<p>The J. C. Penney House in Kemmerer, Wyoming, was the home of James Cash Penney, the founder of the J. C. Penney department stores, during the 1904-1909 period that he developed his formula for a successful dry goods store. Penney and wife moved to Kemmerer in 1902 and lived in the garret of a small house. With a child, it was too small, and Penney bought this two-storey house in 1904. It was small, too: about 25 ft wide and sloping down to the back, going about 30 ft deep.</p><br>
<p>During this period he was operating the "mother store" of the future J.C. Penney empire.</p><br>
<p>It is now operated as a house museum at least during the summer.</p><br>
<p>It was listed on the National Register of Historic Places in 1976, and is a contributing property to the J. C. Penney Historic District, a National Historic Landmark.</p><br>
<h2>Further reading</h2><br>
<p>Armstrong Row is a series of 11 brick row houses in Maysville, Kentucky built between 1820 and 1833 by John Armstrong, a local industrialist, entrepreneur and real estate developer. Vacant lots were purchased by an Armstrong owned company that operated the Maysville cotton mill. The company continued to operate as the January & Wood Company until 2003. Armstrong also developed a number of other row house projects in Maysville including the Federal style row houses on Limestone Street, Mechanic&#39;s Row, and the "Allen Block".</p><br>
<p>The Armstrong Row houses are two story brick with gable roofs and stepped parapet walls in both Federal and Greek Revival style. The facade is Flemish bond and sides are common bond. Although similar in construction, the gable roofs vary in pitch suggesting the buildings were constructed either by more than one builder or over a period of time.</p><br>
<p>John Armstrong was born in Ireland in 1779 and emigrated to America with his family circa 1790. He bought his first Maysville property in 1800 from Jacob Boone, a first cousin of Daniel Boone. He later operated several wholesale houses on front street becoming wealthy in the process.</p><br>
<p>Armstrong was instrumental in the early development of the city and was the first to sign a petition to move the county seat from Washington to Maysville. He was a member of the company responsible for building the Maysville and Lexington Turnpike, he established the first bank in Kentucky in Maysville in 1818, and was a member of the committee that welcomed General Lafayette to Maysville in an 1825 visit.</p><br>
<p>Rye Town Park-Bathing Complex and Oakland Beach is a historic park and public beach located on Long Island Sound at Rye City, Westchester County, New York. It is located next to the separately listed Playland Amusement Park. It was designed in 1909 by architects Upjohn & Conable  and landscape architects Brinley & Holbrook. There are six historically significant buildings and structures; they are the Mission Revival style Bathing Complex. This includes the Bathing Pavilion and two shelters, a restaurant , the Spring House, and the Women&#39;s Bath House .</p><br>
<p>It was added to the National Register of Historic Places in 2003.</p><br>
<p>The Old Croton Dam is a historic dam located in Yorktown, Westchester County, New York, now lying submerged beneath the waters of the New Croton Reservoir. The dam was built on the Croton River between 1837 and 1842, and was the first substantial masonry dam in the United States. Construction was delayed by a January 1841 storm that washed away most of the dam, with heavy downstream damage and loss of life.</p><br>
<h2>History</h2><br>
<p>The gravity dam was constructed with a rubble core and granite ashlar foundation. It was 57 ft high and 670 ft long. The dam impounded water from the Croton River watershed, forming a reservoir several miles long to the northeast along the path of the Croton River. Water flowed to New York City through the Old Croton Aqueduct, which started just upstream of the dam, carrying water down the Croton River valley toward the Hudson River, then roughly following the Hudson south.</p><br>
<p>The dam and aqueduct constituted a major part of the original New York City water supply system. The New Croton Aqueduct opened in 1890, augmenting the original system until supply from the Delaware and Catskill aqueducts was sufficient to take it offline in 1955. When the New Croton Dam was completed in 1906, the old dam was submerged to a depth of 34 ft.</p><br>
<p>The dam site was added to the National Register of Historic Places in 1973.</p><br>
<p>John Copcutt Mansion, also known as Saint Casimir&#39;s Rectory, is a historic home located at Yonkers, Westchester County, New York. It was built in 1854 and is cruciform in plan, two and one half stories high in an elaborate Italianate style. It is five bays wide, divided into three sections by a central, projecting three story tower. It was acquired by St. Casimir Roman Catholic Parish in Yonkers in 1900 and used as a convent and, after 1955, a rectory. John Copcutt  was a prominent industrialist and contributed significantly to the development of Yonkers. His daughter married Dr. Charles Leale  in the house.</p><br>
<p>It was added to the National Register of Historic Places in 1985.</p><br>
<p>For more information on the life of John Copcutt see https://www.findagrave.com/memorial/17652600/john-benham-copcutt</p><br>
