<p>The Nebergall "Knoll Crest" Round Barn is located between Davenport and Blue Grass in rural Scott County, Iowa, United States. It was built in 1914, and has been listed on the National Register of Historic Places since 1986.</p><br>
<h2>Architecture</h2><br>
<p>Charles W. Nebergall owned Knoll Crest Farm when they contracted with Benton Steele to design and construct a round barn in 1914. The building is a true round barn that measures 56 ft around. The bottom half of the barn is constructed of clay tile and features square windows. Red vertical board-and-batten siding covers the upper half of the barn that features rectangular windows. A driveway divides the interior circular arrangement between the horse stalls and the cattle stanchions, which ringed the outer perimeter of the main level. Grain bins and feedways are located between the animals and the center drive. Separate hay chutes serviced the horse and cattle sides of the barn. In that way, the horse hay and the cattle hay could be efficiently stored and the animals fed. There is no silo built into this barn. A cupola rests on top of a 2-pitch conical roof. The Nebergall family sold the farm in 1992 to John Penne. He re-roofed the barn in 1998 with wood shingles. The hayforks and manure track system remain in working condition.</p><br>
<h2>Benton Steele</h2><br>
<p>The barn was built by Benton Steele, who was a specialized builder/architect. He built his first barns in the dairy districts of Indiana and Wisconsin before moving to Iowa, Nebraska, and Kansas. He wrote articles in publications such as the Kimballs Dairy Farmer of Waterloo, the Breeders Gazette of Chicago, and the Hoard&#39;s Dairyman of Fort Atkinson, Wisconsin as a way to advertise his work. The Nebergall Round Barn is the only known example of a round barn from his work left in Iowa.</p><br>
<p>The East 14th Street Historic District is a neighborhood located on the east side of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1983.</p><br>
<h2>History</h2><br>
<p>The historic district is located in a part of the city known as the LeClaire Reserve and was developed later than other parts of the Reserve. It covers the 300 to the 800 blocks of East 14th Street and includes 67 houses. The earliest homes were built in the 1870s and the newest around 1910, however, most of the houses were built between 1880 and 1900. The district is located in the heart of the non-German residential area. The Germans largely resided to the west of Harrison Street. Several prominent entrepreneurs, industrialists, and professionals lived along East 14th Street. Their families, however, lived here for several decades unlike the German&#39;s who would spend a lifetime in their neighborhoods.</p><br>
<h2>Architecture</h2><br>
<p>The homes on East 14th Street are described as “solid, reasonably prosperous, and unostentatious.” For the most part, they are large (2 to 2½ stories) and of frame construction. The houses are located on long, narrow lots and are set back 20–30 feet from the street. Many of the lots are slightly elevated and terraced. Most of the houses are single-family dwellings, or they were when they were built. There are also several double houses where the two sides of the main facade are a mirror image of each other.</p><br>
<p>The houses follow changing tastes and architectural styles. The earliest style found in the district is the Italianate with its emphasis on symmetry and the horizontal. It was followed by the Queen Anne with its irregular plan, towers, variegated roofs, projecting bays, dormers, and a variety of surface textures. Closer to the turn of the 20th century the symmetry of the Colonial Revival style became more predominant, especially the Georgian Revival form. Some of the houses show the influence of the Prairie Style. There is also evidence that older homes were remodeled with the features and textures of the later styles, so some of the houses are a combination of styles. East 14th Street also has several houses built in a vernacular style that was popular in 19th century Davenport. They are two-story, three-bay, front gable houses with a main entrance that is off center and a window located in the gable end.</p><br>
<p>The Severin Miller House and barn are historic buildings located in the West End of Davenport, Iowa, United States. They were listed together on the National Register of Historic Places in 1983.</p><br>
<h2>Severin Miller</h2><br>
<p>Severin Miller was born in Prussia on October 17, 1824, the son of Bartholomew and Anna Marie Miller. He was raised and educated there, and learned the machinist trade from his father. In 1846 at the age of 22, he immigrated to the United States. He landed in New York City and initially settled in Philadelphia. He moved to St. Louis, Missouri and in 1850 he moved again to Davenport. He found work as a machinist in all these places. In 1852 he purchased property on the corner of Second and Gaines Streets. He returned to St. Louis briefly before returning to Davenport in 1857 when he built a shop and home on the property he bought in 1852. Miller mainly did repair work on farm equipment. His business expanded to the manufacture of pumps and a foundry. He sold the business in 1875.</p><br>
<p>In 1862 he married Christiania Baussmann and they raised four children. He built his home on Telegraph Road in 1868 in what was then a rural area outside of the city. The house remained with the Miller&#39;s daughters until they died in the mid-1940s.</p><br>
<h2>Architecture</h2><br>
<p>This house and the barn behind it are two of a very few vernacular stone structures that remain from Davenports early decades. The house has a symmetrical five-bay front reminiscent of the Greek Revival style. The four round-arch windows all feature a keystone and above them are slabs that suggest sills of small attic windows that were never installed. The possible inspiration for the house was the architecture of Millers native Prussia. There are plans for another wing, but they were abandoned when Christiania Miller died in 1871. The Miller Foundry produced the metal work used throughout the house. An addition was built on the back of the house sometime after 1982, which replaced a previous addition.</p><br>
<p>Behind the house sits a rubble stone barn. The structure is typical of barns found in the German communities in Pennsylvania and other eastern states. It features triangular, wood relieving arches and the gable ends covered with vertical wood planks.</p><br>
<p>The Diedrich Busch House is a historic building located on the east side of Davenport, Iowa, United States. It was individually listed on the National Register of Historic Places, and as a contributing property in the McClellan Heights Historic District in 1984.</p><br>
<h2>Diedrich Busch</h2><br>
<p>Diedrich Busch (1827–1893) was born in the town of Hamminkeln in Prussia He was apprenticed to a shoemaker, which became his trade for most of his life. He immigrated to the United States in 1853, landing in New York on July 3, and then made his way to Davenport. Over the years he had made a sizeable investment in real estate on the east side of Davenport where he developed many houses and commercial structures.</p><br>
<h2>Architecture</h2><br>
<p>While this house sits geographically in the McClellan Heights neighborhood, architecturally it fits more properly in the neighboring Village of East Davenport. East Davenport was an industrial town that began in the 1850s and was annexed into the city of Davenport by the time the decade ended. The house follows a popular Vernacular style of architecture from the mid to late 19th-century Davenport known as the McClelland style. It shows influences from other architectural styles as well, such as the bracketed eaves and the polygonal window bay on the east side that suggests the Italianate style. The round arch windows in the attic is another popular feature in Davenport homes built in this era. The veranda that wraps around from the front of the house to the west side was probably added in the early 20th-century. The same is true for the sunroom in the re-entrant angle between the houses main block and the pavilion on the west side.</p><br>
<p>The Bonaventura Heinz House is a historic building located in the West End of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places  since 1983. Another house was also attributed to him, Bonaventura Heinz House , which was also listed on the NRHP in 1983. It was delisted in 2005.</p><br>
<h2>Bonaventura Heinz</h2><br>
<p>Bonaventura Heinz was born in Baden, present day Germany, and immigrated to the United States in 1845. He settled in St. Louis, Missouri before enlisting in the United States Army to fight in the war with Mexico. He returned to St. Louis where he married Margueretta Trenkenshuh. They eventually moved to Davenport, where they raised four children. He became the wharf manager and was connected to river transportation. He also took an active role in public affairs in Davenport. He died in 1899 at the age of 72.</p><br>
<p>The August F. Martzahn House is a historic building located in the West End of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1983.</p><br>
<h2>August F. Martzahn</h2><br>
<p>August F. Martzahn was born in Davenport on January 26, 1861, the son of Fred Martzhan, an immigrant from Mecklenburg and Elizabeth (Beyer) Martzhan. He was educated in the citys public schools and learned the butchers trade. He opened his first shop at 1701 West Third Street when he was still 18 years old. Martzahn organized the Davenport Slaughter & Rendering Company, which was the only such business in the city and became one of the largest in Eastern Iowa. The companys specialty was rendering and dealing in hides. Martzahn married Minnie Schmidt in 1884 and they raised a son. He built this house along West Third Street in 1911.</p><br>
<h2>Architecture</h2><br>
<p>The Martzahn House continued the popular 19th-century tradition of combining several architectural styles into one house. This house combines Georgian Revival mass with decorative elements of the American Craftsman and the Prairie School. Those elements include the two-tone stucco façade, the geometrically patterned leaded glass, the large rectilinear brackets at the main entrance, and the wide eaves with projecting rafter ends. The short posts that support the deep cornice returns on the dormers are also of interest. The house was designed by Davenport architect Arthur Ebeling.</p><br>
<p>The Karshner Mound is a Native American mound in the southeastern portion of the USA state of Ohio. Located near the village of Laurelville in Hocking County, it is one of Ohio&#39;s largest remaining burial mounds that has not been significantly damaged since white settlement. Measuring 100 ft in diameter and 28 ft high, it lies in the middle of a farm field, but it has never been cultivated, and vegetation on the mound has prevented erosion.</p><br>
<p>Although no archaeological investigation has ever been carried out at the Karshner Mound, it is believed to have been constructed by people of the Adena culture, who inhabited the region between 1000 BC and AD 400. This identification is based on its shape and location; the Karshner Mound lies on the second terrace above Salt Creek, and large numbers of mounds on terraces above small streams have been found to be constructed by the Adena. Because of this identification, the mound is seen as a valuable archaeological site and believed to be likely to yield many informative artifacts if excavated. In recognition of its archaeological value, it was listed on the National Register of Historic Places in 1974.</p><br>
<p>Biddeford City Theater is a year-round near 500-seat, restored Victorian opera house at 205 Main Street in Biddeford, Maine, United States. Biddeford City Theater is a non-profit, volunteer-driven, organization that produces and hosts plays, musicals, concerts, movies, music, comedy, and other artistic performances with patrons from all over New England. The mission of City Theater Associates is to foster an appreciation for the performing arts by using creative avenues to increase community involvement.</p><br>
<p>City Theater is part of the Biddeford City Hall complex, designed by Maine architect John Calvin Stevens in 1895. The building is included on the National Register of Historic Places, and is a contributing element to the Biddeford Main Street Historic District.</p><br>
<h2>Theater History</h2><br>
<p>In the late 1840s, the City of Biddeford purchased a parcel of land at the corner of Adams and Main Streets, and at that site planned a building to house the city’s municipal offices, as well as the original opera house. The opera house opened in October 1860 with a play depicting slavery in the Southern states – appropriately on the eve of the Civil War. With those first performances, an era of theatrical history began for the city of Biddeford. Renowned thespians Edwin Booth, Joseph Jefferson, and Pat Rooney appeared over the years before appreciative audiences.</p><br>
<p>On December 30, 1894, a raging fire destroyed the entire city building. An emergency city council meeting was called for on January 2, 1895. From that initial session, until the final architectural designs were completed, the question of whether or not to rebuild the opera house was hotly debated. Eventually, the dispute over building a performance arts center was settled in favor of the arts, and the planning for a larger and more structurally sound facility was initiated. John Calvin Stevens, the world-famous Maine architect, designed a richly ornamented opera house in the colonial revival style, complete with a dramatic horseshoe balcony. A large, ornate brass chandelier with glass shades showcased the stenciled ceilings. The rebuilt opera house reopened on January 20, 1896, and quickly resumed its role as a cultural focal point in York County.</p><br>
<p>A favorite among audiences was Vaudeville, with Biddeford as an important stop on its circuit. Dramatic performances by such stage immortals as the Barrymores, along with minstrel shows, community pageants, and plays were among the Theater’s popular offerings. J. J. Salvas, a local theatrical director and actor of note, regularly entertained capacity crowds with his portrayal of various characters. (photo shows J. J. Salvas in costume for his role as Tonkoutou.) Illustrated songs were also enjoyed by enthusiastic audiences.</p><br>
<p>However, one such performance ended tragically and remains a part of City Theater’s folklore. On Halloween Eve, 1904 singer Eva Gray collapsed after her third encore of the song Goodbye, Little Girl, Goodbye. With her 3-year-old daughter present, the beautiful 33-year-old died backstage from heart failure. Many since have referred to Eva as the Theater’s resident “ghost”.</p><br>
<p>Soon, films began to gain popularity, and when talkies were introduced in 1928, live theater was nearly eclipsed. The opera house became a movie house in the 1930s. After that, those grand days of vaudeville were over, except for the occasional appearance of an act between films.</p><br>
<p>Renamed City Theater in 1955, interior improvements were started. The lobby and its staircase were paneled, new poster display cases were built, along with a projection booth, and a permanent cinemascope screen was put in place.</p><br>
<p>The transition from opera house to movie theater was neither easy nor graceful. Television and drive-ins won the battle over movie houses, and in 1965 City Theater closed its doors. From 1971-1974 it was actually used as a storage facility for the city. Ironically, in 1973 City Theater, as part of Biddeford City Hall, was recognized and listed as a Historical Landmark with the National Trust.</p><br>
<p>Regardless, in 1975 a load of sand was dumped in the middle of the venerable old facility, turning the orchestra pit into a horseshoe pit!</p><br>
<p>However, not everyone thought the Theater should suffer this fate. In 1977, the newly incorporated City Theater Associates began a move to reopen City Theater. Through a lot of hard work and community volunteerism, the Theater reopened in 1978 with the internationally acclaimed Norman Luboff Choir. The Theater received a face lift, but was still in dire need of many essential upgrades and comprehensive restoration.</p><br>
<p>The public supported the City Theater and attendance grew as plays, musicals, concerts, dance recitals and community events once again graced the stage.</p><br>
