 that was removed in the summer of 2013. The interior was scorched by fire in the late 1980s; however, enough original fabric survives so that a complete restoration is feasible.</p><br>
<h2>The Owners</h2><br>
<p>The original owners, Mary (1815-1883) and Eliza (1805–1862) Freeman, were free women of color born in Derby, Connecticut, then a center in the state for the free African American population. In 1848, the year rail transportation was inaugurated between Bridgeport and New York, they purchased two adjoining building lots in the South End of Bridgeport. The sisters had houses built and initially leased them out as rental properties while they continued to live and work in New York City.</p><br>
<p>Eliza Freeman returned to Bridgeport around 1855 to work as a domestic in the home of a well-to-do sea captain, and Mary (who is known to have been a hotel chef in the city) followed her around 1861. They both died quite well off for their times and situations (Marys 1883 obituary in the Bridgeport Standard reads, Miss Mary Freeman, an old and well known colored lady, died at her residence at 114 Main Street yesterday... The deceased... had during her life accumulated considerable property, which is variously estimated from $30,000 to $50,000. She owned several houses on Main and Gregory Streets&#39;), and as well-respected members of the community.</p><br>
<h2>The Little Liberia Community</h2><br>
<p>Little Liberia was first settled by African Americans in 1821, the year Bridgeport became a municipality independent of Stratford. This was one of several similar neighborhoods in urban centers in the Northeast where free blacks gathered to make progress socially and economically. Other African-American communities developed in cities with growing job markets in the same time period include Trowbridge Square in New Haven, Jail Hill in Norwich, the northern slope of Bostons Beacon Hill, Sandy Ground on New Yorks Staten Island, and Hard Scrabble in Providence, Rhode Island. According to oral tradition, the name "Little Liberia" came from the community&#39;s inhabitants identifying with the new African colony of Liberia, established for American free blacks and freed slaves in the early 19th century by the American Colonization Society.</p><br>
<p>In 1831, Joel Freeman (1795-1865), brother of Mary and Eliza, purchased land where Whiting Street ended at Bridgeport Harbor; he moved a vacant shop building to the site and apparently converted it to his residence. In 1828—the year he moved to Bridgeport from Derby—he had been instrumental in establishing Zion Church, Fairfield County&#39;s first African-American congregation. The new organization erected a permanent home, officially the African Methodist Episcopal Zion Church, in 1835 at the southwest corner of Broad and Gregory streets. The church split into two societies in 1843, with a second edifice constructed at the northwest corner of Broad and Gregory.</p><br>
<p>The smaller congregation retained the original building and became known as Ebeneezer (later Bethel) Church. The Stratfield Special School for Colored Children was built soon after (1845), following a petition for State funds by Joel Freeman, at the southeast intersection of Main and Whiting streets. Zion Church, later renamed Walters Memorial African Methodist Episcopal Zion Church, reputedly served as a stop on the Underground Railroad. The AME Zion churches were part of an independent black denomination founded in 1787 in Philadelphia. By 1850, the Collins & Clark map showed the two churches on Broad Street, designated (improperly) North African Church and South African Church.</p><br>
<p>In 1998, a 104-year-old resident, who had arrived in Bridgeport nearly a century earlier when her family moved north from Virginia, described her neighborhood:</p><br>
<p>Little Liberia was a close-knit, safe African-American community where family life was highly respected and the spirit of the community was evident and prevailed, even during hard times.</p><br>
<p>First called "Ethiope," the community developed as a village of free blacks, Native Americans, and Haitians. In addition to the churches and school, the village had its own commercial businesses, free lending library, and social organizations. addressed the "Young Colored Men&#39;s Republican Club" of Bridgeport on the topic of not being misled by "Negro Democrats." He spoke out against African Americans in New York and other mid-Atlantic states who were encouraging their fellows to vote for Democratic candidates.</p><br>
<p>Hodges noted that the Democrats in the South had worked against African Americans to deprive them of suffrage and other rights. At the time, southern legislatures dominated by white Democrats were passing new constitutions and laws to disfranchise blacks throughout the South and prevent them from voting. Blacks were essentially shut out of the official political system in the South from the turn of the century until after passage of federal civil rights legislation in the 1960s.</p><br>
<h2>Preservation</h2><br>
<p>By early 2010, the two Freeman houses had long been vacant, and in initial reports were said to be near collapse. For one, rebuilding, as opposed to restoration, was reported as possibly required (demolition of non-historic additions to the properties in the Summer of 2013 proved that both structures were, in fact, quite sound). At that time, Mayor Bill Finch announced $47,000 in Community Development Block Grant funds for the houses. A newly formed Mary & Eliza Freeman Center for History and Community set about fundraising, including appeals to organizations such as the 1772 Foundation and the National Trust for Historic Preservation. The Freeman Center&#39;s goal is to operate these as a Little Liberia joint house museum, available to school groups and historical tours and researchers. The city sold the houses to the Freeman Center, clearing up a dispute over back taxes and fees with an earlier organization seeking to preserve the homes.</p><br>
<p>The Huguenot Cemetery  in St. Augustine, Florida, located across from the historic City Gate was a Protestant burial ground between the years 1821 and 1884. The Spanish colonial city of St. Augustine, along with the entire Florida Territory became de facto American possessions after the 1819 signing of the Adams-Onis Treaty. The actual physical occupation of the city and Florida territory occurred in 1821.</p><br>
<p>Prior to American occupation the Spanish city of St. Augustine was predominately Catholic and the only burial ground within the city, the Tolomato cemetery, was reserved for Catholics. Recognizing a need for a formal Protestant burial ground an area just outside the city gate was chosen by the new American administration in St. Augustine. The first burials occurred in 1821 just prior to a yellow fever epidemic which claimed the lives of a large numbers of the city&#39;s inhabitants.</p><br>
<p>The cemetery until title to the cemetery property was acquired by the Rev. Thomas Alexander, who then turned over it to the Presbyterian Church in 1832, burials continued until 1884 when both Huguenot and Tolomato cemeteries were closed. The cemetery is believed to hold at least 436 burials according to city records. The cemetery although named "Huguenot Cemetery" isn&#39;t believed to contain any members of the Huguenots, a French Protestant sect started in the 16th century in France.</p><br>
<h2>Tomb locations-inscriptions</h2><br>
<p>INSCRIPTIONS IN THE OLD PROTESTANT GRAVEYARD AT ST. AUGUSTINE, FLORIDA. Vol. XLVIIPalatka, Fla. Oct. 20, 1881. Aged 5 years 18 days. This grave is about 7 feet from the south fence of the yard.</p><br>
<p>Godfrey Foster, born Mch. 4, 1818, died Sep. 3, 1879. This and the preceding stone near each other and nearly alike.</p><br>
<p>Flora Fairbanks, daur of C. & G. Foster, died Feb. 10, 1879, aged 25 years. Marble upright head and footstone.</p><br>
<p>My husband P. O. Craddock born Sep. 22, 1824 - died Jan. 8, 1884. White marble head and footstone and wooden curbing. The four above graves are in the south-east corner of the yard - lot apparently one - 36 to 40 feet north and south, 9 to 10 feet east and west, paling fence partly down.</p><br>
<p>Row 2. Mrs. Mary T. Smith a native of Liberty Co., Georgia, died at St. Augustine April 27, 1860. Aged 77 years. Stone erected by her daughter. Marble upright head and footstone.</p><br>
<p>Row 3. An enclosed child&#39;s grave with four substantial posts and 3 rails on each side - no monument.</p><br>
<p>Mary Almyr Mickler, died Augt 7, 1882. This grave has a wooden headboard, and stands north-east of the two Meckler graves in the adjoining row, 4.</p><br>
<p>Row 4. Doctor Wm Robertson - by his only child. Mrs. Ann Robertson - by her only child. Lot close against the south fence of the yard - 9 feet by 9 feet, raised a foot above the general surface and entirely covered with coquina and cement. A cast-iron railing enclosed the two raised tombs each with a broad white slab placed horizontally atop. Next the above lot northwardly a wooden curbed grave - no monument.</p><br>
<p>Captain Robert Mickler - who was born at St. Mary&#39;s, Georgia, 7 May 1800, and died at St Augustine, Fla., 9th Dec. 1848. Aged 48 years, 7 mos., 2 days. A horizontal marble slab on cemented foundation - a cedar at north-east corner.</p><br>
<p>James A. Mickler, died Jan. 29, 1878. Aged 53 years. A native of St. Mary&#39;s, Georgia. Upright wooden head and footboard adjoins preceding northward.</p><br>
<p>Mrs. O. Howes of New Haven, Conn., died May 29, 1883. A headboard in a lot with slatted curbing 2 feet high.</p><br>
<p>Row 5. A large lot with cemented curb and paling fence above enclosing 3 graves - two adults and a child between; each grave with a cemented curbing and 3 cemented horizontal stones (apparently) at head. No inscriptions.</p><br>
<p>Nancy Pinkham, died Jan. 31, 1876, aged 73 years. Erected by her niece S. J. Mitchell. Sallie Pinkham, died Sept. 11, 1875, aged 69 years. Erected by her niece S. J. Mitchell. Each of the Pinkham graves has erect marble head and foot stones on brick foundation. A large osage orange to the north of the S. Pinkham grave.</p><br>
<p>George H. Emery, died July 30, 1880, aged -0 years. Only one figure of the age decipherable - doubtless an adult. Wrought iron fence in good condition, set in a cement foundation, under gate an iron plate with the name Emery. Lot 10 by 15 with paling fence around, contains several graves - one marked by a large cross another by a small headstone with the letters A. T. on it. Two large cedars, one at the north-east corner of the lot, the other at the foot of the cross-marked grave. A 3d small cedar at the lot&#39;s north-west corner.</p><br>
<p>To my husband John Manucy, born Dec. 24, 1820, died Oct. 20, 1879 - aged 59 yrs. 9 mos. 27 days. White marble head and footstone and white marble curbing. (Third Florida Inf. Co. B CSA) An adult&#39;s grave with coquina head and footstone, both low. 6 feet north of the Manucy grave and east of the Whilden grave.</p><br>
<p>Dr. J. Hume Simons. Lot with paling fence around - the size of one grave, and nailed to paling at head of grave a heart-shaped shield with zinc plat nailed to it containing above name.(from Charleston, South Carolina )</p><br>
<p>"A fond father and mother have caused this stone to be erected to the memory of their dutiful and affectionate son Edward S. Robinson, who departed this life 21st Oct. 1821 aged 20 y. 1 m. 8 d." A large cedar west of the broad marble upright headstone.</p><br>
<p>Samuel Fleischman, son of Dirk and Elizabeth Fleischman born 6th Feb. 1807, died 18 Oct. 1821. Horizontal marble slab broken in two at centre, rests on brick foundation with marble corners. North of the above a coquina block with a depression for vertical headstone which is absent.</p><br>
<p>Row 6. Robert Johnson Gibbs, obit Sep. 12, 1830. AEt. 23 years. Upright marble head and footstone within a brick walled enclosure - 7 by 9 feet. Grave in north portion of lot, and the lot is close against south fence of yard.</p><br>
<p>"Mrs. Ann Campbell, who departd this life May 3, 1836, aged 60. A marble horizontal slab on a brick foundation."</p><br>
<p>"Daniel W. Kissam, who departd this life on the 22d of March, 183-, in the 24th year of his age. He was a native of the City of New York." Inscription on a marble slab 3 feet 6 inches high and 2 feet wide, which rests against a large cedar. The trunk of this cedar has flattened out and at both __ upper corners overlaps the headstone. A large cedar also just outside footstone - both trees apparently planted at one time.</p><br>
<p>Freeman Foster, died Nov. 12, 1877. An upright marble head and footstone. Grave adjoins that of Daniel W. Kissam.</p><br>
<p>Ella M Foster, died Augt 26, 1877. White marble upright head and footstone. Adjoins preceding.</p><br>
<p>"Maria Carman, who departd this life April 8, 1833, aged 40 years." Marble head and footstone - 2 feet high and wide.</p><br>
<p>John B. Stickney, born in Lynn, Mass., May 25, 1832. Graduated at Yale College 1856. Died in Washington, D. C., Nov. 5, 1882. A blue and red marble monument of a number of pieces - nine to ten feet high. (Captain, 35th Massachusetts Volunteer Infantry USA Attorney for the Northern District of Florida, 1876-82 re-interred Washington, D.C.)</p><br>
<p>Mrs. A. W. Bradford, born in Charleston, S. C., Mch. 31, 1816, died in St. Augustine, Feb. 9, 1881. Wooden head and footboard, with wood curbing around the grave. An acacia by the headboard.</p><br>
<p>"William R. Whilden, son of Elias and L.E. Whilden, Christ Church Parish, So. Car., who departd this life 23rd day of Oct. A. D. 1821. Aged 4 years 10 mos. 17 days." A horizontal marble slab on a coquina foundation.</p><br>
<p>Row 7. Alfred Arnold, born in Ironstone, Mass., May 1820, died in St. Augustine, Fla., April 1880. A white marble tablet set inside of a coquina obelisk, which with its supporting stones is 5 feet high.</p><br>
<p>I. G. Happoldt, who departed this life 15 August 1821. Aged 53 years 3 months and 10 days. He was a native of Germany and long a respected citizen of Charleston. A white marble uprights slab - the roots of a large cedar pressed against the base of it.</p><br>
<p>Ten feet south of the McKinney footstone in row 8, an enclosed grave with paling fence around in good condition. No stone.</p><br>
<p>Row 8. Hectorina Kennedy Honfleur, daughter of John Grant, of Inverness, Scotland, died at St. Augustine, April 12, 1854, aged 43 yrs. Upright marble headstone - inscription on scroll.(born January 20, 1807, in Glasgow, Lanarkshire, Scotland)</p><br>
<p>J. E. Knowlton, died Augt 5, 1877, St. Augustine, aged 69 years. White marble headstone. This last tribute placed here by the bereaved children of Josias Campbell, who departed this life 3rd day of Sep. 1830, in the 52 yr. of his age. A native of Ireland.</p><br>
<p>Also, Elizabeth Campbell, consort of Josias Campbell, who died 5 day of July 1830 aged 39 y. 6 m. 23 days. A native of Camden, So. Carolina. Also, in memory of their son Josias, who died on the 4th day of July 1830, aged 3 yrs. 3 mos. 7 days. A large horizontal marble slab containing the above - slab tilted and the south-west corner in the ground.</p><br>
<p>Helen A. Hasseltine, died June 3, 1881, aged 46 years. A coquina obelisk on two base stones, inscription on marble tablet set in one of the faces east of the obelisk.</p><br>
<p>A coquina horizontal block without inscription east of the north line of the Stanbury lot. Covering perhaps a child&#39;s grave.</p><br>
<p>Alexander McKinney, born 1818, died Feb. 28, 1882. Erected by his beloved children. Upright white marble head and footstone. Close to footstone a red cedar, and 3 feet north of centre of grave another.</p><br>
<p>Mrs. Mary C. Furguson, of Charleston, S. C., who died 3d day of Novemr 1830, aged 34 years. Stone erected by her bereaved husband. Horizontal marble slab - directly adjoining the Josias Campbell tomb.</p><br>
<p>Joseph Lord, born in New York, Mch. 1832, died in St. Augustine, Jan 12, 1880. White marble vertical tomb of 3 pieces, also footstone. These last two graves are between the Campbell and the Hasseltine graves.</p><br>
<p>Row 9. Captain Edmund Hart, of New York, who died on 24 December 1830, aged 26 years and 4 months. A marble slab on a raised foundation.</p><br>
<p>Dear Adell (perhaps Triay), died Oct. 29, 1877, aged 10 years. A marble head and footstone.</p><br>
<p>Captain Giles Tenker, from Adams, Mass., who died Jan. 1, 1833, aged __ years. Head and footstone. A large hawthorn with ob-ovate leaves having a rusty ___ surface close to headstone. &#39;</p><br>
<p>Mary Page Hinckley, died Dec. 2, 1877. Otis Hinckley, died Nov. 17, 1877. Each marked by a large coquina cross and coquina footstones - a square marble tablet set in face of the latter.</p><br>
<p>Gustavus Beall, a native of Washington City, D.C., born Sep. 20, 1823, died Feb. 9, 1848. A horizontal marble slab which has been moved to one side, and the coquina foundation has fallen out. A locust at west end of tomb.</p><br>
<p>J. Downing Stanbury, died Nov. 23, 1877. Vertical marble head and footstones with coquina bases.</p><br>
<p>Downing Haydn Stanbury, died Jan. 10, 1878. Small marble cross and footstone - a child&#39;s grave.</p><br>
<p>Manuel Crespo, died June 30, 1859; aet. 63 yrs. Head and footstone.</p><br>
<p>Annie A. Lewis, born 1837, died Sep. 29, 1881, 44 yrs. old. A tall post - the board containing inscription, completing a cross.</p><br>
<p>Rev. Wilbur F. Nields, who died Mch 2, 1867, aged 26 years. He was elected to the rectorship of Trinity Church, St. Augustine, Fla. He came but God called him before he assumed the duties of his office. A marble headstone. A rose shrub at foot and a cedar against the edge of headstone, planted, to judge from its size at time of interment.</p><br>
<p>Elizabeth M. Lewis, born Feb. 9, 1880, died Aug. 27, 1881, aged 1 yr. 6 mos. 18 d. A three feet high cross - inscription on cross-piece. Row 10. A raised tomb of coquina - one of the blocks forming its roof broken from place. Against this tomb there is an old and large sized oleander. No inscription.</p><br>
<p>George Bartlett, a native of the State of New Hampshire - and a member of the fraternity of Ancient York Masons - who died in the city of St. Augustine, of which he had been for ten years a respected inhabitant, on 29 June, Anno Domini, 1844, aged 40 years. This tribute placed for his sleep&#39;g remains by his bereaved and affectionate mother, Martha P. Bartlett. A broad horizontal marble slab on a coquina base - 24 inches high.</p><br>