<p>Ethan Flagg House-Blessed Sacrament Monastery is a historic home and monastery located at Yonkers, Westchester County, New York. It was built in 1855, with additions made in 1922 and in 1954. The house is a two-story, five-bay wide brick building on a rock faced, random ashlar base in the Italianate style. It has a prominent square cupola and a one-story, wooden porch set on brick piers across the front facade. The four story, brick monastery building was built in 1922. It has a two-story rear wing with conservatory and includes a former chapel. It features an octagonal cupola and has some cast stone and stucco trim. The 1954 addition connects the house and monastery building. The original house was built by industrialist Ethan Flagg , a leading citizen of Yonkers. The property was a residence until its purchase in 1915 by the Sacramentine order of nuns. The academy closed in 1975 and the nuns relocated to Warwick, New York in 1991. In 1996, the property was sold for use as a medical and social service center for people with HIV run by the Greyston Foundation.</p><br>
<p>It was added to the National Register of Historic Places in 1998.</p><br>
<p>Eleazer Hart House is a historic home located at 243 Bronxville Road in the Cedar Knolls section of Southeast Yonkers, Westchester County, New York. It was built in 1788 and is a Federal period residence. The building incorporates an earlier tenant farmhouse dating from the Philipse Manor era  and most likely dates to about 1760. The older house is a -story, three-by-two-bay building on a stone foundation. The main house is five bays wide on the first floor and three bays on the second. It has a gable roof and is clad in wide shingles, painted white. Also on the property is a -story, gable-roofed barn.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>The W. B. Thompson Mansion, also known as Alder Manor, is a historic home located on North Broadway  in the Greystone section of Yonkers, New York, United States. It is an early 20th-century mansion designed by Carrère and Hastings in the Renaissance Revival architectural style. In 1982, it was listed on the National Register of Historic Places.</p><br>
<p>It was built by William Boyce Thompson, a mining tycoon and financier, as his weekend home. At the turn of the century, large riverside estates characterized much of Yonkers; today the Thompson Mansion is one of the few to have survived the city&#39;s 20th-century urbanization. The Thompson family lived there until the mid-20th century; afterwards it was willed to the Roman Catholic Archdiocese of New York and became Mary Elizabeth Seton High School, the first Catholic school in Yonkers.</p><br>
<p>After ten years as a high school, it was upgraded to a junior college. A few years after merging with Iona College, the campus was closed. While the other buildings on the property were repurposed, the mansion fell into neglect and was looted until Tara Circle, an Irish American cultural organization, bought it from the city. To raise money for its restoration, Tara Circle holds occasional events there and rents it out for weddings and filming for movies such as Mona Lisa Smile and A Beautiful Mind.</p><br>
<h2>Building and grounds</h2><br>
<p>The mansion is located in the northwestern corner of Yonkers, on bluffs 300 ft above the Hudson River a thousand feet (1,000 ft) to the west. It is on the west side of North Broadway, set back 600 ft from the road atop a slight rise, at the end of a curving driveway flanked by shrubs and small trees that ends in a paved forecourt with a stone balustrade. On the opposite side of North Broadway is the South Westchester Executive Park with taller modern buildings. To the north is the 39 acre Lenoir Nature Preserve, a Westchester County park. St. Johns Riverside Hospital is on the south. The trailway along the Old Croton Aqueduct, a National Historic Landmark, passes through the woods next to the preserve on the steep slopes leading westward down to the river. At the river itself are some modern high-rise apartment buildings around the Greystone station on Metro-North Railroads Hudson Line.</p><br>
<p>Around the house is extensive landscaping. There are terraces and sculpture gardens to the south. It is complemented on the north by a walled classically inspired garden with many authentic Roman artifacts. At its west end is a replica of the Theatre of Dionysus in Athens.</p><br>
<h3>Exterior</h3><br>
<p>The main building is a 2½-story seven-bay limestone structure on a full basement. Its main block is topped by a tiled hipped roof pierced by chimneys and alternating hipped and gabled dormer windows set with one-over-one double-hung sash. A small two-bay wing projects from the south. On the north end is a two-story service wing, itself with two small wings.</p><br>
<p>A brick terrace continuing the stone balustrade from the forecourt surrounds the building; there are loggias at the north and south ends. The north facade incorporates the facade of an actual 16th-century Italian church. All bays below the roof on the main block are set with multi-pane casement windows; the service wing&#39;s windows are six-over-six double-hung sash.</p><br>
<p>In the center of the west (rear) face is an elaborate garden entrance. At the first story three French doors are recessed in a Palladian arcade. Above them is an entablature and central arch flanked by oval windows and supported by a combination of pilasters and freestanding columns.</p><br>
<h3>Interior</h3><br>
<p>On the opposite side, a broken pediment above the segmental arched main entrance is supported by engaged columns. It has other classical detailing. Doors of glass and wrought iron open into a vestibule with marble floors and terra cotta bas-reliefs. The marble floors continue into the entrance hall, with a plaster ceiling designed by Thomas Hastings. All other floors are wooden parquet, with the exception of tile in the kitchen. Some of the doors retain their original Gorham knobs. Many of the original artwork and finishes also remain.</p><br>
