<p>Waterford Village Historic District is a 31 acre historic district in Waterford, New York that was listed on the National Register of Historic Places in 1977.</p><br>
<p>The district dates to 1799 and includes Greek Revival, Late Victorian, and Federal architecture.</p><br>
<p>The listing included 330 contributing buildings and one other contributing structure.</p><br>
<p>The village area is located at the junction of the Mohawk and Hudson Rivers. It was settled in 1633 and became the first incorporated village in the state in 1794. It is the southern terminus of the Champlain Canal and the eastern terminus of the Erie Canal.</p><br>
<p>The James Holes House is a property in Fargo, North Dakota, United States, that was listed on the National Register of Historic Places in 1957.</p><br>
<h2>Description and history</h2><br>
<p>It was built in 1879 in Italianate style, and was designed and/or built by Pray Brothers. The listing included one contributing building on an area of less than 1 acre.</p><br>
<p>The property was covered in a study of North Side Fargo MRA.</p><br>
<p>The Knerr Block, Floyd Block, McHench Building and Webster and Coe Building is a set of four buildings in Fargo, North Dakota that was listed on the National Register of Historic Places in 1983.</p><br>
<p>The four buildings were built in 1900, 1902, and 1910. The oldest, the Webster and Coe building, was built in 1900 by a carpenter or contractor named Martel. The McHench Building was designed by the Hancock Brothers architects.</p><br>
<p>The listed property includes just the four contributing buildings, on an area of less than 1 acre.</p><br>
<p>Northside Historic District is a 60 acre national historic district located at Waterford in Saratoga County, New York. The listing included 125 contributing buildings and one other contributing structure. The district dates to 1828 and includes Greek Revival and Late Victorian architecture.</p><br>
<p>The district is chiefly residential and is characterized by large and small structures including the mansions of mill owners and modest workers&#39; dwellings. Notable residences include the Hugh White mansion and the William Mansfield home. Both are Greek Revival houses built about 1830. The Hugh White mansion serves as the Waterford Museum.</p><br>
<p>It was listed on the National Register of Historic Places in 1975.</p><br>
<p>The Robert Lindemann House, also known as the Karl Lindemann House, is a Queen Anne style house in rural Enderlin, North Dakota. It was listed on the National Register of Historic Places in 1994.</p><br>
<p>The house was built in 1913 by Robert Theodore Lindemann (1870–1933) and Alvina Bertha Fraedrich Lindemann (1883–1980) who farmed in rural Pontiac Township, Cass County.</p><br>
<p>The former residence is locally significant as the best preserved Queen Anne style property in the area. It is a three-story building with an octagonal turret. The house had remained in the family from its construction in 1913 until at least 1994, although it was unoccupied since 1981. and</p><br>
<p>Delanson Historic District is a 11 acre national historic district in Delanson, Schenectady County, New York. The district includes 31 contributing buildings on 19 properties. The buildings were built between about 1860 and 1890. They are primarily residential, with one church  and one former commercial building. They are generally two story, frame structures with clapboard siding and include representative buildings of the Late Victorian and Italianate styles.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>The district was described in a 1984 multiple resource study of Duanesburg properties. It is described as having been developed in a relatively rapid manner between 1860 and 1890.</p><br>
<p>Duane Mansion is a property in Duanesburg, New York, United States that was listed on the National Register of Historic Places in 1987.</p><br>
<p>It was built by Solomon Kelly sometime during the 1812 to 1816 period in fine Federal style.</p><br>
<p>Jacques Remee provided landscape architecture for formal gardens. Unfortunately no trace remains of these gardens.</p><br>
<p>Besides the mansion, the listing included three additional contributing buildings, one other contributing structure, and one non-constributing structure, on an area of 30 acre. The additional buildings include an "outstanding" Federal style carriage barn, another single bay carriage house, a hay barn, a corn crib, and a shed.</p><br>
<p>The mansion seems unornamented, yet in fact represents a sophisticated design. It&#39;s located on a hilltop, and seems isolated though being only about a mile away from Interstate 88.</p><br>
<p>The property was covered in a 1984 multiple resource area study of Duanesburg properties which provides much background on the Duane family. The study describes the mansion as "a squarish, two-story frame residence with a low hipped roof, prominent two-story piazza supported by Doric columns, round-topped floor length windows opening onto the piazza, and three identical entrances supported by gabled porches supported by slender Ionic columns. With its simply, symmetrical form and sophisticated detailing, it is a distinctive example of Federal design and an unusual rural interpretation of the Adamesque vocabulary." After further substantive review, the property was individually listed on the National Register in 1987.</p><br>
<p>Becker Farmhouse is a historic home located at Duanesburg in Schenectady County, in the USA state of New York. It was built about 1850 by noted master carpenter Alexander Delos "Boss" Jones. It is a two-story, three-bay frame building with a hipped roof in a combined late Greek Revival / Italianate architecture style. It has a one-story addition with a gable roof. It features a cupola. Also on the property are four barns and two sheds.</p><br>
<p>The property was covered in a 1984 study of Duanesburg historical resources. The property was also covered in a study of Boss Jones TR It was listed on the National Register of Historic Places in 1984.</p><br>
<p>The Makens Bemont House, commonly called the Huguenot House, is a historic house museum at 307 Burnside Avenue in East Hartford, Connecticut. Built in 1761, it is one of the town&#39;s few surviving 18th-century buildings, and is one of several buildings located in Martin Park that are operated by the Historical Society of East Hartford as the Historical Houses at Martin Park. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Makens Bemont House stands near the entrance of Martin Park, which is located just east of East Hartford&#39;s Burnside Avenue commercial district. The house is a -story gambrel-roofed wood-frame structure, five bays wide, with a clapboarded exterior. It rest on a foundation that has a concrete base, but is topped by brownstones used in its original foundation. It has a brick central chimney, and the roof is pierced by three gabled dormers. Its interior retains wide pine floorboards and other 18th and 19th-century stylistic features, including a Federal style fireplace mantel, and Greek Revival elements in the northwest chamber.</p><br>
<p>The house was built in 1761 by Edmond Bemont, and purchased four years later by his son Makens. Makens Bemont was a prominent local businessman who made saddles and owned shares in the local bridge. He served as the town tax collector, and accumulated sufficient wealth that he was one of the few townspeople of his period to own a carriage. The house was originally located on the other side of Burnside Avenue and about 2,500 ft west of its present location. It was moved in 1971 after it was threatened with demolition, and now serves as a local house museum. It is furnished to appear as if owned by a late 18th/early 19th century workingman, and is open seasonally.</p><br>
<p>The Canton Center Historic District encompasses the historic rural town center of Canton, Connecticut, United States. Extending mainly along Connecticut Route 179, near the geographic town center, is a well-preserved example of a rural agricultural center in Connecticut, a role served until about 1920. The district includes many examples of Late Victorian and Greek Revival architecture. It was listed on the National Register of Historic Places in 1997.</p><br>
<h2>Description and history</h2><br>
<p>The area that is now the town of Canton was settled in the 18th century as part of Simsbury. In 1750, it was given status as a separate parish, and it was incorporated in 1806. The town center organized itself along a stretch of the town&#39;s major north–south road, now Route 179, that roughly parallels Cherry Brook. It was here that the Congregation Church was located (current building dating to 1814), and a general store and other local services arose. Cherry Brook was used as a power source for modestly scaled local enterprises, including sawmills and tanneries. This rural center was eventually supplanted by Collinsville in the early 20th century as a more important commercial and civic hub, and development has consequently been limited since circa 1920.</p><br>
<p>The historic district covers about 500 acre of mainly rural landscape, and is roughly linear, extending along Route 179 between East Mountain and North Mountain Roads. A roughly triangular section bounded by West and Meadow Roads extends the district west of the main road. There are 84 contributing buildings, most of which are either primary buildings (houses, schools, etc.) or major secondary buildings such as barns. Most of the buildings are wood frame residences, in Federal or Greek Revival styles, although there are a few examples of later Victorian architecture. No buildings appear to date from the earliest time of the areas settlement. One of the oldest surviving houses in the district is the Caleb Case House, built in 1785. Non-residential buildings include the church, a general store and blacksmiths shop, and several district school buildings which have been altered for other uses. Major modern intrusions include a Jehovah&#39;s Witnesses hall and the 1941 Cherry Brook School.</p><br>
<p>The Minnesota Building is a historic office building in Saint Paul, Minnesota, United States. The structure was placed on the National Register of Historic Places  on June 10, 2009. The building was noted for its design, which was a harbinger for the transition from Classical architecture to the Art Deco/Moderne among commercial buildings in downtown Saint Paul; originally designed in a conservative style, the building became more Moderne as it was being built.</p><br>
<h2>Structure</h2><br>
<p>The Minnesota Building is a thirteen-story office tower located on the corner of East 4th Street and Cedar Street in downtown St. Paul. It is built of reinforced concrete and has a polished Indiana Limestone facing. The structure&#39;s primary facades face the streets to the north and west, and have entrance bays flanked by commercial display window bays at the pedestrial level and vertical window shafts separated by limestone piers between the second and thirteenth stories.</p><br>
<p>At the pedestrian level, the East Fourth Street facade is symmetrical with the main building entrance flanked by display window bays and tall pedestrian openings on the outer corners. On the Cedar Street side the building&#39;s secondary entrance is flanked by three display window bays to either side. On both primary facades the base is sheathed with polished pink and gray marble. Directly above each bay opening is a narrow band of decorative, colored tile. The main entrance is recessed and displays two sets of brass plated doors flanked by wrought iron and glass display cases. Above the doors and cases is a band of cresting with a center metal plaque reading "MINNESOTA BUILDING". Above the cresting are five large transom windows, with the building address "46" painted in gold on the center window. The top of the entry recess is framed with decorative cream-colored terra cotta, which continues along the ceiling. In addition, the entrance has two large brass wall lanterns and, above the entrance, is a low-relief stone version of the Seal of Minnesota, flanked by two stylized eagles facing inward. The secondary entrance is similar to the main entrance, except the bay opening is not as tall and has only a short horizontal transom above the entry doors along with smaller wall lanterns. The tall pedestrian openings are crowned with terra cotta scrollwork. The opening facing the street corner also has a recessed corner shop entry.</p><br>
<p>The two entrances are further defined by side piers and two piers directly above which are decorated with raised stone shafts stepping and terminating with floral motifs halfway up the third story. An ornate terra cotta belt separates the second and third stories. Simple raised edge banding occurs in stone between the eleventh and twelfth stories. The building originally had double hung windows on the upper floors, however they were replaced in 1974 with metal-clad windows.</p><br>
<p>The secondary facades, facing east and south internally in the block, are defined by similar window placement, but with concrete floor banding between floors and common brick infill between windows; these facades also display "MINNESOTA BLDG." painted in large block letters between the twelfth and thirteenth window rows. The windows on the upper floors of the southern facade were altered in the latter quarter of the twentieth century to improve views of the Mississippi River. The building has a flat composition roof and an iron fire-escape on the southern facade. It is connected to the Saint Paul Skyway System through an adjacent building.</p><br>
<p>The building was originally constructed with twelve stories, the thirteenth story was begun a soon as the building was completed in 1929 and completed in 1930. The thirteenth story is sheathed in the same limestone and repeats the window pattern; the new roof did not feature the same toothy crown that was integrated into the facade of the thirteenth story.</p><br>
<h2>History</h2><br>
<p>The state capital, St. Paul was most prosperous during the late 1800s and early 1900s, much of its downtown development occurred during that period. Construction in downtown St. Paul was slow in the early 1920s. Several significant buildings were constructed in the previous decade, though all commercial and public buildings relied heavily on the classical style, such as the St. Paul Public Library (1917) and Hamm Building (1919). After the Hamm Building, no multistory office building was built in St. Paul until the Minnesota Building, itself the first high rise building in the city since World War I.</p><br>
<p>The Minnesota Building was the idea of a consortium of developers interested in creating a higher business density in downtown. Lead developers Lincoln Hold and Development Company purchased the first Minnesota Club site in 1928 and razed it to the ground. Designed by St. Paul architect Charles A. Hauser, construction began in 1929 by the Fleisher-Greg Construction Company. Finished on November 1, 1929, the building cost an estimated $970,000, and was designed mainly for office suites for upscale business. The architect moved into the building&#39;s additional penthouse floor as soon as it was finished in 1930.</p><br>
<p>The buildings architect, Charles A. Hausler, has several other buildings listed on the NRHP: St. Anthony Park Branch Library, Arlington Hills Library, Riverview Branch Library, also in Ramsey County, Minnesota, as well as the St. Marys Church Non-Contiguous Historic District in Hague, North Dakota. Born in St. Paul in 1879, he apprenticed in Chicago with Louis Sullivan before returning to Minnesota being licensed in 1908. While city architect he drafted the city&#39;s first uniform building code in 1921, and designed numerous municipal buildings including the Beaux-Arts Carnegie libraries that were later placed on the NRHP. He returned to private practice while in the Minnesota Senate, and during that time designed the Minnesota Building, which was his largest work.</p><br>
<p>By the late 1990s, the demand for modern office space caused the building to fall out of favor with commercial renters, and it began to fall into disuse. As early as 2003, plans were proposed to turn the building into a residential building with limited, street level commercial space. It was purchased by Sand Companies in spring 2006, and in January 2010, the developer began construction on converting the building into 137 rental housing units, including some affordable units as well as 10,000 ft&sup2; of commercial and office space</p><br>
<h2>Significance</h2><br>
<p>The Minnesota Building was the first Art Deco building in downtown St. Paul. Architecture critics had described the style used as "mild art deco" with features that are "very urbane."</p><br>
<p>The William Goold House is a historic house at 280 Windham Center Road in Windham, Maine. Originally built in the year 1775 and later rebuilt in 1802, it was the longtime home of William Goold, a prominent 19th-century historian of the state of Maine and a state senator. It was listed on the National Register of Historic Places in August 1990.</p><br>
<h2>Description and history</h2><br>
<p>The Goold house is a -story wood-frame structure, clad in clapboards and shingles. Facing south is a Greek Revival gable end, which has been partly obscured by an early 20th-century Colonial Revival porch. The porch is supported by four columns with decoratively carved wooden capitals, and four lattice posts. The columns were reclaimed from an old church in Portland as well as several wood carvings that decorate the homes interior. The porch wraps around the sides of the house, and has a hip roof. The main entrance is in the middle bay of three, and is flanked by sidelight windows and topped by a four-light transom window. The upper level of the house has a side-gable roof, with three dormers facing front. The central dormer is larger, with a gable roof, while the flanking dormers have hip roofs. To the rear of the main block is a single-story addition, which features a distinctive bell tower, which has a bullseye window and formerly an open belvedere under a hip roof. The interior of the house features predominantly Colonial Revival styling.</p><br>
<p>North Dakota State University District is a 36 acre historic district on the campus of North Dakota State University, in Fargo, North Dakota, that was listed on the National Register of Historic Places in 1986.</p><br>
<p>Also known as North Dakota Agricultural College, it was built in Late 19th and 20th Century Revivals, Moderne, and Late Victorian architectural styles.</p><br>
<p>The listing included 12 contributing buildings, one contributing structure, and one contributing object.</p><br>
<p>Important contributing buildings include:</p><br>
<p>Old Main (College Hall), a Richardsonian Romanesque building built in 1891</p><br>
<p>Mechanic Arts building, built in 1893; torn down in 1993.</p><br>
<p>Minard Hall (Science Hall), built 1901</p><br>
<p>Putnam Hall (Carnegie Library), built 1904</p><br>