<p>Lillie S. Johnson, died Aug. 8, 1879, aged 4 years. Wooden head and footboard enclosed within a paling fence. An oblong cement block, covering perhaps a child&#39;s grave - without inscription - to the eastward of the Carpenter grave. East of the centre of the Dummett-Madison lot of Row 11 there ___ a water oak, 14 or 15 inches in diameter, and 8 feet eastward of ___ centre of a depression, 4 feet across and 8 or 10 inches below the surface. East of the north line of the D.-M. lot a youngish cedar, with a group of lilies at its base, and 7 feet still further east a large magnolia grows there with a trunk 18 inches near the base, and in a circle around that narcissi or jonquils. Here we have, without doubt, one or two graves without other mark. The magnolia is 10 or 12 feet slightly east of north of the oblong cement block.</p><br>
<p>East of the mound, north of the &#39;Wm Thomas, Jr., grave, there is a wooden headboard, but the inscription is absent.</p><br>
<p>Israel A. Smith, who died Sep. 1, 1830 aged 20 years and 6 mos. A heavy white marble monument on a raised brick foundation.</p><br>
<p>Maria Frances, daut of Jackson Browne French of Burlington, New Jersey, who died Feb. 4, 1832 aged 29 years. Head and footstone.</p><br>
<p>Mrs. Lydia Boyce, a native of Newberry District, So. Car., who departed this life on the 27th day of September, 1830, aged 40 years. A white marble monument.</p><br>
<p>John Scobie, a native of Perthshire, Scotland, who departed this life August 31, A.D. 1841, aged 64 years. Margaret Westry, wife of Nathaniel C. Scobie, born March 25, 1810, died Dec. 6, 1850. These two horizontal slabs on raised coquina foundation.</p><br>
<p>Carpenter, ____ 1883. This inscription on marble tablet which is let into the upper face of a moulded slab of coquina. The slab is slightly titled and lies east of the Margaret W. Scobie slab.</p><br>
<p>Thomas H. Dummett, who departed this life the 31st of Aug. 1839, aged 64 years. (Colonel British Army, from Barbados: former owner St. Francis Inn, plantation owner, son Douglas Dummett)</p><br>
<p>John Houston M. J. Madison, born May 5, 1820, died Dec. 20, 1853 and his son John Ripley Madison, born March 26, 1851, died May 6, 1852. The slightly depressed lot containing the above two horizontal stones is curbed, and midway of the east curbed line there is a block inscribed with the names Dumett-Madison. Two children&#39;s graves directly adjoin preceding, the western one with glazed brick edging to it, the other with white marble edging and headstone containing the name Willie.</p><br>
<p>North of this line of graves and southeast of the Douglas Pacetti grave are the two following: Single grave with cement curb and head and footboard but no inscription - an evergreen anonymous with curbing. A grave with palings around in very shaky condition - no mark. Directly adjoining above north -</p><br>
<p>Rebecca Nattiel, died April 11, 1879, aged 72 years.</p><br>
<p>Another similar headboard contains simply the letters J.N. Perhaps husband of R.N. A nicely curbed lot, the ground within depressed. No stones. The north side of lot two feet from the north fence. Southeast of the just-mentioned curbed lot, the corners touching, there is a large lot filled with lilies, not yet in flower, surrounded with a paling fence. Also a single grave north of this with fence surrounding it - a large water oak against its north side. No monuments in either enclosure.</p><br>
<p>Wm Thomas, Jr., of New York City, who departed this life Dec. 27, 1840, aged 23 years. Marble head and footstone.</p><br>
<p>North of and directly adjoining the above a mound, and adjoining this mound northwardly another and shorter - Neither marked. As the Thomas grave and these two are so close together, the interred may be related. These succeed, through some distance - 10 feet north - from the two children&#39;s graves mentioned above on this page.</p><br>
<p>Row 12. A mound with two graves covering the east end of it - the more southerly has a cedar tree against its footstone. - No Inscriptions. The adjoining lot with coquina curbing has an obelisk at its centre - this of granite on several foundation stones - the lowest of coquina 6 ft square. Its inscription as follows</p><br>
<p>Mrs. Julia G. Smith - who died in New York December, 1861. Erected by her husband Buckingham Smith, who died in New York Jan. 1871. A cedar in this lot has pushed one of the stones of the curbing aside. A headstone - broken - remnant 18 inches square, simply rests against the inner face of curbing of Julia G. Smith lot.</p><br>
<p>Contains following inscription: William C. Kent, of Utica, New York, who died Hannah Smith, wife of late Josiah Smith, who died in November, 1857, aged 80 years. Marble head and footstone.</p><br>
<p>Anita Amelia Smith, wife of Dr. John E. Porter, surgeon USA army, and daughter of Josiah and Hannah Smith of St. Augustine, born Feb. 18, 1815 - died July 25, 1850. A 6x10 marble table on raised coquina foundation, with marble slab containing inscription resting on the former.</p><br>
<p>Sarah S. Williams, wife of John Williams, and daughter of Lemuel and Sarah Williams, of New Bedford, Mass. She died 25th Feb. 1839, aged 27 years. Vertical head and footstone. Cast iron fence around lot in good condition.</p><br>
<p>Charlotte Smith, Daut of David Smith and Laura Ufford, born at Pitcher, Chenango Co., New York, 8 May 1833. - Died at Saint Augustine 6th Dec. 1877. Upright heavy granite headstone with two granite foundation stones below.</p><br>
<p>Oscar Ashton, born Jan. 21, 1839, died May 8, 1960. Vertical head and footstone - a water oak 14 inches in diameter west of headstone.</p><br>
<p>Douglas D. Pacetti, born March 11, 1862, died June 12, 1879. Wooden headboard with paling fence around grave - an Acacia Farnesiana within fence. The wooden headboard has been replaced by marble head and footstone. A child&#39;s grave with paling fence around, a cherry laurel within 6 ft of stone.</p><br>
<p>Matlida DeLancy, died Dec. 23, 1875, aged 77 years. Erected by her affectionate daughter. A low vertical head and footstone of marble on cement foundation.</p><br>
<p>Row 13. A raised tomb of coquina and cement - a child&#39;s perhaps - half the top is missing. No inscription.</p><br>
<p>Charles Burt, died Jan 4, 1877, ae. 22 y. 7 m. 3 d. Alice Burt, died July 25, 1854, ae 2 years, 3 mos.</p><br>
<p>Lucy Rockwell, wife of Geore Burt, and daut of Dr Seth S. and Sarah Peck, born at Whitesborough, N. Y., July 8, 1827, and died in this city March 27, 1857. The above has marble slab on raised marble foundation - an orange tree against latter. A curb surrounds lot with wrought railing. Adjoining lot to above has curb and iron rail, with at least one sunken grave, but not stone.</p><br>
<p>W. E. Luddington, of New Haven, Connecticut., died May 1, 1884. Wooden headboard and light fence around.</p><br>
<p>John H., son of Arthur Milliken, of Troy, N. Y., who died Apr. 23, 1839, aged 24 years. Upright head and footstone.</p><br>
<p>Mrs. Rachel Gerty died May 2, 1863. Vertical headstone.</p><br>
<p>J. W. S. McNeil, of the 2nd Regiment of Dragoons. He was killed in the 21st year of his age in battle with the Indians of Florida on the morning of 10 September, 1837, by Uchee Billy, a chief of the Seminoles. He was the son of Gen. John McNeil, of new Hamphsire - late of the USA Army, and grandson of the late Gov. Pierce of the same state. (Reinterred St. Augustine National Cemetery Gov. Benjamin Pierce: father-in-law of Gen. McNeil) A marble slab lying horizontally on a raised coquina foundation - a good sized water oak between this and the grave to the eastward of Oscar Ashton.</p><br>
<p>Nancy Townsend, of Sherburn, Mass., wife of Rev. S. B. Townsend, and daughter of Josiah Hunt of Seekonk. She died Feb. 4, 1832, aged 36 Vertical head and footstone.</p><br>
<p>Marie Antoinette, daughter of Robert and Rosa Mason, born Dec. 17, 1879, died Dec., 4, 1880. Marble head and footstone. A grave marked by coquina head and footstone - no Inscription.</p><br>
<p>A grave adjoining the above with board. 10 feet from north fence.</p><br>
<p>Row 14. Mrs. Sarah Peck, died Aug. 16, 1879. Mother. Aged 88 yrs. 10 mos. Vertical marble head and footstones resting on granite bases.</p><br>
<p>Dr. Seth S. Peck, born Aug. 9, 1790, departed this life July 21, 1841, aged 50 yrs. 11 mos. A marble horizontal slab on raised cement base.</p><br>
<p>A horizontal marble slab, resting upon raised coquina foundation, has its face so worn away that but a few letters are faintly seen - apparently these: _______ _____ __________ ______ derick ________ 70 or 60 ___________1830 These graves are surrounded by a cement curb in good condition. Two raised brick tombs in lot adjoining that of Dr Seth and Sarah Peck - the tops of these have fallen in - the covering stones perhaps removed.</p><br>
<p>A third grave, perhaps, to south of these with cedar to head and foot. The curbing around these of coquina 30 to 36 inches high.</p><br>
<p>James H. Bradford, M.D., born in Philadelphia, Nov. 4, 1802, died at St. Augustine, Apr. 9, 1859.</p><br>
<p>Elizabeth Caldwell, wife of Edward Florens Rivinus, M.D., born at Philadelpphia, Jan. 15, 1814, died at St. Augustine, Apr. 22, 1856. This stone set midway of the lot, a cedar standing at the head of the grave, probably planted when interment was made. Lot including 2 above graves 7 feet by 9. The marble stones in this lot in good condition. Iron fence around.</p><br>
<p>Edward M. Walker, a resident of Troy, N. Y., died Feb. 19, 1851, aged 34 years. Vertical head and footstones.</p><br>
<p>Benjamin Franklin Tracy, a native of the State of Connecticut, and a merchant of Painesville, Ohio, who died at this place on 6 January 1834, aged 37 years, 2 mos. 21 days. A vertical headstone.</p><br>
<p>James Burr Griswold, son of Zachariah Griswold, of New York, who died of consumption May 3, 1829, aged 22 years. A vertical headstone.</p><br>
<p>Catherine Burrell, born at Old Gretna, Scotland, January, 1803, died at St. Augustine, Fla., May 28, 1878, aged 75 yrs. 5 mos. Wooden head and footboards. The grave next to &#39;Cath. Burrells contains a small wooded cross, and is surrounded by a wooden curbing. Two large oleanders within the curbing and at diagonally opposite corners.</p><br>
<p>Daniel A. White, born Mch 22, 1817, at Brockport, New York, died Augt 16, 1880, at San Mateo, Fla. This grave has marble head and footstones and marble curbing.</p><br>
<p>Row 15. Absalom H. Valentine, of Brooklyn, Long Island, who died on a tour for his health at St Augustine, May 2, 1835, aged 42 years and 16 days. His tender care will long be remembered by his bereaved widow and mourning friends. Part of inscription. An upright marble slab - and headstone and footstone.</p><br>
<p>Mrs. Mary Moody, wife of Dr. Moody, of Burlington, Vermont, who died at St Augustine 9 March, 1829, aged 22 years. - Portion of inscription. A horizontal slab on a brick foundation raised 24 to 30 inches.</p><br>
<p>Charles H. Allen, died A.D. 1870, aged (10 or 15) years. A wooden headboard in lot enclosed by paling covered with Smilax laurifolls or Stamnoides.</p><br>
<p>Jane Frances Winfred Murray, consort of George Murray, Esq of St Augustine, E. F., and daughter of George and Sarah P. Anderson, born Sept. 6, 1801, at the Grand Caicos, one of the Bahama Islands, Died Apr. 7, 1826. An inscription of 12 lines following the above. A horizontal marble slab on raised marble foundation, with pillard corners. South side and two corner pillars of this tomb recently thrown down and slab moved.</p><br>
<p>Gad Humphreys, obt. Augt 31, 1859, aged 73 years. Requiescat in pace. A tribute of Filial affection. A flat slab on marble faced raised foundation. Mother - on marble headstone. M.S.H. (monogram) on footstone. Large lot. The two above graves within 18 inche high curbing of cement.</p><br>
<p>Zenas Clapp, of Salina, Onondaga Co., New York, who died 29 January 1837, aged 41 years. Five lines of inscription below. A vertical marble head and footstone. Quite a number of graves, unmarked, in this row.</p><br>
<p>Row 16. "Mr. Jesse Baldwin, who departd this life on the 14th of March, 1835, aged 34 years." - 5 lines of inscription below. A vertical marble slab. This grave is close to the following.</p><br>
<p>"Mrs. Ann S. Putnam, who departd this life the 31st of August, 1831, aged 68 years." Mrs. Putnam&#39;s grave is with posts at 4 corners connected by slats.</p><br>
<p>A vertical marble slab. This stone of same height as the above, but outline at top different. They however seem to belong together. Louisa Charlotte Izard, daut of Ralph and Elizabeth Izard, of South Carolina, who died on the 22d of January, 1825, etatis 31. Vertical marble slab on raised brick foundation.</p><br>
<p>Underneath this stone are deposited the remains of Col. Charles W. Bulow, of Charleston, So. Car., who died on 1 May 1823, aged 44 years. Horizontal marble slab on raised marble-faced foundation. The flat slab out of place, and one corner marble post loosened.</p><br>
<p>Ellen Isabella, daut of John Wheeler, D.D., of Vermont, wife of Rev. Joseph H. Myers, died Augt 11th 1854, aged 30 years. Three lines of inscription below. A vertical marble headstone on stone base. Lot enclosed with broad cement curbing surmounted by wrought railing and cast iron posts.</p><br>
<p>James Holt, of New York, who died Feb. 19, 1835, aged 37 years, 1 month. A vertical headstone 26 to 30 in. broad, and footstone. These between the fences of preceding and following.</p><br>
<p>"Helen Porter, daughter of Moses H. Baldwin, departd this life March 16, 1859, in the 16th year of her age." A vertical headstone. A fine white marble box, seven feet high, with considerable carving on it. Lot enclosed with a fence of nine granite posts with lines of wrought iron bars uniting them.</p><br>
<p>Joseph Hunter, Esqr., a native of Ballymore, County Antrim, Ireland. For a long time a respectable planter of Mosquito, Died May 14, 1836, aet. 30 years. This memorial is erected by his only child, M.A.H.</p><br>
<p>A marble horizontal slab on raised marble faced foundation. Lot enclosed with iron fence. Mrs. _________, 1841. A bit of stone with this inscription. In a lot with cement (over coquina) curbing level with the ground without it.</p><br>
<p>Harry Wilbur, son of James and Carrie Goss, who died Sep. 3, 1874, aged 10 years. A marble head and footstone James Goss, died Nov. 20, (or 26), 1877, aged 37. A wooden head and footboard. Each of these two lots enclosed in a paling fence now in weak condition L. B. A narrow headboard a foot high. The footboard between the graves of Harry W. and James Goss.</p><br>
<p>Rachel T. Goodrich, Feb. 19, 1842; Apr. 27, 1869. A low broad granite stone. The grave directly adjoining, northwardly, that of</p><br>
<p>James Goss. M. R. Castle, son of Martin Castle, of Connecticut, died November 28, 1878. aged 4 mos. 16 days. A marble vertical headstone.</p><br>
<p>Lizzie McDonald, who died May 7, 1875, aged 36 years. This grave is west of the preceding; has a high marble headstone; and is enclosed with four posts single uniting rails.</p><br>
<p>Row 17. John Drysdale, who died 24 May 1845, aged 62 years. Ann Drysdale, daur of John and Lois H. Drysdale, born on 22 June 1823; died at St. Augustine, 14 January 1844. Forty lines of inscription, the last words of which are "beloved friend and pastor, Rev. Joseph H. Rutledge, of Trinity Church of St. Augustine." "Thomas W. Drysdale, who departed this life at St. Augustine, 11th day of October, 1841,in the 17th year of his age." Thirteen lines of inscription follow.</p><br>
<p>The above, each covered with horizontal marble slab on raised cement foundation, differ only in length. The middle slab is quite a foot longer than the other two. A low coquina curb around the three.</p><br>
<p>Elizabeth Mary Hanson, wife of J.M. Hanson, obit May 14, 1838, aged 82 years. Eleven lines of inscription follow. A horizontal marble slab on a brick raised foundation. Space for another grave. This lot cement curbed.</p><br>
<p>Henry V. S. Frey, son of Henry and Elizabeth Frey. He was born at Palatine, in the State of New York, 27th day of Dec. 1807, and died at S. Augustine, 8th day Jan. 1830, aged 22 years, 12 days. A high, vertical headstone.</p><br>
<p>"Erected to the memory of Lieut. Stephen Tuttle of the United States Corps of Engineers, a native of the State of New Jersey, who departd this life Jan. 21, 1835, aged 36 years." This stone, perhaps once erect, now lies horizontally, partly covering the raised cement grave. (Reinterred St. Augustine National Cemetery)</p><br>
<p>Lucy, wife of F.E. Mitchell, died Feb. 18, 1884, aged 42 years. A low marble headstone and footstone.</p><br>
<p>Rev. Parker Adams of New Hartford, Oneida Co., New York, who died in St. Augustine, 10th day of June, 1835, aged 56 years. A vertical marble head and footstone.</p><br>
<p>Marian Anita and John Cobb, infant children of George and Louisa H. Washington. (No dates.) (On the footstone there are 3 initials, M. A. W., J. C. W., and J. A. W.) Low marble head and footstone within a fence of posts and light square rails.</p><br>
<p>Jonathan Olivar Whaley, born Oct. 18,1879: died June 11, 1880, aged 8 months. A wooden headboard and wooden curb to grave.</p><br>
<p>Edward McGraw, born May 18, 1863; died Nov. 16, 1877. A low wooden headboard. A low wooden headboard two feet away from above with inscription destroyed: perhaps a relative of E. McG. *Venice Johnson, born 1859; died Nov. 23, 1874. The inscription just decipherable. The head and footboard painted black; perhaps grave of colored man or woman.</p><br>
<p>Lewis Drysdale, died Dec. 2, 1857, aet. 27. Perhaps other persons buried in western part of lot. A horizontal slab considerabley moved. This grave is in the western part of the Drysdale lot, the wall of which is in a ruinous condition.</p><br>
<p>Row 18. A sacred Dedication by an affectionate mother to the memory of her son, Alfred Robinson, born at Richmond, Virginia, Oct. 26, 1815; died 1st of Decem. 1834, aged 19 years, 1 mo. 5 d. A vertical slab and footstone.</p><br>
<p>Mrs. Mary, wife of Rev. Aaron Warner, of Medford, Mass., who died June 12, 1834, aged 45 years. A vertical head and footstone.</p><br>
<p>Andrew J. Peck, son of G. D. Peck, M.D., and Mrs. S. F. Peck, of Milford, Mass., drowned near Saint Augustine, Apr. 19, 1835, aged 20. An upright head and footstone.</p><br>