<p>The drawing room has walnut panelling and bolection molding with carved birds, flowers and swags around the fireplace. Above it is a rare English-style trompe-l&#39;œil ceiling. An Italian-style coffered ceiling is in the music room, complementing its imported 15th-century Italian stone fireplace. The dining room has French-style coffering; both it and the library have oak paneling and classically inspired carved white marble mantelpieces.</p><br>
<p>The stairwell is three stories high. The main stair has a carved iron and wood rail, and the walls feature pilasters, entablatures and railings, all forming low colonnades at each level. At the top organ pipes of a Welte Philharmonic Organ are arranged in the shape of a window frame.</p><br>
<p>What appears to be paneling along the walls of the upper stories is actually a line of closets. The master bedroom has another imported European fireplace; in the other bedrooms are more classically inspired carved ones. At the northern end of the second floor is a tiled indoor pool with a stained glass window looking out on the garden. The basement den has been extensively remodeled, but it still has an Asian design and a Chinese decorative wood carving along the stair leading to it.</p><br>
<h2>History</h2><br>
<p>After success in the mining industry in his native Montana, William Boyce Thompson came to New York in 1895. He continued to be involved in mining as an investor on Wall Street, and made more money. A decade later, he began acquiring the 22 acre on which he built his mansion. Originally called Alder Manor after Alder Gulch, his hometown, since the cliffs of the Palisades across the river reminded him of the scenery there, it was intended to be a weekend residence.</p><br>
<p>He commissioned Carrère and Hastings to design the house. As a lover of plants and gardens, Thompson had supervised the planning and planting of the landscapes around the house, and retained considerable influence over it. While the house has many similarities with the Frick Mansion in New York City, which the firm was designing and building at the same time, the Thompson Mansion has some touches that reflect his personal preferences, such as the colored marble in some columns, imported fireplaces, and classical detailing in the gardens.</p><br>
<p>Thompson lived in the house until his death in 1930. He left $20 million ($ in ) in trust to his wife and daughter on condition that they continue to live at Alder Manor. Gertrude Thompson lived there for another 20 years. After her 1950 death, she willed it to the Archdiocese of New York, which decided to use it as a Catholic high school. The Sisters of Charity ran it as Mary Elizabeth Seton High School, Yonkers&#39; first Catholic secondary school. In 1960 they upgraded it to a junior college.</p><br>
<p>At that time some modifications were made. The addition of a chapel and a fire escape were done discreetly, with great sensitivity to the architecture. On the inside, however, some rooms were modified extensively to serve as bedrooms and offices. Among these were the basement den, where Thompson had displayed his gem collection. Its Chinese-themed decor was greatly minimized, and only the woodwork remains today. The college also built a dorm to the west, blocking the view of the Hudson the mansion had once enjoyed.</p><br>
<p>In 1989, Elizabeth Seton College merged with Iona College. For a while Iona used both campuses, due to space limitations across the county at its New Rochelle campus. Six years after the merger, in 1995, Iona closed the campus and consolidated operations in New Rochelle. The property began to be subdivided and sold. It was attractive to developers since it was one of the few large mostly unbuilt parcels in Yonkers with river views. The city bought 14 acre including the mansion and other buildings, the latter of which it used as an elementary school. A developer bought the remaining land to the south and built an assisted living center.</p><br>
<p>The mansion remained unused and vacant. Signs of neglect became apparent, and it became a target for vandals and thieves. Among the items stolen were the brass nameplate at the main entrance, a chandelier and a Tiffany glass window. The city put out a request for proposals from interested parties.</p><br>
<p>Two years later, in 1997, it accepted a proposal from Tara Circle, an Irish American cultural organization, which had been looking for a permanent home for ten years. On June 16 of that year, it held its first event, a Bloomsday celebration. The mansion cost the group $1.2 million to acquire, and it was estimated that fully restoring it would take another $2 million.</p><br>
<p>Throughout the 2000s Tara Circle made limited use of the building due to its condition. It offers classes in Irish music and culture, and has hosted a concert by Ronan Tynan. and film shoots. It was first used in that latter capacity as the mansion where Russell Crowe as mathematician John Nash drops mail off there in the 2001 film A Beautiful Mind. It was also used for scenes in The Royal Tenenbaums and Mona Lisa Smile.</p><br>
<p>Glenview Mansion, listed on the National Register of Historic Places as the John Bond Trevor House, is located on Warburton Avenue in Yonkers, New York, United States. It is a stone house erected during the 1870s in an eclectic Late Victorian architectural style from a design by Charles W. Clinton. It was listed on the Register in 1972.</p><br>
<p>It is one of the few remaining buildings in Yonkers made of locally quarried greystone.</p><br>
<p>Financier John Bond Trevor built the house as a small country estate that was nevertheless close enough to New York City to allow him to commute to his job in the city by rail. At the time he and his family moved in, it was surrounded by similar houses. By the time Trevor&#39;s second wife died in the early 1920s, Glenview had become the center of a suburban neighborhood. The design of the house and the way the Trevors lived there epitomizes the transition between country living and the modern suburb.</p><br>