<p>In 1996 the Theater celebrated its 100th year anniversary and was awarded a gift of new seats from the city of Biddeford. Soon a combination of funding received from federal, state, municipal, private, and business sources put restoration efforts into full motion. The highlights of this effort include a new marquee along with restored and reproduced stenciling on the Theater’s lobby walls, house walls, and ceiling. The Theater also received modern updates to its lighting and sound system, a digital projector and the installation of a new heating and air conditioning system. Old buildings demand constant maintenance and the upgrades continue. Today, efforts are under way to make upgrades to stage flooring, the costume room and public restrooms, as well as to re-point exterior brickwork, and to make long- overdue upgrades to the fly system (most of the pulleys and the pin rail above the stage are original equipment).</p><br>
<p>City Theater continues its mission of fostering an appreciation for the performing arts. In addition to five main stage productions, we have expanded our season by collaborating with other non-profits and entertainment organizations to bring music, comedy and dance to the City Theater stage.</p><br>
<h2>Present Day</h2><br>
<p>Biddeford City Theater currently runs a year-round season of theater, music, comedy, and other artistic performances.</p><br>
<p>The USA Customhouse and Post Office is a historic commercial building at 1 Front Street in downtown Bath, Maine. Built by the federal government in 1858, it is a fine example of Italianate architecture designed by Ammi B. Young, housing the local post office and customs facilities until 1970. The building was listed on the National Register of Historic Places in 1970. It now houses businesses.</p><br>
<h2>Description and history</h2><br>
<p>The former United States Customhouse and Post Office stands at the southern end of Front Street, on a lot also bounded by Lambard and Commercial Streets, and by United States Route 1 on the south. It is a two-story masonry structure, built out of ashlar granite and covered by a truncated metal hip roof. Its front facade (facing west) has a center projecting section topped by a fully pedimented low-pitch gable. The gable and the main roof line eaves are studded with modillions, and the building corners are quoined. Windows on the ground floor are set in rectangular openings with low gabled hoods, while those on the second floor have hoods with drip moulding. The entrance is an elaborate three-section arrangement topped by a bracketed cornice. The interior construction includes iron beams supported either by stone or iron posts, an advance in fire-resistant building materials of the period.</p><br>
<p>The customhouse was built in 1858 to serve the needs of Baths burgeoning port, which was a major shipping and shipbuilding center on Maines Mid Coast. It was designed by Ammi B. Young, who had become head of the Office of the Supervising Architect of the United States Treasury Department in 1852. Young was responsible for the design of many government buildings, including notable works such as the Vermont State Capitol and the Boston Custom House. It served as the local post office and customhouse until 1970, when it was declared surplus by the General Services Administration. The building now houses a variety of businesses.</p><br>
<p>The Charles M. and Emma M. Fischer Fleshman House is a historical residence located in Hawarden, Iowa, United States. Charles M. Fleshman was a leading businessman in the town from when he arrived in the mid-1880s and until his death in 1926. He had this 1½-story house built in 1889 and it was altered c. 1897–1905. It is a typical Victorian style house with influences from the Greek Revival, Italianate, Queen Anne and Vernacular styles. Alterations included the front porch. The 45 by frame structure features an irregular plan, cross gabled roof, and balloon frame. It was listed on the National Register of Historic Places in 1993.</p><br>
<p>The Benjamin Franklin Gates House is an historic home and farm complex located on Lee Road  in Barre, New York, United States. It is centered on a Greek Revival house built in the 1830s using the unusual stacked-plank structural system. The accompanying barn and privy are also included in the listing.</p><br>
<p>Gates, the original owner, was a pioneer in the settlement of Barre who established the first tannery in the town and later became one of its most prominent early citizens. The property has remained virtually unchanged since his ownership. After new owners restored it, it was listed on the National Register of Historic Places in 2009. It is the second property listed in Barre after the Skinner-Tinkham House in the hamlet of Barre Center, and the second stacked-plank house listed in Orleans County after the Servoss House.</p><br>
<h2>Buildings and grounds</h2><br>
<p>The farm is located on the north side of the road, just east of where Mix Road intersects from the south. The house and other structures are located near the front of the 29 acre property; seven acres (7 acre) in the rear are currently under cultivation. Trees planted in the last two decades, including 15 disease-resistant American elms, mark the property lines, along with some mature black walnuts and sugar maples.</p><br>
<p>Terrain is mostly level. The surrounding area is rural, with farmland predominating. Some woodlots and cellular phone towers are visible in the distance. Nearby buildings along the road are other farmsteads, most of their buildings also dating to the 19th century. The nearest large settlements are the villages of Albion to the east-northeast and Medina to the west-northwest, both about 4 mi distant.</p><br>
<h3>House</h3><br>
<p>The house itself has a main section with wings to the north and east. A fieldstone foundation has cobblestone facing, protruding mortar V-joints and sandstone quoinss. Atop it rest stacks of one-inch–thick (2.5-cm) vertical wooden planks nailed together creating load-bearing walls. Plaster was applied to the interior surface; the exterior is faced in clapboard. The two-story, three-bay main block is topped with a gabled roof, shingled in cedar, from which a brick chimney protrudes at the south (front) end.</p><br>
<p>On the east is a side-gabled one-story wing with full-width porch. The north wing projects from the rear of the east wing and the houses east rear. It, too, is side-gabled with a full-width porch facing east. It has the houses other chimney as well.</p><br>
<p>The south facade of the main block has two original six-over-six double-hung sash windows in the two western bays. The main entrance is located in the east bay. Greek Revival elements present include the wide corner pilasters and plain frieze topped by cornice at the roofline, creating a pediment with heavy entablature at the gable field. The porches are supported by square wooden columns, echoed by pilasters along the facades. All entrances can be reached by two wooden steps.</p><br>
<p>A simple wooden surround frames the main entrance, topped by a transom. It opens into a side hall that leads to parlors on the west and (in the wing) on the east. Behind the parlor is the library. Both parlors have Greek Revival interior decorations—atticurge architraves on the east and corner blocks on the west, where the baseboard forms a plinth block at the floor. A set of stairs near the back leads to the bedrooms upstairs.</p><br>
<p>In the north wing are the kitchen and dining room. Below it is crawl space with a dirt floor. The rest of the house has a full basement. Some interior walls are stacked-plank as well. The non–load-bearing walls are of vertical plank surfaced with split lath and plaster.</p><br>
<h3>Outbuildings</h3><br>
<p>Just to the northeast are the outbuildings. The largest is a gabled barn of hand-hewn post-and-beam on a fieldstone foundation with lime mortar. It is sided in board with ogee-shaped battens. Sliding doors at either end lead to an interior with an earthen ramp to the second level and a loft at the west end on the third level.</p><br>
<p>The smaller carriage barn on the east is similar to the barn. It is a sawn post-and-beam building on a fieldstone foundation with tongue-and-groove vertical siding and sliding doors at each gabled end. Inside a stairway leads to the second floor. The smaller privy between the house and barns is more like the former, clapboard-sided with a beaded plank door on an original hand-wrought Suffolk latch. Its walls are sided with plaster on accordion lath.</p><br>
<h2>History</h2><br>
<p>Gates, the descendant of English colonists who had moved from Massachusetts to Ontario County, in turn moved to Barre around 1830. His initial purchase of 10 acre was enlarged with 19 acre the following year, creating the present lot. The house was built around that time. Its stacked-plank structural system may have been employed due to the surplus of wood from land being cleared at the time and the dearth of skilled carpenters in the area.</p><br>
<p>In addition to farming the small parcel, he went into the tanning business. From a single vat hollowed out of a log, by 1852 he had several employees and had built a facility for the work. He sold the house for $3,200 ($ in contemporary dollars) to William Harrison Gates in 1853. After another sale in 1865, the tannery burned down sometime before 1874; an account from 1879 says that only a fragment of a foundation wall remained at that time.</p><br>
<p>Alterations to the house have been generally minimal and incremental. The kitchen floor was raised 7 in in the 1840s to bring it level with the dining room. A century later, the original chimney was removed.</p><br>
<p>After the kitchen was remodeled in 1986, the current owners made some major renovations in the early 2000s. Two bathrooms were added, and on the exterior the north wings porch was added. The original chimney and louvered shutters were replicated. All were done with care to not disrupt the houses overall appearance.</p><br>
<p>The former Machias Post Office and Customhouse is a historic government building at Maine and Center Streets in Machias, Maine. Built in 1872, it is a prominent local example of Italianate architecture executed in brick. The building was listed on the National Register of Historic Places in 1977. It now houses offices of the Machias Savings Bank.</p><br>
<h2>Description and history</h2><br>
<p>The Machias Post Office and Customhouse is located at the western corner of Center Street and Main Street (United States Route 1) in the heart of Machias&#39; downtown area. It is a two-story red brick building, topped by a hip roof and set on a granite foundation. Its main facade faces Main Street, and is a symmetrical three bays wide, with the center bay projecting slightly and capped by a fully pedimented gable. One principal entrance is on the first floor of that section, set in a round-arch opening with keystone and pilastered columns. Windows are set in round-arch openings on the first floor and segmented-arch openings on the second, with stone sills and keystones. The Center Street facade is five bays wide, with a similar arrangement and styling of doors and windows.</p><br>
<p>Early federal government facilities in Machias were located in leased spaces secured by the postmasters and customs collectors, a condition eventually found inadequate due to frequently changing addresses, and spaces that were not properly configured for the purpose. In 1867 the United States Congress authorized construction of this building, for which the land was acquired in 1870, and the construction completed in 1872. The building was designed by Alfred B. Mullett, the supervising architect of the United States Treasury Department, and the construction was supervised by Horatio L. Hill, a local builder and architect. In order to save costs, materials were sourced locally.</p><br>
<p>The USA Courthouse, Post Office and Customs House, also just known as the Federal Building, is a historic federal government building at Main and 2nd Streets in downtown Newport, Vermont. Completed in 1904, it served historically as a courthouse, as a customhouse, and as a post office, and is the city&#39;s tallest building. It was listed on the National Register of Historic Places in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The US Federal Building is prominently located in downtown Newport, at the southwest corner of Main and Second Streets. It is just east of the Orleans County Courthouse and Jail Complex, and across Main Street from Newport City Hall. It is four stories in height, built out load-bearing brick and stone. The ground floor is finished in gray marble divided by deep bands, and appears as a raised basement. The upper floors are finished in red brick laid in Flemish bond. The second and third-floor windows are set in rectangular openings with marble keystones and sills, while the short fourth level appears to be a raised element of the third floor. A projecting cornice with dentillated entablature extends around the building.</p><br>
<p>When completed in 1904, the building housed all of the federal facilities in Newport, including courts, post office, and customs offices.</p><br>
<p>It served the United States District Court for the District of Vermont from 1904 to 1948. Its interior ground floor was extensively remodeled in 1930 to improve the post office facilities, and was again redone after the post office moved out in 1967. The building now houses the Orleans County District Court.</p><br>
<p>The Grafton Post Office is a historic former post office building at 205 Main Street in Grafton, Vermont. Built in 1855 in the Greek Revival style, it was the town&#39;s post office for over 100 years, and served for a time thereafter as the local historical society museum. It was listed on the National Register of Historic Places in 2005. It is still owned by the historical society, but leased for commercial retail purposes.</p><br>
<h2>Description and history</h2><br>
<p>The former Grafton Post Office is located on the east side of Grafton village, on the north side of Main Street (Vermont Route 121), just west of its junction with Chester Road (Vermont Route 35). It stands west of the former Grafton District Schoolhouse No. 2, and across the street from the public library, both individually listed on the National Register. The post office is a small single-story wood frame structure, with a front-facing gable roof, clapboard siding, and a fieldstone foundation. The main facade is three bays wide, with the entrance in the leftmost bay. Trim consists of simple corner boards and short gable returns. The interior, consisting of a single large room, with two smaller rooms in ells to the rear, has retained only some of its original features.</p><br>
<p>The post office was built in 1855 for the town&#39;s third postmaster, and served in that capacity until 1958. It was lifted off its foundation by flooding occasioned by the Great New England Hurricane of 1938, at which time it was set on its present foundation, a short distance removed from its original location. In 1962 the building was sold to the Grafton Historical Society, which housed its museum there until 1978. The society continues to own the building, leasing it out.</p><br>
<p>The Federal Building, formerly the USA Post Office, Courthouse and Federal Building, is located in Downtown Sacramento, California.</p><br>
<h2>History</h2><br>
<p>The Federal Building was designed by the local firm Starks and Flanders, who also designed the Elks Tower, the Alhambra Theatre, and the C. K. McClatchy High School. It reflects several early 20th Century Revival architectural styles, including Neoclassical, and especially a simplified Renaissance Revival style from the original French Renaissance architecture era. Construction was completed in 1933. The legacy firm of Starks and Flanders is Nacht & Lewis Architects which is still operating in Sacramento.</p><br>
<h2>Uses</h2><br>
<p>The building has served historically as a courthouse, a post office, and a government office building.</p><br>
<p>It previously served the United States District Court for the Northern District of California until the United States District Court for the Eastern District of California was created in 1966.</p><br>
<p>The post office moved its operations to the Westfield Downtown Plaza on July 31, 2012.</p><br>
<h2>Landmark</h2><br>
<p>The Federal Building was listed on the National Register of Historic Places in 1980.</p><br>
<p>The USA Post Office, Courthouse, and Customhouse in Biloxi, Mississippi, also known as Biloxi City Hall, was built in 1908. It was designed by James Knox Taylor in Classical Revival style. It served as a courthouse and as a post office, and was listed on the National Register of Historic Places in 1978, when it was being used as Biloxi&#39;s city hall.</p><br>
<p>It served the United States District Court for the Southern District of Mississippi during 1908–1959.</p><br>
<p>Its first floor was renovated in 1960 and 1964 to be used as City Hall.</p><br>