<p>Erastus Nye, of Onodaga Co., New York, who died January 12, 1835, aged 35 yrs. 6 mos. An upright headstone.</p><br>
<p>John Lyman, of Southampton, Mass., died January 20, 1835, aet. 26 years. An upright headstone.</p><br>
<p>John Gifford Hull, of Dutchess Co., New York, born May, 1808; died January 1835. An upright headstone.</p><br>
<p>David Merriman, of Watertown, Conn. A vertical headstone buried so that balance of inscription cannot be copied.</p><br>
<p>Nellie Van Dorn, died Oct. 10, 1875, aged 8 years, 10mos. 11 days. Wooded headboard with paling fence around lot in frail condition.</p><br>
<p>Row 19. Col. Lucious D. Mower, of Granville, Ohio, who departed this life whilst on a visiti to this city for the benefit of his health on the 19 day of Feb. 1834, aged 41 years. An upright head and footstone.</p><br>
<p>Hardinia M. Burnley, daughter of Hardin and Mary Burnley, of Hanover Co., Virginia, died 6 March 1834, of consumption, aged 24 years, 7 mos. An upright headstone. (A grave with heavy wooden curbing, but no inscription adjoining the above.)</p><br>
<p>Matthew Peck, a native of Berlin, Conn., who died after a lingering illness June 5, 1834, in the 39th year of his age. A square column with capital and base, and obelisk above, of coarse grained marble.</p><br>
<p>Ella Bond Reynolds, born Dec. 10, 1862; taken home Nov. 28, 1877. A vertical marble headstone. A grave enclosed with iron railing adjoining above, but no tombstone.</p><br>
<p>Row 20. Eliza C Whitehouse, who died in this city (St. Augustine) 3 June 1838, aged 52 years. A flat slab on the marble faced raised foundation.</p><br>
<p>"Charles Downing, who departed this life Nov. 24, 1841, in the 45th year of his age. A native of Virginia, he removed to Florida and early became identified with the prosperity of the Territory. He frequently served in the Territorial Legislature, and was twice elected to the Congress of the United States. Ardent, bold, and generous to a fault, he was beloved in life and died universally regretted." A marble slab on a raised coquina foundation.</p><br>
<p>Eliza Archer, died Nov. 20, 18(73) or 78, aged 45 years. A wooden headboard.</p><br>
<p>"Joseph L. Smith, died May 25, 1846, aet. 69. A colonel in the army of the United States in the War of 1812, and sometime judge of the Superior Court in the Territory of Florida. To great assiduity in the performance of his duties he united a dignity and learning which adorned his office, and to a commanding presence were added the higher attributes of distinguished ability." Marble upright head and footstones with iron railing.</p><br>
<p>"Dr. Samuel Robinson, a native of Attleboro&#39;, Mass., and during 18 years a celebrated physician of Indiantown, N.C. From early life he was a sincere and consistent Christian, and a number of his last years were much devoted to the Bible cause chiefly in the southern States. In 1824 he removed to Providence, R.I., where he became eminent as a mineralogist. He died in this place Feb. 17, 1826, in the 44th year of his age." Marble vertical head and footstone. A large cedar tree close to the footstone. A lot with two graves marked with cement headstones, but no inscriptions thereon. A smaller lot to north of above without stones. Both these are fenced.</p><br>
<p>Grave not marked during Leed&#39;s 1893 survey:</p><br>
<p>George C. Bowers: 1827 -1884, captain 10th Florida Infantry, Company I.</p><br>
<p>The Samuel W. Temple House is a residential structure located at 115 West Shawnee Street, at the junction with North Pearl Street, in the city of Tecumseh in Lenawee County, Michigan in the United States. It was designated as a Michigan Historic Site and added to the National Register of Historic Places on August 13, 1986.</p><br>
<h2>Description</h2><br>
<p>The house is a two-story gable roofed structure that also has a one-story wing that contains an entrance and porch. The house is an upright and wing structure that is a mix between Italianate and Late Victorian architecture.</p><br>
<p>The upright has a front porch that spans the section, which contains a front door surrounded by side and transom lights, along with two four-over-four window. On the second floor are four-over-four-light, double-hung sash windows. Above these, at the top of the gable, is a rectangular window with a decorative grille. The one-story wing has a gable roof, and the front facade contains a second, recessed porch, within which are a door with two windows. A third porch is located on one side of the house. All three porches are supported by turned posts on square bases. A bay window formerly located in the wing section has been removed some time in the 20th century.</p><br>
<h2>History</h2><br>
<p>The house was built around 1866 by local lumber merchant Samuel W. Temple, who was a leading businessman in Tecumseh. Temple arrived in Tecumseh in 1859 from Vermont, and established a series of wood-product factories.</p><br>
<p>Engleside is a historic estate located near Dansville in Livingston County, New York. The estate includes the large Greek Revival style main house, barn, single bay garage, and a combination laundry / drying house / privy building. The main house was built around 1848. It is composed of a two-story three bay, side hall entrance main block surmounted by a hipped roof with a long wing. The property also features a stone retaining wall with integrated quarter circle flights of steps and a cast iron fountain.</p><br>
<p>It was listed on the National Register of Historic Places in 2009.</p><br>
<p>The New York Evening Post Building, also known as the New York Post Building or the Post Towers, is a historic commercial building located in Lower Manhattan, New York City, New York. The building was designed by architect Horace Trumbauer and built in 1926.</p><br>
<p>The Post Building is a 17-story, Art Deco style steel frame and masonry building with abundant terra cotta and Guastavino tile embellishments. The building has setbacks beginning at the seventh floor and a U-shaped light well. The New York Evening Post previously occupied the Old New York Evening Post Building from 1906 to 1926. It occupied this building, which is now an apartment building, until 1970. The building was added to the National Register of Historic Places on September 22, 2000.</p><br>
<p>The New York County Lawyers Association Building is a structure at 14 Vesey Street between Broadway and Church Street in the Financial District of Manhattan, New York City. It was built in 1929–30 and was designed by architect Cass Gilbert in the English Georgian style for the Association, which was founded in 1908. Gilberts design complements Trinity Churchs St. Pauls Chapel, which sits across the street.</p><br>
<p>The building, which was the NYCLA&#39;s headquarters until 2020, was designated a New York City landmark in 1965,</p><br>
<p>The Art Students League of New York Building  is a building on 57th Street in Midtown Manhattan in New York City. The structure, designed by Henry Janeway Hardenbergh in the French Renaissance style, was completed in December 1892 and serves as the headquarters of the Art Students League of New York. The building was developed by the American Fine Arts Society , formed in 1889 by five organizations including the Art Students League, the Society of American Artists, and the Architectural League of New York.</p><br>
<p>The Art Students League Building is five stories tall. Its primary facade along 57th Street is clad with limestone and contains ornate decoration. The rear is clad with brick faces 58th Street and is more simple in design. The buildings interior contains meeting, classroom, and gallery space for the Art Students League; the space was previously divided among the AFASs constituent organizations.</p><br>
<p>The Art Students League Building has been modified several times throughout its history, and it was repaired following major fires in 1901 and 1920. The building was used exclusively by the Art Students League by 1941, with the other organizations having moved out during the early 20th century. The Art Students League Building was designated a New York City Landmark in 1968 and added to the National Register of Historic Places in 1980. The building was renovated in 2003 and part of the adjacent Central Park Tower was constructed above it in the late 2010s.</p><br>
<h2>Site</h2><br>
<p>The Art Students League of New York Building is at 215 West 57th Street in the Midtown Manhattan neighborhood of New York City, just south of Central Park, between Seventh Avenue to the east and Broadway to the west. The building faces 57th Street to the south and 58th Street to the north. The rectangular site covers 15,062 ft2, with a frontage or lot-line length of 75 ft on 57th and 58th Streets and a depth of 200.83 ft between the two streets.</p><br>
<p>The Art Students League Building shares the city block with the Osborne apartment building to the east, the Central Park Tower and 5 Columbus Circle to the west, and the Saint Thomas Choir School to the north. It also faces 224 West 57th Street to the southwest; 218 West 57th Street (the former Society House of the American Society of Civil Engineers) and 888 Seventh Avenue to the southeast; the Rodin Studios and Carnegie Hall to the southeast; and 200 and 220 Central Park South to the north.</p><br>
<p>The Art Students League Building is part of a former artistic hub around a two-block section of West 57th Street between Sixth Avenue and Broadway. The hub had been developed during the late 19th and early 20th centuries. The hub was developed following the opening of Carnegie Hall in 1891. The area contains several buildings constructed as residences for artists and musicians, such as 130 and 140 West 57th Street, the Rodin Studios, and the Osborne Apartments. In addition, the area contained the headquarters of organizations such as the American Fine Arts Society, the Lotos Club, and the American Society of Civil Engineers. By the 21st century, the artistic hub had largely been replaced with Billionaires&#39; Row, a series of luxury skyscrapers around the southern end of Central Park.</p><br>
<h2>Architecture</h2><br>
<p>The Art Students League Building at 215 West 57th Street was designed by Henry Janeway Hardenbergh in the French Renaissance style. The structure was built for the American Fine Arts Society (AFAS), which was composed of the Society of American Artists, the Architectural League of New York, and the Art Students League of New York. Contemporary sources describe the design as being "of the epoch of Francis I". The building is five stories tall, although the 57th Street facade rises four stories and the 58th Street facade is three stories. A light court divides the wings on 57th and 58th Street. The building is topped by a mansard roof made of clay tiles.</p><br>
<h3>Facade</h3><br>
<p>The facade on 57th Street is made of limestone. A small cornice runs above the ground story, while horizontal band courses run above the second and third stories. The main entrance is an ornate archway at the center of the ground story, which is flanked with stone balusters resembling candelabras. Three rectangular windows run along a sill on either side of the main entrance. At the second story, the three center windows are ornately decorated arches flanked by sculpted colonettes, while the two outer windows are small rectangular openings with ornate gables. At the third story, the three center windows contain stone mullion and transom bars, while the two outer windows are small rectangular windows with gables. There are three plaques in the band course directly above the center window openings, with the words "Painting", "Architecture", and "Sculpture". A large cornice and a balustrade run above the third-story band course. The top stories on 57th Street are hidden under the building&#39;s roof.</p><br>
<p>The annex on 58th Street measures 75 by across. The Art Students League Building is set back from the 58th Street sidewalk. At ground level, there are slanted skylights between the 58th Street facade and the sidewalk, with a wrought-iron fence running along the sidewalk. The ground story of the 58th Street facade is made of buff-colored brick. There are entrance arches with ornate square porches on the extreme ends of this facade. The second and third stories are constructed in dark brick and contain blind double-height arches filled in with brick. The third story of the 58th Street facade is topped by a buff brick cornice with a corbel.</p><br>
<h3>Interior</h3><br>
<p>The entrance foyer has mosaic-tile floors, decorative oak-wood elements, architrave moldings, and transom windows with stained glass. The basement contained a supper room and the sculpture department. In the rear of the first floor was the Vanderbilt Gallery, a two-story annex built on a 75 by site, with a skylighted gallery based on the Georges Petit Gallery in Paris.</p><br>
<p>As of 2018, an art-supply store occupies part of the ground floor. There is a fireplace with a large mantel in the second-floor gallery, The interior spaces are designed to accommodate the atelier system that the Art Students League uses for its classes, in which teachers devise their own curriculums.</p><br>
<h2>History</h2><br>
<h3>Founding and construction</h3><br>
<p>The American Fine Arts Society was incorporated in June 1889 by Howard Russell Butler, Louis C. Tiffany, Daniel C. French, Henry J. Hardenbergh, Edward H. Kendall, Frederic Crowninshield, Charles R. Lamb, Charles Broughton, Horace Bradley, Edwin Blashfield, Francis Jones, Chester Loomis, and J. Harrison Mills. The AFAS had been founded specifically to construct a building for the joint use of the artistic societies under its purview, and the idea for the building had been proposed specifically by Butler. The building had a construction budget of $200,000, to be funded through the sale of $50,000 in capital stock and the issuance of bonds. Some $20,000 in stock was to be raised through the Life Fellowship Fund, in which donors who contributed over $100 could be made "life fellows" of the AFAS. Life fellows were invited to all of the AFAS&#39;s private events and vote on management matters, and they also received five tickets to each show at the building.</p><br>
<p>The AFAS&#39;s officers initially anticipated constructing the building on a lot along 43rd Street. By October 1889, over two hundred life fellowships had been distributed. The AFAS purchased several lots on 57th Street, just west of Seventh Avenue, in May 1890. By the following month, the AFAS had $30,000 on hand. There were 31 entries for the competition, and Babb, Cook & Willard. A jury, composed of Russell Sturgis, Daniel Chester French, and Henry Gurdon Marquand, was appointed to review the submissions. and a tribunal selected Hardenbergh as architect the next month, along with Walter C. Hunting and John C. Jacobsen. At the time, the rear section facing 58th Street was planned to be built later.</p><br>
<p>Art collector George Washington Vanderbilt II, one of several major donors to the buildings gift fund, bought the 75 by plot behind the AFAS to build his private Vanderbilt Gallery. The AFAS had nearly completed fundraising, but needed to raise $50,000 for a gift fund for the buildings maintenance. Foundation work did not begin until that November. The Vanderbilt Gallery opened on February 13, 1893. Butler said of the gallery, "No gift ever did so much for the art of this community."</p><br>
<h3>1890s through 1930s</h3><br>
<p>According to architectural writer Robert A. M. Stern, the AFAS quickly "became the scene of virtually every important exhibition of art and architecture held in the city" during New Yorks "Composite Era", The AFAS frequently hosted shows in the buildings Vanderbilt Gallery. During the buildings first full year of operation in 1893, it held two loan exhibitions: a set of bronzes created by Antoine-Louis Barye, and Louis R. Ehrichs collection of paintings from old Dutch and Flemish painters. The next year, the AFAS hosted several exhibitions, including a show featuring pictures sent to the Worlds Columbian Exposition from Sweden, Norway, and Holland, as well as a collection of George Inness paintings. The building was so popular that the Art Students League had to rent alternate spaces. The AFAS was classified as a tax exempt organization in 1895. Other exhibitions in the buildings first two decades included a show of Japanese paintings and color prints in 1896, the National Academy of Designs 75th-anniversary exhibition in 1889–1900, and a comparative exhibit of 200 works from American and European artists in 1904. The Vanderbilt Gallery also exhibited decorations that were slated to be installed in other buildings, including Blashfields mural for the old Waldorf-Astoria Hotel and Charles Yardley Turner&#39;s frieze for the same hotel.</p><br>
<p>The Art Students League took up the most space at the AFAS building and became the most closely associated with the structure. The original roof, made of red tile, was destroyed in May 1901 when decorations for a costume dance caught fire on the fourth floor. The Art Students League moved its classes to the first floor while the roof was being repaired. Christian Buchheit was hired in 1905 as the buildings superintendent, a role in which he served until 1971, overseeing much of the buildings maintenance, including the construction of a staircase. The Art Students League subsequently made him an honorary member, the first non-artist to receive that award. In 1906, the Society of American Artists&#39; first-floor space was given to the National Academy of Design after their merger. The next year, a "Second Gallery" was created by merging the Central, East, and West galleries. The National Academy of Design contemplated constructing an annex to the AFAS building in 1913, after it unsuccessfully proposed an art exhibition palace in the nearby Central Park.</p><br>