<p>In 1929, after the Trevor family had moved out, the house became home to the Hudson River Museum for the next 45 years. The museum has since expanded but the house remains part of the complex. Its rooms have been refurbished in the style of the period, and are open to visitors. Renovations in the early 21st century have better integrated the house with the rest of the museum.</p><br>
<h2>Building</h2><br>
<p>The house itself is a 2½-story building, four bays on the south and east elevation, five on the west and three on the north. Its load-bearing walls are built of locally quarried greystone, laid in rough-hewn blocks, with Ohio sandstone ornamentation. Four projections supplement its rectangular form, the most prominent being an 84 ft rectangular tower on the south (front) facade topped by a steep pyramidal roof. It is echoed by a smaller conical-roofed tower on the west face. There is a small front porch on the south and a rear stoop. Bay windows are on the south and west.</p><br>
<p>Atop is a hipped roof surfaced in composition shingles. At various locations it is pierced by ten dormer windows, some of them nested within gables. Several small brick chimneys, no longer functional, pierce the flat top of the roof near the northwest corner.</p><br>
<p>On the facades, sandstone courses run along the lintel and sill lines. The first story windows are topped with ornate lintels; small rosettes are in the stonework above the second story&#39;s sandstone course. At the roofline is a broad overhanging cornice with dentils and voluted brackets. Above the cornice on the south facade bay window is a balcony with wooden balustrade, echoed on the tower. The front porch has a hipped roof supported by two turned wooden columns with balustrades between themselves and the front wall.</p><br>
<p>The main hall features carved ebony columns in the Eastlake style with a floor of alternating majolica and encaustic tiles. They are complemented by stenciled ceilings, elaborate wooden door enframements and paintings and sculptures. In the sitting room the woodwork includes inlaid sunflower detailing and birdseye maple cabinetry. The parlors have Meissen china figure groups and an Italian marble statue of Faust and Marguerite.</p><br>
<h2>History</h2><br>
<p>There are three eras in Glenviews history: the time leading up to its construction, the Trevors residence, and the years since then that it has been used as a museum.</p><br>
<h3>1861–1876: Background and construction</h3><br>
<p>Philadelphia native John Bond Trevor, son of former Pennsylvania State Treasurer John B. Trevor, came to work on Wall Street in the 1850s. His career as a banker and stockbroker went well enough for him to move to Yonkers when he married in 1861. At the time the community was becoming attractive as a residence for wealthy financiers who wanted to live on Hudson Valley estates yet remain within commuting distance of their jobs in Manhattan via rail—the beginnings of suburbanization.</p><br>
<p>Upon first moving to Northwest Yonkers, the Trevors lived at a house on the northwest corner of Glenwood and Ravine avenues, near where the Glenwood train station is today. James B. Colgate, Trevor&#39;s business partner, owned the land. There were few other neighbors, as most of the land between Warburton and North Broadway was open and undeveloped, making it attractive to Trevor and businessmen like him.</p><br>
<p>In 1867 his wife died. After remarrying, he bought the 23 acres to the north for $150,000 ($ in modern dollars) and commissioned Charles W. Clinton, an architect with offices near his in what is today Lower Manhattan, to design a house. handled the framing, plumbing and painting. The carpet came from the nearby Alexander Smith Carpet Mills. The house was finished in 1877.</p><br>
<p>Before building the house, Trevor, who had acquired an interest in horticulture upon his move to Yonkers, developed greenhouses and stables. His choice of land differs from that of most estates in Yonkers at the time, such as his friends the Shonnards to the north, which were built higher up the hill with all the land straight down to the river, rather than at its edge, where the railroad cut off direct river access and passing trains occasionally spoiled the view and created a fire hazard. Trevors theoretical second parcel just offshore could have been developed, but again the railroads presence made that unlikely. He may have preferred to remain near his partner, the station and the facilities he had already built. Indeed, he put the property&#39;s gates on Ravine to the south, rather than Warburton, which was closest to the house but unpaved, since Ravine was a short distance from the station.</p><br>
<p>Trevor had been active in the community, serving as a presidential elector Therefore, the house attracted much notice in the local newspapers, as one of the first large houses built in the area since the Panic of 1873 had depressed the economy. It was called a "showplace" for Yonkers,</p><br>
<h3>1876–1922: As residence</h3><br>
<p>Throughout those years, Trevor lived the life of a gentleman farmer, commuting to Wall Street daily. He was close friends with neighbors like Samuel J. Tilden, formerly governor of New York and Democratic candidate for president in the controversial 1876 election, lawyer William Allen Butler and rail magnate Colgate Hoyt. Guests at Glenview included Civil War generals Nelson Miles and William Tecumseh Sherman, who suggested the eventual renaming of the Trevors&#39; former residence, Edgewater, to Seven Pines after the battle.</p><br>