<p>The House of the New York City Bar Association, located at 42 West 44th Street in Manhattan, New York, is a New York City Landmark building that has housed the New York City Bar Association since its construction in 1896.</p><br>
<h2>History</h2><br>
<p>After the New York City Bar Association was founded in 1870, it housed itself in a series of buildings in Lower Manhattan. By the 1890s, membership of the Association had grown to the point where its leadership began looking for a new House farther uptown. On December 11, 1894 the membership approved the acquisition of a large site between West 43rd and West 44th Streets for the construction of a new, larger building. The street, already home to the Harvard Club of New York City and the Century Association, was considered by the members “specially adapted to our purposes” because of the other prominent clubs and societies in its vicinity.</p><br>
<p>The architect Cyrus L.W. Eidlitz, son New York City architect Leopold Eidlitz, was commissioned to design the building. Eidlitz had designed a number of landmark buildings throughout the country, including Dearborn Station in Chicago, Buffalo & Erie County Public Library, St. Peter&#39;s Church in the Bronx, and Bell Laboratories Building in Manhattan.</p><br>
<p>Construction was begun in early 1895 and completed 18 months later at a total cost of $584,700. The House was built in the neoclassical style, from Indiana limestone. The façade included elements of the Doric order on the bottom three floors, Ionic columns framing the fourth floor windows, and Corinthian pilasters on the fifth floor, creating a historicist “composite” of classical architecture.</p><br>
<p>The new House was considerably larger and grander than its precursors: it stood six stories tall; included a meeting hall with a seating capacity of 1,500; a reception hall with a standing capacity of 1,500; a library of over 50,000 volumes, and three additional floors of offices. The entrance hall and first floor stairways were constructed of marble, and the second floor hallway, reception hall, and meeting hall of granite, marble, and mahogany.</p><br>
<p>The Association opened the doors of its new House on October 8, 1896, with a gala of several thousand guests. The New York Times described it as “one of the most interesting and successful works of recent architecture…a work having the classical qualities of simplicity, purity, and serenity in a high degree.”</p><br>
<p>The House was named a New York City Landmark in 1966, and named to the National Register of Historic Places in 1980.</p><br>
<p>The St. Albans Post Office, also known as Old St. Albans Post Office, is a historic post office building located at 202 Sixth Ave. in St. Albans, Kanawha County, West Virginia. It was built in 1937, and is a one-story, five bay brick building with a metal hip roof in Colonial Revival style. A rear addition was built about 1955. It was designed by the Office of the Supervising Architect under Louis A. Simon and Supervising Engineer Neal A. Melick.</p><br>
<p>It was listed on the National Register of Historic Places in 1994.</p><br>
<p>The John Tyler Morgan House is a historic Greek Revival-style house in Selma, Alabama, United States. It was built by Thomas R. Wetmore in 1859 and sold to John Tyler Morgan in 1865. Morgan was an attorney and former Confederate general. Beginning in 1876, he was elected as a Democratic USA senator from Alabama for six terms. He used this house as his primary residence for many of those years.</p><br>
<p>The building housed John T. Morgan Academy from its incorporation in June 1965 until a new campus was completed in 1967. The house was added to the National Register of Historic Places on September 27, 1972, due to its historical significance.</p><br>
<p>Crescent Grange Hall #512 is a former meeting hall of the Grange agricultural society in Linwood Township, Minnesota, United States. It was built from 1881 to 1882 by a chapter of the State Grange of Minnesota, the first state-level subdivision of the National Grange. It was listed on the National Register of Historic Places in 1979 for its local significance in the themes of agriculture and social history. It was nominated for being a well preserved example of an early meeting hall built by a subordinate Grange.</p><br>
<h2>Origin</h2><br>
<p>Crescent Grange Hall #512 is an outgrowth of the Reconstruction era in Minnesota. During this period, rural residents united in response to economic upheaval and high interest rates. Farmers, particularly those in the south and west of the state, struggled to make a living in a volatile and unregulated economy.</p><br>
<p>After the American Civil War, Southern farmers who had exploited enslaved people for their expertise and labor tried to adapt through sharecropping, while farmers on the Western plains faced falling crop prices. Both became increasingly indebted to bankers and merchants who charged high interest rates. Compounding the problem, railroads and food producers charged high tariffs.</p><br>
<p>In 1866, the USA Department of Agriculture assigned Oliver Hudson Kelley of Minnesota to assess the situation. Kelley, a successful farmer who owned 200 acre of land near Elk River, was struck by the social isolation he encountered on farms. In response, he and six colleagues founded the National Grange and Order of the Patrons of Husbandry, which included both men and women as members. His message to farmers was clear: join the movement, find strength in numbers, and secure prosperity through a share of the market.</p><br>
<p>Envisioning a way to counteract the tariffs and fraudulent methods endured by the farmers, Kelley encouraged farmers to form cooperatives through which they could store and sell their crops and compete against middlemen and their high fees. He then organized the State Grange of Minnesota—the first such state-level subdivision of the organization—in 1869. By 1875, the national Grange had grown to 858,000 members.</p><br>
<h2>Construction</h2><br>
<p>Minnesotas Crescent Grange #512 was organized in Anoka Countys Linwood Township in 1874. Until a hall was built, members met at churches and in the homes of charter members. On February 23, 1881, a meeting was held at the home of J. G. Green in which L.O. Tumbler proposed building a 32 by hall. J. G. Green offered to donate the land for the project, and the motion carried.</p><br>
<p>On March 25, 1881, Grange #512 members met to cut pine wood from a nearby forest. The men hauled the wood to George Haskell&#39;s sawmill near Typo Lake, where they cut it into lumber for building. Construction began in earnest at township 33, range 22, section 4 of Anoka County on the first Saturday in June. Over the summer, members absent from the project were fined one dollar. During this period, the original architectural plans were modified to include sufficient kitchen space.</p><br>
<p>Crescent Grange Hall #512 held its first formal celebration on July 4, 1882, but work on the structure continued until 1884. The one-story, 46 by structure is capped by a gabled roof with clapboard siding. The interior contains a meeting room, an auditorium, and a kitchen.</p><br>
<p>In 1916, further embellishments to the hall made by Grange member W.W. Wittig created alcoves on each of side of the building. The front alcove began to serve as an entrance; the one in the rear contained decorative stained glass. Further modifications to save heat and improve acoustics occurred in 1949, when the ceiling was lowered.</p><br>
<h2>Use and legacy</h2><br>
<p>The hall served as a venue for educating and informing farmers of the best practices in agriculture throughout the late 19th and early 20th centuries. It allowed members to share equipment owned collectively (including a threshing machine and saw) and to use a barn space for both storage and social gatherings for the Granger community.</p><br>
<p>By the turn of the 20th century, the Grange Movement had outlasted the remains of the Farmers Alliance, a group that called for more explicitly political action and served as a catalyst for the Peoples Party.</p><br>
<p>The Burtis–Kimball House Hotel and the Burtis Opera House were located in downtown Davenport, Iowa, United States. The hotel was listed on the National Register of Historic Places in 1979. It has since been torn down and it was delisted from the National Register in 2008. The theatre building has been significantly altered since a fire in the 1920s. Both, however, remain important to the history of the city of Davenport.</p><br>
<h2>Burtis–Kimball House Hotel</h2><br>
<p>The first phase of hotel construction in Davenport lasted from 1836, when the city was founded, until just before the Civil War. Most of these hotels were small and were located near the Mississippi River to take advantage of the passengers disembarking from the riverboats. The second phase marked the arrival of the railroad when the first bridge to cross the Mississippi was opened between Rock Island, Illinois and Davenport in 1856. Two years later J.J. Burtis, who had operated the LeClaire House in Davenport, opened his own hotel. It had an entrance on the mainline of the Chicago, Rock Island and Pacific Railroad. The hotel rose to prominence in 1861 when Iowa Governor Samuel Kirkwood made the hotel his Civil War headquarters as the telegraph lines did not extend any further west.</p><br>
<p>A new railroad bridge replaced the original one in 1872, and Burtis built a new hotel along the new mainline of the railroad at Fourth and Perry Streets in 1874. The block was already the site of the Burtis Opera House. The new hotel featured its own train platform as well as telephone, telegraph, and an elevator. In 1880 the name of the hotel was changed to the Kimball House and it was advertised as the "largest and best hotel in Iowa." After 1900 the Kimball House was eclipsed by the third phase of hotel building in the city that included the Hotel Davenport, the Hotel Blackhawk, and the Hotel Mississippi.</p><br>
<p>The hotel was transformed into an apartment building and renamed the Perry Apartments. Future US President Ronald Reagan lived in the building when he worked for radio station WOC from 1932–1933. In 1939 the building was heavily damaged by fire. Bill Vale was paid $5,000 to tear it down, and then bought the property for $25,000. He put in bout $12,000 in repairs, and renamed the building the Vale Apartments. As time went on the building started to decline. While attempts were made to save it, the building had become structurally unsafe and was torn down in 1993.</p><br>
<h2>Burtis Opera House</h2><br>
<p>The Burtis Opera House was opened in Davenport in 1867 at 415 Perry Street. The theater could hold an audience of 1,600 and it was a widely used facility. Mark Twain spoke to a sold-out house on his "The American Vandal Abroad" tour in 1869. In March 1874 Susan B. Anthony lectured on the woman&#39;s right to vote. The Quad City Symphony Orchestra played its first concert as the Tri-City Symphony in the Burtis on March 29, 1916.</p><br>
<p>The Burtis was an elegant building constructed in the Second Empire style. It featured a mansard roof with heavily hooded dormer windows. A bracketed cornice defined the transition from the roofline to wall elevation. A projecting pavilion with its own mansard roof contained the building&#39;s main entrance in the center of the façade.</p><br>
<p>On April 26, 1921, an arsonist set fire to the building and it was largely destroyed. Charles T. Kindt, the buildings owner and operator of the opera house, had the damaged building remodeled for the Thomas Cusack Company, an outdoor advertising firm from Chicago. Kindt was the district manager of the firms Davenport branch. The Chicago architectural firm of Zimmerman, Saxe & Zimmerman designed the buildings renovation, which was built by John Soller & Sons. Zimmerman worked nationally for Cusack, the worlds largest outdoor ad firm at the time. The buildings appearance was altered in the rebuilding process. The third story with its mansard roof, as well as the second floor, were not retained. The pilasters on the corners were shortened and a simple cornice was added across the top. The roof is flat and a raised parapet defines the main entrance. The arched windows that flanked the center pavilion were retained in an altered form. The buildings style now resembles the Renaissance Revival style.</p><br>
<p>By 1925 the building housed the General Outdoor Advertising Company. It was later occupied by a VFW post and state offices. The building stands on its own next to the raised railroad tracks since the Kimball House/Vale Apartments and the rail station have been torn down. Tri-City Electric occupied the building for several years before the United States Department of Veteran Affairs. In 2020 the building was included as a contributing property in the Davenport Downtown Commercial Historic District as the Thomas Cusack Co. District Headquarters.</p><br>
<p>The Lend-A-Hand Club was located in downtown Davenport, Iowa, United States, along the riverfront. It was listed on the National Register of Historic Places in 1983.</p><br>
<h2>History</h2><br>
<p>The Lend-A-Hand Club was established in Davenport in 1886 as a chapter of the International Order of the King&#39;s Daughters and Sons. It became an affiliate of the national network of Lend-A-Hand Clubs launched during the 1870s by Edward Everett Hale, a Unitarian minister who had risen to nationwide prominence as an abolitionist and writer for the Atlantic Monthly prior to the American Civil War. The club was a place for young women who lived and worked away from home to associate in a safe environment.</p><br>
<p>Initially, it occupied various downtown locations that it rented. When it was housed in a department store it offered rest and reading rooms. When it moved to larger facilities it expanded to a cafeteria, reading rooms, parlor, shower and bath, laundry, arts and crafts, and a gymnasium. It also provided a lecture series on various womens topics. The Lend-A-Hand Club was the citys main woman&#39;s service facility and usurped any potential for the YWCA to establish itself in Davenport.</p><br>
<p>Money was raised and in 1922 a permanent location was secured and a building was constructed along South Main Street opposite the Dillon Memorial. The facility contained dormitory rooms, a lounge, cafeteria, and a swimming pool. Its construction was a part of major riverfront</p><br>
<p>improvements there were completed in Davenport between 1912 and 1931. Programs offered by the club covered womens issues as bicycling for women, the pros and cons of women working outside the home, womans suffrage, and other topics.</p><br>
<p>The building closed as a woman&#39;s facility in the 1960s. It was rented to the city of Davenport who converted it to elderly housing in 1973. A new building was constructed for the elderly at Third and Ripley Streets in the late 1980s and the Lend-A-Hand Club building was torn down in 1990. It was removed from the National Register in 2014.</p><br>
<h2>Architecture</h2><br>
<p>The Lend-A-Hand Club was a three-story, brick, U-shaped building that was built over a raised basement. It was designed by Davenport architect Frederick G. Clausen in the Renaissance Revival style. It featured terracotta pilasters and cornice. Four decorative urns were located on the parapet. The shape of the building allowed the residential spaces to receive full natural light and air circulation. The main floor was a rectangular box that housed the social service elements of the facility.</p><br>
<p>Valley Creek Presbyterian Church is a historic Presbyterian church in Valley Grande, Alabama, United States. The two-story red brick church building was built in the Greek Revival-style from 1857–1859. The sanctuary and a mezzanine level, formerly a slave gallery, are located on the upper floor. It was added to the National Register of Historic Places on May 28, 1976, due to its architectural significance.</p><br>
<h2>History</h2><br>
<p>The Valley Creek Presbyterian congregation was established in 1816 by eight families from Mecklenburg County, North Carolina, making it the oldest Presbyterian congregation in Dallas County and one of the first established in what would become Alabama in 1819. The Valley Creek Presbyterian congregation originally met in a wooden building, which was replaced by this brick structure.</p><br>