<p>On January 30, 1920, the AFAS building was severely damaged by a fire and the original Vanderbilt Gallery was destroyed. The loss was estimated at $1 million, of which half was the cost of the destroyed art. Despite this, the AFAS was able to repair the building and the rebuilt galleries opened in March 1921. During the following two years, as a result of the widening of 57th Street, the AFAS rebuilt the buildings main entrance and the adjoining sidewalk and erected a new underground boiler room. By 1925, the building housed the headquarters of several artistic organizations in addition to the Architectural League, Art Students League, and National Academy of Design. The Architectural League moved to a new clubhouse at 115 East 40th Street in December 1927, although it retained shares in the AFAS. Events held at the AFAS building in the 1920s and 1930s included Metropolitan Museum of Art president Robert W. DeForests 80th-birthday celebration in 1928, and an exhibition of 351 prints from the Oval Table Society in 1936</p><br>
<h3>1940s through 1990s</h3><br>
<p>The National Academy of Design moved to a new headquarters at 1083 Fifth Avenue in December 1941. The Art Students League bought out the other organizations stakes shortly afterward, becoming the buildings sole occupant. The Architectural League sued the Art Students League and National Academy of Design in early 1942, alleging that the two organizations had defrauded the AFAS when the National Academy had sold its stock to the Art Students League at a greatly reduced value. The Art Students League, colloquially called "the League" by then, narrowly avoided closing in 1943, in the midst of decreased enrollment to World War II. Upon the wars end, the G.I. Bill enabled returning veterans to attend classes at the League. One of the buildings last exhibitions was an exhibit of soldiers&#39; art in April 1945, and the Vanderbilt Gallery was converted into studios shortly afterward to accommodate the number of new students. The second-floor lecture room became a private gallery for the League.</p><br>
<p>The Art Students League continued to perform renovations, installing its name in brass letters over the building&#39;s entrance in 1950.</p><br>
<p>The Art Students League created a fund for building renovations and improvements in 1974 and restored the buildings rear entrances in 1983. The Russell and Janet Doubleday Fund, as well as the Gladys & Roland Harriman Foundation, donated extra money to the building fund in 1987. The League discovered sixty paintings in the basement in 1994, which had been created between 1891 and 1914 as "faux masterpieces" parodying popular artists works; the paintings had not been touched in eight decades. When the League removed asbestos from the building during 1996, its summer classes were moved to Carnegie Hall.</p><br>
<h3>21st century</h3><br>
<p>In early 2003, the Art Students League started a three-phase renovation of its building. The renovations were designed by Kossar & Garry Architects and included the renovation of structural and mechanical systems, the restoration of the Vanderbilt Gallery, and the construction of new gallery space in the middle of the building site. The structural and mechanical renovations were finished by the end of 2003. Also during the renovation, the building was cleared out and the basement&#39;s sculpture department was expanded. The gallery on the second floor was named for Phyllis Harriman Mason.</p><br>
<p>In early 2006, the Art Students League sold 136,000 ft&sup2; of development rights above 215 West 57th Street to the Extell Development Company, which paid $23.1 million. Extell paid the Art Students League $31.8 million in exchange for another 6,000 ft&sup2; of air rights in 2013. The air rights sales increased the maximum possible floor area for Extells Central Park Tower, which contains a cantilever projecting 28 ft over the Art Students League Buildings lot, starting about 300 ft above ground. According to Art Students League leadership, the air rights sale was a one-time opportunity that would enable the League to expand and renovate its building.</p><br>
<p>The approval of the cantilever above the Art Students League Building was controversial. Although Manhattan Community Board 5 voted against allowing the cantilever in an advisory vote in October 2013, the Landmarks Preservation Commission approved the air rights sale and cantilever several weeks later. In February 2014, Art Students League members voted 1,342–227 in favor of the deal. A subsequent lawsuit from over 100 League members against Extell and the Leagues leadership, attempting to stop the air rights sale, was dismissed in mid-2014. Three hundred League members sued the Leagues leadership in January 2016, claiming that if abstentions from the vote were counted as "no" votes, the tally should have been 2,603–1,342 against the air rights sale. The second lawsuit was dismissed through summary judgment, and an appeals court upheld the decision in March 2016, when the tower&#39;s construction was already underway.</p><br>
<p>A temporary construction shed was erected around the Art Students League Building during the tower&#39;s construction. In 2018, the Art Students League held a "house party" in the building, marking the first time in 75 years that the building had been opened to the general public. The construction shed remained until 2021, when work on Central Park Tower was completed.</p><br>
<h2>Critical reception</h2><br>
<p>The design of the Art Students League building was initially not well received; one critic said that the facade was "commonplace…and quite unattractive". Architect H. Langford Warren wrote in 1893 that the Art Students League Building was a "charming building which we are glad to see in the dreary streets of New York", despite the fact that the facade was almost identical in design to Francis Is hunting lodge on Pariss Cours-la-Reine.</p><br>
<p>After the building was completed, it quickly became an established architectural feature on 57th Street. In 1897, the Real Estate Record and Guide lauded the American Society of Civil Engineers&#39; Society House, across the street at 220 West 57th Street, for complementing the American Fine Arts Society. Hardenbergh, in a 1906 interview, characterized the design as "a work of love".</p><br>
<p>The Bank of the Metropolis was a bank in New York City that operated between 1871 and 1918. The bank was originally located at several addresses around Union Square in Manhattan before finally moving to 31 Union Square West, a 16-story Renaissance Revival building designed by Bruce Price and built between 1902 and 1903.</p><br>
<p>The bank building uses a tripartite facade design and neoclassical elements. After the Bank of the Metropolis merged into the Bank of Manhattan in 1918, the building continued to be used as an office tower. The upper stories were converted for residential use in 1976, while the ground level was later used as a restaurant. The Bank of the Metropolis building was designated a city landmark by the New York City Landmarks Preservation Commission in 1988, and was added to the National Register of Historic Places in 2003.</p><br>
<h2>History</h2><br>
<h3>Bank establishment</h3><br>
<p>Starting in the 1870s, the area surrounding Union Square Park became populated with hotels, theaters, and commercial enterprises. The Bank of the Metropolis was established on June 1, 1871, to serve the merchants around Union Square. The businessman William Steinway, of Steinway & Sons, was among the bank&#39;s founding board of directors.</p><br>
<p>The Bank of the Metropolis was initially located at 31 Union Square West, at the site of the present bank building. At the time, most businesses were located in Lower Manhattan. The 1893 Kings Handbook to New York City described it as a "flourishing outgrowth of the movement of business" further uptown. The bank moved twice during the 19th century: to 17 Union Square West in 1877, and to 29 Union Square West in 1888. During the first decades of the banks existence, The New York Times described three criminal incidents involving the bank. In 1879, a nighttime guard went to a saloon to drink, leaving the bank without any protection, though no burglaries were reported during that time. A man was caught depositing forged bonds at the bank during the early 1880s, and a thief was arrested in 1889 after robbing a client who had just made a withdrawal.</p><br>
<p>By the mid-1890s, the Bank of the Metropolis had $6 million in deposits. At the time, Union Square was being developed with such buildings as the Decker Building at 33 Union Square West, near the corner with 16th Street, and the Century Building at 33 East 17th Street, on the northern side of the park. By the beginning of the 20th century, the bank&#39;s board of directors included Louis Comfort Tiffany and businessman Charles Scribner II. The National City Bank acquired a major stake in the Bank of the Metropolis in 1900.</p><br>
<h3>New building</h3><br>
<p>The Bank of the Metropolis bought the plot at the corner of 16th Street and Union Square West. The plot had previously been occupied by a Brentano&#39;s bookstore, which moved elsewhere in 1901. The bank hired Bruce Price to design a 16-story building on the slim L-shaped lot.</p><br>
<p>The bank started ordering stone for the new building in November 1901, and Price submitted his plans to the New York City Department of Buildings the next month.</p><br>
<h3>Later use</h3><br>
<p>The bank building was occupied by several office tenants, including architecture firm Jackson, Rosencrans & Caufield; architect Charles B. Meyers; the Employing Lithographers&#39; Association; engineering firm W. L. Fleischer & Co. and Jewish organizations. The Bank of the Metropolis was merged into the Bank of Manhattan in 1918, though the Union Square West building continued to be used as a banking location. Two years later, the building was sold to Dora Kuch for $2 million.</p><br>
<p>The building remained relatively unchanged until 1975, when developer David Teitelbaum was granted a zoning variance to turn the upper-floor offices into 145 residences. These plans temporarily stalled in 1976 because several banks did not want to finance the $3.3 million conversion project. By 1979, the residential conversion had been completed: most of the building was used as artists lofts, while four floors were being used as dormitory space for the Parsons School of Design.In 1980 the former banking room at the ground floor became a club called Zippers, under the direction of Lynn Barclay. The space then became a restaurant named Metropolis in the mid-late 1980s. It was upscale but casual and attracted a young, hip crowd. Soon after the restaurant opened, the owners opened a small dance club in the basement. The restaurant changed hands in 1996 and was re-opened as the Blue Water Grill. The restaurant closed in 2019 due to rising rents.</p><br>
<h2>Architecture</h2><br>
<p>The Bank of the Metropolis building is a Renaissance Revival structure with a facade made of limestone. Price was particularly attached to designing skyscrapers in three parts, mirroring the structure of classical columns, and the building reflects this base-shaft-capital concept.</p><br>
<h3>Form</h3><br>
<p>The Bank of the Metropolis building is located on a slim L-shaped plot. It has 32.5 ft of frontage on Union Square West, to the east, and 175 ft on 16th Street, to the south. At the western end of the 16th Street facade, the bank contains a 92 ft deep wing. This wing runs adjacent to the four buildings at 33-39 Union Square West, and connects back to the Hartford Building at Broadway and 17th Street.</p><br>
<p>The 32.5-foot-wide section on Union Square West exists because the owner of the Decker Building could not sell the corner lot along 16th Street.</p><br>
<p>The main entrance is on the narrow Union Square West facade, since Union Square was a coveted address at the time of the buildings construction. The main entrance was designed to be symmetrical and emphasize the banking space on the ground floor, with a window to the left of the centrally-positioned banking entrance, and a door to the upper floors to the right. A journal article in 1916 said of prominent corner-lot bank locations that "the advantage is generally appreciated", an observation that was made in the Landmarks Preservation Commissions report about the building.</p><br>
<h3>Facade</h3><br>
<p>The Bank of the Metropolis&#39;s facade is designed so that the building appears as a slab rising from the street.</p><br>
<p>The eastern facade on Union Square West contains three vertical architectural bays. A curved, slightly projecting portico supported by two Ionic columns takes up the two base stories, and a carved plaque reading "Bank of the Metropolis" is located at the top of the portico. On either side of the portico are several rows of beveled masonry blocks. The southern facade on 16th Street contains 18 bays, split up into sections of 3, 3, 9, and 3 bays from west to east. At the ground level of the 16th Street facade, there are several wide, arched windows, which replaced the original square-framed windows there. These arched windows were installed after the ground level was converted into a restaurant.</p><br>
<p>On both the south and east facades, the third story contains square-framed windows and projecting courses at the top and bottom. The fourth through 12th stories make up the "tower" section of the bank building, and are relatively flat, except for spandrels between each floor, which are embellished with lions. The 13th floor contains scrolled corbels between each set of windows, a string course along the bottom, and belt courses along the top. There are vertical panels between each window on the 14th and 15th floors, and palmettes and lions&#39; heads at the top of each panel. A copper cornice runs atop the 16th floor. Along both facades, there are various recessions in the facade where limestone balconies jut out. The most prominent is on the 9-bay section of the southern facade, which contains a balcony projecting from the 10th floor.</p><br>
<h3>Interior</h3><br>
<p>At the time of the building&#39;s opening in 1903, it included a steam heating system, electrically powered lights, mail chutes, telephone lines, and elevators.</p><br>
<p>The ground floor space, formerly the banking hall, was converted into a restaurant space, and is designed in the neoclassical style. The eastern one-fourth of the restaurant space is narrower than the rest. To the north of the restaurant, on the eastern end is the office building lobby. A curving staircase leading upstairs is located at the west end of the lobby. Elevators are located within two arches of a three-arched arcade on the northern wall, while the lobby&#39;s southern wall is made of veined marble. The office building lobby is also coffered, but the coffers are smaller than in the restaurant space.</p><br>
<p>The upper floors, formerly office space, were converted into residential units. Almost none of the original architectural features remain, except for the staircase with its wooden railings.</p><br>
<h2>Critical review</h2><br>
<p>Architectural writer Paul Goldberger called Price&#39;s design for the bank building "a lovely eclectic creation", praising its Ionic portico, narrow shaft, and "enormous, elaborate" cornice.</p><br>
<p>The Hotel Gerard, currently known as aka Times Square, is a historic hotel located in New York, New York. It had also operated at the Hotel Langwell and Hotel 1-2-3. The building was designed by George Keister and built in 1893. It is a 13-story, U-shaped, salmon colored brick and limestone building with German Renaissance style design elements. The front facade features bowed pairs of bay windows from the third to the sixth floor and the building is topped by steeply pointed front gables and a highly decorated dormer. It was originally built as an apartment hotel.</p><br>
<p>The hotel is located at 123 West 44th Street, next door to the Belasco Theatre.</p><br>
<p>It was added to the National Register of Historic Places on February 10, 1983.</p><br>
<p>The Asser Levy Recreation Center is a recreational facility in the Kips Bay neighborhood of Manhattan in New York City, composed of the Asser Levy Public Baths and Asser Levy Playground. It is bounded by East 23rd Street to the south, East 25th Street to the north, and FDR Drive to the east. Along with the former Asser Levy Place to the west, it was named after Asser Levy, one of New York City&#39;s first Jewish citizens and a strong and influential advocate for civil liberties.</p><br>
<p>The Asser Levy Public Baths, the recreation center&#39;s main building, was designed by Arnold W. Brunner and Martin Aiken. Its main entrance on Asser Levy Place consists of two large arches flanked by pairs of columns. Inside are recreational rooms, a swimming pool, and lockers. It originally had separate waiting rooms and showers for men and women, though the waiting rooms were subsequently combined and the showers relocated. Outdoor recreational facilities, including additional swimming pools and the playground, surround the bathhouse.</p><br>
<p>The bathhouse was built in 1905–1908 to alleviate sanitary problems in the city and was transferred to the New York City Department of Parks and Recreation (NYC Parks) in 1938. Originally known as the East 23rd Street Baths, it was renamed for Levy in the mid-20th century. The building was designated a New York City landmark in 1974 and added to the National Register of Historic Places in 1980. It was restored by NYC Parks in 1988–1990, and the other recreational facilities were built in 1993 and 2014.</p><br>
<h2>Description</h2><br>
<p>The Asser Levy Recreation Center is in the Kips Bay neighborhood of Manhattan in New York City, on Manhattan&#39;s East Side. The 2.44 acre site is bounded by 23rd Street to the south, the VA Medical Center to the west, 25th Street to the north, and the FDR Drive and the East River to the east. The western side was formerly bounded by Asser Levy Place (originally Avenue A), a street between First Avenue to the west and FDR Drive in the east. Asser Levy Place was removed in 2013.</p><br>
<p>The Asser Levy Public Baths, at the southwestern corner of the recreation center, is roughly cross-shaped in plan and measures roughly 163 by. Built in the first decade of the 20th century, it was designed by Arnold W. Brunner and Martin Aiken of the shortlived partnership Brunner & Aiken, although Aiken may have been more involved than Brunner. The Roman Revival design was inspired by Roman baths and the "City Beautiful" movement. The building was particularly ornate, even in comparison to other New York City bathhouses built in the first decade of the 20th century. Other bathhouses were designed to be "easily recognizable", but lacked "all outward display of lavishness as it would only keep the poor people away".</p><br>