<p>South Engineering, built 1907</p><br>
<p>Ceres Hall, built 1910.</p><br>
<p>Maplewood Farm, also known as the Anderson-Lord House, is an historic farm property on River Road in South Windham, Maine, United States. The 135 acre farm has been held in the same family since 1738, and features an architecturally distinctive Gothic Revival main house. It is also notable as a summer estate of John Anderson, a prominent mid-19th century Maine politician, and of his son John Farwell Anderson, a noted civil engineer and agriculturalist. It was added to the National Register of Historic Places in 1991.</p><br>
<h2>Description and history</h2><br>
<p>Maplewood Farm consists of several parcels of land, organized in a long strip that is roughly bisected by River Road, and whose western edge is the Presumpscot River. Most of this land is now wooded, the principal exception being a large clearing in which the farm&#39;s buildings are located, set at a remove from the southwest side of River Road. The main house is a c. 1770 two story wood-frame structure, which underwent significant alterations in about 1850 to give it its present Gothic Revival appearance, with steeply pitched gables, bargeboard decoration, and lancet-arched windows. Also surviving from the mid-19th century are two barns and a small cottage. The small Anderson family cemetery is set near the road, southeast of the building complex.</p><br>
<p>The farm property was purchased in 1738 by Abraham Anderson, and was (at the time of the propertys listing on the National Register) in 1991 still in the hands of his descendants. The core of the farmhouse was probably built in the mid-1770s by Edward Anderson, not long after his 1774 marriage. In the mid-19th century the property passed to John Anderson, a noted Maine politician who transformed the property into a summer estate and gentlemans farm. Anderson retained Portland architect Charles A. Alexander to make the Gothic Revival alterations to the house, and it is assumed Alexander also developed the plans for the other surviving buildings. John Andersons son, John Farwell Anderson, is notable for introducing Devon cattle into the state on this farm, and making it one of Windhams most successful farms in the 1860s.</p><br>
<p>Maplewood Farm has statewide architectural significance for the remarkably well-kept collection of Gothic Revival structures, which is one of a very small number of such assemblages in the state.</p><br>
<p>The Atwater Manufacturing Company is a historic industrial property at 335 Atwater Street in Southington, Connecticut, United States. The company, founded in 1867 and now known as Rex Forge, has long been one of Southingtons major industrial employers. The ten extant buildings of the complex date as far back as 1912, and are an important element of the towns industrial past. The property was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Atwater Manufacturing Company plant is located in Southington&#39;s Plantsville area, on the east side of Atwater Street, just north of its junction with Canal Street. The roughly linear complex extends between the Quinnipiac River, which flows southward to its east, and a former railroad right-of-way (now a multiuse trail) that runs between it and Atwater Street. The area comprises ten buildings, with construction dates ranging from approximately 1912 to the 1980s. Most have an exterior finished in corrugated metal, although some of the oldest buildings have painted brick exteriors. Buildings range in height from one to two stories, with the main forge building the largest; it is covered by a gabled roof with a monitor at its upper level.</p><br>
<p>The site has a long industrial history, having been the location of Southington&#39;s first grist mill in 1767. Atwater Manufacturing was organized in 1869, and at first manufactured parts for carriages. In the 20th century it transitioned to the manufacture of parts for automobiles, and now as Rex Forge does custom metal forging.</p><br>
<p>The Waterbury Municipal Center Complex, also known as the Cass Gilbert National Register District, is a group of five buildings, including City Hall, on Field and Grand streets in Waterbury, Connecticut, United States. They are large stone and brick structures, all designed by Cass Gilbert in the Georgian Revival and Second Renaissance Revival architectural styles, built during the 1910s. In 1978 they were designated as a historic district and listed on the National Register of Historic Places. They are now contributing properties to the Downtown Waterbury Historic District.</p><br>
<p>The complex was financed by the Chase family, owners of the Chase Brass Company, one of Waterburys major industries at the time. In the wake of a 1902 fire that had destroyed a portion of downtown, the Chases and other local businessmen saw an opportunity for urban renewal. Cass Gilbert won the competition to design a new complex a few blocks from the old city hall building (since demolished) on West Main Street. Unusual for the time, the complex would house not just the mayor and city council but the public safety functions of city government such the police and fire departments, courts and jails. In keeping with the contemporary City Beautiful movement, the complex included other large-scaled buildings in its "court of honor", such as Chases headquarters, a building named Lincoln House for the city&#39;s charitable organizations and a dispensary.</p><br>
<p>Similar architectural characteristics and motifs unite the buildings thematically. They have flat roofs, rusticated ground levels, and pilasters dividing bays in the middle stories. The two largest, City Hall and the Chase Building, have an opposite configuration. Many of the same decorative patterns are used on all the buildings. One in particular is the use of quotations from Abraham Lincoln. This is interesting since Lincoln never visited Waterbury nor had any particular connection with the city. It is possible that they reflect a renewed interest in Lincoln in the wake of the centenary of his birth or the 50th anniversary of his death, both recent occurrences at the time of the complex&#39;s construction.</p><br>
<p>The headquarters building and Lincoln House have since been converted to other uses, mainly private office space and additional city offices. City government continues to occupy City Hall. By the end of the 20th century the decline of the citys industries had led to the deterioration of the building, and it was condemned by the citys building department. A bond issue was later passed to raise money for its restoration.</p><br>
<h2>Buildings</h2><br>
<p>The five buildings in the complex cover a 4.4 acre area of Grand and Field streets on the south edge of downtown Waterbury, just north of the Interstate 84 viaduct. City Hall and the Chase Building are on opposite sides of Grand between Church, Field and Leavenworth streets; the other four are on the east side of Field. Immediately adjacent are some other public buildings: a National Guard facility to the south; the city&#39;s post office and a federal court building on the east along the south side of Grand (across from a row of commercial buildings), a state courthouse and the Silas Bronson library and its park to the west.</p><br>
<h3>City Hall</h3><br>
<p>Located on the south side of Grand, City Hall has three sections. A large main block faces the street, with two projecting rear wings on the south housing the police and fire departments. They are connected by a rear section to form a courtyard. A garage has been added to the fire station since construction.</p><br>
<p>The main block is a three-story, 17-by-3-bay (203 ft long by 46 ft high) Georgian Revival structure, faced in marble on its first story and brick with marble trim on the upper two. Atop its flat roof is a small penthouse, from which a four-stage tower rises. It is set back 80 ft from the street to allow for a fountain plaza Gilbert referred to as the entourage.</p><br>
<p>The entourage is a rectangular area, reached by steps from the street, with a paved oval at the center. In the middle of the oval is a round marble fountain within a round catch basin. Six carved light standards, each with two lamps, flank the steps leading from the street. On either side of the entourage are large flagpoles on bronze bases inside grass parterres bordered by small hedges. At the rear of the parterres are marble urns with fountains flanking the balustraded entrance steps.</p><br>
<h4>Exterior</h4><br>
<p>On the north (front) facade, the first-story marble is rusticated. Trabeated six-over-six double-hung sash windows are slightly recessed in arched surrounds. The corners are slightly recessed; the middle 11 bays project slightly to form a small pavilion.</p><br>
<p>Atop the first story of that pavilion is a blind paneled balustrade. Large fluted composite pilasters divide each bay, set with recessed nine-over-nine double-hung sash and projecting cornice caps in the pavilion and full round-arched windows on the ends. At the end of the pavilion are narrow sash windows with bronze grilles. The center bays of the end sets, and the pavilion bays, have bronze geometric balconies with center medallions.</p><br>
<p>A thin terra cotta belt course with gougework and geometric shapes sets off the third story. The pavilion has trabeated six-over-six sash flanked by blind bays at its end, and the end bays have circular bas-reliefs, depicting, from east to west, "Industry" as a workman amid gears and cogs, the city seal, "Commerce", as a figure of Mercury with a caduceus, "Force" as a Roman gladiator, and Justice. In the pilaster capitals are two designs, one of which features a prominent eagle.</p><br>
<p>The marble frieze below the roofline has a regular pattern of decorated discs with swags at the pavilion ends. Above it is a modillioned cornice with carved leaves and bead-and-reel moldings. They in turn support a broad balustrade. At the pavilion ends and above the three center bays are panels with vertical gougework in a wave pattern. The center is further decorated with the inscription Quid Aere Perennius, Latin for "more lasting than brass."</p><br>
<p>On the east and west sides are a central entrance with steps on either side. Above it is an arched tablet with an inscription: "Impartiality is the life of Justice as Justice is of all government. Justice is the constant desire and effort to render to every man his due" by the Roman emperor Justinian I on the west, and "Let us have faith that right makes might, and in that faith let us to the end dare to do our duty as we understand it" attributed to Abraham Lincoln on the east. The third story has a panel (further inscribed with "Reason is the Life of Law" on the west) between two circular bas-reliefs in carved leaf surrounds. On the east side they depict "Truth" as a woman contemplating a skull and "Prudence" as a woman gazing into a mirror; on the west are "Wisdom" as an aged man holding a lamp and "Order" as a female with a mace.</p><br>
<p>The tower&#39;s lowest stage has corner pilasters and louvered flat-topped openings in all four sides. Above it is a blind balustrade with corner posts and swags. Pilasters frame arched openings. Another blind balustrade, its corners topped with urns, has clocks in all four faces. The final stage is a bell-cast gilded roof with bronze weathervane.</p><br>
<p>On the east side, the fire station wing is a nine-by-eleven-bay two-story structure. Like the main block it is stone on the first and brick up top. Five of the six arched bays on the east side are used for fire engine garages, their double doors topped with radiating-sash fanlights. The seventh bay is a regular door, leading to offices. The two stories are separated by another blind balustrade. Above the arched second story windows, set with six-over-six trabeated sash, is a plain cornice and marble-topped parapet.</p><br>
<p>The police wing, on the east, is mostly identical. A rear wing houses the jail. It has eleven bays at street level, and the main entrance is in the center of the west facade. Its rear bays have trabeated openings with bronze grilles.</p><br>
<p>Inside the wall between the two wings is a courtyard. It has gardens and benches. Several of those latter are original Gilbert designs.</p><br>
<h4>Interior</h4><br>
<p>The center door is screened by a bronze grille. It has a full foliate surround and fan, radiating from a central cluster to end in anthemia. On the door itself are grilles of square panels with center medallions that alternate between round and square shapes and rosette bindings.</p><br>
<p>Behind it, there is a small vestibule. Bronze commemorative plaques on the sides honor local World War I veterans. A rear entry with sidelights topped by teardrops and an elliptical arch with fanlight, all of leaded glass, opens into the east-west central hallway.</p><br>
<p>The hallway is sided in Vermont marble with carved panels featuring a fleur de lis pattern at the base, supported on eagle brackets and divided by pilasters with oak and acorn capitals. To the west of the vestibule is a panel with gilded letters both serving as a building directory and dedication plaque. Entrances are set in arcaded surrounds with medallions; the stairway and vestibule arches have eagle keystones. Atop the wall is a frieze with a center lamp between griffins holding ribbons and garlands. The coffered ceiling is painted with triangles and rosettes. Round hanging bronze glazed lanterns with clustered bulbs provide light.</p><br>
<p>The front lobby is also lit from the rear by a six-over-six double-hung sash set with leaded and stained glass, opaque on the bottom but with a cartouche and swag on top. The stair climbs to a Palladian window, also with stained glass. It is decorated with swags and ribbons, corner cartouches and panels topped with eagles in the center and vases and foliation topped with a lit torch on the outer panels. A cartouche-enclosed oval at the top has the date "1915" carved within.</p><br>
<p>At the landing next to this window the stairs divide. They are girded by an iron balustrade with bronze railing. The stairwell is further balustraded with a stylized compass in the center and a wave beneath the rail.</p><br>
<p>In the second floor hallway, decoration is more restrained. It has marble floors, wainscoting, door and window surrounds and pilasters but the walls themselves are plaster. The pilasters are topped with Roman Doric capitals that support a decorated frieze and dentilled cornice. In the metopes are painted vases and medallions. The ceilings are plain.</p><br>
<p>The original mayor&#39;s office is directly opposite the top of the stairs. It has freestanding fluted Roman Doric columns in the entrance. Fluted wall pilasters and marble wainscoting supporting a full entablature and arched ceiling.</p><br>
<p>On either end of the hallway are city council chambers. The eastern one was originally built for that purpose; the western one was a courtroom. In the former, the aldermens desks are within a semicircular balustrade outlined with paralleling benches for the public. The Roman Doric continues to be used. Fluted pilasters in that mode support a full entablature and modillioned cornice. On the ceiling are octagonal panels with rosettes at the center. From it hangs a bronze chandelier with two levels of electric candles. The wall sconces, corner lights and door clock are original. A 1934 map of Waterbury has been substituted for an original decoration behind the mayors chair.</p><br>
<p>Due to the change in use, there is less original detail in the west chamber. The balustrade, wall clock and light fixtures are among those aspects that do. The ceiling, also original, has the same center rosettes as its eastern counterpart but with square panels on the outer portions.</p><br>
<h3>Chase Headquarters Building</h3><br>
<p>Facing city hall from the other side of the street, the Chase building&#39;s 21-bay south (front) facade is 243 ft in length, making the Chase building wider than city hall which it complements by reversing the facade planes. An iron fence with small trees runs along the sidewalk; from it a walk leads up to balustraded steps at the main entrance. On either end two three-bay–wide wings project four bays to the street. In the central 15-bay section, the middle three bays project forward slightly.</p><br>
<p>The three-story building is faced entirely in Indiana limestone. The first story is, like City Hall&#39;s marble, rusticated, with the bays on the inside of the wings and the center pavilion made a series of segmented arches to give them an arcade appearance. On the east and west elevations only the interior bays are in arches. Within them are large six-over-six double-hung trabeated sash windows. Above them a cornice forms the base for fluted pilasters with Tower of the Winds capitals that divide the windows on the upper two stories.</p><br>
<p>The second story windows are also sash, set in rectangular openings with sills and cornice caps on consoles topped with rosettes or oval patera. The middle bays of the wings are six-over-six in a slightly recessed arch with pedimented lintel on consoles. They have a small balcony with iron guardrails. A stringcourse around the building sets off the third story and forms its window sills. The central section has six-over-six with a plain surround. On both second and third stories of the wings&#39; south face they are flanked by narrower four-over-four sash.</p><br>
<p>The frieze below the roof cornice has rosettes or patera atop each pilaster. In the middle of the wings, and above the central pavilion, is a solid panel. That above the pavilion has "CHASE" carved in it. The north (rear) facade is less ornate but also well-delineated. A balustrade runs along the flat roof; there is a penthouse in the center.</p><br>
<p>Four fluted Tower of the Winds columns rise from the balcony level of the central pavilion. The windows they divide are identical to those in the middle bays of the wing end second stories, with the third stories likewise fenestrated with shorter six-over-six. Two bronze lanterns flank the main entrance, with grille-covered four-over-four sash in the outside bays.</p><br>
<p>The simple bronze door leads, as in City Hall, into a vestibule. Opposite it, across the central hallway, is the main staircase. At its landing is a multilevel stained glass window, with urns, foliate and architectural motifs flanking a central panel with another quotation from Lincoln: "Go forward without fear and with manly heart." Near the top is "A.D. 1919". Across from the top of the stair is the buildings dedication plaque. An iron balustrade with bronze railings runs along the stairs, marble like all the buildings flooring. The ceilings are enameled, and the door and window surrounds dark wood.</p><br>
<h3>Waterbury National Bank building</h3><br>
<p>The former Waterbury National Bank Building, now headquarters for Junior Achievement of Southwestern New England, is located on the southeast corner of Field and Grand. It is a four-story five-by-seven-bay structure faced, like the Chase Building on the far corner, in limestone. All four facades are finished; a cast-iron fence sets off the north and west facades from the sidewalks.</p><br>