<p>John B. Trevor, Sr., Trevors youngest son, recalls the times of his childhood at Glenview as a "paradise." He and Colgate Hoyts son Sherman, his only neighbor around his age, often played together with the Wiffler sons and his older half-brother. The nearby river played a prominent role in their play. Henry Trevor joined the Yonkers Yacht Club, where he and other members raced as far upriver as Rondout Creek, at Kingston. In the 1890s John and his sisters began to take up golf, another new pastime of the Gilded Age rich. They all took up bicycling as well, and one of the sisters, Emily, became an avid bicyclist as well, once riding as far away as Hastings-on-Hudson and Riverdale.</p><br>
<p>John Bond Trevor died in 1890, with John Wiffler, the gardener he had collaborated with on the property, retiring two years later to open a feed store in downtown Yonkers. The family continued to live in Glenview. Mary Trevors wedding reception there in 1892 was widely covered by both the local and New York newspapers. A special train brought guests from the city to the ceremony at St. Johns Episcopal Church downtown and back from the mansion. The flowers came from the estate&#39;s greenhouses.</p><br>
<p>Trevors widow continued to live at Glenview with her children as they grew up. Her daughter Emily kept a diary which provides most of what is known about Glenview as the 19th century became the 20th. She attended boarding school in the city but returned for holidays and vacations. Her reminiscences are often of visiting friends or family, and trips to New York City or, as she referred to it, the village of Yonkers, then a mile (1.6 km) away. During the first decade of the new century these trips started to be taken by car instead of the train or carriage. This reflected not only the increasing use of the automobile but the New York Central Railroads electrification project for the line, which not only disrupted service but required the building of the large power plant that, now unused, still sits on the river shoreline near the current Glenwood station, which still uses the 1911 station building.</p><br>
<p>After his wedding in 1908, John moved out while his mother and sister remained at the house. He visited frequently enough with his own children, particularly in the summertime, to be described as a resident in his mothers obituary in 1922. His son John B. Trevor, Jr., recalled in the last years of his own life that by that point, the billiards room was used primarily as the childrens dining room, with the billiards table covered with a tablecloth. The parlor and library were rarely used. Emily said later that she and her aging mother "lived a very quiet life" at Glenview during the 1910s.</p><br>
<p>The neighborhood around them had changed considerably since the house was built. Back in 1875, the year before Glenviews construction began, the Shonnards had subdivided their property to the north and east of the estate. In the years since, those lots had been sold and slowly developed with houses similar to, but smaller than, Glenview. Often their proximity to the Trevors home was used as a selling point. By the time of Emily Trevor&#39;s death, this evolution from country town to modern suburb was almost complete, and so the family decided to sell the house as none of them wanted to live there anymore due to those changes.</p><br>
<h3>1922–present: As museum</h3><br>
<p>The city of Yonkers bought the house and grounds from the family with the intent of using the land as a public park. Trevor Park was established soon afterwards. The house stood vacant for six years until it was opened as the Museum of Science and Art, renting the house and the land from the city for $1 a year.</p><br>
<p>During these years, the exterior was altered somewhat by the removal of the porte-cochère and verandas. Inside, the mantelpieces were removed. The front door&#39;s transom was taken out so that a stuffed elephant from the Barnum & Bailey Circus could be brought in. The rooms were used as exhibit halls and their finishings neglected.</p><br>
<p>In 1967 the museum decided it needed more space and commissioned a $1.5 million ($ in modern dollars), 25,000 ft&sup2; addition with a planetarium in the brutalist style popular at the time. It was completed two years later. In addition to being a stark contrast to the house, it enclosed it within a courtyard, restricting the view of its first story. The front entrance, with barred doors, was later compared to a prison. An elevator was installed in the mansion and its rooms were restored to focus on the house&#39;s history and how the Trevors lived.</p><br>
<p>Three decades later, in the first years of the 21st century, the museum began raising money to upgrade both of its facilities as part of a $14 million expansion. The first phases called for better integrating and connecting Glenview and the 1969 structure. A breezeway between the two was enclosed, and a 115 ft corridor was built between the facilities to connect to a planned new elevator on the outside. The changes, the museums director explained, were necessary to comply with federal accessibility laws yet preserve the buildings historic character.</p><br>
<h2>Aesthetics</h2><br>
<p>Trevor and Clinton had worked together closely and put considerable thought into the design of the house, since Trevor designed the surrounding landscaping and wanted it to be compatible. Windows were carefully situated for how they framed the view of the river and landscape. Clintons stylistic choices were truly eclectic. One of Yonkerss newspapers described the house as old English in style while the other said it "par rather of the French château character." The rough-hewn stone facing echoes the nearby Greystone and Rosemont mansions, which Trevor may have commended to the architect as examples since Clinton had up to then primarily designed urban houses. Greystone&#39;s tower may have inspired the one Clinton built on the Seventh Regiment Armory on Park Avenue in Manhattan a year after Glenview was finished.</p><br>