<h3>Bathhouse facade</h3><br>
<p>Between the archways, there is a decorative niche with a fountain, which is topped by the shield of New York City. The frieze contains the words above the northern arch and above the southern arch. created by the Atlantic Terra Cotta Company.</p><br>
<p>There are round window openings on the sides of the main entrance wing, as well as in the northern and southern wings, where the showers and dressing rooms were. The eastern wing contains a similar, but more simple, design. These wings also contain cornices, which are supported by dentils. There is a copper gable roof atop the bathhouse, with an iron skylight overlooking the pool at the center of the building.</p><br>
<h3>Indoor facilities</h3><br>
<p>Inside the Public Baths building are the indoor facilities of the recreation center. Because of the composition of the underlying soil, the structure was built on pilings and lacks a basement. The space serves as the modern lobby and contains tables for table tennis and pool.</p><br>
<p>Just east of the waiting room, in the center of the bathhouse, is a triple-height natatorium room with an enclosed rectangular swimming pool extending from west to east. According to NYC Parks, the pool measures 66 by. It has a minimum depth of 4 ft at the western end and a maximum depth of 7 ft at the eastern end. The pool contains a bronze lion&#39;s head fountain at its shallow end and is surrounded by a gutter. The surrounding deck, as well as the lowest 10 ft of the perimeter walls, are clad in ceramic tiles. There is a balcony on the second floor of the natatorium, overlooking the pool, with smooth brick walls. The skylight above the natatorium is supported by large steel girders that rest on stone modillions along each of the western and eastern walls. A rear entrance allowed spectators to observe activities in the pool.</p><br>
<p>Leading east from each waiting room, flanking the pool, were the shower rooms, which occupy the northern and southern wings of the building. The structure contained more than 150 shower stalls when it opened. The shower rooms contained floors, walls, and changing booths made of marble. The shower rooms also had separate exits to Avenue A, which allowed bathers to exit without having to return to the waiting room. After a 1990 renovation, a multipurpose room, a media lab, and a fitness room were added to the space.</p><br>
<p>The toilets were at the eastern end of each shower room. A small annex extends east of the natatorium. It originally contained a boiler room on the north and an engine room on the south. There were overhead storage rooms to store the coal for the boiler room.</p><br>
<h3>Outdoor facilities</h3><br>
<p>Southeast of the bathhouse building is an outdoor swimming area with a general swimming pool and a wading pool. Next to the general pool is a wading pool measuring 41.67 by, with a depth of 1.5 ft. At one point, there was also a diving pool measuring 10 ft deep. The pools are separated from the street by a fence.</p><br>
<p>The recreation center also has outdoor exercise equipment, handball courts, basketball courts, an artificial turf field, a running track, and a sprinkler.</p><br>
<h2>History</h2><br>
<h3>Planning and construction</h3><br>
<p>The baths were an important part of the drive to alleviate sanitary problems in the city. Many New Yorkers, especially immigrants living in overcrowded tenements, had no place to bathe. An 1896 survey found that there was one bathtub in the Lower East Side for every 79 families. Progressive social reformers pushed for the construction of public bathhouses modeled on those of ancient Rome. In 1895, the state passed a law requiring that localities build public baths. New York City did not build its first bathhouse, the Rivington Street municipal bath, until 1901. There were twenty-three bathhouses across New York City by 1912, including what became the Asser Levy Public Baths.</p><br>
<p>In 1903, the citys Department of Docks and Ferries released land for a new bathhouse at East 23rd Street and Avenue A. The original plans called for two separate indoor pools, one each for men and women, Competitive swimmers such as Charles Daniels competed at the bathhouses indoor pool during the opening ceremony. Men and women were allowed to use the pool on alternating days of the week.</p><br>
<h3>Modifications and renovations</h3><br>
<p>The outdoor pool southeast of the bathhouse, as well as the adjacent diving pool, opened in 1936. The 23rd Street Bathhouse was transferred to the New York City Department of Parks and Recreation (NYC Parks) in 1938. Prior to that, it was operated by the borough of Manhattan.</p><br>
<p>After the construction of Stuyvesant Town–Peter Cooper Village to the south, in the 1940s and 1950s, the two-block section of Avenue A outside the East 23rd Street Bathhouse was cut off from the rest of the avenue. The segment outside the bathhouse was renamed in 1954 after Asser Levy, one of the first Jewish citizens of New York City and a strong and influential advocate for civil liberties. The bathhouse also came to be known for Asser Levy during the mid-20th century.</p><br>
<p>By late 1978, the bathhouses indoor pool was not used or heated during the winter, although a small number of staff remained in the bathhouse. After the indoor pools boiler ruptured in March 1979, the indoor pool was closed indefinitely, while the outdoor pool remained operational. During the 1980s, Manhattan Community Board 6 asked the city to provide $5–6 million for a renovation. after six years of planning. At the time, it was Manhattans first playground that was fully accessible for disabled children. In 1995, the city government found that lead chips from the FDR Drive viaduct, to the east, were blowing into the Asser Levy Recreation Centers outdoor pool area, resulting in extremely high lead levels.</p><br>
<p>By the beginning of the 21st century, the Asser Levy Recreation Center was one of the citys last remaining public bathhouses. In 2011, the New York City government agreed to convert Asser Levy Place into an extension of the Asser Levy Recreation Center. The agreement was made as part of a land swap. The city had sold the western end of the Robert Moses Playground, at 42nd Street and FDR Drive, to the United Nations so that the UN could build an office tower on the Robert Moses Playgrounds site. although the official opening of the playground expansion did not occur until the following February.</p><br>
<p>The Harlem Courthouse at 170 East 121st Street on the corner of Sylvan Place &ndash; a remnant of the former Boston Post Road &ndash; in the Harlem neighborhood of Manhattan, New York City, was built in 1891-93 and was designed by Thom & Wilson in the Romanesque Revival style. The brick, brownstone, bluestone, granite and terra cotta building features gables, archways, an octagonal corner tower and a two-faced clock. It was built for the Police and District Courts, but is now used by other city agencies.</p><br>
<p>In 1936, during the New Deal, Federal Art Project artist David Karfunkle painted a mural, "Exploitation of Labor and Hoarding of Wealth" on its third floor.</p><br>
<p>The city government used the building as a laboratory to measure air pollution. At the time of the 1966 New York City smog, it was the city&#39;s only station to measure the air.</p><br>
<p>The building was designated a New York City landmark in 1967, and was added to the National Register of Historic Places in 1980.</p><br>
<p>Historic Camden Revolutionary War Site is a national historic district and open-air museum located in Camden, Kershaw County, South Carolina, United States. Roughly 40 minutes away from Columbia, the state capitol, it is one of the state&#39;s largest tourist attractions. The 107-acre site is also known as Historic Camden Revolutionary War Restoration, and as the British Revolutionary War Fortifications. Camden contains preserved structures and grounds that are representative of the Southern theater of the American Revolutionary War. The site is managed by a consortium of private donors and local governments. The area is also an affiliated unit of the National Park Service.</p><br>
<h2>History</h2><br>
<p>Following the loss of Charleston, Camden was captured and served as the main British supply post from the spring of 1780 to the spring of 1781 during the American Revolutionary War, and served as their garrison for two major engagements, the Battle of Camden and Battle of Hobkirks Hill. Camden was also strategic in maintaining Britains control of South Carolina&#39;s back country. At the time, Camden consisted of two city blocks of period homes and military barracks surrounded by a palisade log fence, and further protected by five redoubt and three other fortified features (a house, a jail, and a powder magazine) which were placed strategically from 100 to 1000 feet outside the town itself.</p><br>
<p>The desire to control this territory was great for the British, as Camden was located on a crossroads of the routes to the largest Southern cities of Charleston, South Carolina and Savannah, Georgia. The location of the principal Battle of Camden is nine miles (14 km) north of the site, while several other skirmishes occurred within 20 mi of the town. Between the summers of 1780 and 1781, the British were able to claim victory in many of these assaults, but with high casualty rates. These costly struggles both weakened the Redcoats as a unit and spurred the momentum of an anti-war movement in the British Isles.</p><br>
<p>The site was listed on the National Register of Historic Places in 1969.</p><br>
<p>Camden is significant due to the role it played during the war. It was a direct result of England&#39;s attempt during late 1779 to attempt to gain control of all the southern colonies.</p><br>
<h2>Museum</h2><br>
<p>Included within the park are a variety of reconstructed and refurbished structures from the colonial-era town site. Many of the restored buildings contain Revolutionary War artifacts recovered from the site.</p><br>
<p>The museum has a Facebook page that provides visitors with updates, announcements, historical facts about the site, and photos and video of reenactments.</p><br>
<p>Joseph Kershaw Mansion, a reconstructed and furnished house built in 1977, also known as the Kershaw-Cornwallis House. The original mansion was used as the British headquarters in the Carolinas by General Charles Cornwallis, during an eleven-month Redcoat occupation of the town.</p><br>
<p>In 1785, John Craven House, restored and furnished</p><br>
<p>In 1830, Cunningham House, which houses the tour office and gift shop</p><br>
<p>Two log houses built around 1800 now house exhibits about the war and the Colonial era: Bradley house and Craven House.</p><br>
<p>A moat that had existed during the Revolution was also rebuilt on the grounds.</p><br>
<p>Throughout the park are reconstructed multiple military fortifications to represent what they would have looked like during the time of the Revolution.</p><br>
<p>A blacksmith exhibit provides live action tutorials on classic colonial forms of blacksmithing.</p><br>
<h2>Activities, events and reenactments</h2><br>
<p>For many years during the first weekend in November, Historic Camden hosted the popular event, "Revolutionary War Field Days". In 2020 the reenactment, operated by Southern Campaign 1780, moved to 1208 Keys Lane in Kershaw, SC. This change was made to due to changes in the administration and space limitations at the Historic Camden venue.</p><br>
<p>The museum also offers various guided and unguided tours along with a.7-mile nature trail and picnic area.</p><br>
<p>Historic Camden also allows people to volunteer at the site. Camden is mainly funded by charitable donations and small local government funding, so volunteers are key to maintaining it and its facilities.</p><br>
<p>Trinity Episcopal Church is a parish church in the Diocese of Iowa. The church is located in Muscatine, Iowa, United States. It was individually listed on the National Register of Historic Places in 1974. In 2006 it was included as a contributing property in the Downtown Commercial Historic District.</p><br>
<h2>History</h2><br>
<h3>Development of the Episcopal Church in Muscatine</h3><br>
<p>The Episcopal Church in Muscatine can trace its roots to the arrival of Matthew Matthews, his son Dorrance, and his brothers Hiram and Joseph, and their families in 1839 when the town was named Bloomington. They were visited by the Rt. Rev. Jackson Kemper, Missionary Bishop of the Northwest, the same year and the congregation was organized. It is the first Episcopal parish organized in Iowa. The next year when Bishop Kemper visited he reports the church had seven communicants and timber for the construction of a church building. The bishop contributed $100 towards its construction.</p><br>
<p>The church was a frame building that measured 50 by, and was one and three-fourths stories high. It had eight windows, fifteen lights, and a small vestry room. When Trinity was not using the building the Presbyterian Congregation held services in the building. A bell was mounted on the vestry room and it was utilized by both congregations. The Freemasons completed a second story on the building and occupied that part of the building. Bishop Kemper was opposed to the Masons presence in the building and refused to consecrate the church. This was the first church of any denomination built in Muscatine County, and the first Episcopal Church in Iowa.</p><br>
<p>The church had no rector initially and was visited by the Rev. Zachariah Goldsmith from Trinity Church in Davenport. On June 28, 1842, the church was reorganized at a meeting with fourteen people present. The Rev. Samuel Sherwell, a deacon from New York, was placed in charge of the church on May 12, 1843.</p><br>
<h3>Present church</h3><br>
<p>The Rev. John B. Calhoun, who came to Trinity in 1850, asked parishioners to subscribe towards a new church building. In the spring of 1851, sixteen members subscribed $1,250. He was sent east to collect more subscriptions and he collected a further $1,298.50 from one hundred and sixty-eight people. Frank Will, an architect from New York City, was chosen to design the new church. The new church was built on the same lot as the old church. The basement and foundations were built in the fall of 1851 and the cornerstone was laid on November 11. Construction on the church took three years. It is built of sandstone in the Gothic Revival style.</p><br>
<p>Bishop Kemper came to Muscatine to consecrate the new church on May 25, 1854. He was assisted by the Rev. John Ufford. The building was enlarged in 1855, and it was given its cruciform plan at that time. A bell was placed in the bell-cote in 1856. The present interior oak furnishings, including an altar, pulpit, lectern, choir stalls, and pews, were installed in 1887 when the Reverend E.C. Paget was the rector. The stained glass windows in the transepts were added at the same time. The Ascension window at the end of the nave was installed in 1896.</p><br>
<h3>Diocese of Iowa</h3><br>
<p>The Diocese of Iowa was organized by Bishop Kemper in 1853. He invited the clergy and representatives of the various congregations of the state to a meeting at Trinity Church in Muscatine on August 17. In the absence of the bishop the Rev. Alfred Louderbeck of Trinity Church in Davenport was elected the chairman. At this gathering, the constitutions and canons for the new diocese were adopted, and plans were made for the election of a bishop. On October 18, 1854, Rev. Henry Washington Lee, rector of St. Luke&#39;s Church in Rochester, New York was elected bishop at Trinity Church in Davenport.</p><br>
<p>The Diocese of Iowa began participating in Education in Ministry in 1989. It is a theological extension program of the School of Theology of the University of the South. Trinity and St. Paul&#39;s Indian Mission in Sioux City were the original centers for the people of Iowa to gather for the program.</p><br>
<h3>Storm damage</h3><br>
<p>Lightning struck the church during an early morning thunderstorm on August 9, 2010. Significant damage was done to the bell-cote on the front of the church and an iron cross on top.</p><br>
<p>St. Philip&#39;s Episcopal Church is a historic Episcopal church located at 204 West 134th Street, between Adam Clayton Powell Jr. Boulevard and Frederick Douglass Boulevard in the Harlem neighborhood of Manhattan, New York City. Its congregation was founded in 1809 by free African Americans worshiping at Trinity Church, Wall Street as the Free African Church of St. Philip. First located in the notorious Five Points neighborhood, Historically, it was extremely influential both while located in lower Manhattan and as an institution in Harlem, and many of its members have been leaders in the black community. In 2020, it reported 188 members, 111 average attendance, and plate and pledge income of $224,827.</p><br>
<h2>History</h2><br>
<h3>Previous buildings</h3><br>
<p>The first church foundation stone was laid in 1819, and the first rector, serving from 1826 to 1840, was the Rev. Peter Williams, Jr., a leading abolitionist and the first African-American Episcopal priest in New York. He was one of three blacks who served on the first executive committee of the American Anti-Slavery Society. In the 1820s other men in the church were also upwardly mobile, beginning to gain financial success primarily in the service industry and joining abolitionist and other reform groups. They stressed education and promoted "character, respectability, and uplift." In the following decades Black Episcopalians continued to build on their church connections, with some creating a niche in marine trades, where white Episcopalians owned ships and served as captains. Some achieved professional status as teachers and doctors, and others had businesses as grocers and restaurateurs.</p><br>
<p>The first two sites were located on 122 Centre Street. In 1822, a brick building replaced the original wood frame church, which had been damaged by fire. It was renovated twice because of damage suffered in social unrest. In 1834 the church was vandalized by whites. During the American Civil War, it suffered damage by New York City police using it as a barracks for militia and police during the 1863 New York City draft riots.</p><br>