<p>Both of those facades have an identical treatment, echoing the Chase Building and City Hall. Like them, the first story is finished in rusticated segmented arches. They are set with six-section rounded-arch windows, again creating an arcade effect. The windows sections are a full window with flanking sidelights and three matching sections in the fan. Beneath them are wooden panels decorated with the same wave pattern used in City Halls parapet panels.</p><br>
<p>The corners are emphasized with slight recess and pilasters. As with the other two buildings, pilasters, here with Corinthian capitals, spring from a stringcourse above the first story to divide the bays of the second and third stories, forming a balustrade. Six-over-six trabeated double-hung sash on the second floor are topped with cap cornices. Above them the third level windows are plainer and shorter trabeated six-over-six.</p><br>
<p>Above the third story is a full entablature with gouge work and medallions topped by a broad dentilled and modillioned cornice. The fourth-story windows are the same as the ones below. Above them is a slightly less broad dentilled cornice supporting a small parapet.</p><br>
<p>The entrance is a simple bronze door. It opens into the former bank lobby. Bronze cashiers railings with grilles atop marble counters lead to where the tellers&#39; cages once stood. There are front and rear mezzanines. From the marble floor square columns with neck moldings rise to the coffered marble ceiling.</p><br>
<p>Iron stairs with bronze railings lead to the upper floors. Some of them have their original terrazzo floors. There are also original dark wood surrounds on some office doors, with a few having their original panels below and glazed panels of opaque glass in their upper sections and even transoms. At the first floor stair entry are the original bronze directory panel and mail chute.</p><br>
<h4>Power House</h4><br>
<p>An older building is joined to the bank building&#39;s southern elevation, between it and the Lincoln House. It is a two-story structure of brick, painted to match the limestone bank, in Flemish bond. Arched windows with stone keystones and impost blocks relate it to the other buildings in the area. It also has brick quoins and a flat roof.</p><br>
<p>It is likely the only remaining structure in the neighborhood that predates the construction of the buildings, built around 1900. Originally it was used as a power station. Gilbert, who hoped to make it part of a theater that would have been the complex&#39;s sixth building, called it the "Power House" on those plans. It was later renovated and annexed to the bank building.</p><br>
<h3>Lincoln House</h3><br>
<p>On the east side of Field Street, south of the bank building, is Lincoln House. It is a three-story five-bay square Georgian Revival structure of brick laid in Flemish bond with marble trim. A flat roof is pierced by a brick chimney near the center of the north side.</p><br>
<h4>Exterior</h4><br>
<p>The west (front) facade has a slightly exposed basement with revetted four-pane sash windows. Above a marble water table, all windows are trabeated, with marble surrounds. A stringcourse of header bricks laid vertically creates a springline for the round arches with keystones that enclose the second floor windows. Both they and the first-story windows are six-over-six double-hung sash; the third story has three-over-three. Above them is a narrow dentilled cornice and parapet capped with salt-glazed tile, the latter of which runs around the entire building.</p><br>
<p>All the other three facades are similarly treated. On the east (rear) the entrance is at ground level, and the windows are correspondingly dropped to provide better lighting at that level. The south side has a centrally located basement entry, matched by a smaller sash in the center of the north facade.</p><br>
<p>Marble steps lead up to the main entrance, in the middle of the west elevation. Its ornate surround has engaged columns on marble bases topped by a plain frieze and open pediment. Inside that pediment is the entrance fanlight, with a molded surround of its own topped by a keystone. The door itself has deep panels, six horizontal ones atop two vertical.</p><br>
<h4>Interior</h4><br>
<p>It opens into a small vestibule. Originally on the walls were marble plaques with more Lincoln quotes, including "With malice toward none, and with charity towards all..." from his second inaugural address. At the end of the vestibule is a door with elliptical fanlight, leaded sidelights and Adamesque detailing.</p><br>
<p>Off to the right is an office and waiting room. It has another tribute to Lincoln, a shield-shaped marble plaque with the entire Gettysburg Address on it above a facsimile of Lincoln&#39;s signature. At the top is a bas-relief of Lincoln below an eagle in flight.</p><br>
<p>Behind the vestibule door is a central hallway. Wainscoting along the hall continues to the main staircase in the rear. On the left is the dining room, with the greatest amount of detail of any room in the building. It has a flat baseboard with similar chair rail and picture molding. The brick of the chimney breast projects into the room space, echoing the brick of the hearth below. Above it is a Federal style mantel where flat pilaster rise to a plain frieze topped by a molded shelf. The kitchen, in the rear, retains much of its original cabinetry.</p><br>
<p>At the rear of the hall the main staircase continues the wainscoting. Made of wood with round oak newel on a square base with neck molding and circular cap, it has a somewhat Victorian feel. It ends in a square room upstairs. Another stair, rising from the rear entrance, was designed to be used by those served by the charities housed in the building, and thus climbs to the third floor in short, gentle flights. It has exposed brick walls.</p><br>
<p>The main stairs end in a small, plain square room on the second floor. It leads into a wider version of the central hall, meant to serve as a waiting room. Off it are some bedrooms and examining rooms. The third story is all bedrooms, and the basement is equipped with showers and fumigating rooms.</p><br>
<h3>Chase Memorial Dispensary</h3><br>
<p>The Chase Memorial Dispensary is located immediately to the south of Lincoln House on Field Street. It was the last building of the complex constructed, after the space in Lincoln House allotted to the dispensary proved inadequate. Like Lincoln House, it is of brick in Flemish bond, five bays square, with marble accents and a flat roof. Exposed basement windows below the water table are, like its neighbor, four-pane sash, with those on the upper stories trabeated six-over-six double-hung sash, in round arches on the second story.</p><br>
<p>Unlike Lincoln House, the dispensary is only two stories in height. Atop the building is a narrow frieze created by vertically laid bricks and a marble cornice with Wall of Troy molded marble dentilling. The roofline has a marble balustrade instead of a parapet.</p><br>
<p>The side elevations are mostly similar in treatment. The north facade has four-over-four frosted glass in the second and fourth bays at both levels and the south has a large, two-level arched window in the center bay with two six-over-six windows. In the rear the balustrade has five solid marble panels. The chimney, brick capped with marble, rises from the roof just south of the northeast corner.</p><br>
<p>At the centrally located main entrance, the marble steps fan out, flanked by a cast-iron railing. It supports cast iron and frosted glass lamps on bronze standards. The doorway is recessed in a brick arch with marble keystone, carved with an oval chrysanthemum patera, and impost blocks paneled on the outer facings and autographed on the inner ones. Above the entry a marble panel reads "Henry Sabin Chase Memorial Dispensary".</p><br>
<p>The front and rear doors open into identical vestibules, with screened doors at the exterior and interior doors repeating the outside doors&#39; fanlights, sidelights and surrounds. The door designs, six horizontal panels above two vertical ones, are similar to that on the neighboring Lincoln House. From the vestibules there is access to a large central room with coved ceiling. A main desk area is on the north with a dumbwaiter connecting it to a similar area on the second floor. The stair opening is to the south; examining rooms and offices are on the east and west.</p><br>
<p>The stair, flanked by an oak railing with square balusters, leads to the basement and the second floor. Upstairs, the layout is identical to the first floor except for offices in the vestibule spaces. Many sinks remain in the examining room along with cabinets and shelving. The original light fixtures, molded milk glass globes hanging from brass chains, also remain although some were damaged by plaster falling from the ceiling.</p><br>
<h2>Aesthetics</h2><br>
<p>Gilbert took as his main inspiration for City Hall the house designed in 1772 by Robert Adam for Sir Watkin Williams-Wynn at 20 St. James Square in London. "I have been studying a number of English examples of the Georgian period", he wrote to a friend, "and find so many in which the material was all brick or stone that I am justified in quoting this one as typical." He had wanted the facing to be entirely marble as well, but the city insisted on brick and stone, an alternation which Gilbert had felt would be disharmonious given the narrow window spaces. Adam&#39;s work also inspired the coffered ceilings inside. The central stair was a tribute to the one at New York City Hall, which Gilbert had used as an example of why the face would look better with stone exclusively.</p><br>
<p>Chase had originally approved a brick-and-stone concept for the company headquarters across the street, but then thought better of it. "...t would seem a presumptuous attempt on the part of private citizens to imitate and share the dignity of city hall", Chase wrote Gilbert. "The position we hold in the community is such that we dislike very much having this impression exist." For the same reason the brothers vetoed the use of a marble facade. The architect and the brothers then toured Manhattan looking for other ideas, and left it to Gilbert to come up with his ultimate solution, limestone deployed in a more Renaissance Revival style. He in turn persuaded the Chases to accept the wrought iron fence out front, using the J.P. Morgan Library in Manhattan as an example of how that element could be successful.</p><br>
<p>The addition of the bank building to the complex allowed Gilbert to use the three buildings to frame the view of the clock tower for westbound traffic on Grand Street. The entourage of City Hall and corresponding setback of the Chase Building allow the tower to dominate a wide open area. When traveling the opposite direction, the large buildings emphasize the parks around them, with glimpses of the denser city beyond the spaces.</p><br>
<p>Like the City Hall and Lincoln House, the Chase Building prominently features, among its architectural decorations, quotations from Abraham Lincoln. It is not known why this is so, as Lincoln had no connections to Waterbury. It is possible that renewals of interest in Lincoln in either 1909, the centenary of his birth, or 1915, the 50th anniversary of his death, may have led to this.</p><br>
<p>Gilbert had apparently added "Quid Aere Perennius", the Horace quote on his own, perhaps as a joke. It now serves as the citys motto. Gilbert had also designed a flag for Waterbury, but the citys aldermen rejected it in favor of a design featuring the city seal.</p><br>
<p>The city hall is frequently included in listings of Gilbert&#39;s major buildings, and he wished to remembered for it. It was used as a model for a new city hall in Lexington, Kentucky, and possibly that in Mount Vernon, Ohio, as well. Paul Wayland Bartlett, the sculptor whom at one point Gilbert had considered asking to contribute work to the building, called it "one of the most beautiful buildings in the United States."</p><br>
<h2>History</h2><br>
<p>The complex took several years to conceive and a decade to build. It has continued to play a role in the city&#39;s history since then.</p><br>
<h3>1902–1912: Renewal and concept</h3><br>
<p>In 1902 a fire burned three acres (3 acre) of downtown Waterbury west of Waterbury Green. The city, at the height of the industrial prosperity its brassmakers had led, was easily able to rebuild. Eminent citizens of the city had also seen in the process the opportunity to rethink and reshape the city&#39;s downtown, as their counterparts had done six decades earlier when they had created the Green out of a swampy remnant of the original town common.</p><br>
<p>The first part of the process was the construction of a new train station, for which the streets and blocks near it were cleared and realigned to allow the creation of a small park. Architects McKim, Mead and White gave the New York, New Haven and Hartford Railroad a significant Second Renaissance Revival building, capped by a 240 ft clock tower based on the Torre del Mangia that has since become a symbol of the city. After three years of construction, it was completed and opened in 1909.</p><br>
<p>Henry and Frederick Chase, brothers who owned the eponymous brass company, not only the largest in the city but the country, along with the world&#39;s largest clock factory, saw how the clock tower created a new focal point along Grand Street. They felt that the street should now be the main route into downtown, worthy of its name, and developed a 20-year plan to remake it. In line with the principles of the contemporary City Beautiful movement, they felt it should be the location of a "court of honor" of newer, grander city hall, and other important public and private buildings.</p><br>
<h3>1912–1924: Construction</h3><br>
<p>The Chases committed $100,000 of their own money ($ in contemporary dollars) to the project, primarily spent on design work while the city committed $30,000 ($ in contemporary dollars), spent on salaries. At the time the economy was still recovering from the Panic of 1907, so the private funding was crucial.</p><br>
<p>First, the Chases sought to renovate Library Park, on the southeast corner of Grand and Meadow. They hired Frederick Law Olmsteds firm for this. In 1912 Waterburys existing, smaller City Hall, on West Main Street opposite the Green, was burned down by an arsonist. This provided an opportunity to move the citys government to the Grand Street blocks the Chases wanted to serve as an entry to the city. Cass Gilbert, who had moved to Ridgefield a few years earlier, won a competition to design City Hall as the first of a complex of buildings that would highlight the public and private heights of the city. He may have been the favorite because the members of the citys building commission had apparently been impressed by his Ives Memorial Library, the main building of the New Haven Free Public Library.</p><br>
<p>It is not certain whether Gilbert was the Chases&#39; first choice for the project. The three did establish a productive relationship, and Gilbert quickly laid out a park for the small block opposite the train station and designed a fountain for it as well. Construction began on City Hall in 1912, shortly after the old building had burned, when the Grand Street site narrowly won in a referendum. Three years later it was opened, in a dedication ceremony presided over by Governor Marcus H. Holcomb. In 1917, the entourage that Gilbert had envisioned as ceremonial space was the gathering place for men signing up for the draft upon USA entry into World War I. Two years later it served as the reviewing stand for the parade held when troops returned.</p><br>
<p>The privations caused by the Panic of 1907 had made clear the city&#39;s need for a single facility from which all its charities could operate. After studying such facilities in other Northeastern cities, the Associated Charities made recommendations to Gilbert in 1915. His design for Lincoln House was the only one significantly altered prior to construction. The original design called for a full frieze, wooden dentilled cornice and balustrade of brick and wood around the rooftop. Lincoln House was finished in 1916. Since most medical supplies at that time were geared to war production needs, it remained largely unoccupied until 1917. In 1921 Associated Charities, as much to avoid the stigma of its name that discouraged those it was meant to serve from seeking help from it as to reflect that it had become known by the name of the building, changed its name to the Lincoln House Association.</p><br>
<p>During that time the Chases were occupied with seeing through the construction of their new corporate headquarters. The existing buildings were acquired and demolished. After Henry Chase died in 1918, his brother Frederick assumed his responsibilities. He continued the good relationship with Gilbert Henry had had.</p><br>
<p>In the last years of his life, Henry Chase had begun acquiring the land for the bank building. Gilbert was asked to draw up plans, and delivered them in late 1919. Construction began a few months later, and was completed in 1922.</p><br>
<p>The last building to be added was the dispensary. It had always been planned—Gilbert was instructed to design it in 1916—but the shortage of materials caused by the war resulted in its construction being put off. In 1923 the Chase family created a permanent endowment fund for it. Construction began in 1923 and the building was in use within the year.</p><br>
<h3>1925–present:Use, decline and preservation</h3><br>
<p>Gilbert had hoped to add a sixth building, a theater, using land owned by the Chases to the east of the bank building and the Power House to the rear of the bank, a ca. 1900 structure the family also had bought to make the complex viable. He drew up plans for it in 1919, but after the completion of the dispensary other projects, such as the Supreme Court building in Washington, drew his attention and he was unable to return to Waterbury before he died in 1934. The land was eventually sold to the federal government in the late 1930s for the city&#39;s new post office.</p><br>
<p>In 1930 the city&#39;s Chamber of Commerce moved into the Power House from Lincoln House. The charities and dispensary were very busy places at that time with the onset of the Great Depression. President Franklin D. Roosevelt and his wife Eleanor visited City Hall in 1936 on their way to a rally in Library Park.</p><br>
<p>World War II affected the buildings as well. Scrap metal was piled up on the entourage in front of City Hall, and the tower was surrounded with scaffolding so that air wardens could keep watch from it. The Power House&#39;s door was sandbagged. Parades on V-E and V-J days were held down Grand Street with the reviewing section in front City Hall, as parades still are on civic holidays like Independence and Memorial days.</p><br>