<p>Colonial Hall and Masonic Lodge No. 30 consists of two historic buildings located at 1900 3rd Avenue, South in Anoka, Minnesota. Both were owned by Anoka Lodge No 30 AF & AM, which was chartered on October 25, 1859. Colonial Hall, also known as the Aldrich House for its association with the house&#39;s first owners and occupants, local medical and civil leaders Dr. Alanson and Dr. Flora Aldrich, is a two-story wooden building built in 1904 in a combination of Colonial Revival and Greek Revival styles by local renowned architect Fredrick Marsh. The Aldrich House was purchased by the Anoka Lodge in 1921, and in 1922, construction began on the present two-story redbrick Masonic temple, which is located behind but to the north of the Colonial Hall. Designed and built in the Georgian Revival style, it was completed and occupied in 1923.</p><br>
<p>On December 31, 1979, Colonial Hall and Masonic Lodge No. 30 was added to the National Register of Historic Places. In the 1980s, the Anoka County Historical Societys offices and library were housed in Colonial Hall. As of July 2019, Anoka Lodge No. 30 was still meeting in the Lodge hall twice per month, along with Anoka-Shekinah Royal Arch Chapter #104, Zabud Cryptic Council #10, Order of the Eastern Star Marthas Chapter, Jobs Daughters Bethel 48, and Anoka DeMolay Chapter.</p><br>
<p>In December 2012 the decision was made to sell Colonial Hall to a private party for restoration.</p><br>
<p>In 2016, Colonial Hall is occupied by a tenant, The Big White House, an antiques store.</p><br>
<p>The Thomas Benton Hoover House is a historic house located in Fossil, Oregon, United States. The house is constructed in two stories with clapboarded outer walls. It was built in 1882 by Thomas Benton Hoover, an early Euro-American settler and prominent Fossil citizen. Hoover was Fossil&#39;s first merchant , mayor, justice of the peace, and postmaster, as well as an early county commissioner and director of schools. He named Fossil for a paleontological find on his property in 1876.</p><br>
<p>The house was listed on the National Register of Historic Places in 1978.</p><br>
<p>The Twentieth Century Club is a women&#39;s social club founded in the late 19th century in Buffalo, New York, at 595 Delaware Avenue in the Delaware District. It was the first club run by women, for women, in the United States.</p><br>
<p>The club developed out of the Graduates Association of the Buffalo Seminary, spearheaded by Charlotte Mulligan, a teacher, writer and musician. She envisioned a club rich in tradition, education, and culture. Many lavish social events were held here, while education was the primary activity. Starting with an 1894 lecture on Abraham Lincoln, and continuing through the present, it has a long tradition of presenting speakers and programs on a wide variety of subjects. Its history parallels and chronicles the history of events in Buffalo and the enormous societal changes that occurred since its founding.</p><br>
<p>In 1894, the club purchased the present property and hired the firm of Green & Wicks to design a clubhouse to add to the front of an existing Baptist church. The clubhouse is a three-story building in the Italian renaissance style. The building is 78 feet wide and 96 feet deep. The first story is of Indiana limestone and the rest of the structure of pressed brick, of a warm red tone, with a cornice of terra cotta. The Ionic order pillars across the front of the second story are of blue marble. The original church structure at the rear of the lot was demolished in 1904 and a gymnasium, pool, showers, and a hot room were added. Additional land and a formal garden were added to the rear of the property in 1933. In 2011, the building was listed on the National Register of Historic Places.</p><br>
<p>The Beaman Memorial Public Library is the public library of West Boylston, Massachusetts. It is located near the town common, at 8 Newton Street, in an architecturally distinguished Colonial Revival building constructed in 1912 to a design by Worcester architect Lucius W. Briggs. The building was listed on the National Register of Historic Places in 2016.</p><br>
<h2>Architecture and history</h2><br>
<p>The Beaman Memorial Public Library stands on the northern end of the West Boylston village center, on a triangular parcel of land bounded on two sides by Newton and Central Streets. It is a two-story masonry building, built of brick with marble trim, a raised granite foundation, and a green slate hip roof. The main facade is symmetrical, with three bays. The outer bays have tripled windows set in segmented-arch openings with paneling below, flanking the entrance, which is set in a marble hooded surround. A marble stringcourse separates the first and second floors, and there is a modillioned wooden cornice at the roof line. To the rear of this original building stands a large addition, built in 1999. It was designed by The Preservation Partnership of Weare, New Hampshire, with architect Maximilian L. Ferro in charge. Although it is built using concrete blocks, they are stained to match the brick of the original building, and other exterior features were designed in sympathy to the original.</p><br>
<p>The public library of West Boylston was established in 1874 by the bequest of David Lee Rice, and originally was housed in a room of the high school. It later expanded to other quarters, but the entire town center was forced to relocate in the early 20th century, when the Wachusett Reservoir was created. The present library building was built as part of a municipal construction program occasioned by that event, and was a gift to the town of George Calvin Rice. The building was designed by Worcester architects Frost, Briggs & Chamberlain, with Lucius W. Briggs as the partner responsible for the design. It is the towns only institutional example of Colonial Revival architecture. It is also an important early collaboration between Briggs and the builder, E.F. Cross of Worcester, who went on to collaborate on a number of other significant projects. The library is named for Ezra Beaman, George Calvin Rices grandfather.</p><br>
<p>The Outing Club is located in the central part of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1977.</p><br>
<h2>History</h2><br>
<p>In the early 1890s, the Rev. A.M. Judy of First Unitarian Church saw a need for a place for the young people of his congregation to gather for recreation and sporting activities. He enlisted the support of the Unity Club and they found that the estate of J.D. Brewster on Brady Street near Central Park, now Vander Veer Park, was available. The house would serve as a clubhouse and the grounds were large enough to support tennis and a variety of field sports. Citizens from the larger community expressed interest. Davenports social elite took up Judys idea and transformed what was a simple recreational facility and made it into an exclusive club by selling subscriptions. In June 1891, subscriptions to participate in the club began, and the required 300 were realized by July. The former Brewster residence was purchased and the club was organized.</p><br>
<p>As the club grew, outdoor concerts and dances were held. A bowling alley and shooting gallery were added. A larger clubhouse was required and a Colonial Revival structure was built in 1903. It included dining rooms, smoking and billiard rooms, a reading room and a ballroom. A fire destroyed the building in April 1905, but it was rebuilt and opened in July of the same year. Davenport architect Parke T. Burrows was responsible for the designs of the present building. The club has continued to grow over the years and it has expanded its facilities and activities.</p><br>
<h2>Architecture</h2><br>
<p>The historic designation includes two buildings, the main clubhouse and the bowling alley. Both are of frame construction. The 1905 clubhouse is a square, two-story structure that is capped with a hipped roof. The main facade features a large tetrastyle portico with columns in a Renaissance Ionic style. The opening between the two center columns is extremely wide to visually show off the wide front entrance. The cornices are bracketed, and the tympana has a semi-circular fanlight with radiating tracery. There are pilasters at the junction of the portico with the house that terminate at the second-floor level. A wide porch is located on the west and on a portion of the south elevations of the clubhouse. It forms a terrace on the second floor. The porch is supported by attenuated Tuscan columns. A porte-cochere is located on the south elevation. The north elevation had a portico similar to the west elevation, but it was replaced by a later addition.</p><br>
<p>The bowling alley is older than the main clubhouse, having been built sometime in the 1890s. It was originally a two-story structure, but it was struck by lightning in 1916 and remodeled into a single-story structure. The second story had housed billiard and card rooms. The building houses four bowling alleys. The pins were set by hand until 1976. The main facade is divided into nine bays. The entrances are located at the two ends of the rectangular structure and extend slightly beyond the main wall to form end pavilions. The doorways are framed by architraves that are capped with flat pediments. Paired Corinthian pilasters frame the ends of the pavilions. The windows in the center bays where the bowling allies are located are divided into four unequal sections by a Latin-cross sash.</p><br>
<p>The Northwest Davenport Turner Society Hall is a historic building located in the old northwest side of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1979. The Northwest Davenport Turner Society Hall is significant for its association with Davenports German community, which was the citys largest and most influential immigrant group. It also played an important role in the civic and cultural life of the northwest Davenport German community.</p><br>
<h2>History</h2><br>
<h3>Turners</h3><br>
<p>Friedrich Ludwig Jahn (1778–1852) was a teacher in Berlin who started outdoor physical education classes in 1811. His twin goals were to promote physical fitness and German nationalism. Over the next three decades gymnastic societies known as Turnvereins opened in many German cities. Their members were known as “Turners”, the German word for gymnasts. The societies also served as gathering places for people who desired democratic reforms in the governments of the various German states. They supported the revolution that began in 1848 and when it failed they fled to the United States, and many came to Davenport.</p><br>
<h3>The Turners in Davenport</h3><br>
<p>Among those who came to Davenport were Theodor Gülich and Christian Müller, and their arrival led to the foundation of the Turner society in the city in 1852. Gülichs father and grandfather were active in the Schleswig-Holstein movement prior to the rebellion. He stated in 1854 at the Turners first large public event that the local society would fight against nativism and the domination of the church. It would also work to promote freedom, education and well-being for all people. The early Turners in Davenport took a progressive stand on social issues such as womens rights. They were also promoters of the German Free School Society in Davenport. Many of the early members also had a desire to return to the German states to continue the revolutionary struggle. Initially, the local Turner society was called the Sozialistischer Turnverein (Socialistic Turner Society). While they were harsh critics of American society, they strove to be good Americans. They expected any potential member to become an American citizen before joining. They also participated in the annual Fourth of July celebrations. At the centennial celebration in 1876, however, they stayed true to their anticlerical convictions and left the procession when a prayer was added to the festivities. As time went on, however, their radical attitudes subsided and they gradually abandoned their hopes of returning to Germany. In 1858 the organization changed its name to the Davenporter Turnverein and in 1882 it was changed to the Davenporter Turngemeinde. With the second wave of German immigration in the 1870s, the number of Turner societies in Davenport grew from one to three.</p><br>
<h3>Northwest Turners</h3><br>
<p>The Northwest Davenport Turner Society was established in 1871 and their first meeting place was Jacobsens Hall at Locust and Division Streets, which was a combination boarding house and tavern. It was destroyed in a fire on July 4, 1882, and a new building was constructed soon after at 16th and Washington Streets. The Turner Hall continued to serve the physical and mental exercise of its members. Folk festivals were also held in an adjoining garden. The society continued to expand as did German immigration to the city. In 1904 the Turners expanded their hall and they hired Davenport architect Frederick G. Clausen, himself a Schleswig-Holstein native. It was renovated yet again in 1926 and it was the work of Clausens son Rudolph, who continued his father&#39;s firm under the name of Clausen, Kruse and Klein.</p><br>
<p>Both the East and Northwest Turners continued to function in Davenport until at least the 1980s. The Northwest Davenport Turner Society sold their building in 1991 and it became Uncle Roscoes Polo Club. In 1994 it was sold to the Mohassan Grotto, a Masonic organization. They used the building for bingo games that the organization used for fundraising. In 2017 Compassion Church acquired the building and uses it as a site for their breakfast ministry, known as Timothys House of Hope. The Northwest Turners continue to operate, however, they are an organization without a hall. The membership currently meets at a variety of local venues and they sponsor bowling and golf teams.</p><br>
<h3>Turners in Scott County</h3><br>
<p>At one time there were five Turner halls in Scott County. Two of the other halls were in Davenport. The Central Turner Hall was located at 401 W. Third St. near Washington Square on the west side of downtown. Built in 1888, it was the second largest Turner Hall in the United States. The building was damaged in a fire in 1961 and torn down in 1975 to make way for senior citizen housing. The Turner hall in Buffalo (1869) was destroyed in a fire in 1961 and the one in Eldridge (c. 1885) was destroyed in a fire in 2013.</p><br>
<h2>Architecture</h2><br>
<p>The main block of the 1882 building was nearly square in its proportions. It was two stories tall and four bays wide and deep. It was capped with a hipped roof with bracketed eaves, and the roof deck was edged with iron cresting. There was a small gabled dormer centered above the main facade. The main entrance into the facility was located to the right of center and was surrounded by a flat frame that was capped with a shallow, triangular pediment. The gymnasium extended off the back of the main block. Like the main block, it was a frame structure, and it measured 74 ft by 48 ft. Unlike the main block, it was capped with a gable roof.</p><br>
<p>The 1904 addition added three more bays to the north side of the main block. The original dormer was removed and two small triangular dormers flanked a projecting bay on the second floor. It culminated in a spire with flared eaves. Window treatment on the second floor of the addition matched the original structure. The first-floor windows were triple-storefront windows that flanked a secondary entrance. The main entrance into the facility was placed beneath the projecting bay. The original gymnasium was renovated into a combination movie theater and dance hall. A new gymnasium was attached to the west of the original. It is a brick structure built on a stone foundation and a raised basement. It has a gable roof whose ends culminate in shallow shoulder parapets. The side walls are four bays wide and are divided by flat engaged brick piers and corbelling across the top.</p><br>
<p>The 1926 renovation saw the alteration of the main facade. The windows on the first floor were enlarged, and plate glass windows replaced the double-hung sashes. The projecting bay over the main entrance and its spire was replaced by a hipped-roof dormer. The iron cresting was removed from the roof deck. A full basement was dug under the wood portion of the building. The front part of the building, which faced Washington Street, became two storefronts. The second floor was converted into an apartment. The main entrance opened into a hallway between the storefronts that lead to the auditorium/dance hall.</p><br>
<p>Northwest Davenport Savings Bank is a historic building located in a commercial district in the old northwest section of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1984.</p><br>
<h2>History</h2><br>