<p>Demographic changes continued as New York expanded and the city developed uptown. New waves of immigrants settled in the oldest housing, and more established residents moved north along the island. Along with its congregation, St. Philip&#39;s relocated uptown, by 1886 having a site on 25th Street. It sold this property c.1909 for $600,000. With this money it bought the site of the current church, as well as 10 apartment buildings on West 135th Street in Harlem. This area had previously been restricted to whites only. Some moved beyond the city limits into the developing railroad suburbs. The reredos of the current church came from the church on 25th Street.</p><br>
<p>Like many other churches, St. Philips had considerable stability in its leadership through the mid-20th century. Rev. Hutchens C. Bishop was rector for 47 years, from 1886 until 1933. Bishops son, Shelton Hale Bishop, served as rector from 1933-1957.</p><br>
<h3>Current building</h3><br>
<p>The present church building was designed by architects Vertner Woodson Tandy and George Washington Foster of the firm Tandy & Foster. Both were prominent African-American architects: Tandy was the first African-American architect licensed to practice in New York State and Foster was among the first licensed by the State of New Jersey. The church was built in 1910-1911 in the Neo-Gothic style.</p><br>
<p>The church was designated as a New York City Landmark in 1993, and was added to the National Register of Historic Places in 2008.</p><br>
<h2>Parishioners</h2><br>
<p>Notable parishioners of St. Philip&#39;s included in the nineteenth century, Thomas Jennings, Thomas Downing, his son George T. Downing, Isaiah DeGrasse, Dr. James McCune Smith, and Alexander Crummell. In the twentieth century, members of the church included political and cultural leaders such as professor and public intellectual W. E. B. Du Bois; Thurgood Marshall, NAACP Legal Defense Fund attorney and Supreme Court Justice; and poet and playwright Langston Hughes.</p><br>
<p>The Perkins-Rockwell House is a historic house museum at 42 Rockwell Street in Norwich, Connecticut. Built in 1818, it is locally distinctive as a well-preserved stone house of the Federal period, and for its association with the locally prominent Perkins and Rockwell families; this house was home to John A. Rockwell, a prominent local lawyer who married into the Perkins family, and also served as a member of Congress. The house was listed on the National Register of Historic Places on October 17, 1985. The house is currently owned by the Faith Trumbull Chapter of the Daughters of the American Revolution , along with the adjacent Nathaniel Backus House.</p><br>
<h2>Description and history</h2><br>
<p>The Perkins-Rockwell House is located near Norwichs Chelsea Parade, on the north side of Rockwell Street between Crescent Street and McKinley Avenue. It is a large Federal style house, built of random-cut ashlar granite, with a hip roof. A single-story porch extends across the buildings front and wraps around the left side. There is a single-story wood-frame addition east of the front facade, set before a recessed original kitchen section. The interior is finished with high quality woodwork, which is mostly Federal in style. Passages between the public rooms downstairs are typically finished as keystoned arches.</p><br>
<p>The house was built between 1814 and 1818 by Joseph Perkins, a descendant of one of the area&#39;s early settlers. His daughter, Mary Perkins Rockwell, and her husband John A. Rockwell inherited the property, making a number of alterations to it. The Rockwell family retained ownership, successive generations occupying it until 1934, when they gave it to the local DAR chapter.</p><br>
<p>The Morton Freeman Plant Hunting Lodge is the centerpiece of a hunting retreat at 56 Stone Ranch Road in East Lyme, Connecticut. It is a large two-story Bungalow style house, designed by Dudley St. Clair Donnelly and built in 1908 by financier Morton Freeman Plant, and is one of the only early 20th-century purpose-built hunting lodges in the state. It was the heart of a large 2,400 acre private game preserve that Plant stocked with game birds. The property, now reduced to 105 acre, is surrounded by town conservation land and a state military reservation. The property was listed on the National Register of Historic Places on December 12, 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Morton Freeman Plant Hunting Lodge is located in an isolated rural setting in western East Lyme. The lodge stands on 105 acres of land, nearly completely surrounded by town conservation land and a state National Guard training center, all land that was once historically associated with the lodge. There are two buildings on the lodge grounds, which are entirely wooded except for the clearing in which they stand, and Stone Ranch Road, which provides access. The lodge is a 1-1/2 story frame structure with a broad hip roof that creates an overhanging porch in the front, supported by stone piers. Dormers pierce three of the roof faces, and a single-story service ell extends to the rear of the main block. The interior of the building retains original finishes, including two concrete fireplaces built to resemble those found in 16th-century European manor houses.</p><br>
<p>Morton Freeman Plants father, Henry Plant, made the family fortune by developing railroads in Florida. He took over his fathers business in 1899. Born and raised in southeastern Connecticut, Plant began purchasing land in East Lyme and Lyme as a hunting retreat in 1907, which grew to about 2400 acres by 1914. The lodge was built in 1908 to a design by Dudley St. Clair Donnelly, a regionally prominent architect who executed a number of commissions for Plant. Plant died in the 1918 influenza pandemic, and the property was broken up by his heirs.</p><br>
<p>Springbank is a historic country estate at 69 Neck Road in Old Lyme, Connecticut. Built upon a small core structure dating from around 1730, the main house consists of an 1844 Greek Revival brick structure, to which a number of Colonial Revival additions and alterations were made between about 1930 and 1945. The property also includes formal gardens designed by landscape architect Marian Cruger Coffin. The property is notable as a well-documented and preserved smaller-scale example of her work. The property was listed on the National Register of Historic Places on August 17, 2001.</p><br>
<h2>Description and history</h2><br>
<p>Springbank is located in a rural residential area on the east side of Neck Road (Connecticut Route 156), a short way north of its junction with Talcott Farm Road. A short entrance drive provides access to a parking area and garage, which are set near the road, with the house behind the parking area. The formal gardens are arranged in terraces to the north of the house and east of the garage. The house is a -story brick building, the product of an evolutionary construction history with multiple gables and roof lines. Its principal facade faces south, with a projecting entrance vestibule flanked by sash windows, with a larger picture window extending the facade to the right. It is set on a stone foundation that is exposed in front of the parking area due to the sloping terrain, with secondary entrances into that level.</p><br>
<p>The house was built in 1844 by Thomas Pilgrim, owner of a landing on the nearby Connecticut River, who promptly sold it. It was owned by a succession of lower-middle class owners through 1928. It was bought by Katherine Talcott, a member of the Old Saybrook Garden Club, who probably added the garage and may have begun landscaping the property. The next owners, Arthur and Gertrude Wild, bought the property in 1935, and retained Robert Carter, a local architect, to design a major Colonial Revival restyling of the house. They also retained Marian Cruger Coffin to develop the gardens around Carters design. Coffins design is essentially a small-scale version of work she typically did for much larger country estates.</p><br>
<p>The Ashbel Woodward House is a historic house museum at 387 Connecticut Route 32 in Franklin, Connecticut. The house is now operated by the Town of Franklin as the Dr. Ashbel Woodward House Museum. The house was built c. 1835, and is a fine local example of a Greek Revival house in a rural setting. It was home for many years to Ashbel Woodward, a local doctor. His descendants gave the property to the state in 1947. The house was listed on the National Register of Historic Places on April 8, 1992.</p><br>
<h2>Description and history</h2><br>
<p>The Ashbel Woodward House is located southeast of the village center of Franklin, on the east side of Connecticut Route 32. It is a -story wood-frame structure, five bays wide, with a side-gable roof, clapboard siding, a granite foundation, and a pair of brick chimneys. The main entrance is centered on the front, slightly recessed under a Greek Revival surround with pilasters and entablature. The building corners are also pilastered, and the side gable ends have semi-elliptical windows. An ell, apparently original as it shares the foundation with the house, extends to the rear. The property also includes two barns and a third outbuilding that probably functioned as a corn crib. The interior contains exhibits on local history and an art gallery.</p><br>
<p>The house was built about 1835, on land purchased by Doctor Ashbel Woodward, a prominent local physician, in 1834. Woodward, a graduate of Bowdoin College, settled in Franklin in 1829, and served as the town&#39;s primary medical practitioner until his death in 1885. He was also interested in local history, amassing a collection of historic and prehistoric artifacts, and writing a book-length history of Franklin which was published in 1869. The property was given to the town by his descendants in 1947.</p><br>
<p>Avery House, in Griswold, Connecticut, also known as Hopeville Pond Park House, was built around 1770. The house is a 20 ft by 40 ft, two-story central-chimney Colonial that was originally sheathed in clapboard and topped with a gable roof. The central chimney is on a stone base and has a built-in root cellar. Alterations in the house changed the traditional five-room first floor plan by eliminating the keeping rooms and the removal of the kitchen fireplace. It retains much of its original door frames and wrought-iron latch hardware. After the rehabilitation of the property, the Avery House became the Hopeville Park manager&#39;s residence and is a part of the Hopeville Pond State Park. It was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Construction</h2><br>
<p>The architect and the date of construction is unknown. The National Register of Historic Places nomination dates it to circa 1770 is substantiated by the construction and interior woodwork of the house. Measuring approximately 20 ft by 40 ft, the two-story house is a central-chimney Colonial that was originally sheathed in clapboard and topped with a gable roof. The central chimney is on a stone base and has a built-in root cellar. At the time of its nomination, the house was using asphalt shingles on its roof. The house is historically significant for its bolection molding and around fireplaces and shallow molded shelves above the fireplaces in the front chambers. Fireplace in the east room has a large single over-mantel panel and the west fireplace has two panels. Mary McMahon, who prepared the inventory form for the National Register of Historic Places, writes "A handsome corner cabinet with butterfly shelves is also located in the east room". The second floor retains its original flooring and mantels, and the post and beam construction is visible throughout the interior of the house.</p><br>
<p>Alterations in the house changed the traditional five-room first floor plan by eliminating the keeping rooms and the removal of the kitchen fireplace. The house was acquired by the State of Connecticut in 1938. The CCC shingled the exterior of the house, but it is uncertain if the "inappropriate porch" was an addition they made. The CCC is also believed to be the builders of the garage/workshop.</p><br>
<h2>Owners</h2><br>
<p>The owners of the house are also unknown, but two records do exist. The 1854 Baker map of New London, listed owner of the house was Captain J. Avery. An 1868 map lists a H. Bennett in residence. After the rehabilitation of the property, the Avery House became the Hopeville Park manager&#39;s residence.</p><br>
<h2>Importance</h2><br>
<p>The Avery House was listed on the National Register of Historic Places in 1986. According to the nomination form and the multiple property submission sheet, the house is historically significant as an example of a well-preserved house that does not have its historical integrity degraded by alterations. McMahon writes that "he interior paneling is the finest in any 18th-century house owned by DEP (Connecticut Department of Environmental Protection)." Originally, the house was set to have the surrounding 400 ft as part of its designation, but this was later changed to 300 ft because it would not impact the historic setting.</p><br>
<p>The Edward Cogswell House, also known as the Bliss House, is a historic house at 1429 Hopeville Road in Griswold, Connecticut. With its oldest portion estimated to date to 1740, it is one of Griswold&#39;s few 18th-century buildings. It was added to the National Register of Historic Places on December 15, 1993.</p><br>
<h2>Description and history</h2><br>
<p>The Edward Cogswell House is located in a rural area of eastern Griswold, on the west side of Hopeville Road, about 0.5 mi north of Connecticut Route 138. It is a -story wood-frame structure, five bays wide, with a large central chimney, clapboard siding, and a stone foundation. A -story ell extends to the rear. The ell is probably the oldest portion of the building, a not uncommon occurrence for houses of the period. The interior follows a typical central chimney plan, with a small entry vestibule that has a narrow winding stair to the second floor. Parlors flank the chimney on either side, and the kitchen extends across the rear, with small chambers at the rear corners. Interior finishes include original woodwork and wide chestnut floorboards.</p><br>
<p>The houses ell was built about 1740 by Edward Cogswell, who came to the Griswold area in 1714 as one of its first settlers. Cogswell was prominent in the ultimate separation of Griswold from Preston, and was an investor in an early ironworks. His son John, who succeeded to the propertys ownership, served in the American Revolutionary War. The house and associated farmlands (now developed) remained in the hands of Cogswell descendants until 1862.</p><br>
<p>The Timothy Lester Farmstead, also known as the Garrison House, is a historic farmstead at Crary and Browning Roads in Griswold, Connecticut. Set on 43 acre of land, the farmstead retains the look and feel of an 18th-century farm property, with a c. 1741 farmhouse, and farm outbuildings dating from the 18th to 20th centuries. The property was listed on the National Register of Historic Places on December 4, 1998.</p><br>
<h2>Description and history</h2><br>
<p>The Timothy Lester Farmstead is located in a rural setting of southern Griswold, at the junction of Crary and Browning Roads. The surviving 43 acres (of a once-larger farm property) are still lined with stone walls, and the farmstead itself is the only visible built intrusion on the landscape, which is gradually reverting to woodlands. The centerpiece of the farm complex is a -story wood-frame house, five bays wide, with a large central chimney. It was built in stages beginning c. 1741, and includes a two-story ell extending to the rear. It has an unusually large kitchen hearth with two beehive ovens. Adjacent to the house are a small wellhouse of great antiquity and an 18th-century barn. Across Crary Road from the house is another barnyard which includes several outbuildings in addition to a 19th-century barn.</p><br>
<p>The property&#39;s agricultural development dates to about 1741, the year in which Mehitable Belcher married Timothy Lester. The property had been purchased from Mohegan natives in the 17th century, and acquired by Moses Belcher about 1720. The Lester family was prominent in area civic affairs, and this house served as a garrison and training ground during the American Revolutionary War. The Lester children were all signatories to documents petitioning for the separation of Griswold from Preston, which took place in 1815. The property was sold out of the Lester family in 1857, but remained in agricultural use until the mid-20th century.</p><br>
<p>The Blauvelt–Demarest House is located at 230 Broadway in the borough of Hillsdale in Bergen County, New Jersey, United States. The historic stone house was built around 1740 based on architectural evidence and was added to the National Register of Historic Places on January 9, 1983, for its significance in architecture. It was listed as part of the Early Stone Houses of Bergen County Multiple Property Submission .</p><br>
<p>According to the nomination form, Arie Blauvelt is thought have built the house around the time of his marriage in 1737. His son, Garret A. Blauvelt, inherited it in 1748. Garret Demarest purchased it between 1769 and 1775. It remained in the Demarest family until 1842.</p><br>
<p>The Rathbone–Zabriskie House is located at 570 North Maple Avenue in the village of Ridgewood in Bergen County, New Jersey, United States. The historic stone house was built around 1790 based on architectural evidence. It was added to the National Register of Historic Places on January 10, 1983, for its significance in architecture. It was listed as part of the Early Stone Houses of Bergen County Multiple Property Submission .</p><br>
<p>According to the nomination form, the one and one-half story house was owned by W. E. Rathbone in 1861 and by Henry Zabriskie in 1876.</p><br>
<p>Trinity Episcopal Church is a parish church in the Episcopal Diocese of Iowa. The church is located in Iowa City, Iowa, United States. It was individually listed on the National Register of Historic Places in 1974.</p><br>
<h2>History</h2><br>