<p>After the war, there were other changes. The Lincoln House Association changed its name again, to the Family Service Association (It is now Family Services of Greater Waterbury). Other tenants of the space in those years included the citys Adult Probation Department, Legal Aid, and the local Chamber of Commerce, which was headquartered in the Power House next door. That building was also renovated, sometime before 1950, with the addition of a second story and a paint job, bringing the brick closer to the bank buildings limestone and better concealing the divide between the new and old brickwork.</p><br>
<p>The Chase companies, by then Chase Brass & Copper, continued to use the headquarters building until the early 1960s. In 1963 ten residents interested in preserving the building bought it from the company. After three years, they in turn sold it to the city. It has been used as supplemental municipal office space ever since.</p><br>
<p>In the late 20th century, other organizations that had been housed in the buildings also left them. The Chamber of Commerce left the Power House in 1960. In 1974, the Family Service Association, in need of space more suited to its needs, left Lincoln House after half a century for new quarters on Murray Street.</p><br>
<p>By the early 21st century, most city government functions, including the mayors office and council meetings, had been moved across the street to the Chase Building. City Hall itself had fallen into serious decline. Inspections found water leaking through the ceiling and into the walls and roof, rusting the structural steel and loosening stones on the face. Vandals opened a fire hose in 2005, flooding the entire building. More flooding damaged the building when copper piping was stolen. The Fire Department eventually ordered all government bodies out of the building save the City Clerks office, which could not function without access to the records vault.</p><br>
<p>In 2006 the City Council approved a $48 million bond issue to repair and restore the building. Aldermen from the Independent Party who believed the public should decide on a spending program that large succeeded in getting the issue put to a referendum in 2007, which defeated it. After council trimmed the proposal to $36 million, the Independent aldermen agreed not to seek another referendum, and it was adopted.</p><br>
<p>The R.C. Williams Warehouse is a 10-story Modern Movement style building in Chelsea, Manhattan, New York City designed by architect Cass Gilbert. is a smaller version of Gilbert&#39;s design for the Brooklyn Army Terminal; like the Army Terminal, the warehouse has a concrete façade divided into bays by columns. The building has a siding on the third floor which formerly provided access to the High Line railway for the loading and unloading of freight to the warehouse.</p><br>
<p>The building was listed on the National Register of Historic Places in 2005. Avenues: The World School, a private school, opened in the building in September 2012.</p><br>
<p>Charlton Historic District is a 123 acre national historic district located at the hamlet of Charlton, town of Charlton in Saratoga County, New York. The listing included 37 contributing buildings and one other contributing structure. The district dates to 1787 and includes notable Greek Revival and Italianate architecture.</p><br>
<p>The district is chiefly residential, but also includes the stucco covered old schoolhouse (1859), Charlton Village Shop (ca. 1829), fire hall, historical society headquarters, garage, church, and The Charlton House tavern (ca. 1791). Almost all the buildings are sided with wood painted white or with a modern shingle replacement. The buildings range from one to two stories. Six are believed to have been built prior to 1800, fifteen from 1800 to 1830, thirteen from 1830 to 1880, and fifteen after 1880. The largest and most prominent building in the district is the Greek Revival style Freehold Presbyterian Church, dated to 1852.</p><br>
<p>It was listed on the National Register of Historic Places in 1976.</p><br>
<p>The Bridgeport Downtown South Historic District encompasses the historic elements of the southern part of downtown Bridgeport, Connecticut. It is 27 acre in size, roughly bordered on the east by Main and Middle Streets, on the north by Elm Street, the west by Broad Street, and the south by Cesar Batalla Way. This area includes the highest concentration of buildings developed in the commercial downtown between about 1840 and the 1930s, the period of the city&#39;s major growth as a manufacturing center, and includes a diversity of architectural styles representative of that time period. The district was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>The Bridgeport Downtown South Historic District includes 50 contributing buildings and 12 non-contributing buildings.</p><br>
<p>In the late 18th century, Bridgeport was known as Newfields, a village of the town of Stratford. With a location adjacent to a good harbor, the village became a significant center of maritime commerce, and it was separately incorporated as a town in 1821, and as a city in 1836. Rail connections to New York City and the northwestern interior of Connecticut cemented its role as a major commercial hub by the early 1850s. Industrial development followed in the second half of the 19th century, with the core financial and commercial services focused on the downtown area that had arisen near the waterfront. The result of this development pattern was the surviving architectural diversity now seen in its downtown area.</p><br>
<p>The USA Chamber of Commerce Building is an historic Beaux Arts style building located at 1615 H St., NW., in Washington, D.C. It was built for the USA Chamber of Commerce and remains their headquarters.</p><br>
<h2>History</h2><br>
<p>It was designed by Cass Gilbert and built in 1925. It was listed on the National Register of Historic Places in 1992, for its architecture.</p><br>
<p>The building occupies land that was formerly the home of Daniel Webster.</p><br>
<p>The Austin, Nichols and Company Warehouse, also known as 184 Kent Avenue and Austin Nichols House, is a historic warehouse building on the East River between North 3rd and North 4th Streets in Williamsburg, Brooklyn, New York City. The structure, measuring 179 by, is one of the city&#39;s few structures built in the Egyptian Revival style. The building was designed by architect Cass Gilbert and erected by general contractor Turner Construction with the help of structural engineer Gunvald Aus.</p><br>
<p>The warehouse was built in 1914–1915 to a design by Gilbert, and was one of several commercial and industrial buildings along the East River waterfront. The land was originally owned by the Havemeyer family, and leased to Austin, Nichols & Company, at one point the world&#39;s largest grocery wholesaler. Austin, Nichols & Company occupied 184 Kent Avenue from 1915 until the mid-1950s, after which the structure was occupied by several manufacturers. Starting in the 2000s, the building was used as a residential structure, and a 2010s renovation added residential condominiums.</p><br>
<p>The warehouse was designated a New York City Landmark in 2005, though the designation was controversial and was overturned by the New York City Council in 2006. The building was listed on the National Register of Historic Places in 2007, a less restrictive designation that allowed for the warehouse&#39;s redevelopment into condominiums.</p><br>
<h2>History</h2><br>
<h3>Context</h3><br>
<p>The industrial waterfront of Brooklyn was developed in the 19th century with the construction of major shipping hubs such as Red Hooks Atlantic Basin, the Brooklyn Navy Yard, and Industry City. The village of Williamsburg in northern Brooklyn was incorporated on the bank of the East River in 1827, with much of the commercial enterprises located on the waterfront, and after becoming a part of the city of Brooklyn in 1855, Williamsburg grew quickly. During the late 19th and early 20th centuries, the future warehouses site was owned by Henry Osborne Havemeyer, founder of Havemeyers & Elder and later the American Sugar Refining Company. The Havemeyer family also operated the Brooklyn Eastern District Terminal and the Domino Sugar Refinery just to the north.</p><br>
<p>The grocery wholesalers Austin, Nichols & Company, founded in 1879, had moved their headquarters to several increasingly large spaces before erecting a ten-story building on 55-61 Hudson Street in Tribeca, Manhattan. The company also operated eight smaller locations in Manhattan. In June 1912, Austin, Nichols & Company vice president Harry Balfe announced his intention to consolidate all operations in a single building on the Brooklyn waterfront. The consolidated headquarters would save money and allow easier accessibility from the nearby waterfront and rail terminal, as well as from surrounding streets. In April 1913, the company confirmed that it would build a new headquarters.</p><br>
<h3>Planning and construction</h3><br>
<p>Henrys son Horace Havemeyer commissioned architect Cass Gilbert to design the Austin, Nichols and Company Warehouse. Gilberts office began the design process in late 1912 or early 1913.</p><br>
<p>Some of the sites preexisting structures had been razed by mid-1913 in preparation for the warehouses construction. Gunvald Aus was hired as a structural engineer and asked to create separate plans dealing with the building&#39;s concrete and steel. The same week, the construction contract was given to Turner Construction. At the time, it was predicted that Austin, Nichols & Company would be the first of several wholesale companies to relocate to Williamsburg.</p><br>
<p>The Brooklyn Bureau of Buildings received the plans for the Austin, Nichols and Company Warehouse in January 1914 and peaked that June with 672 men employed in the construction process. and the company had completed its relocation to its new headquarters by March. Shortly afterward, contracts were awarded for the construction of a pier on the waterfront. Engineering News reported that "the remarkable progress made in its construction is indicative of what can be done in reinforced concrete with proper organization and supervision."</p><br>
<h3>Use as warehouse</h3><br>
<p>Austin, Nichols & Company continued to grow, with an annual sales income of $40 million by 1920. Its chief activity was the production and export of foods under the Sunbeam Foods brand. In 1923 Austin, Nichols & Company acquired the large wholesale department of Acker, Merril & Condict. The Federal Trade Commission sued Austin, Nichols & Company, alleging that the acquisition would result in a monopoly, but later dropped the charges. The company had closed its other locations by the late 1920s, selling off its packing subsidiary as well.</p><br>
<p>After Austin, Nichols & Companys other locations closed, the Williamsburg warehouse was used solely for importing and manufacturing products for the company. Starting in the 1930s, after Prohibition in the United States was repealed, the company started handling liquor. Austin, Nichols & Companys lease was renewed in 1934, and a distillery was subsequently installed. After the companys grocery business was sold to Francis H. Leggett & Co. in 1938 or 1939, the companys focus turned exclusively to liquor sales.</p><br>
<p>The Lehigh Warehouse and Transportation Company leased three floors of the building in 1939, Austin, Nichols & Company bought a new structure in Maspeth, Queens, in 1955 and subsequently moved all of their operations there. In 1999, the New York City Board of Standards and Appeals granted a variance to allow the renovation of the interior for residential use.</p><br>
<h3>Conversion to residential building</h3><br>
<p>The family of businessman Louis Kestenbaum paid $4 million for 184 Kent Avenue in 2000, The Kestenbaums rented the building out as studio apartments. Twenty-seven people and organizations spoke in favor of landmark designation at the LPCs public hearing on the matter, but the Kestenbaums and New York City Council member David Yassky opposed it. The Kestenbaums, who called the structure an "eyesore", wanted to demolish or significantly modify the buildings exterior to create new rental apartments. In November 2005, a majority of City Council members voted to overturn the landmark designation, a rare move, as such revocations had occurred only four times in the previous fourteen years. Council member Simcha Felder said, "This is a piece of trash. We should knock it down and put something nice up." but the City Council voted to override his veto. Yassky claimed that Bloomberg had only vetoed the councils decision to "curry favor with preservationists", following the LPCs refusal to consider designating 2 Columbus Circle as a landmark the same year.</p><br>
<p>The renters were evicted in 2006. JMHs plans called for the preservation of the exterior, and in December 2008, the company announced that 184 Kents exterior would be preserved in perpetuity. A for-profit nursery school leased space in the building the next year.</p><br>
<p>The rap lyrics annotation website Genius (formerly Rap Genius) was headquartered at 184 Kent.</p><br>
<p>Kushner Companies, LIVWRK and Rockpoint Group bought the property in April 2016, intending to turn the rental units into condominium units.</p><br>
<h2>Architecture</h2><br>
<p>The Austin, Nichols and Company Warehouse was among the earlier buildings to use reinforced concrete on a huge scale. The facade rises to a height of 80 ft on Kent Avenue and 92 ft on the river, and the building is located on a lot of about 78,800 ft2. The interior contains 425,000 ft2 of floor area.</p><br>
<p>The structure, built in the Egyptian Revival style, is one of the citys only Egyptian Revival buildings. Its primary construction material is reinforced concrete. Gilbert used the material to increase the buildings maximum load weight and to make the structure fireproof.</p><br>
<h3>Facade</h3><br>
<p>The reinforced concrete facade is relatively simplistic and painted in shades of white. The facade is divided into numerous architectural bays, which generally contain groupings of three narrow, slightly recessed windows on each floor. The western facade is divided into eight bays, all of which contain 3 windows on each floor, except for the southernmost bay, which only contains 2 windows. The eastern facade is divided into nine bays; the northernmost and southernmost bays contain 2 windows while the remaining seven bays contain 3 windows. A similar pattern can be found on the longer northern and southern facades, where most of the bays contain 3 windows, while the end bays and two of the center bays contain 2 windows. Loading docks, now sealed, were located on the western, northern, and southern facades.</p><br>
<p>Little ornamentation was used on the facade. A concrete marquee was located along the western half of the southern facade, above the loading docks. Other features of the facade included a concrete cornice at the top of the building, as well as inward-sloping walls and long uninterrupted wall sections. In a letter to Gilbert dated April 3, 1913, Turner Construction wrote that "Concrete, for grocery warehouses, has become almost the standard form of construction throughout the century." Gilbert later said, "The nature of the materials dictates the form of all its parts, and assuming that the purpose of the structure is kept in mind, as it should be, this purpose is necessarily expressed in very simple terms."</p><br>
<p>Gilbert chose to place emphasis on the scale of the buildings dimensions, saying that a buildings "principal claim to beauty" was derived from its proportion instead of its decoration. Havemeyer had originally asked Gilbert to design the western facade on the riverfront so that it would appear as massive as possible. While the initial proposals featured three different variants of window fenestration, the final plans simplified the design to the extent that the facades were all nearly identical. To save money, the windows&#39; recessions were reduced in depth, but Havemeyer agreed to add rounded mullions between the two or three window panes in each bay. This serves to unite the "various levels of fenestration" on the building.</p><br>
<h3>Features</h3><br>
<p>Upon its completion, the Austin, Nichols and Company Warehouse included four tracks with 68 freight cars, a freight-loading system with several large derricks, and a telegraph service to instantly duplicate orders that were made in the Manhattan sales building. Loading bridges took railcars from car floats, unpowered barges with rail tracks on them. The building was used to process various foodstuffs, import European groceries, as well as manufacture and export dry goods. Material was carried through the factory via a system of chutes, conveyors, and pneumatic tubes. Upon the building&#39;s completion in 1915, the Brooklyn Daily Eagle stated that the facilities could accommodate 100 freight cars or 400 lighters a day, and that the number of required freight trucks had been cut from 100 to 35 per day. The warehouse employed 1,500 workers and nearly all of the floor space was being used.</p><br>
<p>Each floor was designed for a different purpose. The basement contained storage rooms for fish and olives, as well as an engine room, while the first floor contained administrative offices and the receiving and shipping divisions. Restrooms, as well as a restaurant and lockers for employees, were located in the mezzanine. The second floor included the exports and olive departments; storage and processing of dry foods, fruit, and canned foods; and the laundry room. The third floor contained the departments of extract & syrups, dried fruit, and small-scale coffee packing. The fourth floor contained more dry food/ingredient storage and large-scale coffee packing. The fifth floor contained storage of dry foods and other non-food products, as well as administrative offices and another employee restaurant. The sixth floor was used for roasting and storing coffee, as well as cutting and grinding spices.</p><br>
<p>184 Kent Avenue, now a residential building, contains a green wall in its lobby. The interior includes 338 luxury condominium apartments, which range from studio apartments to three-bedroom suites. There is also 17,850 ft2 of rentable commercial space on the first floor. A cafe area and enclosed courtyard are located within the building. Other residential amenities include a musicians room, a movie room, a riverfront gym, a childrens play space, and shared rooftop space.</p><br>
<h2>Impact</h2><br>