<p>The inside reflected changes in house design that would later become common in suburban residences. In an urban house, rooms would have been stretched out to the back along the floor due to spatial limitations on the sides. As a result, the dining room and kitchen were in the rear since they could be on the same floor. A pantry connected them so service need not go through the public areas of the house.</p><br>
<p>In Glenview, the parlor and billiards room were on the east of the great entrance hall, while the library and other rooms more used by the family than visitors were on the west to allow them to enjoy the river view. Between the dining room and library was the sitting room, opening onto the large veranda, called a "piazza" at the time, that was originally attached to that side of the house. Another wide veranda, with a porte-cochère, was originally attached to the south as well.</p><br>
<p>In addition to allowing views of the river on warm evenings, the verandas also helped cool the house. They insulated the adjacent sections of the house, and allowed for an intermediate area between the less-ventilated house and the unshaded outdoors on hot days. They and the other areas of the first floor were amply furnished with reclining chairs and rockers, reflecting the construction of the house with leisure in mind. On the second story, the master bedroom occupied the southwest corner, not only to take in the river but to take advantage of the southern exposure, difficult to get in many Manhattan houses.</p><br>
<p>Since his move to Yonkers, Trevor had worked with gardener John Wiffler on the property. Once Glenview had been built, Wiffler moved in with his family to the superintendent&#39;s cottage.</p><br>
<h2>Neighborhood</h2><br>
<p>The house is located on the grounds of the Hudson River Museum, just north of its poured concrete brutalist main building. It forms the north wall of the buildings central courtyard. The entire complex is on the west side of Warburton just north of Trevor Park and south of John F. Kennedy Memorial Drive, which curves to the west of the museum as well. The ground slopes steadily westward to the tracks of the Metro-North Hudson Line 300 feet (100 m) to the west, along the shore of the Hudson River. Metro-Norths Glenwood station is a thousand feet (300 m) to the south along the line. Across the river there is a view of the stone cliffs of the Palisades in New Jersey.</p><br>
<p>Across Warburton to the east are two-story 20th-century houses. Behind them runs the Old Croton Aqueduct, a National Historic Landmark, and its trailway. A modern high-rise building is to the west across Memorial Drive. A small parking lot, for museum employees, is to the immediate north. On the south, Trevor Park is a mostly open area, with the museum&#39;s entrance road on the east, two baseball diamonds and tennis courts. To its south are more modern high-rise apartment buildings.</p><br>
<h2>Further reading</h2><br>
<p>Great Houses of the Hudson River, Michael Middleton Dwyer, editor, with preface by Mark Rockefeller, Boston, MA: Little, Brown and Company, published in association with Historic Hudson Valley, 2001.</p><br>
<p>Plashbourne Estate is a historic estate located in the Lawrence Park West section of Yonkers, Westchester County, New York. It was designed in 1911 by the architectural firm of Carrère and Hastings and built for artist Violet Oakley  in the Tudor Revival style. It is a -story stone building with an irregular compound plan and cross-gabled roofline. After 1915, it became the home of Anna Lawrence Bisland , third daughter of William Van Duzer Lawrence, who resided there until her death. Grayson L. Kirk  resided at Plashbourne Estate from 1973 until his death.</p><br>
<p>It was added to the National Register of Historic Places in 2007.</p><br>
<p>The Lee House facing front street was built as a hotel by Peter Lee in 1844. It was considered one of the finest inns of the day and hosted a number of prominent guests including Henry Clay and Governor John Chambers. The inn became a popular stop on the way for summer tourists destined for the Blue Licks Spring. A number of parties and masked balls were held in its generous rooms.</p><br>
<p>The complex consists of an original structure facing Sutton Street (circa 1790), the building facing Front Street (1844) and a three-story addition of 16 hotel rooms (circa 1850). Most of the design elements are Greek Revival and the brickwork is Flemish bond. Construction of the floodwall in the early 1950s protected the structure from flooding, but blocked the river view from the lower two stories.</p><br>
<p>The structure was bought in 1863 by Charles B. Hill and was known for some time as the Hill House. In 1977, it was listed on the National Register of Historic Places.</p><br>
<p>Sherwood House is a historic home located at Yonkers, Westchester County, New York. It was built in 1740 and is a 3-story frame structure on an exposed basement built into a hillside. Additions and modifications took place about 1810, 1850, and 1880. It features a 2-story porch spanning the entire facade and 2 dutch doors. The house was extensively remodeled in 1955. Also on the property is a -story, frame caretaker&#39;s cottage and a barn. Both were built about 1840.</p><br>
<p>It was added to the National Register of Historic Places in 1984. It is now owned by the Yonkers Historical Society, which offers tours.</p><br>