<p>Northwest Davenport Savings Bank was established in Davenport around 1910. The Neoclassical style structure was designed by Davenport architect Arthur Ebeling. The building was completed in 1912 in a German-American neighborhood in what was then the northwest corner of the city of Davenport. Its founders were of German-American descent, and lived and operated businesses in the same commercial district. Dr. Jacob S. Weber, a physician, served as the banks first president; Peter Peters, a local merchant, was the first vice-president; and William Burmann was the cashier. It was one of five banks that were still active in the city when President Franklin Roosevelt declared the Bank Holiday in 1933. The others included: American Commercial and Savings Bank, Bechtel Trust Company, Union Savings Bank and Trust, and Home Savings Bank. Only two banks survived, American Commercial and Bechtel, but under new names.</p><br>
<p>On July 7, 1941, Northwest Bank and Trust Company began business in the building. They occupied the structure until 1953 when they moved to their current location on the corner of West Locust and Washington Streets.</p><br>
<h2>Architecture</h2><br>
<p>The banking industry in Davenport enjoyed significant growth from around 1900 to 1915. The new buildings that were built by them in this era expressed this growth both downtown and in the newly established neighborhood branch banks. For the most part, they were built in some version of the Neoclassical style. This small bank building is a relatively simple single-story brick structure. It is built on a concrete block foundation. The building features engaged columns in the Doric order that support a full entablature and triangular pediment, and pilasters that are topped with egg-and-dart molding on the classically detailed caps. The main entrance has been partially filled in to create a smaller doorway. A small addition was also added to the south side of the building at a later date.</p><br>
<p>The Shelburne Free Public Library is one of two public libraries in Shelburne, Massachusetts. It is located at 233 Shelburne Center Road, in an architecturally distinctive 1898 Gothic Revival stone structure built out of local riverstone. The building was listed on the National Register of Historic Places in 2016.</p><br>
<h2>Architecture and history</h2><br>
<p>The Shelburne Free Library stands in the small village of Shelburne Center, just south of Massachusetts Route 2 on the east side of Shelburne Center Road. It is a roughly square -story gable-roofed stone structure, built of local stone laid in an uncourse mortared manner. Its main facade is symmetrical, with the main entrance set in a segmented-arch recess whose side and end walls are paneled. Flanking this recess on either side are narrow rectangular windows. The gable rises to a level slightly above that of the main roof, and has small buttresses at the ends. The side walls each have three windows. A single-story addition, built out of similar materials, projects southward from the rear corner.</p><br>
<p>The library was founded in 1854 by William and Walter Wells, who established a lending library in one of their homes, and charged an annual fee of $3 for its use. The Wellses amassed a collection of 2,000 books that rivaled that of the Arms Library, a free library established in Shelburne Falls a few years earlier. The library was formally organized in 1895, and the present building&#39;s main block was built in 1898. The stones used in its construction were reportedly gathered from all over the rural community and brought to the site, stockpiled over years until a sufficient quantity were accumulated. The addition, built in 1952–53, was also built out of local stone, carefully chosen and laid to match the original.</p><br>
<p>Ramsdell Public Library is one of two public library buildings of Great Barrington, Massachusetts. It is located at 1087 Main Street in the Housatonic village, in a two-story Beaux Arts building erected c. 1908. The building was a gift to the town by T. Ellis Ramsdell, fulfilling a bequest by his father Theodore, owner of the Monument Mills. It was designed by Boston architects McLean & Wright, with a sympathetic rear addition  designed by the Pittsfield firm of Harding & Seaver. It was listed on the National Register of Historic Places in 2014.</p><br>
<p>The other branch of the Great Barrington library system is at 231 Main Street.</p><br>
<h2>Architecture and history</h2><br>
<p>Ramsdell Public Library is located in Housatonic village, set between the Unitarian Universalist Meeting of South Berkshire, formerly the Housatonic Congregational Church, and the Corpus Christi Church on the north side of Main Street. The original 1908 main block is stories in height, built out of yellow brick with marble trim. The main facade is three bays wide, with a projecting gabled entry pavilion at the center. The entry pavilion has marble corner quoins, and a further projection with an entablature and dentillated gable supported by pilasters and Ionic columns. The entrance has glass-paneled double doors, set in a recess framed by marble trim and topped by a sill with a foliated cartouche, and a half-round transom window. Windows on the ground floor are set in rectangular openings with splayed keystoned lintels; there are small windows beneath the eaves that illuminate the rooms of the half-story.</p><br>
<p>The interior begins with a tiled entry area, with stairs rising around the outer walls to a large meeting room that occupies most of the upper story. The entry opens into a central rotunda, with reading rooms on either side, and stacks and librarian area to the rear. The openings to these spaces are flanked by wooden columns finished in emulation of marble. Walls are plastered, with oak trim around the windows, doors, and fireplaces.</p><br>
<p>The rear addition nearly doubles the space of the building, extending behind the central and western portions of the main block. It provides for an enlarged reference area, more stacks, and a dedicated workroom for the library staff.</p><br>
<p>The building was designed by the Boston partnership of McLean & Wright, which apparently later adapted this design for the Shedd-Porter Memorial Library in Alstead, New Hampshire, and the Weeks Memorial Library in Lancaster, New Hampshire, both of which post-date this building by a few years. It is a particularly fine local example of Classical Revival architecture.</p><br>
<p>The 12 rowhouses at 322–344 East 69th Street are located on the south side of that street between First and Second avenues on the Upper East Side of the New York City borough of Manhattan. They are Neo-Grec brownstone structures built around 1879, in two sets designed by different architects.</p><br>
<p>Together they constitute one of few remaining areas of low-rise rowhouse development in a neighborhood where many such houses have been demolished in favor of high-rises. In 1984 they were recognized as a historic district and listed on the National Register of Historic Places.</p><br>
<h2>Buildings</h2><br>
<p>The houses are three-story brownstones, some of which have been painted. Their raised rusticated basements all have segmental-arched windows and stoops leading to the main entrance. The stoops lead to double-doored main entrances flanked by narrow parlor windows. At the flat rooflines are galvanized iron cornices with dentils and angular brackets.</p><br>
<p>There are distinctions between the western six houses (Nos. 322–332) and the eastern six (334–344), built after the first two, primarily in the door and window enframements. The main entrances of the former group have slab lintels on stylized brackets with the flanking windows having simple lip lintels and sills on corbels similar to the entrance brackets. The upper windows have sills on simpler corbels.</p><br>
<p>The eastern houses have more elaborate enframements. Their main entrances are enframed with deep lintels on angular brackets. The windows are fully enframed and have more complex lintels. There have been no major changes to any of these houses. Some of the dwellings have fireplaces.</p><br>
<p>At 328 East 69th, in the western row, there was the only significant addition or structural alteration to any of the houses when a garage was cut into the basement. Other houses have had doors or windows replaced. All the original cast iron railings have been removed and replaced.</p><br>
<p>The row is in the central portion of the block, with more extensively modified rowhouses on either side leading to high-rises that anchor the block at the intersections. At the east end is the First Hungarian Reformed Church of New York, designed by Emery Roth and also listed on the Register. The adjacent house is owned by the church and serves as its parsonage.</p><br>
<p>On the north side of the street are higher, more modern apartment buildings. The area as a whole is high-density urban mixed use development typical of Manhattan. Talent Unlimited High School is to the south on East 68th Street. Memorial Sloan-Kettering Cancer Center and Weill Cornell Medical School two blocks to the southeast.</p><br>
<h2>History</h2><br>
<p>The Upper East Side had been gradually developing as the economy recovered from the Panic of 1873. In 1878, a housing boom began with the completion of the Third Avenue El, putting the neighborhood within easy commuting distance of Midtown and Lower Manhattan where most businesses were. The blocks to the east of Third were very quickly developed with speculative rows, which sold quickly.</p><br>
<p>At that time most were built in the Neo-Grec architectural style. Using forms and scale similar to the Italianate styles popular before and during the Civil War two decades earlier, the Neo-Grec differs in its detailing. Buildings in that style used angular, more geometric forms for their ornamentation, as opposed to the curvilinear forms preferred on Italianate buildings. These reflect the use of early stonecutting machines, which could not yet duplicate the latter.</p><br>
<p>The buildings in the western half, Nos. 322–332, were built first. Architect Jacob Valentine designed them for builder James E. Ray in 1879. Among the many Neo-Grec rowhouses Valentine built in the area at the time, there are few survivors other than these. Ray hired William J. Smith for the eastern buildings, begun later in 1879 and completed the following year.</p><br>
<p>There have been few changes to the exteriors of the buildings. The original cast iron railings on the stoops were replaced some time after 1945, when a photograph shows them all in place. In 1966, the basement of 328 East 69th was converted into a garage. The houses themselves have remained as newer high-rises have displaced most of the other rowhouses built in the early years of the Upper East Side, a rare surviving group of buildings from that era. But there has been substantial renovation of building interiors; for example, 342 East 69th Street has had new windows, plumbing, electricity, roof, floor boards, and cooling systems.</p><br>
<p>The buildings have had huge price appreciation in the last few decades. For example, building 342 was valued at $1.1 million in 1990; in 2004 it was valued at $2.9 million; by December 2010, it was valued at $4.7 million.</p><br>
<p>The Candoro Marble Works was a marble cutting and polishing facility located in Knoxville, Tennessee, United States. Established as a subsidiary of the John J. Craig Company in 1914, the facilitys marble products were used in the construction of numerous monumental buildings across the United States during the 1930s and 1940s. Although Candoro closed in 1982, independent marble fabricators continued using the facility until the early 21st century, when it was purchased by the preservation group, South Knox Heritage. In 1996, several of the facilitys buildings were added to the National Register of Historic Places.</p><br>
<p>By the beginning of the 20th century, East Tennessee had become one of the nations major suppliers of finished marble. The John J. Craig Company, which operated several quarries in the vicinity of Knoxville, was one of the regions top marble suppliers during this period. John J. Craig III, grandson of the companys founder, and three co-investors&mdash; F.C. Anderson, W.J. Donaldson, and S.A. Rodgers&mdash; established Candoro to cut and polish the companys quarried and imported marble. The name "Candoro" is a combination of the first letters of each co-founders last name. The companys showroom and garage, completed in 1923, was designed by noted Knoxville architect Charles I. Barber (1887&ndash;1962).</p><br>
<h2>Location</h2><br>
<p>The Candoro Marble Works is located in South Knoxville&#39;s Vestal community along Candora Road, spanning most of the north side of the road between its Maryville Pike (State Route 33) and Spruce Road intersections. The showroom is the easternmost building, lying adjacent to Maryville Pike, and is connected to Candora Road by an oft-photographed tree-lined allée. The large cutting facility lies to the west of the showroom and garage, and the finishing building lies immediately west of the cutting facility. A smaller building housing the boilers and company offices stands in front of the finishing building.</p><br>
<h2>History</h2><br>
<p>In the years after the Civil War, East Tennessee experienced a quarrying boom that focused on a type of pinkish Holston Formation limestone known as "East Tennessee marble." By 1900, nearly a dozen companies were operating quarries or finishing facilities in and around Knoxville, giving the city the nickname, "The Marble City." The John J. Craig Company, one of the most successful of these companies, operated quarries near Friendsville in Blount County and near Concord in Knox County.</p><br>
<p>To convert his companys quarried marble into finished products, John J. Craig III established a subsidiary, the Candoro Marble Company, which built the Candoro Marble Works complex. The site in South Knoxville was chosen for its proximity to both the railroad and Goose Creek, the latter of which provided water for the complexs steam boiler, which powered the complex&#39;s massive cutting machinery in the years before cheap electricity was available. While the company initially used its own locally quarried stone, it gradually began to rely more and more on marble imported from Europe and South America.</p><br>
<p>In 1927, Candoro hired Carrara, Italy-born stone carver Albert Milani (1892&ndash;1972) as its chief carver. During Milanis 40-year tenure, Candoro provided marble for buildings such as the Smithsonian Museum of History and Technology and the National Gallery of Art in Washington, as well as local buildings such as the Knoxville Post Office building. Notable hand-carvings by Milani include the History of the World relief at the Pennsylvania State Capitol and the four eagle sculptures flanking the entrances of the Knoxville Post Office. Milanis carvings were shipped to customers as far away as Pakistan and Japan.</p><br>
<p>The use of marble in building construction declined after World War II, and Candoro shut down operations in 1982. Independent marble fabricators used the companys facilities until the early 21st century, when a group of historic preservationists purchased the Candoro office building for preservation purposes and made the space available to the South Knoxville Arts and Heritage Center (later known as the Candoro Arts and Heritage Center). The South Knox Arts and Heritage Center initiated efforts to restore the Candoro office and showroom. Since 2001, the Candoro grounds have hosted the Vestival, a festival held annually in May that features live music and craft vendors. The Candoro Marble Building was acquired by the Aslan Foundation on April 15, 2014. In 2019, the Aslan Foundation embarked on a historic restoration that concluded with the buildings re-opening in March 2021. The Candoro Marble Building is currently home to contemporary arts non-profit, with their gallery space, artist studios, and arts programming. In addition, the Candoro Arts and Heritage Center volunteers will continue to present Vestival on the building&#39;s grounds as well as quarterly programming.</p><br>
<h2>Candoro Marble Works historic district</h2><br>
<p>The Candoro Marble Works complex was initially added to the National Register of Historic Places in 1996 for its role in Knoxvilles early 20th century marble industry. In 2005, the complexs showroom and garage were relisted to include architecture in their area of importance. The complex&#39;s four water towers are listed as contributing structures, and a now-vacant marble yard behind the showroom is listed as a contributing site.</p><br>
<h3>Showroom and garage</h3><br>
<p>The Candoro Marble Works showroom is a two-story building with a marble veneer exterior completed in 1923. Architect Charles I. Barber of the firm Barber & McMurry designed the building primarily in the Beaux-Arts style, and Albert Milani executed the marble detailing. The buildings facade features a hand-carved cartouche and floral motif and a wrought-iron door crafted by Philadelphia master blacksmith Samuel Yellin (1885&ndash;1940). The showrooms interior includes an entrance hall with polished travertine and frescoed plaster walls and a hand-carved marble rosette. Adjacent to the entrance hall is a room with East Tennessee pink marble walls. The building&#39;s floor consists of black-and-white marble tile. A second-story penthouse sits atop the showroom building.</p><br>