<p>In September 1914, Austin, Nichols & Company vice president Balfe said "The work of the architects, contractors and all connected with it, has in our opinion simply been wonderful." Likewise, an anonymous writer in the Engineering News stated in November 1914 that the warehouse is "a good example of a modern reinforced-concrete building of the concrete type" and that Gilbert&#39;s design was "somewhat unique". When the plant was finished in March 1915, the Brooklyn Daily Eagle wrote a sub-headline declaring that the building was a "Model of Modern Construction and Efficiency". In 1921, as reinforced concrete structures were becoming more popular, Arthur S. McEntee wrote in Architecture magazine, "The Austin-Nichols Warehouse, Brooklyn, is an excellent example of the modern adaptation of Egyptian architecture to the present-day requirements of commercialism." The similarities of reinforced-concrete buildings to Egyptian design were also observed by European critics such as Le Corbusier and Wilhelm Worringer.</p><br>
<p>Gilbert went on to design other reinforced-concrete industrial buildings such as the Brooklyn Army Terminal, built in 1919 in Sunset Park, Brooklyn, The Brooklyn Army Terminal was also built by Turner Construction and involved more complex infrastructure, including its own rail yard. The later Williams Warehouse, built for a competitor of Austin, Nichols & Company, contained its own direct rail connection. Both the Williams Warehouse and the Brooklyn Army Terminal were built with recessed architectural window bays in their facades. In a 1928 drawing, Gilbert cited the Brooklyn Army Terminal and the Austin, Nichols & Company Warehouse as being among his best works.</p><br>
<p>The West Virginia Capitol Complex is an 18 acre historic district located along Kanawha Blvd., E., in Charleston, West Virginia. It dates from 1925 and was listed on the National Register of Historic Places in 1974.</p><br>
<p>It includes the three part capitol buildings, the West Virginia State Capitol, designed and supervised by architect Cass Gilbert. And it includes the governor&#39;s residence, West Virginia Executive Mansion, designed by Charleston architect Walter F. Martens.</p><br>
<p>It includes Colonial Revival architecture and Italian Renaissance architecture.</p><br>
<p>It includes two contributing buildings, one the capitol building and one a residence.</p><br>
<p>The John F. Cance House at 807 W. Ridge Ave. in Galesville, Wisconsin was built in 1908.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>The house was designed by architect G.H. Carsley. Carsley was a member of the architect Cass Gilberts office in St. Paul from 1896 to 1906 and possibly longer; though the house was not necessarily associated with Gilberts firm, its progressive design is typical of the office.</p><br>
<p>The house has a separate carriage house, which contributes to its National Register listing. The house is the only prominent Tudor Revival building in Galesville; while its architecture is not considered exceptional in its own right, its uniqueness and connection to the Cass Gilbert office make it historically significant nonetheless.</p><br>
<p>The house&#39;s first owner, John F. Cance, was a prominent banker at the Bank of Galesville. He was a cashier for the bank when the house was built and continued to rise in the bank until he became bank president in 1930, a position he held for 23 years.</p><br>
<p>The Prospect Avenue Historic District encompasses a predominantly residential area in western Hartford and eastern West Hartford, Connecticut. The 300 acre historic district extends along Prospect Avenue from Albany Avenue to Fern Street, including most of the area between those streets and the Park River to the east, and Sycamore Street and Sycamore Lane to the west. The district includes 240 contributing buildings and 48 non-contributing buildings, most of them residences built between 1880 and 1930. The district was listed on the National Register of Historic Places in 1985.</p><br>
<p>Most of the district was laid out on land that originally belonged to Hartfords prominent Goodwin family, a number of whom built houses on large lots near the Park River, in some cases designed by architects who were also members of the extended family. In the early decades of the 20th century, the area attracted a number of Hartfords elites to also build houses in the same area. There are 87 examples of Georgian Revival architecture and 55 examples of Tudor Revival architecture in the district. A few homes are designed in the French Norman Chateau style, and the Craftsman and Prairie Style are each represented by a single building.</p><br>
<p>The Connecticut Governor&#39;s Residence is included in the district as a contributing building. It is located at 990 Prospect Avenue, and is a Georgian Revival, built in 1908. It was designed by Andrews, Jacques and Rantoul, of Boston, and was altered in 1916 (see photo #7 in accompanying photos). and</p><br>
<p>The Hune Covered Bridge is a historic wooden covered bridge in the southeastern part of the USA state of Ohio. Located northeast of the community of Dart, it spans the Little Muskingum River in northeastern Lawrence Township in the eastern part of Washington County. Local bridge builder Rollin Meredith erected it in 1879, using the Long-truss style of truss bridge design; the single-span bridge was named for the locally prominent Hune family. Among its design features are a metal roof, abutments of cut stone, and vertical siding. As a Long truss, the Hune Bridge is a valuable example of nineteenth-century architecture: few examples of this complicated style survive to the present day. In 1976, the Hune Bridge was listed on the National Register of Historic Places, both because of its place in local history and because of its historically significant construction.</p><br>
<p>Immaculate Conception Catholic Church is a parish of the Roman Catholic Church in Celina, Ohio, United States. Founded later than many other Catholic parishes in the heavily Catholic region of western Ohio, it owns a complex of buildings constructed in the early 20th century that have been designated historic sites because of their architecture. Leading among them is its massive church, built in the Romanesque Revival style just 43 years after the first Catholic moved into the city: it has been called northwestern Ohio&#39;s grandest church building.</p><br>
<h2>Parish history</h2><br>
<p>Catholics were active in southern Mercer County by the 1830s; St. John the Baptist parish in Maria Stein and St. Rose parish in St. Rose were established in 1837, and St. Henry parish in St. Henry and St. Joseph parish in St. Joe were also founded before 1840. A parish was formally erected in Celina in 1864 and dedicated to the Immaculate Conception.</p><br>
<p>With the creation of the parish, more Catholics were attracted to Celina; the parish grew to the point that a church building was needed, and the Archbishop of Cincinnati, John Baptist Purcell, came to Celina to lay the cornerstone on August 3, 1864. Members subscribed to the building fund throughout that year and the following; it was completed in November 1865, and Joseph Dwenger dedicated it on December 8, 1865. This building was a brick structure, measuring approximately 40 ft by 60 ft; it cost $7,000 to build. However, the parish continued to grow, and a building fund for a new edifice was started in 1899. Construction of the replacement church building began in the following year, and it was dedicated in 1903 at a cost of $52,000. In the early twentieth century, it was widely considered the finest church building in all of northwestern Ohio, and decades later, its architecture still dominates all of downtown Celina.</p><br>
<p>Since the parish&#39;s earliest years, members of the Missionaries of the Precious Blood have provided pastoral care for the members; Dwenger was a member of this society, as were the other five priests who served there in its first decade. The first priest to live in Celina was Theopistus Wittmer, who arrived in 1876; the members acquired a small frame house to use as a rectory. A convent was built in 1879 to house the first of the Sisters of the Precious Blood, who came in that year to teach at the parish school; it was replaced by a larger structure in 1949, located northeast of the rest of the buildings related to the parish.</p><br>
<p>Today, Immaculate Conception continues to be an active parish in the Archdiocese of Cincinnati. It is clustered with Our Lady of Guadalupe parish in Montezuma and St. Theresa, Little Flower of Jesus parish in Rockford; all three churches are part of the St. Marys Deanery.</p><br>
<h2>Buildings</h2><br>
<h3>Church</h3><br>
<p>The church itself is a large brick building constructed in the shape of a Greek cross; it was designed by Andrew DeCurtins of Lima and built under the supervision of John Burkhart of Kenton. A Romanesque Revival structure erected in 1903, it is centered on a large bronze dome. Worshippers may enter the building through its eastern end; the facade is pierced by three large doorways and a massive rose window. Capping the facade are two square towers; each one includes an octagonal belfry and is topped with a smaller bronze dome. Inside, the church is heavily decorated; many of the walls feature paintings, and the altar is distinctly Romanesque in its style. The entire building rests on a stone foundation with a basement.</p><br>
<p>Architectural historians have grouped the Precious Blood-related churches of far western Ohio into four different generations: the first, composed primarily of small log buildings from the first years of settlement until 1865; the second, composed of moderately sized brick churches built between 1865 and 1885; the third, composed mostly of large High Gothic Revival churches with massive towers constructed from 1885 to 1905; and the fourth, composed of churches built between 1905 and 1925 in a wide range of styles. Immaculate Conception&#39;s place at the end of the third generation is significant: its Romanesque Revival style is atypical of that period and much more common in the fourth generation that would soon arise, putting it in somewhat of a transitional place between the third and fourth generations.</p><br>
<h3>Rectory</h3><br>
<p>Located immediately west of the church, the Immaculate Conception rectory is a large square three-story brick house. It is the third residence to serve as the parish&#39;s rectory: members bought a frame house near the church in 1876, and after a new school building was completed in 1889, the priest moved into the old school. In 1908, the parish spent $2,000 to buy land from John Schlosser immediately west of the church; on this land they built the present rectory for $10,000. Divided into three bays on the front and six bays on each side, it sits on a foundation of cut stone with a stone water table and a basement. Individuals may enter through a large entryway on the southern front of the house or through a smaller doorway on the rear of the eastern side of the house.</p><br>
<p>Dominating the appearance of the house from the street is a large verandah-style porch, supported by large stone columns, on the southern-facing front of the house; an enclosed porch, smaller but two stories high and supported by wooden pillars, is located on the rear portion of the house&#39;s east side. Projecting from the front of the house, above the porch, is a small wing with a gable, semicircular window, and elaborate cornice. The house is built in a combination of styles; it includes many Italianate details, but its design appears to have been influenced by the architecture of the Sears Modern Homes.</p><br>
<h3>Elementary school</h3><br>
<p>Sitting immediately north of the church is the Immaculate Conception Elementary School, which was erected in 1918 at a cost of $70,000. Two stories tall and built of brick with a flat asphalt roof, it is divided into sixteen bays on each of its two sides. Among its leading architectural features are a central projection on its eastern front, the arched doorway in that projection, and ornamental panels around the entrance. The school occupies the site of an earlier school that was built in 1889; the present building was constructed because the previous structure had become too small. In its early years, the present building housed both the elementary school and the high school, which was only a three-year course for its first ten years. Because of continued growth in the high school, a new building was constructed specifically for it on the opposite side of the street. The architect for the elementary school was an unknown member of the DeCurtins family, who was related to the designer of the church building, Andrew DeCurtins. Unlike the newer building, the old elementary school remains a functioning school building. Due to falling enrollment and increasing expenses, the school was losing significant amounts of money by the late 2000s. Operating the school cost $874,243 in the 2008-2009 school year, while income was only $375,459. In 2010, the church announced that it would close the school at the end of the 2010-2011 school year unless finances improved markedly.</p><br>
<h3>High school</h3><br>
<p>Located on the eastern side of Walnut Street across from the other buildings of the church complex, the former Immaculate Conception High School was built in 1933 under the supervision of William and Joseph Forsthoff. The building was designed by Fred DeCurtins, a relative of the architect who designed the church building, and the nephew of the architect who designed the elementary school. Members of the DeCurtins family, who lived primarily in the community of Carthagena, designed many churches and other religious buildings in Mercer County and the surrounding region, including the areas first church built with a tall tower, St. Aloysius Church in Carthagena. Although Fred DeCurtins designed the church building constructed in 1937 for the new parish in the northern Mercer County village of Rockford, architectural historians believe that Immaculate Conception High School was the last building designed by the DeCurtins family for an entity connected to the Missionaries of the Precious Blood. The school closed at the end of the 1972 school year, and by the late 1970s, the parish no longer needed its high school building; although it remained in church ownership, it was leased for use by the Celina City School District for use as a ninth-grade academy.</p><br>
<p>Three stories tall, the high school is a brick and stone building constructed on a concrete foundation with a basement and topped with a flat composite roof. Its overall shape is that of a square, divided into thirteen bays on the front and sixteen bays on the sides. The first floor of its west-facing main facade is pierced by the large main entrance, which features an arched entrance with a cross-tipped stone gable at the top. A similar entrance is present on the building&#39;s southern side. Among its most prominent architectural features are eight stone columns on the main facade, which bracket groups of five windows on each story. These columns rise to different heights, creating a distinctive vertical effect. Such a style is common among more conservative modernist architects, who wish to combine older designs with current trends: historic elements are simplified and given a modernist style.</p><br>
<h2>Recognition</h2><br>
<p>In 1977, the church, rectory, and schools were recorded by a historic preservation program run by the Ohio Historical Society, known as the Ohio Historic Inventory. This survey found the church in excellent condition, the elementary school in fair condition, and the high school and rectory in good condition. Although no historic preservation program was in effect, no threats to historic integrity were identified for any of the buildings, except for the elementary school, which was deemed to be in danger from being outdated.</p><br>
<p>Two years later, the complex was listed on the National Register of Historic Places because of the well-preserved and historically significant architecture of its buildings. At the same time, the same designation was given to more than thirty other churches and other buildings in far western Ohio that were related to the Missionaries of the Precious Blood, using the multiple property submission process. Centered on the community of Maria Stein, the location of the Convent of Mary, Help of Christians, this predominately Catholic region is dotted with many large Romanesque Revival or Gothic Revival churches whose tall spires rise above tiny communities and can be seen from miles around. Because of the way that these churches dominate the region, the area has become known as the "Land of the Cross-Tipped Churches."</p><br>
<p>Mechanicville Hydroelectric Plant is a 18.3 acre national historic district located at Mechanicville in Saratoga County, New York. The listing included one contributing building and three contributing structures. The district dates to 1897 and includes notable Queen Anne architecture.</p><br>
<p>The district includes the powerhouse, an earth embankment, a concrete non-overflow dam, and a 700-foot-long concrete gravity overflow dam. They were built in 1897–1898 by the Hudson River Power Transmission Company and span the western channel of the Hudson River between the Saratoga County shore and Bluff Island.</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>The station was designed to produce 5000 kilowatts from seven hydraulic turbine-generator units. Extensive renovations starting in 2003 have turned the plant into a working museum.</p><br>
<p>In 2021, the plant started mining bitcoin with a portion of the hydro-power energy. Because running a plant that still uses all of the original 1800s machinery, mining bitcoin has been three times more profitable than selling electricity back to the national grid.</p><br>
<h2>Project origins and construction</h2><br>
<p>Robert Newton King (1846–1943), president of the Stillwell-Bierce & Smith-Vaile Company of Ohio, selected the site for its hydro potential and proximity to industrial areas of Albany, Troy and Schenectady. Hudson River Power Transmission was the company formed to develop the project. The Hudson River watershed runs to the Adirondack Mountains and covers 4,600 square miles. Construction started July 1897 but was delayed by a major storm in November; the first generator was tested in May 1898 and power delivered to the General Electric plant in July 1898. The original five turbines were completed by August 1898.</p><br>
<h2>Turbines and generators</h2><br>
<p>The initial design of the plant used seven horizontal Francis-type turbines manufactured by King&#39;s SB&SV company, each equipped with four runners 41 in in diameter, producing 1000 HP. These turbines drove a 750 kW generator at 114 rpm. The generators produced 12,000 volts three-phase power at 38 Hz. Two exciter turbine/generators were initially installed to provide 125 V and 250 kW of DC excitation power for the main generators, but DC power has been provided by a static system for more than 50 years. Generators and controls were designed by Charles Proteus Steinmetz.</p><br>