<p>Mott Mill is a historic cotton mill and silk mill located at Yonkers, Westchester County, New York. The property includes an 1852 stone mill building with a reinforced concrete addition dated to 1906. The rectangular mill building is a four-story, three bay utilitarian gray fieldstone structure with segmented arched windows. The reinforced concrete addition is four stories high and measures 237 feet wide and 73 feet deep. It was used as a mill and carpet factory until the 1930s when it became home to the Cleanart Laundry Co. The complex was converted into housing for the elderly in the early 2000s.</p><br>
<p>It was added to the National Register of Historic Places in 2004.</p><br>
<p>Proctors Theater, also known as Proctors Palace and RKO Proctors, is a historic movie theater located at Yonkers, Westchester County, New York. It was built 1914-1916 and operated initially as a vaudeville house. William E. Lehman was the theaters architect. It became part of the RKO Pictures circuit in 1929 and closed as a movie theater in 1973. It was subsequently converted to retail and office use.</p><br>
<p>It was added to the National Register of Historic Places in 2008.</p><br>
<p>Public Bath House No. 2 is a historic public bath located at Yonkers, Westchester County, New York. It was built in 1898 and is a two-story, three-bay wide building built of yellowish-orange brick in the Romanesque style. It features a wide, centrally placed segmental-arched window. The interior was in three sections: the reception area, the custodian&#39;s apartment, and the baths. It was modernized in 1928 and decommissions, gutted, and rebuilt as a church in 1962. As of January 2011, it was home to the Mt. Hebron Apostolic Church.</p><br>
<p>It was added to the National Register of Historic Places in 1985.</p><br>
<p>Public Bath House No. 3, also known as Yonkers Avenue Pool, is a historic public bath located on the border of the Getty Square and Nodine Hill neighborhoods in Southwest Yonkers, Westchester County, New York. It was built in 1909 and is a two-story, five bay wide red brick building with lively tile ornamentation in the Second Renaissance Revival style. It features a hipped tile parapet at the roofline that hides the flat roof. The interior is in three sections: reception area, custodian&#39;s apartment, and a pool and showers. It was remodeled in 1930 and 1958. It has been used for swimming classes.</p><br>
<p>It was added to the National Register of Historic Places in 1985.</p><br>
<p>Public Bath House No. 4 was a historic public bath located in the Nodine Hill section of Yonkers, Westchester County, New York. It was built in 1925 and was a two-story, six bay wide pastel stucco building in a Second Renaissance Revival / Mission style. It features a central pavilion flanked by slightly recessed bays containing modified Palladian windows. The interior was in four sections: reception area, custodian&#39;s apartment, baths, and a swimming pool. It was maintained by the Laporta family, specifically Gabrielle Laporta of Colts Neck, NJ. The reception and shower areas were modernized in 1961.</p><br>
<p>It was added to the National Register of Historic Places in 1985, and demolished in June 2011.</p><br>
<p>Public School No. 13 is a historic school building located in the Park Hill neighborhood of Yonkers, Westchester County, New York. It was built in 1900, with additions in 1905 and 1910. It is a 3½-story, asymmetrical, steel- and wood-frame building in a Neoclassical style. It has stone, brick, and structural clay tile walls. It has an interlocking pyramidal roof clad in polychromatic slate tiles and punctuated by large dormers. The building has been converted to apartments.</p><br>
<p>It was added to the National Register of Historic Places in 2007.</p><br>
<p>Untermyer Park and Gardens is a historic 43 acre city public park, located in Yonkers, New York in Westchester County, just north of New York City. The park is a remnant of Samuel Untermyers 150 acre estate "Greystone". Situated on the steep land arising from the eastern bank of the Hudson River to the bluff on top of it, the parks principal feature is the Walled Garden, inspired by ancient Indo-Persian gardens, in which are found a small Grecian-style open-air amphitheater with two opposing sphinxes crouching atop paired Ionic columns; a classical pavilion; a stoa and loggias; and a circular, open-air tempietto called the Temple of the Sky. A long staircase leads from the Walled Garden to an Overlook with views of the river and the Palisades.</p><br>
<p>The gardens were developed beginning in 1916 by Untermyer, a prominent lawyer and civic leader, and were designed by architect and landscape designer William W. Bosworth, with fountains by Charles Wellford Leavitt, and sculptures by Paul Manship and other artists. The gardens were regularly opened to the public, hosted performances of noted dancers, actors and musicians, and were considered to be among the finest gardens in the United States.</p><br>
<p>When Untermyer died in 1940, he had hoped to donate the whole estate to New York Shate Westchester County, or to the City of Yonkers. Eventually Yonkers agreed to accept part of the estate. The parcel, which was the core of the gardens, and which has been added to since that time, was renamed Untermyer Park and Gardens in his honor. It was added to the National Register of Historic Places in 1974.</p><br>
<p>Untermyer Gardens have recently undergone a significant campaign of restorations, which is continuing.</p><br>
<h2>History</h2><br>
<p>In 1865, John T. Waring, the owner of the largest hat factory in the USA, bought 33 acres of land from the Bolmer estate, and had architect John Davis Hatch build a turreted mansion on it which Waring called "Greystone", a name which remains on the nearby Metro-North train station. In 1876, Waring had some financial reversals and moved to Boston, putting the 99-room mansion up for rent.</p><br>