<p>The garage, also designed by Barber, consists of four arched bays separated by four marble Tuscan columns carved by Milani. The lower half of the garage&#39;s exterior consists of the same marble veneer as the showroom, while the upper half is covered with stucco. The roof of the garage is covered with Roman tiles. A non-structural wall connects the showroom and garage.</p><br>
<h3>Other contributing buildings</h3><br>
<p>The cutting facility, built in 1914, is a large steel-frame warehouse-style building.</p><br>
<p>The polishing and shipping/receiving building, built in 1914, is a concrete-and-steel structure with angular roofs covering each individual bay. This building once housed the complex&#39;s polishing machinery and shipping bay.</p><br>
<p>The boiler room and office, constructed in 1914, consists of a one-story front section that contained the complexs offices and a two-story back section that contained the complexs boiler. The interior of the office section contains East Tennessee marble floors, wainscoting, and railing.</p><br>
<p>The Hebrew Orphan Asylum is a historic institutional orphanage and former hospital building located in the Mosher neighborhood of Baltimore, Maryland, United States. It has also been known as West Baltimore General Hospital, Lutheran Hospital of Maryland and is currently being redeveloped by Coppin Heights Community Development Corporation to be a Center for Healthcare & Healthy Living.</p><br>
<p>Built in 1875, the Hebrew Orphan Asylum in Baltimore, Maryland replaced the old Calverton Mansion (built in 1815) when a fire destroyed the mansion in 1874. The Hebrew Orphan Asylum, which started in 1872 in the Calverton Mansion depended on donations from people within the Baltimore Jewish community, including the wealthy German Jewish community that had settled within the city. The history of the asylum follows the history of the Jewish community in Baltimore, which increased rapidly with immigration from Europe in the 19th and 20th centuries. The building transitioned to serve as the West Baltimore General Hospital from 1923 through 1950 and finally the Lutheran Hospital of Maryland from 1950 to 1989. While associated structures associated with the Hebrew Orphan Asylum, the West Baltimore General Hospital, and the Lutheran Hospital of Maryland were demolished in 2009, the original four-story brick Romanesque structure still stands.</p><br>
<p>The building is a south-facing Victorian Romanesque red brick structure. Its central block is four stories high and five bays wide, with a large porch and projecting turrets at each corner. The central block is flanked by three-story wings, each four bays wide, on the west and east. The Hebrew Orphan Asylum was designed by Lupus & Roby, the partnership of Edward Lupus (1834–1877) and Henry Albert Roby (1844–1905), and constructed by Edward Brady (1830–1900).</p><br>
<p>The history of the development at the site of the current building began in 1815 with the construction of "Calverton," the country home of Baltimore banker Dennis Smith. This building was re-purposed and expanded for use as the Baltimore City and County Almshouse from 1820 through 1866. Calverton featured a central mansion for caretakers, large wings on either side for male and female dormitories and a "lunatic" hospital. The Hebrew Orphan Asylum was established in 1872 and operated in the Calverton mansion until displaced by a fire in 1874. After some deliberation, the leaders of the Hebrew Orphan Asylum decided to rebuild at the same location following a design by architects Lupus & Roby.</p><br>
<p>The Hebrew Orphan Asylum moved to a new facility in 1923 and the building transitioned to serve as the West Baltimore General Hospital from 1923 through 1950. The facility then became the Lutheran Hospital of Maryland and remained in use from 1950 to 1989. The history of the building as a hospital included the addition of several related structures to the campus only one of which, a 1945 maternity ward, remaining extant. This building, designed by Henry Powell Hopkins and built by the John K. Ruff Company, now operates as the Tuerk House, a residential drug and alcohol rehab facility. The original Hebrew Orphan Asylum building has been vacant since 1989 and has been owned by Coppin State University since 2003.</p><br>
<p>Baltimore Heritage, a nonprofit historic preservation advocacy organization, nominated the Hebrew Orphan Asylum to the National Register of Historic Places in 2010 in partnership with Coppin Heights Community Development Corporation, a nonprofit CDC originally formed by Coppin State University.</p><br>
<p>The building was listed on the USA National Register of Historic Places on October 28, 2010.</p><br>
<p>The Ruth and Raymond G. Perelman Building—originally the Fidelity Mutual Life Insurance Company Building—is an annex of the Philadelphia Museum of Art containing exhibition galleries, offices, conservation labs, and the museum library. It is an Art Deco building that features cathedral-like entrances and is adorned with sculpture and gilding. The building is listed on the National Register of Historic Places. The Perelman Building is located at the intersection of Pennsylvania Avenue and Fairmount Avenue, facing the Philadelphia Museum of Art&#39;s main building across Kelly Drive.</p><br>
<h2>History</h2><br>
<p>Philadelphia architectural firm Zantzinger, Borie & Medary, which had collaborated on the Philadelphia Museum of Art, designed the building to be the headquarters for Fidelity Mutual Life Insurance Company. Construction began in 1926 and the building was completed in 1928. Sculptor Lee Lawrie created its decorative scheme, which features polychrome facades adorned with figures symbolizing attributes of insurance: the owl of wisdom, the dog of fidelity, the pelican of charity, the opossum of protection, and the squirrel of frugality. Fidelity Mutual Life Insurance Company occupied the building from 1927 to 1972. In 1982, it was acquired and restored by the Reliance Standard Life Insurance Company, which in turn relocated in 1999.</p><br>
<h3>Philadelphia Museum of Art restoration</h3><br>
<p>The Philadelphia Museum of Art acquired the building in 1999 through the City of Philadelphia. In anticipation of its 125th anniversary in 2001, the museum began a capital campaign that collected $240 million in donations. In recognition of the $15 million contributed by the Perelmans, the annex was renamed the Ruth and Raymond G. Perelman Building in 2000. Gluckman Mayner Architects restored and renovated the historic building, and expanded it with a 59,000 ft2 addition. The Perelman Building opened on September 15, 2007.</p><br>
<h2>Resources</h2><br>
<p>The Perelman Building&#39;s six galleries total 2,000 ft2 of exhibition space.</p><br>
<p>The Julien Levy Gallery is dedicated to photographs from the museum&#39;s collection of over 150,000 prints, drawings, and photographs.</p><br>
<p>The Joan Spain Gallery is dedicated to exhibition of the museum&#39;s costume and textiles collection, which has over 30,000 works.</p><br>
<p>The Collab Gallery shows modern and contemporary design art ranging from furniture to ceramics.</p><br>
<p>The Exhibition Gallery hosts changing special exhibitions.</p><br>
<p>Two study galleries provide resources to art scholars, and are available to the public by appointment and an educational resource center for teachers.</p><br>
<p>The museum&#39;s library holds collections of art books and periodicals on the first floor and a reading room on the second floor.</p><br>
<p>The Visitors Information Center, also known as the Rose Building, is a historic building located on Naito Parkway in downtown Portland, Oregon, United States. Built in 1948, it is noted as a prominent product of its architect John Yeon. It is listed on the National Register of Historic Places.</p><br>
<p>In this, his only major non-residential commission, Yeon combined the principles of the International style with strong influences of the Northwest Regional style, which he pioneered. Northwest Regional elements include the naturally-inspired color scheme, the use of plywood walls and louvered ventilation panels, and concern for the site&#39;s unique views.</p><br>
<p>The building has served as a chamber of commerce office and information center, city offices, a restaurant, and the headquarters of the Portland Rose Festival. Originally situated adjacent to a freeway in a highly developed waterfront district, the Visitors Information Center was subsequently retained when Tom McCall Waterfront Park was developed around it. It now stands within the park.</p><br>
<p>Craven Hall is a historic building located in Warminster Township, Pennsylvania, at the corner of Newtown Road and East Street Road , a five-lane arterial road which runs through the central commercial district. The house was originally built in 1780, with subsequent work in 1823 and a single story addition in the 20th century.</p><br>
<h2>Significance</h2><br>
<p>The building is a good example of attempts to adapt the high style of Philadelphia architecture to buildings in a rural setting. The Greek Revival detailing of the exterior, and the interior details of the window and door frames and the mantelpiece, along with its sensitivity to proportion, make it unique to rural southeastern Pennsylvania.</p><br>
<p>The John Fitch Steamboat Museum is located at this site, which includes a working model of the commercial steamboat that Fitch operated on the Delaware River in 1790.</p><br>
<h2>History</h2><br>
<p>Craven Hall is associated with families that were part of the American Revolution and prominent in local Pennsylvania history. The house was built for John Craven who was the founder of Johnsville, Pennsylvania. Later, the house passed down to members of the VanSant, Longstreth, Hart and Bennett families.</p><br>
<h2>Construction</h2><br>
<p>The house is two and a half stories, built with stone walls finished with stucco. The central hallway and staircase are flanked by parlor rooms on either side. A side wing built to the same height as the main building has quarter-round windows on each side of the chimney. The building retains the original fireplaces and the kitchen hearth.</p><br>
<p>The spring house in the rear yard is built underground with stone and stucco walls, and accessed by a staircase.</p><br>
<p>Grace Reformed Church is a historic church building in Northwest, Washington, D.C. A notable member was Theodore Roosevelt, who regularly attended services there during his term as United States president.</p><br>
<p>The congregation was originally organized in 1877 as a member of the Reformed Church in the United States (RCUS), which eventually merged into the United Church of Christ (UCC). Construction on the current building began in 1902, with then-Vice President Roosevelt laying the cornerstone; he also gave an address at its 1903 dedication.</p><br>
<p>As of late 2019, the original congregation no longer met at the building, but two other congregations occupied it as renters. Christ Reformed Church (URCNA) rented space in the building from approximately 2011 to the end of 2019. In 2016, Christ Reformed was told that its rental agreement would soon be ending to facilitate a likely sale of the building. Christ Reformed announced its new location in December 2019.</p><br>
<p>The Community Church of Washington, D.C. (CCWDC) also holds services in the building. Like the original Grace Reformed, it is a congregation of the United Church of Christ. As of December 2019, CCWDC had not yet formal plans to vacate the property.</p><br>
<p>The church was added to the National Register of Historic Places, along with its Sunday School and Parish House, in 1991.</p><br>
<h2>History</h2><br>
<p>Grace Reformed Church, located in Washington D.C., was organized with 14 charter members on October 7, 1877. Grace Reformed Church was initially supported as a mission church by the Maryland Classis, the governing body of the Reformed Church in the region.</p><br>
<p>Most RCUS congregations merged with the Evangelical Synod of North America (ESNA) to form the Evangelical and Reformed Church (E&R) of the United States in 1934. That denomination, in turn, merged in 1957 with the majority of the Congregational Christian Churches (CC) to form the present-day United Church of Christ (UCC).</p><br>
<h3>Theodore Roosevelt and Grace Reformed Church</h3><br>
<p>Theodore Roosevelt was a member of Grace Reformed church while President of the United States.</p><br>
<p>Roosevelt originally belonged to the Reformed Church in America (RCA), a Dutch-American group. As a private person, Roosevelt attended religious services wherever he was. He preferred the Reformed Church if one were available to attend and is reported to have said, "I take a sentimental satisfaction in worshiping in the Church of my fathers."</p><br>
<p>Since there were no RCA congregations in Washington, he chose Grace Reformed Church as a church similar liturgically and theologically to Dutch Calvinism.</p><br>
<p>Roosevelt began attending Grace Reformed Church soon after his arrival in Washington, D.C., in 1901 as vice-president of the United States. Reverend Dr. J.M. Schick, Pastor of Grace Reformed Church between 1900 and 1913, invited Roosevelt to make the church his home. Roosevelt did so and attended church regularly during his eight years in Washington.</p><br>
<p>The President often walked from the White House to attend Sunday morning worship services at Grace Church. The President was usually accompanied by two Secret Service men, and often with family members or friends. He regularly had flowers sent to adorn the altar from the greenhouse at the White House and was a faithful communicant between 1901 and 1909. Roosevelt is reported to have taken part in all the service, singing every hymn, and listening to the sermon, even jotting down notes on the sermons. His regular pew is still in the church. Roosevelt&#39;s appreciation for the spiritual support that he received from his church attendance was communicated by letters he sent to the pastor as well as the gifts of two bishop chairs and his portrait to the church.</p><br>
<p>President Roosevelt laid the cornerstone of Grace Reformed Church on July 1, 1902, and spoke at its dedication on June 7, 1903. As his speech at the dedication ceremony of Grace Reformed Church concluded:</p><br>
<p>President Dwight D. Eisenhower attended a special Sunday morning worship service at Grace Reformed Church in October 1958 that commemorated the 100th birthday anniversary of Theodore Roosevelt.</p><br>
<h2>Structure</h2><br>
<p>The "Grace Reformed Church, Sunday School and Parish House" was constructed between 1892 and 1903. Grace Reformed Church was added to the National Register of Historic Places in 1991.</p><br>
<p>Located on 15th Street, N.W. in Washington, D.C., Grace Reformed Church comprises three buildings: the Church or Sanctuary; the Sunday School; and the Parish House. The Church, designed by Paul J. Pelz and A. A. Ritcher, was constructed between 1902 and 1903. The Sunday School, also designed by Pelz, was constructed from 1911 to 1912. The Parish House, preceding both religious structures, was erected in 1892 by W. H. H. Knight, a member of the congregation. The three structures are situated so that the Parish House and Church front 15th Street, N.W. while the Sunday School, abutting the Church to the east, faces onto an alley which was originally intended as O Street, N.W.</p><br>
<p>The architectural style is Late Gothic Revival.</p><br>
<p>The exterior design, with its stone shields of Zurich and Geneva and stone heads of the knight and burgher, symbolizes the history of the Reformed Church. The interior contains seven colorful stained-glass windows depicting the life of Christ from the Visit of the Magi to the Ascension.</p><br>
<h3>History</h3><br>
<p>In 1880, the Maryland Classis purchased the current site of Grace Reformed Church at 1405 15th Street and in 1881, a chapel was constructed.</p><br>
<p>In 1899, it was felt that the Reformed Church denomination needed a new church located in Washington, D.C., to be a national symbol of the denomination and to strengthen its outreach in the nations capital. Money and support began to be collected from members of Reformed congregations throughout the United States. The decision of President Theodore Roosevelt to worship at the church added to the significance of the buildings role in representing the denomination in the nations capital. These sentiments were summed up by the Reformed Church Messenger, the denominations newspaper, on the occasion of the dedication of the church in 1903:</p><br>