<p>Only five of the initial turbines had been completed when all seven units were replaced with new turbines in 1902. The new turbines were made by the S. Morgan Smith Company and were now rated at 1,250 HP and 125 rpm. The water passage for the turbines was modified and the operating frequency of the generators raised to 40 Hz. At the same time, a reciprocating Corliss steam engine was installed in the plant to provide supplemental capacity during low water flow; this drove the No.7 hydraulic generator through a rope drive. This was only kept for five years. One turbine failed in 1932 and has not been replaced. Each of the turbines has three water-lubricated lignum vitae wood bearings in the turbine chamber and an oil-bath bearing in the generator hall. Up until about 1950, the speed of the turbines was regulated by a hydraulic governor.</p><br>
<h2>Civil structures</h2><br>
<p>The project consists of a spillway 900 ft feet long, an earth embankment dam about 900 ft long and 20 ft high, and a powerhouse. The powerhouse is 220 ft wide and 50 ft long, made of reinforced concrete. The horizontally mounted turbines in upstream water passages drive shafts running through packing boxes on the upstream headwall which is 6 ft thick concrete. The arrangement of horizontal runners, packing box and generators was patented at the time; the layout of the station was a model for many future projects.</p><br>
<h2>Electrical switchgear and distribution</h2><br>
<p>Most of the power generated by the Mechanicville plant was sent to the General Electric plant in Schenectady. Some 40 Hz power was used locally for lighting and motors until 1949. In 1899, the Hudson River Power Company took over control of the plant from the original developers, and began operating the plant in parallel with a new larger plant called Spier Falls; regulation of the Mechanicville units speed was controlled manually until automatic governors were installed in 1902. From 1935 through to the end of WWII, the HVDC Mechanicville–Schenectady DC transmission system sent power to the GE plant and also served to convert from 40 Hz to 60 Hz.</p><br>
<p>The original 12 kV switchgear used open switches operated by 3 ft wooden sticks. This arrangement was quite dangerous by modern standards and resulted in one fatality and several near miss accidents. In 1902 the switchgear was replaced by oil-enclosed lever-operated switches, and in 1920 the system was again renovated with remotely controlled oil-filled circuit breakers. The 1920 switchboard has been retained to the present day.</p><br>
<p>In 1949 two motor-generator frequency changer sets were installed so that the plant could provide power to standard 60 Hz networks.</p><br>
<h2>Restoration and conversion to a museum</h2><br>
<p>In the 1960s, Niagara Mohawk Power Company, which owned many hydroelectric facilities in New York State, had begun a program of demolition of older, smaller facilities in favor of larger central stations. Although Niagara Mohawk (which owned the Mechanicville plant) planned to demolish it, by 1985 a competitive plan for developing waterpower at the site encouraged retention of the plant. A new 50-year water license, required for continued operation of the plant, was obtained in 1993 but in 1997 the company shut down the plant since it appeared power generated at a refurbished plant would not be competitive with other sources. The plant remained closed until, after litigation, ownership was transferred to Albany Engineering Company in 2003 and generation restarted. Extensive structural repairs and enhancements were carried out to modernize the plant. Renovation plans include restoration to the original 1898 exterior appearance while maintaining output from the plant. In 2005 Albany Engineering obtained permission to study a possible additional, underground, generator unit of 20 MW rating.</p><br>
<p>The Centre Furnace Mansion is listed on the National Register of Historic Places and is the headquarters of the Centre County Historical Society, located in State College, Pennsylvania. The Mansion, the ironmaster&#39;s residence for Centre Furnace, has been restored and is furnished to reflect the period of residency of ironmaster Moses Thompson and his family, 1842–1891. A mansion in miniature, identical to the original and scaled one inch to one foot, is on permanent display. This historic mansion and nearby iron furnace stack represent the 18th century beginnings of the charcoal iron industry in the central Pennsylvania area, and the 19th century beginnings of the Pennsylvania State University.</p><br>
<p>Centre Furnace site includes the Centre Furnace Mansion, furnace stack, and surrounding eight acres. This National Register site represents a small portion of the late 18th-century ironmaking village once located here. Its interpretation is based on historical documentation and archaeological research, and includes carefully landscaped grounds with walkways and period gardens.</p><br>
<p>The Mansion is home to various exhibits, programs, and fundraisers throughout the year.</p><br>
<p>Mansion Tours Hours: 1:00-4:00 p.m. Sunday, Wednesday, Friday by reservation. Mansion Tours are free and open to the public; though donations are welcome (suggested $4.00). A tour takes around one hour. The first two floors are handicap accessible.</p><br>
<p>The CCHS office is closed with no tours the week between Christmas and New Year&#39;s.</p><br>
<p>The Perkins Stone Mansion is a historic house museum in Akron, Ohio, United States.</p><br>
<h2>Overview</h2><br>
<p>The mansion is owned and operated by The Summit County Historical Society of Akron, Ohio and is also the organizations headquarters. It was built from 1835 to 1837 by Col. Simon Perkins, son of Akrons founder General Simon Perkins. It served as the family home until 1945 when it was purchased from George Perkins Raymond for $25,000.</p><br>
<h2>Design and construction</h2><br>
<p>The Perkins Stone Mansion was built between 1835 and 1837 on 115 acres owned by Colonel Simon Perkins, the oldest son of the City of Akrons founder, Gen. Simon Perkins. At the time of its completion, the home was located one mile from the southwest border of Akron and along the prehistoric Portage Path of Summit County, Ohio. The house overlooked the City of Akron from the front porch and the "widows walk" on the roof provided a viewing point of the Ohio and Erie Canal.</p><br>
<p>Records suggest it was designed by Isaac Ladd of Warren, Ohio. It was designed in the Greek Revival Style. The Mansion was constructed of hand cut yellow sandstone that was quarried nearby its location.</p><br>
<p>Perkins eventually expanded his estate to 300 acres. The land was used for farming and sheep grazing and eventually became known as "Mutton Hill." The pasture land came right to the front porch and the house was originally flanked by vegetable gardens and an arbor.</p><br>
<h2>Other structures</h2><br>
<p>Located nearby the Mansion is the Wash House where the Perkins family washed and dried clothing, bedding, and other textiles. Next to the Wash House is the original well. Behind the mansion is the "woodshed" that now serves as the office building for the Summit County Historical Society of Akron, Ohio. Reconstructed versions of the Carriage House, gazebo, and outhouse are also located on the property. The property was surrounded by a dry mortared stone wall, much of which remains to this day.</p><br>
<h2>Ownership and residents</h2><br>
<p>1837–1887: Col. Simon Perkins and his wife Grace.</p><br>
<p>1887–1919: Anna Perkins, the eldest daughter of Col. and Mrs. Simon Perkins. Anna never married and took over as the mistress of the house at the death of her mother in 1867. Her brother George Tod Perkins assisted with maintenance and renovations.</p><br>
<p>1919–1926: Mr C.B. and Mrs Mary Raymond. Mary was the daughter of George Tod Perkins and niece of Anna Perkins.</p><br>
<p>1926–1945: George Perkins Raymond. George took over occupancy when his parents moved to California in 1926. Due to his career as a concert singer, he rarely stayed in the home.</p><br>
<p>1945–present: The Summit County Historical Society of Akron, Ohio. It was purchased from Raymond for $25,000. The funds were raised through contributions.</p><br>
<h2>Present day</h2><br>
<p>Today, the Perkins Stone Mansion is the showpiece of the Summit County Historical Society and is operated as an historic house museum.</p><br>
<p>The John Cady House, also known historically as the Babcock Tavern, is a historic house at 484 Mile Hill Road in Tolland, Connecticut. With a distinctive construction history dating to 1753, it serves as an important window into the construction methods and techniques of the 18th and 19th centuries. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The John Cady House stands in a rural residential area of southwestern Tolland, at the southwest corner of Mile Hill Road (Connecticut Route 31) and Cedar Swamp Road. It is a -story wood-frame structure, five bays wide, with a large central chimney. Its main entrance is centered on the front facade, framed by Greek Revival pilasters with a corniced entablature. Although its exterior is uniform, the building is structurally composed of two separate buildings which were butted together, leading to an interior layout that is unusual. The central chimney appears to have been modified at the time the two sections were joined, in order to accommodate a larger kitchen fireplace. The roof frame shows evidence that the house was once covered by a gambrel roof, instead of the present gable.</p><br>
<p>In 1729/30 about thirteen years after John Cady purchased the land for "twenty-eight pounds current money". He sold it for one hundred twenty-five pounds to Ebenezer Searls of Coventry on March 30, 1743. The land now has a better description and is in the amount of "forty-five acres more or less" Ebenezer then sells his land "with the buildings fences and improvements thereon" to Jonathan Weston of Norwich Oct 8, 1746. Elijah Weston was documented to operate a tavern here between 1794 and 1800.Tolland County Court archives, RG 3, "Travel,"</p><br>
<p>Box G-165, Connecticut State Library. It is unknown where the name "Babcock Tavern", a historic 19th-century name, originates, since no Babcocks are documented as having lived in this area.</p><br>
<p>In August 2020 William A. Flynt of Dummerston Vt. performed a dendrochronology survey of the oldest part of the dwelling. The ten core samples yielded a very accurate felling date of the oak timbers of fall/winter 1752–3. The earliest the frame could have been erected was spring/summer of 1753. Seeing as Jonathan Weston was the landowner in 1753 and his name appears at this location on a hand drawn map of Tolland from 1753, it seems most likely he was the builder.</p><br>
<p>The Hildreth Covered Bridge, also known as the "Hills Covered Bridge" or "Lafaber&#39;s Mill Bridge," is a historic covered bridge in Washington County, Ohio, United States. about 5 mi east of the city of Marietta,</p><br>
<p>One of three covered bridges that span the Little Muskingum, the Hildreth Bridge is a single-span wooden Howe truss bridge that rests on abutments and piers of ashlar. It features structural elements such as a metal roof, vertical siding, and portals with battens. Due to its great height above the stream below, the bridge has been seen by locals as one of the most impressive of the region&#39;s many covered bridges. In 1978, the Hildreth Bridge was listed on the National Register of Historic Places, qualifying both because of its place in local history and because of its historically significant construction.</p><br>
<p>Brighams Tavern is a historic house and travellers accommodation at 12 Boston Turnpike in Coventry, Connecticut. With a construction history dating to the early 18th century, it is one of the town&#39;s oldest buildings, and is historically associated with George Washington, who stopped here for a meal in 1789. Now a private residence, it was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The former Brigham&#39;s Tavern is located in far northeastern Coventry, at the northeast corner of Boston Turnpike (United States Route 44) and Brigham Tavern Road, a short distance west of the town line with Mansfield. It is a clapboarded two-story wood-frame structure, with a gabled roof, central chimney, and clapboarded exterior. The main facade is five bays wide, with a center entrance flanked by simple moulded corner boards and topped by a four-light transom and cornice. Two large additions extend from the rear and left of the main block. The left ell has an entrance similar in style to the main entrance. These three sections of the house are all of 18th century origin, with the rear addition believed to be the oldest part, dating to c. 1717. An 18th-century barn stands at the rear of the property.</p><br>
<p>The tavern had a long history, serving travellers on the turnpike between Hartford and Boston. Uriah Brigham is the first documented resident of the property, believed to have occupied what is now the rear ell of the main block. His son Gershom is credited with building the main block in 1778, having gained official sanction to operate a tavern from the town. The building was clearly purpose-built as a tavern, with a second-floor ballroom and a first-floor taproom, although the bar elements of the latter have been lost. The tavern played host to George Washington in 1789 for breakfast, after he spent the night at a residence in Mansfield.</p><br>
<p>More recently the home has been lived in by the William&#39;s Family (Erik, Alyssa, Boston, Maryjane). An in-ground pool has been built into the backyard and the interior of the living room has been redone. The table where George Washington ate breakfast at is currently at the Nathan Hale Homestead in Coventry.</p><br>
<p>The Coventry Glass Factory Historic District is a 32 acre historic district in Coventry, Connecticut that was listed on the National Register of Historic Places in 1987. The listing encompasses ten historically significant houses, clustered near the site of the former Coventry Glass Factory, in a linear district along what was the Boston Turnpike, now USA Route 44. The Skungamaug River is a creek cutting through the district. The glassworks operated here between 1813 and about 1845, and most of these houses date to that time, exhibiting largely vernacular Federal and Greek Revival styles. The most sophisticated and best-preserved house is that of Nathaniel Root, at 1044 Boston Turnpike. The ground in the area of the glassworks  is littered with melted glass fragments and burnt brick fragments. and</p><br>
<p>The Coventry Glassworks was established in 1813, in part to meet demand for glass objects that had previously been fulfilled by English companies, a source cut off by the War of 1812. The glassworks founders included experienced glassblowers and local businessmen, who combined their capital and expertise. The company produced small bottles, inkstands, and flasks, and is credited with creating the first "portrait flask", bearing a depiction of the Marquis de Lafayette in commemoration of his 1825 visit to the United States. The company had a rotating cast of partners and glassblowers, and remained in operation until about 1845, when its proprietors at that time moved the business to Willington. Most of the houses in this area were built by or for either the proprietors, or the workers they hired.</p><br>
<p>Ellington Center Historic District is an 80 acre historic district in the town of Ellington, Connecticut that was listed on the National Register of Historic Places in 1990.</p><br>
<p>The historic district encompasses most of Ellington Center, including the town green and buildings that face the green or the streets that lead to it. It includes the Hall Memorial Library. Architecture represented includes the Colonial Revival style and work by Nelson Chaffee. The Ellington green is largely open space with tall shade trees. A granite monument on the green identifies the site of the first meetinghouse in Ellington Center, built in 1739.</p><br>
<p>The National Register listing included 103 contributing buildings, three contributing sites, and two contributing objects. It also included 26 non-contributing buildings, six non-contributing structures, and three non-contributing objects. The district does not include commercial property east of the green, the town hall and its annex, Center School, and several houses within its general boundaries. Center School, a public elementary school, occupies a brick building constructed in 1949 to replace a structure that was constructed in 1852 as a one-room schoolhouse and later expanded.</p><br>
<p>Hall Memorial Library, a Neo-Classical Revival building built of brick and limestone, is one of the largest buildings in the historic district. The historic district also includes two churches.</p><br>
<p>The Loomis-Pomeroy House is a historic house at 1747 Boston Turnpike  in Coventry, Connecticut. Built about 1833, it is a fine local example of transitional Federal-Greek Revival architecture, with important family associations in local history. The house was listed on the National Register of Historic Places in 1994.</p><br>
<h2>Description and history</h2><br>
<p>The Loomis-Pomeroy House is located in what has historically been called the village of North Coventry, on the south side of US 44, west of its junction with Main Street. US 44 is in this area part of the historic Boston Post Road, and the cluster of buildings making up the village includes the Second Congregational Church, directly across the street from the house. The house is a predominantly brick structure, its main block a -story structure, three bays wide, with an attached ell with a brick and clapboard exterior. Historically the house was on a 100 acre farm, this has been reduced over time to 3.8 acre, which includes the house, a barn, an ice house, and a privy.</p><br>
<p>The main block was probably built c. 1833, with the ell possibly older. A building is referenced on the property in an 1823 deed, which may have been the ell, which is thought to have served as overflow housing for a nearby tavern operated by the Pomeroy family. The Pomeroys established the tavern in 1801, next to the church, whose congregation was established in 1745. Eleazer Pomeroy, in addition to operating the tavern, also ran stagecoaches, and had acquired a large amount of land in the area by 1828. He is believed to be the builder of this house, which was sold to his son George in 1843. In 1881 the property was purchased by James Otis Freeman, whose descendants (mainly named Loomis after the man his daughter married), retained ownership until the 1980s.</p><br>
<p>St. Peter&#39;s Episcopal Church is a large historic Carpenter Gothic Episcopal church building located at the corner of Division and Telegraph streets in Carson City, Nevada. Built in 1868, it is the oldest Episcopal church still in use in Nevada. On January 3, 1978, it was listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>On November 9, 1863, laymen D. S. King and A. H. Griswold were selected as the first wardens of the new parish in Carson City. Nevada territorial governor James W. Nye and businessman Henry Marvin Yerington were among the first vestrymen. The women of the congregation helped raise construction funds through social events, such as sales at fairs and other activities.</p><br>