<p>Trinity Church traces its roots to the missionary activities of the Rt. Rev. Jackson Kemper, Missionary Bishop of the Northwest, who first visited the area on July 10, 1841. He continued his visits until the parish was formed on August 7, 1853. The first rector of the church, the Rev. Willis H. Barris, came to Trinity on October 15, 1855. The Rev. Silas Totten who was rector from 1859 to 1862, served as the second President of the University of Iowa at the same time. The parish had no regular meeting place until 1862, when it purchased the Athenaeum. That building was used for church purposes until the present church was completed on October 1, 1871. The Athenaeum building was later sold to St. Patrick&#39;s Catholic Church when it was established in 1873.</p><br>
<p>The present church building was built on property purchased from Samuel and Sarah Ballard in 1868. The design for the church is attributed to Richard Upjohn. It is not known if the plans came directly from Upjohn, or if they were from drawings found in his Rural Architecture. There is also some evidence that it resembles a drawing by Bishop Randall of Colorado that was published in The Spirit of Missions in May 1867. The church is a wood structure in the Gothic Revival style. It is considered significant as the only Gothic Revival building in Iowa City that utilizes vertical boarding that is often used in this form of the style. While the sanctuary remains similar to the day it was built, additions for educational facilities and a parish hall have been added over the years.</p><br>
<p>St. Paul&#39;s Episcopal Church is a parish church in the Diocese of Iowa. The church is located in Durant, Iowa, United States. The church building and parish hall have been listed on the National Register of Historic Places since 1985.</p><br>
<h2>History</h2><br>
<p>The Rt. Rev. Henry Washington Lee, the first bishop of the Episcopal Diocese of Iowa, led the first services in Durant in the Rock Island Railroad depot in 1856. Freight boxes containing champagne were used for the pulpit, altar, and pews. A meeting was held after the service to organize the parish. The name St. Paul was chosen because many of the members had belonged to St. Paul&#39;s Episcopal Church in New Haven, Connecticut before moving to Iowa. The church in Connecticut contributed $75 that began the building fund for the church.</p><br>
<p>Thomas C. Durant, the town&#39;s founder, donated land for the first church. It was located on the north side of town and was dedicated by Bishop Lee in October 1856. That same year a "seminary" for girls, or junior/senior high school, was established. In the early 1870s, the seminary curriculum was expanded to include boys and a library was built. The co-educational boarding and day school was renamed the Boardman School, after its primary benefactor.</p><br>
<p>By 1895 the congregation had outgrown its first building. On May 28 the original church was sold and the present building was purchased from the Congregationalists, who had built it in 1856. The bell, stained glass windows, and the furniture from the old church were moved to the new church. The chancel was added in 1895 to accommodate Episcopal worship. The parish hall was constructed next to the church by members of the congregation the same year. It has served as Sunday School building, vicars office, town library, and town community center. It is thought the churchs tower is from this same time period.</p><br>
<p>Samuel A. Dutton was instrumental in St. Pauls acquiring the church. He joined the parish after settling here from New Milford, Connecticut. Dutton was very involved in parish life through the 1870s when he was dropped from the parish roles. He joined the Congregationalist Church where he became the Sunday school superintendent and he was one of three trustees when St. Pauls acquired the church building. Dutton re-joined St. Pauls at that point and remained until around 1916 when he established a private interdenominational Sunday school in town. A large part of St. Pauls congregation left with him.</p><br>
<p>St. Paul&#39;s was unable to hold regular worship services from 1925 to 1944. During this time Gloria Dei Lutheran Church, which had been organized at this time, used the church building. In June 1944 the clergy and lay leaders from Trinity Episcopal Cathedral in Davenport restarted services. A parsonage was erected behind the church sometime between 1913 and 1948.</p><br>
<p>An undercroft was added to the church in 1950. The "gingerbread gothic" steeple and belfry were restored in 1979. In 1981, the pipe organ from Trinity Cathedral was rebuilt and moved to Saint Pauls. It was later replaced for $6,000 in 1985 by the Kilgen organ, which had been built about 1879. St. Pauls achieved parish status in 2004.</p><br>
<h2>Architctecture</h2><br>
<p>Both the church and the parish hall are rectangular wood-frame structures built on concrete block foundations that have been simulated to appear as rusticated stone. The churchs central tower is square in shape and it has a large diamond window centered on the front. The belfry is made up of eight chamfered columns with decorative gingerbread on its base and top. Located between the columns are crisscross braces that simulate a balcony effect. It is capped with a low pitched hip roof that is covered with tin. The belfry originally had a weather vane on top of it. The stained glass window above the main entrance of the church dates from 1870 and was originally a part of St. Barnabas Episcopal Church in Montrose, Iowa. It was given to St. Pauls in 1980 after St. Barnabas had been deconsecrated. Four lancet windows line the side walls.</p><br>
<p>The parish hall features a 45-degree turned corner tower and entryway. At one time it was capped with a spire. Elaborate shingling is found in the gable end, below the lancet windows on the main facade, and on the tower. A row of Maltese crosses are located at the cornice level of the tower. Three lancet windows line the side walls.</p><br>
<p>The Worland House was built in 1917 in Worland, Wyoming for local businessman Charlie Worland and his wife Sadie. Worland was the son of C.H. "Dad" Worland, the founder of the town of Worland, and was a noted local entrepreneur.</p><br>
<p>The house is a good example of the Bungalow style popular at the time. It was designed and built by local contractor H.C. Shirk. The house retains its architectural integrity and is the best example of its style in Worland. The house sits on a raised concrete block basement, fronted by a large porch, now enclosed. The entrance is offset from the center, under deep overhangs and a gable detailed with flat trim. The house extends deep into the lot, deeper than it is wide, with projecting small bays on either side and a rear enclosed porch addition. The interior retains its original detailing with stained oak trim and furnishings, including bookcases with leaded glass doors, flanked by Ionic columns as room dividers. Much of the kitchen is original.</p><br>
<p>The Worlands entertained extensively, holding dances in the basement for local young people. They sold the house in 1925 to G.C. Muirhead, the president of the Stockgrowers State Bank. The Muirhead family lived there until 1978.</p><br>
<p>The Worland House was listed on the National Register of Historic Places in 1986.</p><br>
<p>All Saints Catholic Church is a parish church building in the Diocese of Des Moines. The building is located in Stuart, Iowa, United States. The parish used the building as its church until a devastating fire severely damaged the structure. The church was rebuilt and it now serves as a cultural center called the Historic All Saints/Saints Center for Culture and the Arts. It is listed on the National Register of Historic Places, and is a rare example of Neo-Byzantine architecture in the state of Iowa.</p><br>
<h2>History</h2><br>
<h3>Development</h3><br>
<p>The Catholic Church in Stuart traces its beginnings to August 1871 when a Father Moniahan from Des Moines came to town for the first time to celebrate Mass. He would come at irregular intervals and Mass was celebrated in school rooms, Shield&#39;s Hall, and in private homes. At this time the whole state of Iowa was part of the Diocese of Dubuque.</p><br>
<p>The first church was built in 1874 under the direction of the Rev. Edward Gaul. It was dedicated by the Very Rev. J.F. Brazil from St. Ambrose in Des Moines on the Feast of All Saints, November 1, 1877. The Rev. James Foley was pastor at the time and he built two additions onto the church as well as the rectory during his 24 years at All Saints. During that time he was also responsible for parishes in Casey, Adair, Guthrie Center and Greenfield. The parish became a part of the Diocese of Davenport when it was established in 1881.</p><br>
<h3>Historic Church</h3><br>
<p>On October 12, 1902, the Rev. M.S. McNamara became pastor. It was during his pastorate that plans for a new church were developed and executed. Maginnis and Walsh were responsible for designing the church. The cornerstone was laid in September 1908 and it was completed in 1910. It was built of blue Bedford limestone in a combination of Byzantine Revival and Romanesque Revival styles. The building measures 70 ft wide, 120 ft long and 110 ft high. It has a seating capacity of 600. The interior is under an 90 ft high dome that contains 16 windows. The dome was covered in copper. The church was decorated with Italian marble, rare woods, hand painted frescos, gold gilding, and statuary. The windows were from the Franz Mayer & Co. of Munich, Germany. The church was built for $65,000.</p><br>
<p>Bishop James Davis of Davenport dedicated the church at a Pontifical High Mass. Bishop James J. Keane of Cheyenne, Wyoming, preached the sermon. The following year the parish became part of the Diocese of Des Moines when it was established in 1911 on the same day that Bishop Keane was named Archbishop of Dubuque.</p><br>
<h3>Fire and aftermath</h3><br>
<p>On August 22, 1995, Charles Willard of Des Moines drove to Stuart and poured gasoline in various places in the church and set it on fire. Fire departments from 20 area communities in a 50 mi radius of Stuart fought the fire. While the exterior walls remained standing the rest of the building lay in ruins. A small chapel in the back suffered minor damage. Willard had mailed letters to two bishops and a Des Moines television station before he set the fire taking responsibility based on his hatred of the Catholic Church. He even held a news conference before his arrest. He was convicted of arson and a hate crime.</p><br>
<p>The parish, under the leadership of the Rev. Dan Clarke, and the diocese decided that to rebuild the church would be too expensive. Instead they decided to build a new facility on 95 acre of land purchased from the Bill and Marlene Wilson family for $475,000. The new church, designed by the RDG Planning & Design of Omaha, has seating for 400 people and a parking lot for 175 cars. The cost for the new church was $2.5 million. Bishop Joseph Charron, C.Pp.S. laid the cornerstone for the new church on August 31, 1997.</p><br>
<p>In September 1997 the damaged historic church building and property were sold to a group named the Project Restore Foundation for $7,200. They had hoped to rehabilitate the building in three years for a community cultural center at an estimated cost of around $3.5 million. The architects for the restoration project were Kirk Blunck and Jeff Wagner of HLKB in Des Moines and construction was done by Koester in Grimes. Plans called for the exterior of the old church to look similar to the way it looked before the fire. The interior would have a modern appearance with exposed stone and brick on the walls. The dome would be rebuilt with the original stone, which had been numbered and saved. The original copper on the dome melted so it was replaced with new copper sheeting.</p><br>
<p>Several grants helped with the restoration effort. In 2000 the State Historical Society of Iowa Board of Trustees approved a grant for $60,000 towards the project. In 2007 Project Restore received a $545,000 grant from Vision Iowa, a state program that provides money for major tourism attractions. That same year 63% of the citizens of Stuart voted to accept a $1.7 million bond referendum to rebuild the church. Another $232,000 (as of 2007) in private donations was also raised,</p><br>
<p>A small chapel on the west side of the church and the former sacristy was the first part of the project that was finished in 2002–2003. A group of Serbian Orthodox Christians started using the chapel for a monthly liturgy in 2005. The new dome was lifted into place in October 2008. Work on the interior continued after that and was completed in 2010.</p><br>
<p>The Nicholas Eckis House is a historic house in East Fairfield, Ohio, United States. Located along the community&#39;s High Street,</p><br>
<p>Founded in 1803, East Fairfield is the oldest community in Fairfield Township. Most of the earliest buildings have been destroyed long ago; no more than four remain to the present time, and three of them have been heavily modified. Only the Nicholas Eckis House, built in 1833, remains with few changes. Its symmetrical floor plan is characteristic of early Ohio architecture, with features such as chimneys on each end, a curved water table, and detailed cornices. Also typical of the period is its simple facade, built of brick and covered with an asphalt roof.</p><br>
<p>Little is known about Nicholas Eckis himself; he is believed to have been a leading member of the mercantile community in northern Columbiana County during the 1820s and 1830s, but few other details of his life have survived, except for his house. As the oldest house in East Fairfield never to have been significantly modified, it was listed on the National Register of Historic Places in 1980.</p><br>
<p>The Pennsylvania House is a historic inn and tavern in western Springfield, Ohio, United States. Built circa 1822,</p><br>
<p>In the early years of the nineteenth century, the National and Dayton-Springfield Roads were major transportation arteries for those bound for the West and for Cincinnati respectively. Inns such as the Pennsylvania House were instrumental in facilitating travel for the many would-be settlers and merchants headed for the western frontier and for all sorts of travellers proceeding southwest. Before the coming of the railroads, the Pennsylvania House provided beds and food for commoners and famous individuals alike. According to local lore, among the inns guests were such individuals as Henry Clay, Charles Dickens, Andrew Jackson, and James K. Polk. The inns owners typically lived on the premises; among the various owners were the family of Isaac Kaufmann Funk, founder of Funk and Wagnalls.</p><br>
<p>After more than twenty years of prosperity, the inns traffic shrank after railroads reached Springfield in 1846. By the end of the Civil War, travellers on the National Road were so rare that the Pennsylvania House saw very little traffic indeed, and it closed in 1869. Despite its closure, the building has remained in fine condition for well over one hundred years; architectural elements such as the double-hung windows and the ornate six-panel doors have survived with little damage. In recognition of the inns place in American history and of its well-preserved historic architecture, the Pennsylvania House was listed on the National Register of Historic Places in 1973.</p><br>
<p>Today, the Pennsylvania House is operated as a history museum with a concentration on the National Road.</p><br>
<p>St. Thomas Episcopal Church is a parish church in the Episcopal Diocese of Iowa. The church is located in Sioux City, Iowa, United States. The church building was listed on the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>The first Episcopal Church service in Sioux City was conducted by a missionary from Council Bluffs, Iowa in 1857. St. Thomas Church was established two years later. A small frame church was built for the congregation on the corner of Nebraska and 7th Streets in 1860 for $1,550. By 1881 it became necessary to add onto the church, and a rectory was built at the same time. A pipe organ was purchased for the same price that the original church was built.</p><br>
<p>The cornerstone for the present church was laid in 1891. The church was designed in the Romanesque Revival style by local architect James W. Martin. John M. Poorbaugh was the contractor. It is considered an excellent example of the Richardsonian Romanesque mode. The building was completed in 1892 and cost about $80,000 to build. A new pipe organ was purchased in 1909 and the Weare Chapel was added at the same time.</p><br>
<p>In 1922 a fire from an overheated furnace caused extensive damage to the church. The building had to be rebuilt and a new organ was purchased. The church was redecorated again in 1951.</p><br>
<p>In the early 1960s, the Parish House was built and the parish acquired a new rectory. Weare Chapel was restored in 1980 under the direction of Howard Tervillian, who was Architect in Residence for the Washington National Cathedral, in Washington, D.C. Another renovation of the church occurred in 1982.</p><br>
<h2>Architecture</h2><br>
<p>The 120 by structure is generally rectangular in plan. It is influenced by a later phase of Henry Hobson Richardson&#39;s design evolution in its more simplified cubic form. Its exterior is clad in rose-colored Sioux Quartzite was laid using in a broken ashlar technique. The broad slate cruciform roof-plan gives the building a monumental feel. The four-story Norman style corner tower rises to a height of 78 ft. The two-story Weare Chapel projects slightly from the main building on its northeast corner. The interior features a steeply pitched hammer beam birch ceiling, wainscoting, and a large Gothic arch at the chancel opening. The interior is a restored version of its original after the 1922 fire.</p><br>
<p>The Waldo water tower is a historic elevated steel water tower located in Waldo, Arkansas, United States, that is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>The tower was completed in 1936 by the Pittsburgh-Des Moines Steel Company in conjunction with the Public Works Administration as part of a project to improve the towns water supply. It was added to the National Register of Historic Places in 2007, as part of a multiple-property listing that included numerous other New Deal-era projects throughout Arkansas. The tower is still in operation as part of the towns water supply system.</p><br>