<p>The article further emphasized the significance of the choice of the Gothic Revival style to represent the Reformed movement:</p><br>
<h3>Construction</h3><br>
<p>Designs for Grace Reformed Church in Washington, D.C., were begun in 1901, after an agreement was reached and signed between architects Paul J. Pelz and A. A. Ritcher and the Building Committee of Maryland Classis.</p><br>
<p>Specifications detailing the contractor&#39;s responsibilities and the building materials to be used were drawn up and signed by Pelz in April 1902, while a contract between the church and the builders, Richardson and Burgess of Washington, D.C., was signed in May 1902. The D.C. Building Permit (D.C. Permit #2052, 06/07/1902) was filed in June 1902. President Theodore Roosevelt laid the cornerstone on July 1 of the same year.</p><br>
<p>According to the building specifications, the church was of fireproof construction. Several types of materials were used on the building, including stone, brick, iron, copper, tin and slate. The stone facing was specified as Amherst Grey Canyon, supplied by the Cleveland Stone Company. All roofs were covered with Matthews Vermont slate and all cornice gutters were lined with McClure&#39;s IX Genuine Charcoal Iron redipped Tin. The hardware was specified from the Catalogue of the Reading Hardware Company, and the doors and their frames were to be red birch, inside and out.</p><br>
<p>In early 1903, the exterior walls were erected and the sculptural ornamentation was being completed. By early April, the interior of the church was being finalized. At this time, the wainscoting was almost complete, one-third of the floor was laid, a three-manual organ had been purchased, and final preparations were beginning for the dedication ceremony scheduled or June 1903.</p><br>
<p>The architect and contractors had not fully completed their contract by the dedication ceremony, however. On July 25, 1903, a piece of copper work in the alley side cornice had come loose. On July 28 the copper cornice was repaired and the building finally completed.</p><br>
<h4>The Architect: Paul J. Pelz</h4><br>
<p>Paul J. Pelz, architect of Grace Reformed Church in association with A. A. Ritcher, and architect alone for the Sunday School Building, is best known in Washington, D. C. for his design of the Library of Congress. Pelz was also responsible for Georgetown University&#39;s Healy Hall, Riggs Memorial Library, and Medical Department; the Carnegie Library and Music Hall at Allegheny (now part of Pittsburgh), Pennsylvania; the Chamberlain Hotel at Fort Monroe, Virginia; the Government Hospital Buildings at Hot Springs, Arkansas; and the Hospital and Administration Buildings at the University of Virginia; and a great many private residences.</p><br>
<p>Judging from the correspondence between Pelz and the Building Committee during the construction of Grace Reformed Church, Pelz became inspired by the Reformed Church and its philosophies. He studied the history of the church and made an effort to incorporate sculptural elements on the church which were symbolic of the Reformation movement and the Reformed Church. He took pride in the symbolic aspect of the church which had been artistically carved by sculptor James F. Earley and considered Grace Reformed Church, upon completion, "more artistic than any church in this city."</p><br>
<p>In May 1903 a letter from Pelz to Reverend Slagle indicates that, as the church was nearing completion, Pelz was happy with the results. Pelz wrote, "I am truly proud of my work having striven hard to make ends meet. I was through your confidence and liberality with what you could command...enabled to make the very best use of your money and have given you a thoroughly well digested, well built edifice. To the builders belongs great credit for having entered into the spirit which moved me with enthusiasm, and I am prone to say that I have sent my own inspiration down to the very hearts of all the workmen from the foreman down the chain to the very hod carriers and laborers, who are to day proud of having worked on your church..."</p><br>
<p>In his last official letter to Reverend Slagle, dated August 11, 1903, Pelz recognized the church&#39;s artistic value. He wrote, "The church itself is a creation to which I look with much pride. Your liberality permitted me to make it more artistic than any church in this city, and I think of few churches in the United States which have a more artistic development. The quality of the sculptural work you permitted me to apply is of a high grade and should lead to emulation by other denominations for their memorial churches, if their building committees are intelligent enough to rise to the understanding required."</p><br>
<p>Pelzs relationship with Grace Reformed Church did not end with the completion of the church. Eight years later, he was retained as the architect of the Sunday School Building which replaced the original Queen Anne chapel. Pelzs design for the Sunday School was executed again in the Gothic Revival style. This choice of style unified the new Sunday School Building with the design of the original church.</p><br>
<h4>A. A. Ritcher</h4><br>
<p>A. A. Ritcher of Lebanon, Pennsylvania, was also responsible for the design of Grace Reformed Church. It is not known why the two architects collaborated on the design of the building. Although not as active in overseeing construction at the church as Pelz, Ritcher did receive half of the architects&#39; fees, indicating that his role was more than minimal.</p><br>
<p>Very little is known about Ritcher. He was born in Philadelphia in 1873 and died in 1925. He was a member of the firm Ritcher and Eiler, specialists in school design. He was a member of the Historical Society in Lebanon, Pennsylvania in 1911 and is listed as the architect with Beard Construction Company.</p><br>
<h4>The Sculptor: James F. Earlev</h4><br>
<p>James F. Earley was responsible for the sculptural work on Grace Reformed Church.</p><br>
<p>Between 1892 and his death in 1906, James F. Earley was responsible for much sculpture found on private residences, commercial and religious structures in Washington, D.C. Some of his particular pieces include the marble pulpit at St. Patricks Roman Catholic Church, the altar and statues at the Franciscan Monastery in Brookland (which won him a medal by Pope Leo XIII), and the marble relief on the Evening Star Building. Outside of Washington, James F. Earley was especially known for his work on the USA Government Building at the St. Louis Exposition of 1904. Other works of James F. Earley include ornamental detail on the U. S. Custom House in Baltimore; a fountain at the USA Custom House at the Lewis and Clark Centennial in Portland, Oregon; a garland on the U. S. Post Office in Cumberland, Maryland, and Eagles for lamps at the U. S. Post Office in Salem, Oregon (The Washington Architectural Club Catalog 1901, 1903 and 1906). James Farrington Earleys last known work was a memorial at the United States Military Academy at West Point.</p><br>
<p>Earleys sculpture for Grace Reformed Church included much of the stone ornamentation on the exterior of the building, including the carved tympanums above the central door and two side doors; the figure supporting the banner of Frederick, the Elector of the Palatinate; the shields located at either side of the central door, and the heads of the Knight and Burgher serving as label-stops. Paul Pelz praised Earleys work and was pleased at learning "that you are pleased with my endeavor to make your church the most artistic in the city" (Letter from Paul Pelz to Mr. Slagle, February 9, 1903). The sculptural work on the church was entirely completed, at a discount rate of $1,000.00, by early April, 1903.</p><br>
<h2>Architecture</h2><br>
<p>Designed in the Late Gothic Revival style, Grace Reformed Church is rectangular in plan with vertical emphasis given by its soaring towers and spires. The church sits upon a granite base and measures 52 feet wide and 71 feet high. It is constructed of Cleveland greystone with much sculptural ornamentation decorating the facade. The facade of the church is three bays wide and fronts 15th Street, while the side (south elevation), consisting of two end gables connected by five bays, extends along the alley.</p><br>
<p>The 15th Street facade consists of a tall, projecting bay with a gable roof flanked by two, shorter side bays covered with cross gable roofs. Octagonal towers topped with delicate spires located at the corners of the central bay articulate this central element and provide a vertical emphasis to the church. A door with a pointed arch pediment is located on center of the central bay with small, pointed arch side lights flanking it. The tympanum above the door is in relief and depicts the Ascension of Christ. Two sculpted Shields representing Geneva and Zurich appear above the side lights. Above the central door and occupying the entire width of the central bay is a large, five-paneled, stained glass tracery window. The window is enclosed within a pointed arch label-molding with label-stops sculpted in the form of two heads representing a burgher and a knight. Above the central window and within the gable is a pointed arch niche within which rests a figure supporting the shield of Frederick, the Elector of the Palatinate, and symbol of the Reformed Church. A sculpted electorate cross terminates the top of the gable, while the spires of the corner towers project slightly higher.</p><br>
<p>The two side bays are identical. Both consist of a central door with carved tympanums, and stained glass, rose windows above, all set within a pointed arch surround. Blind galleries surmount the pointed arch and form a frieze below the cornice line. Square buttresses in plan terminate the ends of the church and extend from the ground to slightly above the roof line of the end bays. Niches are located at the midpoint and at the top of the buttresses. A copper gutter and a copper ridge line are visible at the roof level of the end bays. The South elevation facing the wide alley consists of two gables, one at the west end, the other at the east end, connected by five identical bays, two stories in height. The west bay is part of the church building itself, while the east bay represents the facade of the Sunday School Building, constructed after the completion of the sanctuary. The west gable is pierced by a tracery window, composed of two paneled lancet windows with a rose window above. Sculpted panels of blind arcading interrupt the lancets at a level one-third the height of the window. Pointed label moulds with carved label-stops surround the tracery to protect the windows from the weather.</p><br>
<p>The five bays connecting the east and west gabled ends are identical except for the fifth bay from the west which holds a door at its ground level. Each bay, separated by pilasters, contains a tracery window. Projecting modillions support an unornamented frieze and cornice. These bays are covered with a gable roof supporting three copper dormers with ornamental hoods.</p><br>
<p>The entrance to the church occurs on center at the 15th Street elevation. A small, wood-paneled entry vestibule opens onto the central aisle of the church with the raised altar at the east end adjacent to a raised choir stand slightly to its north. The doors on either side of the central entrance similarly open onto an extension of the wooden entry vestibule, leading church goers up the stairs to the balcony level, or onto the main floor. A wide, contoured balcony, supported by cast iron columns, extends the entire width of the church across the west end. Two groups of pews are located to either side of a central aisle at the balcony level.</p><br>
<p>The interior of the church is a large, open area with a central aisle and very narrow side aisles located between the pews and end walls. The central nave of the church soars a full three stories high, terminating at the raised altar at the east end. The east wall of the altar holds a Sacramental mosaic, beyond a high arch supported by clustered columns with foliated capitals. The sides, vaulted at a lower level than the central aisle, are separated from it by a wooden entablature extending from the altar to the balcony. Wooden ribs, at each bay, extend from the entablature and follow the vaulted ceiling of the aisles to rest on sculpted brackets of stone on the exterior end walls. The brackets are visually supported by pilasters which also serve to delineate the separate bays of the side elevations. The south and west walls display the lancet windows of stained glass. The north wall has two lancets with no glazing (where the north wall of the church is abutting the south wall of the Parish house), and two lancets with stained glass windows. There are a total of eight stained glass windows in the church presenting a series of scenes from the life of Christ, beginning, along the south wall of the church, with the visit of the Magi at His birth, and culminating, at the large, five-paneled lancet window on center of the west wall, with the Ascension of Christ. The window artistry was done by Conroy and Prugh of Pittsburgh, Pennsylvania.</p><br>
<h3>The Sunday School</h3><br>
<p>The Sunday School Building, abutting the church at its east end, is rectangular in plan, measuring 72 feet long and 35 feet 5½ inches wide.</p><br>
<p>The east gable of the south elevation of the church, and facade of the Sunday School Building, is covered with Cleveland greystone and repeats the style and elements of the west gable of the church, but in a manner more appropriate to the school&#39;s function. The east gable, 3½ stories tall, is divided into three parts, consisting of a slightly projecting central portion rising to the apex of the gable and flanked by wings. The entire gabled bay is highly fenestrated, not with tracery windows, but with casement windows at each level. Six sculpted tympanums with the names of important Reformed Church leaders appear above the window openings of the Sunday School Building. The names of "Zwingli" and "Calvin", the founders of the Reformed Church, are carved in the tympanums of the windows located on the third floor of the center bay with two fish sculpted next to them. The fish was a popular symbol of Christianity because the five letters of the Greek word for fish are the initials for the expression "Jesus Christ, son of God Savior". The names of "Bullinger" and "Beza", the successors of Zwingli and Calvin in Zurich and Geneva, appear at the second floor level in the side bays of the Sunday School facade. At the basement level of the central bay are the names of the authors of the Reformed Church Catechism, "Ursinus", the theologian, and "Olevianus", the court preacher at Heidelberg. Small rectangular openings are located at the gable above the Chi-Rho sculpture, a symbol associated with the Roman Emperor Constantine and his becoming a Christian in the fourth century. A highly ornate finial tops the apex of the gable. Piers decorated with pointed arch niches, as found on the front facade of the church, buttress the edges of the central portion and ends of the wings of this east gable.</p><br>
<p>The east side elevation of the Sunday School Building faces a narrow, 10-foot alley. This elevation, not visible to the public, is brick, with no sculptural decoration. The elevation is not completely unornamented, however, as the casement windows of the first and second floors are recessed within pointed arches extending the full two stories. The third floor similarly has casement windows but which are flush with the facade.</p><br>
<p>The north rear elevation of the Sunday School Building faces the rear parking area directly behind the Parish House next door. This elevation, also of brick, has a central gable and two end chimneys. The third level is fenestrated with four casement windows flush with the facade, while recessed windows at the first and second levels (infilled with brick on the first floor) are set within five separate, pointed arches. Small, rectangular, fixed windows appear at the attic level of the gable. Two brick chimneys, on either side of the gable, terminate the ends of this east elevation.</p><br>
<p>The interior of the Sunday School Building can be accessed from either the door on the exterior facade, or from an interior door located at the back wall of the sanctuary. Both of these doors open onto an entry vestibule which in turn opens onto a foyer. From the foyer, a set of double doors lead into the "Roosevelt Room" and stairs ascend to the conference room and Sunday School classrooms.</p><br>