<h3>Construction</h3><br>
<p>Building plans were announced in July 1867. The first sermon in the new building was delivered by Reverend George B. Allen on August 8, 1868. The first rector was William Maxwell Reilly. The church was consecrated by Bishop Ozi William Whitaker on June 19, 1870.</p><br>
<p>Work to expand the church building by 24 ft commenced in October 1873 and was completed in April 1874. A library was added in 1875. The stained glass window in front of the belfry, a gift from England, was shipped by sea around Cape Horn to San Francisco, from which it was delivered by wagon to Carson City. The original church bell became badly cracked by 1881, and was recast by the local machine shop of the Virginia and Truckee Railroad. A private residence to the south of the church as acquired for use as a rectory in 1891, at a cost of $3,500. That same year, the church purchased a pipe organ for $1,700. Other modernizations to the structure include the addition of a kitchen and plumbing as well as electrical lighting in 1919.</p><br>
<h3>Continued use</h3><br>
<p>The church struggled through a collapse of the states mining industry in the late 19th century, as well as temporary closure in 1909. After recovering from a period as an "aided parish" from 1920 to 1957, the building has remained the oldest Episcopal church still in use in the state of Nevada. However, St. Pauls Episcopal Church, organized in September 1861 at Virginia City, Nevada, is the oldest parish in the state. The current minister of St. Peter&#39;s, the Reverend Jeff Paul, has been with the church since September 1995.</p><br>
<h2>Architecture</h2><br>
<p>The identity of the architect is uncertain, but architectural historians believe Henry Marvin Yerington was involved in the design of the church. The Gothic Revival building has been noted for its "architectural sophistication", with elements of Medieval and Classic origin, according to the Carson City Historical Commission. The interior resembles the upside-down hull of a ship. The pews are arranged in three groups of rows, making this the only Episcopal church west of the Mississippi River without a center aisle to the altar. The auditorium measures 70 feet following the 1874 expansion, which added a lecture and sunday school room in two respective wings. The chancel is supported by fluted Roman Corinthian columns. The wood-framed structure sits upon a low foundation made of sandstone ashlar. The steeple is a 1977 replica that was built to replace damage to the building from a fire.</p><br>
<h2>Notable members</h2><br>
<p>James W. Nye – Territorial Governor and USA Senator</p><br>
<p>The Somers Historic District encompasses the historic civic and social center of the town of Somers, Connecticut. It stretches along Main Street, with extensions along Springfield Road and Battle Street, and includes a significant number of vernacular Federal and Greek Revival houses. It includes the town&#39;s early churches, as well as important civic buildings, including the town hall and library. The district was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The area that is now Somers was settled in the 17th century as part of Agawam Plantation (now Springfield, Massachusetts). It was separately incorporated out of Enfield in 1734, with jurisdiction transferred to the Connecticut Colony in 1749. The town has been primarily agricultural for much of its history, although there was a mill village at Somersville. The town flourished first with fruit production and then with tobacco and dairy production in the 19th century. The town center, located at the junction Main Street (Connecticut Route 190) with Springfield and South Streets (Connecticut Route 83), has been its civic and social center throughout. Important buildings, including early churches and schools, were located here, and the placement of similar buildings later has reinforced its importance in this role.</p><br>
<p>The historic district is 100 acre in size, and stretches along Main Street, with extensions along Springfield Road and Battle Street. Most of the buildings are early 19th-century residences, with Federal or Greek Revival style, although there are a selection of later 19th century styles represented as well. The older properties are largely clustered in three places: on Springfield Road near Main, the eastern end of Main Street, and the area just west of where the modern (1950) town hall stands.</p><br>
<p>The Moses Hepburn Rowhouses are a set of four historic rowhouses located at 206 through 212 North Pitt Street between Cameron Street and Hammond Court in the Old Town area of Alexandria, Virginia. They were built about 1850 by Moses Hepburn Sr., a prominent African American businessman and citizen whose son became the first African American town councilor of West Chester, Pennsylvania, in 1882. The houses are two-story, two-bay, side hall plan dwellings. Originally identical, the unit at No. 206 was updated in the late nineteenth century. Each house has had one-story or two-story additions in the rear.</p><br>
<p>The houses were added to the National Register of Historic Places in 2004.</p><br>
<p>The Potts-Fitzhugh House  is a historic house at 607 Oronoco Street, Alexandria, Virginia. It served in the early 1800s as the home of Anne Hill Carter Lee and her family, including Robert E. Lee. It should not be confused with the Lee–Fendall House, which is located at 614 Oronoco Street.</p><br>
<h2>Location and description</h2><br>
<p>The home is in Old Town Alexandria. The intersection of North Washington Street and Oronoco Street in Alexandria is called "Lee Corner" because several properties in the area were owned by the extended Lee family. It is across the street from the Lee–Fendall House, which operates as a museum and garden.</p><br>
<p>The home is in the Federal and Georgian styles; it is made of brick with white trim and sits on a half-acre lot. It has 6 bedrooms and 4.5 bathrooms; it is 8,145 square feet.</p><br>
<p>A historical marker is outside the home.</p><br>
<h2>History</h2><br>
<p>It first owner was John Potts, Jr., who built the house in 1795. The house was built simultaneously with its neighboring structure at 609 Oronoco Street, which became the Hallowell School (Benjamin Hallowell tutored Robert E. Lee as he prepared to enter West Point.) Potts was the Secretary of the Potomac Canal Company under George Washington, the company&#39;s president. Washington dined at the house. The second owner was William Henry Fitzhugh. The Marquis de Lafayette visited in 1824 during his visit to the United States.</p><br>
<p>The home was rented by Fitzhugh to his relative, Henry Lee III ("Light-Horse Harry"), in 1811, at a time when Alexandria was still part of the District of Columbia. After being beaten in the 1812 Baltimore riots, Lee left the country and moved to the Caribbean, leaving his wife Anne Hill Carter Lee to raise their children (including Robert E. Lee). The family lived at the home until 1816, and in 1820, the now-widowed Anne moved back into the home with her children. The house was the boyhood home of Robert E. Lee, who was born at the family&#39;s Stratford Hall plantation in Montross, Virginia, and lived at the Potts-Fitzhugh House until he left for West Point in 1825. Lee later became a Confederate general.</p><br>
<p>Notable later residents includes Royd Sayer, the head of the Bureau of Mines under Franklin D. Roosevelt, and Ada Hitchcock MacLeish, who helped create the United Nations with her husband Archibald MacLeish, a poet and Librarian of Congress.</p><br>
<p>The home is on the USA National Register of Historic Places and the Virginia Landmarks Register. It was added to both registers in 1979.</p><br>
<p>The home was operated as a museum from 1967 to 2000, when the Lee-Jackson Foundation, the nonprofit that operated the museum, sold the site to Mark Kington, a managing director at a venture capital firm, and his wife Ann. It then again became a residence. It was sold again in July 2020 for $4.7 million, and was then offered for sale again in 2021.</p><br>
<p>The home is among the oldest extant homes in Alexandria; a handful of other structures are older, namely the Ramsay House (built 1695–1751) (today, the Alexandria Visitor Center), Carlyle House (1753), Murray-Dick-Fawcett House (1775), Benjamin Dulany House (1784-1785), Colonel Michael Swope House (1784-1786), Fairfax-Moore-Montague House (mid-1780s), and the Lee-Fendall House (1785).</p><br>
<p>The Rosemont Historic District is a historic district in Alexandria, in the USA state of Virginia. It was added to the National Register of Historic Places in 1992.</p><br>
<p>Rosemont is a lushly planted residential area occupying some 84 acres in northwest Alexandria, located adjacent to Alexandria Union Station (ALX). It was developed between 1908 and 1914 by a group of Washington, Alexandria, and Philadelphia investors. The houses were built near the trolley line, allowing residents to work in Washington and live in a suburban neighborhood. Rosemonts more than 450 residences are a prime example of the eras middle-class architecture. House styles range from the American Craftsman, American Foursquare and Arts and Crafts movement to the sedate composition of Colonial Revival homes. The intact original street plan reflects suburban planning ideals of the early 1900s City Beautiful movement.</p><br>
<p>There are 456 contributing buildings, including 336 houses and apartment buildings, one school, one commercial building, and 118 private garages. One contributing structure and one contributing object were previously listed in the National Register as part of the Boundary Markers of the Original District of Columbia Multiple Property Submission: Southwest # 2 Boundary Marker. The historic district is bounded on the southeast by the Richmond, Fredericksburg and Potomac Railroad line.</p><br>
<p>During the 1940s, the Rosemont neighborhood used restrictive covenants to exclude Asian-Americans, African-Americans, and any person of the "Hebrew or Jewish Race."</p><br>
<p>The Provo Tabernacle was a tabernacle of the Church of Jesus Christ of Latter-day Saints  from 1898 to 2010 in downtown Provo, Utah, United States. It was a historic icon of Provo and had been home to many religious and cultural events. All but the outer walls of the building were destroyed by fire in December 2010. The LDS Church preserved the remaining outer walls and built a new foundation and interior as part of the Provo City Center Temple, completed in 2016.</p><br>
<h2>First tabernacle in Provo</h2><br>
<p>Predating the existing Provo tabernacle was a smaller tabernacle (sometimes called the Old Provo Tabernacle) that stood from 1861 to 1919 on the same block and was situated north of the later tabernacle building facing Center Street. Plans for the first tabernacle began as early as 1852, though ground wasn&#39;t broken until 1856. The Walker and Utah wars slowed the progress of building the original structure. Thomas Allman and John Watkins did much of the interior woodwork. The first tabernacle seated 1100, though more could fit with chairs added in the aisles. The single tower, located on the north end above the foyer, stood 80 ft tall and carried a 500 lb bell. For practical purposes, the tabernacle was completed in 1861, although the final plastering and dedication of the building occurred in 1867. There is confusion as to whether Brigham Young or John Taylor dedicated the first tabernacle. At the dedication, Young expressed that the tabernacle was "entirely too small" and should have been completed 12 years previously. The original Provo tabernacle was razed between 1918 and 1919. The foundation for the first tabernacle and nearby baptismal font were unearthed by the Office of Public Archaeology at Brigham Young University (BYU) in 2012. Many coins, trinkets, and other small items that had fallen through the floorboards and remained in the foundation were discovered. The rock foundation was then disassembled and the stones were donated to Provo City.</p><br>
<h2>Construction of the second tabernacle</h2><br>
<p>The construction for the second and larger Provo tabernacle (referred to also as the Utah Stake Tabernacle or the New Provo Tabernacle) started in 1883. It was built by the LDS Church as a meeting place that would hold more people than its predecessor. The new tabernacle, designed by William Folsom could seat 3,000 individuals in its auditorium and balconies. The tabernacle was in use by 1886, when it held the LDS Church&#39;s general conference on April 6. Members of the First Presidency were in hiding at the time on polygamy charges and were not present. The tabernacle was dedicated on April 17, 1898, by George Q. Cannon, with church president Joseph F. Smith also in attendance. The building costs totaled USD$100,000. In 1907, a USD$10,000 organ from the Austin Organ Company was installed, featuring 36 ranks of pipes and 3 manuals. In 1917, the cupola was removed due to the roof sagging.</p><br>
<p>In 1964, the tabernacle was updated, with much of the interior painted white, while the electrical and heating systems were updated.</p><br>
<h2>Cultural impact</h2><br>
<p>The Tabernacle was home to many concerts, LDS stake conferences, and other community events. One of the first big-name entertainers to perform in the tabernacle was Madame Abbie Carrington in 1891. On September 1, 1909, USA President William H. Taft visited and spoke in the tabernacle. In the 1930s, Herald R. Clark, the head of BYU&#39;s College of Commerce, arranged to use the tabernacle for university lyceum programs. One of the most famous lyceums occurred in 1938 when composer Sergei Rachmaninoff performed in concert. Many funerals of prominent residents of Provo were held in the tabernacle, including Abraham O. Smoot, Hugh Nibley, and Truman Madsen. In 1975, the building was added to the USA National Register of Historic Places.</p><br>
<h2>Fire</h2><br>
<p>A four-alarm fire was reported at the tabernacle on December 17, 2010, at 2:43 AM MST. Firefighters arrived to find smoke coming from the building. Firefighters initially believed they could save the roof and thus the outward structural integrity of the building, but around 6:00 AM MST the roof collapsed. The fire continued to burn throughout the day.</p><br>
<p>On March 31, 2011, after 12 weeks of investigation, the Provo City Fire Department released its findings and conclusion regarding the fire. The report states "The most probable proximate cause of the fire at the Tabernacle December 17, 2010 is a heat source, specifically an energized 300-watt lamp, which was placed too close to combustible materials, specifically a wooden speaker enclosure." The lamp had been placed for rehearsals of Lex de Azevedo&#39;s Gloria: The Life of Christ.</p><br>
<p>According to press reports after the fire, a large reproduction painting of Jesus Christ was found to have partially survived. The giclée print of Harry Andersons The Second Coming, originally contained a number of angels as background figures, all of which were burned. In the center of the print, while Jesus hands and one arm were fractionally burned, the remainder of the figure was mostly intact and partially surrounded by a largely unburned area. Photographs taken during the fire response show the print was initially unharmed in its place near the east door of the tabernacle, but though the frame remained intact, the print itself somehow became partially charred during Friday night or Saturday as firefighting efforts continued. The print was removed on the afternoon of 18 December and transported to Salt Lake City for conservation.</p><br>
<p>The fate of a notable original artwork, Minerva Teicherts 1934 painting Restoration of the Melchizedek Priesthood, remained unknown until 22 December. The remnants of the painting were photographed and diagrammed before being turned over to BYU Risk Management officials for transportation to the property owners for preservation. Fire crews stated that, had they been aware of the significance of the painting, they would have made efforts to recover it prior to the collapse of the buildings roof. The painting, valued at USD $1.5 million, represented 10% of the building&#39;s total estimated loss in the fire.</p><br>
<p>Other major losses included the tabernacle Austin pipe organ (the value of which de Azevedo estimated at over USD $1 million), a rented USD $100,000 Fazioli grand piano, a USD $20,000 Lyon & Healy concert grand harp, and USD $2 million in KBYU videography equipment in a single production truck.</p><br>
<h2>Restoration</h2><br>
<p>LDS Church president Thomas S. Monson announced in general conference on October 1, 2011, that the Provo Tabernacle would be rebuilt to serve as a second temple in Provo, making Provo the second city in the LDS Church to have two temples, following South Jordan, Utah, which has the Jordan River and Oquirrh Mountain temples. It is the second tabernacle in Utah to be converted to a temple, following the Vernal Utah Temple. The restoration included "a complete restoration of the original exterior," and the artist&#39;s rendition in the press release included the central tower from the original building. As part of construction, the outer wall was placed on scaffolding for the excavation of two basement levels beneath it.</p><br>
<p>A public open house was held from Friday, January 15, 2016, through Saturday, March 5, 2016, excluding Sundays, and drew more than 800,000 visitors. The temple was dedicated on Sunday, March 20, 2016.</p><br>
<p>The Sparre Barn is a round barn in the city of Nowthen, Minnesota, United States. The barn is located on the west shore of Bass Lake. The basement is constructed of red tile, and the upper level of the barn is sheathed with shiplap siding. The interior space contains a circle of stanchions for feeding cattle, while the upper level has storage for feed and equipment.</p><br>
<p>The barn was built between 1917 and 1924. The architect, Ernest Benjamin Marsh who along with his father Fredrick L. Marsh, was locally known for other structures such as neoclassical and Georgian Revival residences. This round barn was part of a trend, which started in the late 19th century, of round barns whose plans were circulated as an advance in "scientific agriculture." The barn was used as a dairy barn from 1924 through the 1940s. As Anoka County experienced more suburban development, the majority of the county&#39;s dairy barns were demolished. The Sparre Barn was the best-preserved dairy barn in the county, as of the time of nomination in 1979.</p><br>
<p>The Anoka Post Office is a former post office building in Anoka, Minnesota, United States. It was built in 1916 in a Colonial Revival design credited to architect James Knox Taylor. It remained in service as a USA Post Office until 1977, after which it has housed a variety of commercial tenants. The building was listed on the National Register of Historic Places in 1979 for its local significance in the theme of architecture. It was nominated for its status as Anoka&#39;s oldest surviving public building and most architecturally significant non-residential property.</p><br>