<p>The Jasper County Courthouse is a 176 ft tall historic courthouse located in Carthage, Jasper County, Missouri. The Courthouse is built on the site of the original Jasper County Courthouse which was burned in the Battle of Carthage during the American Civil War. Built from 1894 - 1895, the Jasper County Courthouse was designed by architect Max A. Orlopp Jr. in the Romanesque Revival-style and built using local Carthage marble, it is the second most photographed building in Missouri. The Courthouse remains in use by Jasper County officials.</p><br>
<h2>History</h2><br>
<p>The first Jasper County Courthouse was a one story brick building built in 1842 by Levi H. Jenkins for $398.50. Following the completion of the first Courthouse, it immediately showed problems with the growing population and a larger, two story courthouse was completed in 1854. The Courthouse briefly served as a hospital during the American Civil War, but was burned down during the Battle of Carthage.</p><br>
<p>For the next 30 years, Jasper County Courts moved to a variety of locations including a school, a remodeled jail, an opera house, and a Baptist church. It was until 1891 that major steps were taken to establish a Courthouse in Jasper County and although the cities of Joplin and Carthage both wanted to have the new courthouse built in their respective cities, Carthage ultimately got their courthouse built at a cost of $100,000.</p><br>
<p>The new Courthouse was designed by architect Max A. Orlopp Jr. who also designed the Dallas County Courthouse in Dallas, Texas. The north and south facades of the courthouse are 133 ft 8 in long. The east and west facades are 106 ft 8 in long. The lantern is 176 ft from the ground. Construction began on Aug. 21, 1894 and the building was dedicated on Oct. 9, 1895. The county clerk at the time the courthouse was approved was Annie White Baxter, the first woman to be elected a county clerk in the United States. As a member of county government, she exerted a significant degree of influence in the planning of the building, and she is memorialized on the grounds.</p><br>
<p>As originally built, the Jasper County Courthouse had a black clock face, but was eventually painted white in the 1950s. In the 1960s, a large illuminated star was placed on top of the Courthouse as “a guiding star — a star of peace,” according to a brochure that was printed commemorating the ceremony. In 1973, the Courthouse was listed on the National Register of Historic Places.</p><br>
<p>The Jasper County Courthouse is located in Newton, Iowa, United States, and was built from 1909 to 1911. It was individually listed on the National Register of Historic Places in 1981. In 2014 it was included as a contributing property in the Newton Downtown Historic District.</p><br>
<h2>History</h2><br>
<p>Court was first held in Jasper County in 1846 in a one-room addition to the log cabin of Matthew D. Springer. The first courthouse was built of lumber in 1847; it was 30 by and cost a total of $87.50. That courthouse was later moved to a farm near Newton. A second courthouse was a brick structure that was faced with limestone and built in 1857 at a total cost of $26,600. Its basement was sandstone. The 62 by building featured porticos that extended 12 ft from the building that were held up by Ionic columns.</p><br>
<h2>Current courthouse</h2><br>
<p>The third and current courthouse was dedicated in 1911. The simplified version of the Beaux Arts style was designed by the prominent Des Moines architectural firm of Proudfoot & Bird. It is built of Indiana limestone except for the doors and window casings which are wooden. American general and Iowa politician James B. Weaver wrote of the current courthouse in the 1912 county history, "long after the pages of this county history are worn and turned yellow with age, in all human probability this building will stand in all its massive beauty". The Jasper County Medical Society held their annual meetings at the courthouse.</p><br>
<p>The courthouse measures 121 by with a clock tower that rises 140 ft. The clock was created with the help of private donations, and its faces are set into the parapets around the tower. The interior has ceramic tile and marble, and freestanding column screens divide the hallways from the rotunda. The outside of the building is decorated during the Christmas season. There was a renovation of the courthouse in 1986 that fixed the interior and involved the dome and paintings. Then-governor of Iowa Terry Branstad visited the courthouse for its 100th anniversary on July 4, 2011. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Newton as the county seat.</p><br>
<p>The Jasper County Courthouse in Rensselaer, Indiana is a building from 1898. It was listed on the National Register of Historic Places in 1983 and is located in the Rensselaer Courthouse Square Historic District. The Jasper County Courthouse was erected in 1898 at a total cost of $141,731.94. It is located in the center of the Courthouse Square bounded by Washington, Cull en, Harrison and Van Rensselaer Streets. The Courthouse Square, itself, is defined by a retaining wall of concrete, about 18" high and a foot wide. There are steps leading from the street to the walks leading to all four entrances to the building.</p><br>
<p>The building stands on a bedrock. The building has four floors for a total of 348,404 ft&sup2, plus a basement and the tower. The clock tower is 120 ft high.</p><br>
<p>The building is faced Bedford limestone, and features medieval elements. Entrances on the north and south sides are framed in two-story Tudor arches supported on clusters of columns. Flanking these entrances are three-story round towers. Centered over the entrance is a wall dormer, which is surmounted by the clock tower. The clock tower also has a wall dormer on each face of its pyramidal roof.</p><br>
<p>On either side of the entrances and towers are five double-hung windows on each floor, with wall dormers over two bays. The corners have narrow, windowless turrets. The entrance bay, dormer, and flanking towers project from the building.</p><br>
<p>The stone masonry support walls have arches between rooms. Each of the first three floors above the basement have terrazzo floors, marble wainscoting and oak woodwork, and the stairs have marble treads. The plaster columns in the stairwell have been decorated to look like marble. The stair rails are of hand-hammered iron with marble rails.</p><br>
<p>In 1982 an elevator was installed to serve the first three floors. The second floor features include four brass chandeliers with lead blown shades and two newel post lamps to match. The recently decorated walls are highlighted with gold paint and some gold leaf decoration. The entrance to the Auditor&#39;s Office has stained glass windows on either side and above the door.</p><br>
<p>The third floor is used entirely by the two courts. A brass chandelier with lead blown glass shades is in the foyer between the courtrooms. The courtrooms are almost identical with the original oak judicial benches with their hand carved seals of the State of Indiana on the back panel of each bench. The walls are decorated with plaster leaf swag. There are plaster columns on either side connected by plaster arches. There is decorative plasterwork around the windows. The stained glass panels, which surround the courtroom entrances, are set in carved wooden frames.</p><br>
<p>The clock tower, itself, has three floors; the first has windows, the second contains the clock, and the third the bell.</p><br>
<h2>Significance</h2><br>
<p>Heinzmen Brothers, Noblesville, Builders</p><br>
<p>The Jasper County Courthouse is an example of Victorian adaptation of the medieval forms of architecture. Several features show this, such as the free standing chimneys, the high pitched roof, the gabled dormers, the turrets, and the painted plaster columns in the hallways.</p><br>
<p>The first architect employed for this building was Alfred Grind!e, who later associated himself with Charles R. Weatherhogg, of Fort Wayne, Indiana. Before the building was completed, Mr. Grindle dropped out and Mr. Weatherhogg completed the architectural part of the work.</p><br>
<p>JCC Courthouse Chimneys P2130022.jpgFree Standing Chimneys of the Jasper County, Indiana Courthouse</p><br>
<p>JCC Courthouse Main entrance P2130078.jpgMain Entrance of the Jasper County, Indiana Courthouse</p><br>
<p>JCC Courthouse P2130082.jpgJasper County, Indiana Courthouse</p><br>
<p>The Joplin Carnegie Library is a historic Carnegie library located at Joplin, Jasper County, Missouri. It was built in 1902, and is a two-story, Classical Revival style steel frame building sheathed in brick and white Carthage marble. It measures 79 feet by 86 feet and features a pedimented Ionic order porch which is distyle in antis. A four-bay two story addition was added in 1916. Andrew Carnegie provided $40,000 for its construction.</p><br>
<p>It was listed on the National Register of Historic Places in 1979.</p><br>
<p>St. Benedict the Moor School is a former Black Catholic primary school located in the Lincolnville Historic District of St. Augustine, Florida. The school is a contributing property of the Lincolnville Historic District on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The school began as part of a Catholic mission in 1871 to serve and minister to newly freed slaves. It is located at 86 Martin Luther King Avenue and was built in 1898.</p><br>
<p>The money for construction of the school ($7,500) was donated by Katherine Drexel (1858–1955), founder and superior of the Sisters of the Blessed Sacrament, an order of nuns formed "to serve Indians and Colored People." Drexel, a member of the wealthy Philadelphia banking family, was the niece of Anthony J. Drexel, founder of Drexel University. (Katharine was made a saint by Pope John Paul II in 2000.)</p><br>
<p>The school, named in honor of St. Benedict the Moor, was constructed of brick and was one of the first schools for black students in Florida. The students were instructed by nuns of a local convent of the Sisters of St. Joseph. There were between 90 and 100 students enrolled per year at the school which was opened between 1898 and 1968. The school is located on a parcel of land which includes the school on the southern end of the property, the parish house in the center and the church of St. Benedict the Moor at the north end, staffed by the Josephites.</p><br>
<p>During 1964, Martin Luther King Jr. used the rectory as a meeting place to plan marches. The school was closed soon after, partly as a result of school desegregation legislation which arose in the wake of the Civil Rights Act of 1964. The events which occurred in St. Augustine, of which Martin Luther King Jr. played a key role, were an important catalyst in the passage of the Civil Rights Act.</p><br>
<p>Years prior to the Civil Rights Era, in 1916, three white Catholic nuns were arrested for violating a 1913 Florida law prohibiting white teachers for instructing blacks. The three were acquitted on the grounds that the law did not apply to private schools.</p><br>
<p>The school is a contributing property of the Lincolnville Historic District on the National Register of Historic Places. Despite this designation the building sits exposed to the elements with no roof or windows. The roof was removed during 2006 as part of a restoration project which has been stalled for an alleged lack of funding.</p><br>
<p>The Barnes-Frost House is a historic house at 1177 Marion Avenue in the Marion section of Southington, Connecticut. Built about 1795, it is a high quality local example of late Colonial architecture, with a history of ownership by members of prominent local families. It was listed on the National Register of Historic Places in 1989.</p><br>
<h2>Description and history</h2><br>
<p>The Barnes-Frost House is located on the west side of Marion Avenue, north of its junction with Old Mountain Road (Connecticut Route 322). It is a -story wood-frame structure, five bays wide, with a clapboarded exterior, side gable roof, large central chimney, and a centered entrance. The entrance is flanked by pilasters and topped by a frieze with a band of molded ellipses. This detail is repeated on the window lintels and in a frieze band below the roof line. The chimney is not original to the house, but is an 18th-century structure recovered from a house in Cheshire. The interior retains some original features, notably wide pine floors.</p><br>
<p>Built c. 1796, the house is significant in part because it is a well-preserved example of Colonial architecture, and also because it was home of the locally prominent Barnes and Frost families. Philo Barnes, son of the locally prominent tavernkeeper Asa Barnes and a major local landowner in his own right, purchased the house in 1810, and it was occupied by three generations of Barneses. In 1881 it was purchased by Levi Frost, also from a prominent local family that owned a local factory. The house remained in the Frost family until 1916.</p><br>
<p>Walsh-Havemeyer House, also known as the Plympton House, is a historic home located at New Windsor in Orange County, New York. It was built about 1835 and subsequently expanded and modified.</p><br>
<p>The house consists of a two-story brick main block with two-story brick wing. The interior retains a number of notable Greek Revival treatments dating to the period of original construction. Also on the property is a frame privy and cast-iron fence.</p><br>
<p>It was listed on the National Register of Historic Places in 2010.</p><br>
<h2>History</h2><br>
<p>The house sits on the former farm of patriot Robert Boyd, Jr. (1734 — 1804). In June 1775, Boyd built a water-powered forge on the south side of the nearby Vale of Avoca. He was a Scottish immigrant to New Windsor before the Revolutionary War, and with his father, Robert Boyd, Sr. (1703 — 1786), continued their trade as blacksmiths. After 1761, they obtained a hundred-acre farm on the northern end of William Chambers patent. Boyds gun smithery manufactured bayonets, gun barrels muskets, as he had received a contract from the revolutionary authorities to produce them. He was paid three pounds and fifteen shillings. By February 1776, their gun smithery was remarked as one of the best in the colonies. However, he had difficulty with assistance at the forge, and sent agents abroad to secure more workmen, a mission that proved to be unsuccessful. He was a member of the New Windsor Committee of Safety, along with Samuel Brewster, a blacksmith on Moodna Creek. After the Revolution, he converted the works into a plaster mill and retired.</p><br>
<p>In 1790, George Clinton sold his grist and saw mill in the Vale to Hugh Walsh, who extended his property to Boyd&#39;s. The Havemeyer family were German entrepreneurs who owned property in New Windsor that they maintained in the summer months.</p><br>
<p>Newburgh Colored Burial Ground is a historic cemetery and national historic district located at Newburgh in Orange County, New York.</p><br>
<p>The district consists of an archaeological site for a 19th-century burial ground containing approximately 100 graves located on the west and northwest sides of the Newburgh City Courthouse, possibly extending under adjacent Robinson Avenue. The cemetery was active between about 1832 and 1867.</p><br>
<p>In 1908, a school building was built on top of the cemetery, apparently without removing the graves or remains of those interred there. In 2008, renovations at the Broadway School unearthed the remains of 105 individuals. Six sets of remains were left on-site, while the other 99 were taken into custody of the State University of New York at New Paltz. The Broadway School building is now the City of Newburg Courthouse.</p><br>
<p>It was listed on the National Register of Historic Places in 2010.</p><br>
<p>In 2022, the City Council of Newburgh agreed to develop a memorial park in Downing Park.</p><br>
<p>The Charles Wintzer Building is a historic brick commercial building in downtown Wapakoneta, Ohio, United States. Built in 1872 at the intersection of Auglaize and Blackhoof Streets, it has always been primarily an industrial building. It was declared a historic site in 2010.</p><br>
<h2>Wintzer corporation</h2><br>
<p>One of the area&#39;s first pioneers, Charles Wintzer, founded a tannery in 1848. Concentrating on the manufacture of leather products, the Charles Wintzer Tanning Company expanded through the purchase of a similar local company in 1862, and it was incorporated in 1898. By 1905, its annual output was 2,500 sides of leather; however, in that year, the company made a fundamental change in its business model. Instead of operating as a tannery, the firm moved to retailing hides to other tanneries and buying and selling various byproducts of animal processing. Nevertheless, it remained in the Wintzer family; it was re-incorporated as G.A. Wintzer & Son in 1920. As the company expanded into other animal products during and after the 1920s, it built factories outside of Wapakoneta, but it continued to use the old tannery at Auglaize and Blackhoof for manufacturing and as its corporate headquarters.</p><br>
<h2>Architecture</h2><br>
<p>Built in 1872, the Wintzer Building was originally the company&#39;s primary tannery. As well as serving as an industrial facility, it was also built as a home; the Wintzers operated their business on the first story and lived on the second story. Its architecture is that of warehouses along the Miami and Erie Canal; although the Wintzers were Germans and built their home-and-office building in a German style, it includes distinct Italianate elements. Although the building had been converted into factory and corporate office space by the late 1970s, this was a relatively recent transition; the second floor remained a residence until at least 1969.</p><br>
<h2>Recognition</h2><br>
<p>On July 8, 2010, the Charles Wintzer Building was listed on the National Register of Historic Places, primarily because of its well-preserved historic architecture. In nominating the building for inclusion on the Register, the Ohio Historical Society concentrated on its place as an example of late nineteenth-century German architecture and on its combination of residential and industrial space under the same roof. Also important to this designation was its connection with G.A. Wintzer & Son, which still owns the building; as the oldest locally owned business operating in Auglaize County, the Wintzer Company is significant in local history. As the building has been constantly used as a factory by six generations of Wintzers, it is of significant importance in the history of Wapakoneta and the surrounding area.</p><br>