<p>The Roosevelt Room, which is used for meetings and social events, is square in plan and incorporates into its east side wall the cornerstone of the original Grace Reformed Church Chapel on this same site. A vitrine contains Theodore Roosevelt memorabilia.</p><br>
<p>The conference room, rectangular in plan, extends a full two stories in height with a balcony level consisting of the Sunday School class rooms. A central, wooden speakers platform is located at the west end of the room with movable seating in front. A semicircular balcony level, located above the platform, is accessed by wooden stairs at either side of the speakers podium. A narrow walkway is located between the balcony railing and the irregularly shaped classrooms divided off behind. The classrooms, placed in the poche, formed by the intersection of the semicircle and the rectangle, are partitioned by rolling slat doors. The design of this classroom and conference area is referred to as "Akron-style", since the first Sunday School of this type, designed in the late 1860s by Lewis Miller, was built in Akron, Ohio.</p><br>
<h3>Parish House</h3><br>
<p>The Parish House is a three-story brick structure with a two-story projecting bay. The central entrance door and vestibule is located next to the bay, towards the north end. The projecting bay has paired rectangular windows with a segmental transom light above on the first floor, and paired, segmental arched windows on the second floor. A segmental arched window is located at the second floor of the main block, while three rectangular windows are located at the third floor. The central window is covered with a triangular brick pediment and the side windows have jack arches. Decorative string courses are located at each of the levels and inset brick panels can be found between the basement and first floor and between the first floor and the second floors. The cornice of both the projecting bay and main block is corbelled and supports a flat roof.</p><br>
<p>Pharr Mounds is a Middle Woodland period archaeological site located near Tupelo in parts of Itawamba and Prentiss counties in northern Mississippi. This complex was made of earthwork mounds.</p><br>
<p>The complex of eight dome-shaped, tumulus burial mounds was in use during the Miller 1 phase of the Miller culture. These were constructed as earthwork mounds between 1 and 200 CE. The complex is considered to be one of the largest and most important sites from this era. It was listed on the National Register of Historic Places in 1978 as part of the Natchez Trace Parkway at milepost 286.7.</p><br>
<h2>Site description</h2><br>
<p>The site is located at the headwaters of the Tombigbee River, a rugged, hilly area with many broad, swampy streams. It is named for "Pharr Flats", a wide, gently rolling terrace overlooking the confluence of Little Brown and Mackeys creeks. The site features eight dome-shaped mounds of differing sizes, several of which have been nearly flattened by plowing and cultivation during European-American farming. The mounds in the Pharr Mounds site are found over an area of 90 acres of land.</p><br>
<h2>Archaeology</h2><br>
<p>In 1966 Charles Bohannon, an archaeologist for the National Park Service, supervised an excavation of four of the mounds. The excavators found fire pits and low clay platforms at the base of the mounds. They also found human remains, some cremated, as well as various ceremonial artifacts.</p><br>
<p>Many of the artifacts were made from non-local materials, such as Great Lakes copper and greenstone, galena, and mica, demonstrating the reach of trading through the Hopewell exchange system. These artifacts, which include copper ear-spools and a greenstone platform pipe, show the connection of the local peoples with the larger Middle Woodland period world of the time, reaching to the Great Lakes.</p><br>
<p>Shiloh-Marion Baptist Church and Cemetery is a historic place in Buena Vista, Georgia.</p><br>
<p>The Greek Revival style church building was constructed in 1835 and added to the National Register of Historic Places in 1984.</p><br>
<p>It is a one-story one-room wood-frame building with a gable roof, on stone piers. It is covered with weatherboard siding and has no exterior ornamentation.</p><br>
<p>One reason the church was deemed significant is that it represents the former community of Church Hill. It is the only surviving structure of the community, which once had five churches plus an academy. It had a phone line in 1885 and it had a post office until 1903. Its NRHP nomination notes an association to the Christian Union faith:In religious history, the church is important for representing the intensity of churches that once existed here, including the important Christian Union faith, which was founded by the Reverend George Lynch Smith. It had all of its few churches in this area. It is important that in the deep, tradition-rooted antebellum South, a minister could gather a flock, albeit small, around the tenets of a new faith, an offshoot of the Church of Christ movement. Although it lasted only a few decades, it is important in Georgia&#39;s religious heritage, and this is the only vestige of the community in which it was located. Traditional accounts are that many meetings were held in other church structures, for the Christian Union faith did not always have its own churches. Thus, some of their meetings had to be held in other churches, such as this one.</p><br>
<p>The First African Baptist Church at Raccoon Bluff is a historic church on Sapelo Island, Georgia. The church was built in c.1899-1900 and is the last surviving remnant of the Raccoon Bluff community, once the largest community on Sapelo Island. It was added to the National Register of Historic Places in 1996.</p><br>
<p>The congregation was founded in 1866 and was the only church congregation on Sapelo Island until 1884. Its church was at Hanging Bull, on the west side of the island. That church was destroyed by the hurricane of October 2, 1898, and residents of Hanging Bull dispersed. The congregation then built this church at Raccoon Bluff c.1899-1900, using lumber washed up on the shore from the hurricane.</p><br>
<p>Due to pressure to consolidate population of Sapelo Island only in Hog Hammock, so that the rest of the island could be a hunting preserve, the congregation shifted its worship to Hog Hammock in 1963. In 1968 the congregation built a new church there, the First African Baptist Church.</p><br>
<p>In 2000, the First African Baptist Church at Raccoon Bluff was restored. by Sapelo Island residents, the state of Georgia, and students from the Savannah College of Art and Design.</p><br>
<p>Broad Street Methodist Episcopal Church South  in Columbus, Georgia is a historic church built in 1873. It is one of the oldest buildings on Broadway  and is as the only Greek Revival church building surviving in Columbus. It has pilasters with corbelled brick capitals.</p><br>
<p>It was added to the National Register in 1980.</p><br>
<p>It was home of the Columbus Ledger newspaper from 1915 to 1931.</p><br>
<p>It was listed on the National Register along with other historic properties identified in a large survey.</p><br>
<p>Mount Enon Church and Cemetery is a historic church in Mitchell County, Georgia near Baconton. It is a one-story wood frame country church built in 1889 on a brick pier foundation.</p><br>
<p>It was added to the National Register in 1983, and then was the third-oldest church in the county.</p><br>
<p>It served the community of Gum Pond, which had population 400 at one point, until the community, which could not compete with Baconton, disappeared; the church is the only remaining building of that community and ceased services in 1928. In the era of its National Register listing, it was the center for an annual commemorative event by descendants of the congregation.</p><br>
<p>The First African Baptist Church Parsonage in Columbus, Georgia is a historic church parsonage at 911 5th Avenue. It is a one-story Victorian cottage with Eastlake trim that was built in 1915–16. It was added to the National Register of Historic Places in 1980.</p><br>
<p>In 1916 it was the residence of Rev. J. Henry Smith, pastor of the First African Baptist Church. It was home of Rev. Jacob T. Brown in 1918 and was the home of Rev. Broadus H. Hogan in 1918. Both were pastors of the church.</p><br>
<p>It was listed on the National Register along with other historic properties identified in a large survey.</p><br>
<p>First Presbyterian Church is a historic church at 1100 1st Avenue in Columbus, Georgia. The church is affiliated with the PCUSA. Its building was added to the National Register of Historic Places in 1980.</p><br>
<p>The congregation had worshipped in two previous church buildings before having its current building built, at cost of more than $30,000. It was dedicated in 1862. The building was damaged by fire in November 1891 but was fully restored by February 1893.</p><br>
<p>It was listed on the National Register along with other historic properties identified in a large survey.</p><br>
<p>The World War I Memorial is located in Atlantic City, Atlantic County, New Jersey, United States. The memorial was built in 1922, and added to the National Register of Historic Places on August 28, 1981.</p><br>
<p>The rotunda houses a 9 ft bronze statue titled Liberty in Distress by Frederick W. MacMonnies.</p><br>
<p>Inside the rotunda there are four medallions (Army, Navy, Marines, and Aviation) that alternate around the circumference of the frieze. The names of battles in which Atlantic City soldiers fought are inscribed upon the architrave.</p><br>
<p>The Bynum Mound and Village Site  is a Middle Woodland period archaeological site located near Houston in Chickasaw County, Mississippi. The complex of six burial mounds was in use during the Miller 1 and Miller 2 phases of the Miller culture and was built between 100 BC and 100 AD. It was listed on the National Register of Historic Places in 1989 as part of the Natchez Trace Parkway at milepost 232.4.</p><br>
<h2>Site description</h2><br>
<p>The 6 hectare site is located on a low ridge which overlooks Houlka Creek in the Tombigbee River drainage area. It has six conical burial mounds, which range in height from 5 ft to 14 ft, and its associated habitation area were constructed and used during the Middle Woodland period, between 100 BC and 100 AD. In the 1940s, archaeologists with the National Park Service excavated five of the mounds. The two largest mounds were restored afterward and the site is open to the public and now includes informational plaques. Excavations produced artifacts made from non local materials such as Greenstone, copper, and galena, and distinctive projectile points that did not originate at the site or even in Mississippi. Similar high prestige exotic goods were also found at Pharr Mounds, a nearby contemporaneous site, which show the local peoples involvement with the Hopewell exchange system, long-distance trade network and religious network.</p><br>
<h3>Mound A</h3><br>
<p>During excavations of Mound A archaeologists found the remains of a woman who had been placed between two parallel burned oak logs buried at the base of the mound. They also found ornamental copper spools at each of her wrists. They also found the remains of two adult males and a child.</p><br>
<h3>Mound B</h3><br>
<p>The largest mound at the site, Mound B, was found to be covering a log lined crematory pit. Archaeologists found twenty nine polished greenstone celts arranged in an L-shaped pattern. They also found human remains, some cremated and others unburned, on the ash-covered floor of the pit. Exotic artifacts including copper ear-spools, nineteen chert projectile points believed to have been imported from Hopewell peoples in Illinois, and a piece of galena were also found.</p><br>
<p>The Abner Davison House, also known as Riverview, is one of several mansions that overlook the Mississippi River on the east side of Davenport, Iowa, United States. It has been listed on the National Register of Historic Places since 1984, and on the Davenport Register of Historic Properties since 1997.</p><br>
<h2>History</h2><br>
<p>Abner Davison was a Davenport attorney who had the original section of this house built in the mid-1850s next to that of Ambrose Fulton. At the time the house was built Davison was a law partner with David S. True. By the 1890s, he was in a partnership with Joe R. Lane. Charles Crowe acquired the house after the Davisons died. He hired the prominent Davenport architectural firm of Temple & Burrows to design the large addition on the west side of the house in 1912. Charles A. Ruhl, noteworthy for his familys local insurance and real estate business, bought the houses in 1934. In the last 15 years of his familys ownership, the house was rented to different tenants.</p><br>
<p>Two couples bought the house and between 1986 and 1997 Davison house was the River Oaks Inn Bed and Breakfast. In 2007 the house was deeded to Gilda&#39;s Club of the Quad Cities. The organization decided in 2020 that their resources were better spent on establishing programs at the local hospitals instead of maintaining the house. They sold the building that year to a new owner who intends to convert it back to a private residence.</p><br>
<h2>Architecture</h2><br>
<p>The house was built in two different phases and it marries two different styles. The original house was built in the Tuscan form of the Italianate style in the late 1850s or early 1860s. This was the popular style employed by Davenport&#39;s wealthier citizens for their homes in this era. This section of the house is the cube-shaped structure on the east side. The two-story wing on the west side was added in the early 20th-century. While it shares some features with the original house, such as the hipped roof, its windows are organized in horizontal bands, which are typical of the Prairie School. Both sections are brought together with the stucco exterior. There was possibly a cupola on top of the original house that was removed as were the brackets from under the eaves. The columned porch is the only decorative element that remains.</p><br>
<p>The Hiram Price/Henry Vollmer House is a historic building located on the Brady Street Hill in Davenport, Iowa, United States. It was listed on the National Register of Historic Places in 1983. The home is named for two members of the United States House of Representatives who lived in the house, Hiram Price and Henry Vollmer, who both represented Iowa&#39;s 2nd congressional district. The building is now a part of the campus of Palmer College of Chiropractic where it houses the Office of Strategic Development.</p><br>
<h2>Hiram Price</h2><br>
<p>Hiram Price (1810–1901) was a native of Washington County, Pennsylvania, and moved to Davenport in 1844. He was a businessman in the city and became involved in local politics. Price was an advocate of the Temperance Movement and worked to pass the prohibition of liquor in the state of Iowa. He also was involved in establishing the railroads in Iowa. Politically, he was a Democrat until they tried to force slavery in Kansas. At that time he helped to form the Republican Party in Iowa. He supported Iowa&#39;s governor, Samuel Kirkwood, by raising both men and money to support the Union cause during the Civil War. Price represented the second district of Iowa in Congress twice, from 1861 to 1869 and from 1877 to 1880. In 1881 he was appointed Commissioner of Indian Affairs by President James Garfield. He died in Washington, D.C., in 1901. He was buried in Oakdale Cemetery in Davenport.</p><br>
<h2>Henry Vollmer</h2><br>
<p>Henry Vollmer (1867–1930) was a native of Davenport who worked as an attorney and served the city as its mayor from 1892 to 1896. During his five terms as mayor the streets in the older part of town were paved and the current city hall was built. The city was also able to weather the financial panic of 1893. Vollmer won a special election in 1914 to the House of Representatives to fill the seat of Irvin S. Pepper, who died in office. Unlike Price, Vollmer did not support the prohibition of alcohol. He died in California.</p><br>
<h2>Architecture</h2><br>
<p>The house was built by Price in 1870. It is a two-story Italianate structure built of brick. The dominant feature of the house is the three-story entrance tower. The arched windows have decorative hoods. Bracketed eaves and a hipped roof cap the house. An unusual feature of the house is the bowed front wing on the north side. The corners of the house and tower are quoined. The veranda on the south side of the front main level was enclosed and covered with permastone at one time. It has since been restored.</p><br>