<h2>Description</h2><br>
<p>The Anoka Post Office exhibits features of Colonial Revival architecture such as its rectangular plan, a brick exterior, symmetrical façades, a hip roof, and a dentillated cornice. The doorway has a central pediment and is set in the middle of three arched openings topped with keystones. Another key element of the style is the fanlight over the main entrance.</p><br>
<h2>History</h2><br>
<p>In the early 20th century, Anoka&#39;s former postmaster Irving Caswell served as editor of the Anoka Herald newspaper and James Knox Taylor had recently returned to private practice after serving as head of the Office of the Supervising Architect for the USA Treasury. In 1911 Casswell encouraged Taylor to launch a series of newspaper articles lobbying for the construction of a post office in Anoka. Taylor prevailed, and construction of the post office began in 1916.</p><br>
<p>During its service as Anoka&#39;s post office, the building reflected the steady growth of the community. By 1925, the number of addresses receiving deliveries inside the city surpassed 600. Consequently, the postal service added a second mail carrier to the staff and divided the delivery into two routes. They measured growth by the number of transactions logged.</p><br>
<p>In 1933 the Anoka Post Office handled $23,193.80 in receipts. Five years later that number increased to $60,000 and the facility employed eighteen workers. By 1954 the receipts totaled $103,055.94 and the facility&#39;s employment had nearly quadrupled.</p><br>
<p>The post office weathered more than just growth and expansion. In 1939 it was one of the few public buildings to withstand a devastating tornado that ripped through the area and served as gathering place for survivors of the destruction.</p><br>
<p>During World War II the office achieved a "first class" rating. The distinction made it a choice location to purchase not only postage stamps but also war bonds to support the USA military&#39;s efforts overseas. The facility also served as a place for those of eligible age to register for the draft.</p><br>
<p>Post-war growth and the demands of a vibrant community led to the construction of a new postal facility on Seventh Avenue. On October 22, 1977, the old Anoka Post Office delivered its last parcel of mail.</p><br>
<h2>Later use</h2><br>
<p>In 1978 the federal government put the site up for sale, and a year later it was listed on the National Register of Historic Places. The initial price tag and the costs associated with renovating and repurposing the building, however, prevented many, including the Anoka County Historical Society, from purchasing it. Counselor Realty finally stepped forward with a bid and a plan to restore much of the old building to its original grandeur. The greatest obstacle remained the building&#39;s old furnace, which required dismantling and updating from a coal heating system to a gas one. Over the next two years, the company spent $356,000 on construction and restoration.</p><br>
<p>Throughout the 1990s the building served as a multipurpose location. In addition to the real estate office, several businesses and firms cycled through the historic site, including PACT Charter School, a Christian ministry center, a gym, and a coin shop.</p><br>
<p>By 2000 the old post office had evolved once more into a retail space, creating a need for further updates to make the property attractive to shoppers. Interior fountains, along with mural paintings, were installed while the exterior received a flower garden that enhanced the landscape surrounding the building. Over the next fifteen years, the post office housed a tea room, a bridal shop, antique dealers, and a massage parlor. Throughout that time, Counselor Realty remained the one constant fixture.</p><br>
<p>Anokas Post Office building made national news in September 2004, when President George W. Bush visited the site while campaigning for re-election. Bush spent twenty minutes signing autographs, visiting with the public, and posing for photos. Despite his presidential standing, he discovered his order for an egg salad sandwich at the sites delicatessen could not be fulfilled. Instead, he opted for the special of the day and appeared content.</p><br>
<p>In 2002 the United States Postal Service officially recognized Anoka as a Sesquicentennial station. It produced a stamp featuring a design of the historic post office which became a coveted souvenir. Anoka County&#39;s 150th anniversary, in 2007, created another opportunity for a special event and in 2016 yet a third as the building itself celebrated a centennial anniversary.</p><br>
<p>As of 2018 the building houses Emerald Isle Antiques & Gifts.</p><br>
<p>Minterburn Mill is a former textile mill complex located at 215 East Main Street, in the Rockville village of Vernon, Connecticut. Developed beginning in 1834, it was the first place in Rockville to be developed industrially, and the surviving buildings provide a view of evolutionary changes in mill architecture. The mill was listed on the National Register of Historic Places in 1984. It was converted into an apartment complex in 2016 by the state.</p><br>
<h2>Description and history</h2><br>
<p>The Minterburn Mill complex is located in the northeast corner of Vernon, roughly at the point where the Hockanum River, the historic source of the mill&#39;s power, enters the town. It is a complex of four buildings and a concrete dam, built between 1834 and 1906. The main building, originally the Rockville Warp Building, is a large stone structure, 3-1/2 stories in height, which was built in 1834, and is a well-preserved Greek Revival structure. Building 2, the Minterburn Mill, is a four-story structure built in 1906 that is one of the earliest uses of reinforced concrete in an industrial setting.</p><br>
<p>The sites industrial history dates to at least the 18th century, when an iron works and a gin distillery were documented at the site. In the late 18th century George Hall established a fulling mill. Rockvilles first textile mill was built downstream in 1821, and its proprietors purchased Halls water privilege and land in 1834. The Rockville Warp Building dates to this time; the proprietors also built a stone dam, which was later replaced by the present concrete dam. The mill produced cotton warps used for yarn and satinet production in a number of Rockvilles mills. In 1906, the plant was purchased by the Minterburn Mills, which built the new dam and Building 2. That company produced woolen and worsted fabrics until it closed in 1952. The plant was then bought by Roosevelt Mills, which produced knitwear at least into the 1970s.</p><br>
<p>The Banfill Tavern, also known as the Locke House, is a historic building in Fridley, Minnesota, United States. It was built in 1847 on the east bank of the Mississippi River and has served variously as an inn, a logging camp office, a private home, a dairy farm, a post office, and a summer home. It is now owned by Anoka County and, until April 2022, housed the non-profit Banfill-Locke Center for the Arts . The building stands within Manomin County Park, and the art center is a partner site of the Mississippi National River and Recreation Area.</p><br>
<p>The Banfill Tavern was listed on the National Register of Historic Places in 1976 for its local significance in the theme of architecture. It was nominated for being one of the earliest and best preserved frame Greek Revival houses in Anoka County.</p><br>
<h2>Description</h2><br>
<p>The Banfill Tavern is located on a wooded site near the mouth of Rice Creek. Its floor plan follows an "L" shape. It exhibits Greek Revival style through such architectural features as the six-over-six pane double-hung windows, a tripartite formal entry consisting of a central door with sidelights and a transom, broken-pedimented gables, corner pilasters, and slender brick chimneys.</p><br>
<p>As of 2017, both the interior and exterior of the home remain essentially unaltered. The interior consists of a large communal room on the first floor that contains an entryway, dining room, living room, kitchen, and service room. Seven interconnected rooms make up the second floor. The entire structure lacks any form of modern central heating. Instead stoves feeding into three chimneys provide warmth.</p><br>
<h2>History</h2><br>
<p>Built in 1847 by John Banfill, the building initially served as an inn and a base for logging operations northwest of Saint Anthony Falls. Due to its proximity to Minnesota&#39;s first Territorial Road and the Red River Trails, the inn became a popular rest stop for travelers. John Banfill was elected to the Minnesota State Senate for the 1st Minnesota Legislature in 1848.</p><br>
<p>An account provided by E. S. Seymour, a visitor to the tavern in 1849, reveals that in its first years of operation the popular stop lacked adequate stable space. Consequently, many travelers horses and mules remained in the open during the winter of 1848–1849. By the time of Seymours visit, Banfill had expanded his stall space to accommodate forty horses and mules. Another visitor complimented Banfill on his "good old sparkling Madeira". Travelers filled the Banfill house every night on their way to destinations along the road, including Fort Gaines (renamed Fort Ripley in 1850), the Chippewa Agency, and trading posts, in addition to private homes.</p><br>
<p>Between 1857 and 1875 it is uncertain who owned the property. In 1876, however, William F. Brown married Laura M. Locke and purchased it. The couple maintained a dairy herd and lived in the house while Brown also worked as postmaster until his death in 1887. His wife and children lived in the house until 1912, when Laura sold it to her brother, Cassius M. Locke.</p><br>
<p>Locke and his wife Roberta Pratt Locke raised registered Jersey cattle on the farm and used it as a summer home. They made a few additions to the house, including front and rear porches, kitchen and bathroom electrical service, a pump, a water closet, and a sewage disposal system. Most of these improvements took place in the 1930s.</p><br>
<p>Cassius Locke died in 1947 and Roberta in 1959. The property remained unoccupied until 1967, when Anoka County purchased it. In 1988 an art center founded in 1979 forged a public–private partnership with the county to move into Banfill Tavern after outgrowing its original site. The Banfill-Locke Center for the Arts uses the facility in support of established and developing artists by hosting speakers, classes, and residents in addition to gallery space.</p><br>
<p>The Jackson Hotel is an historic building in Anoka, Minnesota, United States.</p><br>
<p>The hotel was built in 1884 during the rebuilding of downtown Anoka after a fire. The hotel operated from 1884 through 1975 and played a central role in Anoka&#39;s commerce. It was located at the hub of water, rail, and overland trade routes, and served a variety of travelers.</p><br>
<p>The Jackson Hotel first served farmers and loggers who brought their goods to Anoka for sale. It later served traveling businessmen, politicians, photographers, lecturers, entertainers, and tourists. Traveling salesmen also used the hotel&#39;s sample room as a showroom and office.</p><br>
<p>The hotel had a reputation as the leading hotel in Anoka and one of the best hotels in Minnesota.</p><br>
<p>The Jackson Hotel building was built in five sections at different times. The two-story center section, built in 1884, bears the name of its builder, C.G. Jackson. In 1885 a two-story brick addition was built to the rear of the center section. In 1888 a large three-story brick addition was built on the west side, and another three-story addition was built on the east side several years later. All three sections facing Jackson Street are built of red brick.</p><br>
<p>The Elias Sprague House is a historic house at 2187 South Street in Coventry, Connecticut. Built in 1821, it is a well-preserved example of a vernacular early 19th-century Connecticut home. Now privately owned, the house for a time housed the local historical society. The house was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>The Elias Sprague House is located in a rural setting in southwestern Coventry, on the south side of South Street a short way east of Nathan Hale State Forest. It is a -story wood frame Cape style house, with a gabled roof, central chimney, and clapboarded exterior. Its main facade is five bays wide, with a center entrance. The interior follows a typical central chimney plan, with a narrow entrance vestibule, parlors on either side of the chimney, and the kitchen behind it. Original period features include wooden paneling and trim, and several doors with original strap hinges.</p><br>
<p>The house was built in 1821, and is a well-preserved example of vernacular country architecture of the period. It was owned during the early 20th century by George Dudley Seymour, a noted antiquarian. The house was later acquired from the town by the Coventry Historical Society, which restored the house in 1964-1965 and operated it as a historic house site.</p><br>
<p>In 2008, the historical society placed the house on the market, having outgrown its use as a meeting space, a move that elicited some controversy. The town had given it the property with the proviso that it operate it as a museum, and arguments were made that the historical society was therefore not permitted to sell it. The State Property Review Board unanimously approved the sale of the property for residential use in 2011. The restored and expanded property is now privately owned.</p><br>
<p>Ironton Sintering Plant Complex is a group of buildings north of Crosby, Minnesota, United States, listed on the National Register of Historic Places. The plant was built in 1924 by the Hanna Mining Company to sintering iron ore mined in the Cuyuna Range. The mining industry, after 1900, was seeking to exploit lower-grade iron deposits to meet the increasing demand of the iron and steel industry. To bring the ore to customers&#39; specifications, the mines sought to "beneficiate" the ore through sintering, crushing, and washing. The sintering process was unique to the Cuyuna Range and made it possible to economically support mining.</p><br>
<p>The plant sits on the west shore of Portsmouth Mine Pit Lake, formerly an open mine pit. The plant contained eight structures at the time of nomination. The sintering structure and trestle consists of a tall, concrete structure, adjacent to a trestle that supported rail cars that were unloaded into the sintering chamber. The machine shops building was located immediately east of the sintering structure and trestle, and is built of steel with corrugated metal sheathing. Other buildings include a warehouse/shops building, a garage, an electric transformer building, an oil tank, and a dryhouse.</p><br>
<p>The Wilford H. Fawcett House is a house in Breezy Point, Minnesota, United States, listed on the National Register of Historic Places. Wilford H. Fawcett, also known as "Captain Billy", started the book "Captain Billy&#39;s Whiz Bang" as a joke book for soldiers during World War I. He formed Fawcett Publications in 1919 in Robbinsdale, Minnesota. In 1920, he bought a tract of land where the present-day Breezy Point Resort is located, and he began building cottages and a large log lodge. The lodge has since burnt down. He built the Fawcett House as a private residence within the resort property. Fawcett hired the Minneapolis architects of Magney and Tusler and commissioned the design in the Swiss Chateau style. The rustic log style was a bit ironic, since the local logging industry had declined before the resort was built.</p><br>
<p>The house is located on a point on Breezy Point Bay on Big Pelican Lake. It has a "Y" shape. The center of the "Y" has a circular staircase leading to a "reading balcony" in the main hall. The building is constructed of peeled and trimmed Norway pine logs, with brown stain on the exterior and varnished on the interior. The center hall contains the "reading balcony", a large stone masonry fireplace, exposed logs for the rafter beams, and wrought iron fixtures. The remainder of the house has room for about 30 guests. In 1979, a fire damaged several rooms in the northwest wing, but the exterior was unharmed. While the interior has been modernized somewhat, it remains sympathetic to the original.</p><br>
<p>The Isabella Ranger Station is a complex of 21 buildings in Stony River Township, Minnesota, United States, near the town of Isabella. It is located on Minnesota State Highway 1 about one mile east of Isabella. The complex is listed on the National Register of Historic Places for its association with New Deal federal relief construction.</p><br>
<p>Of the 21 buildings, 11 are listed as contributing properties to the district. These were built by the Civilian Conservation Corps in the mid-1930s and were built of horizontally-laid wood logs, mostly aspen and pine. These buildings consist of dwellings, an office building, storage facilities, and warehouses. Some other buildings on the site were constructed after the CCC built the original complex, and are not considered contributing properties.</p><br>
<p>The ranger station is nationally significant for its use as an administration center that supported multiple federal land management functions within the Isabella Ranger District of the Superior National Forest. The rustic architecture is also significant because it was common to the design of land management administrative buildings within this time period. The historic context of the Superior National Forest began with a recommendation by General C.C. Andrews that all of the public land within Cook County, Minnesota and Lake County, Minnesota, totaling around 500,000 acre, should be preserved as a forest reserve. On February 13, 1909, President Theodore Roosevelt established the Superior National Forest with an area of 1,018,638 acre. Additional proclamations raised the size of the forest to 2,173,210 acre. During the Great Depression of the 1930s, the Civilian Conservation Corps was formed to provide relief for unemployment, and also to stimulate local economies through federally funded, grassroots development projects. The Isabella guard station served as a facility for crews that were working in an often roadless area within the Superior National Forest. While crews and their assignments changed frequently, CCC Company 701, based in Ely, Minnesota, and Company 3703, based in Baptism River, Minnesota were confirmed to be involved in the construction of this station.</p><br>
<p>Other surviving guard stations include the East Bearskin Lake Guard Station, near Gunflint; Crooked Lake Guard Station, near LaCroix; Halfway/North Central Experiment Station; Kekekabic Lake Guard Station; Lac LaCroix Guard Station; Sawbill Lake Guard Station; South Kawishiwi River Pavilion; and Tofte Ranger Station.</p><br>