<p>Politician Samuel J. Tilden a former governor of New York state and a failed Presidential candidate, rented the mansion from Waring in 1879, and bought it and the estate soon after. Tilden had an interest in horticulture and built 13 greenhouses to grow ornamental plants as well as fruits and vegetables.</p><br>
<p>Tilden died at Greystone on August 4, 1886, and Samuel Untermyer bought the 133 acre property at auction in 1899 from Tilden&#39;s estate. Untermyer &ndash; who was born in Virginia in 1858 and moved to New York City as a boy &ndash; was a lawyer, a partner in the firm of Guggenheimer, Untermyer & Marshall. He is noted as being the first lawyer in the USA to receive a fee of one million dollars for a single case. A very successful investor, Untermyer became extremely wealthy. He also transitioned from practicing corporate law to taking cases which involved promoting the public welfare.</p><br>
<h3>Building the gardens</h3><br>
<p>Untermyer had a passion for horticulture, which he said he inherited from his mother, and was an expert in the subject. According to his family, if he could have lived his life over again, he would have wanted to be the New York City Parks Commissioner. whose estate Kykuit was not too far away, so in 1916, after buying additional property to the north and east of the original estate to expand it to 150 acre, Untermyer hired the École des Beaux Arts-trained architect and landscape designer William Welles Bosworth &ndash; who had contributed to the architecture of Kykuit on and off for 20 years &ndash; to build "the finest garden in America."</p><br>
<p>Bosworth, despite his Beaux Arts training, had become conflicted about the influence of that style on American landscape gardening, and the jumble of other styles that were mixed into it with imported garden ornaments from Europe. In an article in The American Architect he complained about the "resulting incoherence lacking a tradition at home, our minds are furnished with pictures of every sort of formal garden." He regretted that the USA had "no pure historic style" of its own. Bosworth himself preached that the topography of the land on which the garden was to be built, and the position of the house on the property, should determine what kind of features it should contain. To Bosworth, it was also ideal that the house and garden should be built at the same time. This was not possible with the Untermyer estate, as Greystone was already built and was not well-sited for Bosworths purposes. The land as well was not flat and regular as a tradition formal garden would require. Instead, Untermyers estate was rocky and irregular with hillocks, mounds, outcroppings and dips, and it sloped steeply down to the Hudson River.</p><br>
<p>In addition, while Rockefeller wanted a spring and fall garden, as he and his family did not live at Kykuit in the summer, Untermyer&#39;s focus was on horticulture and growing things, and wanted Bosworth to provide &ndash; along with stands of trees, water features and architectural effects &ndash; a plan which would allow for fruits, shrubs and flower to be grown. Bosworth decided that the only part of the estate which would be appropriate for this was the site of a previous garden in the northeast portion of the property. The difficulty was to unify the landscape, and integrate the main house, several smaller houses, and the greenhouses &ndash; which Bosworth did not appreciate, but which were extremely important to Untermyer &ndash; into the overall scheme.</p><br>
<p>Bosworth came up with a plan for the gardens: the greenhouse would act as a portal to the formal landscapes, of which there would be six main sections, the Walled Garden, the Vista, the Color Gardens, the Rose Garden, the Vegetable Gardens, and the Temple of Love, perched on a rocky promontory. Of these, the Walled Garden &ndash; which was not always called that &ndash; was the most significant. This 3 acre "Indo-Persian kind of garden", as Bosworth called it, had crenellated of walls of beige bricks on three sides, with octagonal towers, all covered in cream-colored stucco scored with a diamond pattern. Bosworth may have been inspired by the Agra Fort in northern India. The fourth side of the garden was open to views of the Hudson. The main entrance was a large rectangular limestone gate topped by a relief of Artemis by Ulric H. Ellerhusen.</p><br>
<p>The Walled Garden has a canal which ran south-north, from the entrance to the small open-air amphitheater at the other end, and another which bisects it running east-west, with a small pool at the intersection. Each canal has numerous water jets. Untermyer had hired the engineer Charles Wellford Leavitt to design the fountains for the gardens.</p><br>
<p>The Walled Garden also featured the Temple of the Sky, an open-air circular 30 ft colonnade of 14 Corinthian columns topped by an entablature, overlooking a swimming pool. The floor of the colonnade was a circular pink, grey and pale green mosaic, with the head of Medusa at the center.</p><br>
<p>The result was, for a time, one of the most celebrated gardens in the United States.</p><br>
<p>The quality of horticulture at the Untermyer Gardens was nationally famous, and some great gardeners got their training there. Eventually, the estate had 60 greenhouses and employed 60 gardeners.</p><br>
<h3>The gardens after Untermyer</h3><br>
<p>Untermyer died in 1940. He had wished to give the gardens to New York State, Westchester County, or to the City of Yonkers, but because of the great cost of the upkeep of the gardens, which were not accompanied by an endowment, the bequest was initially refused by all three bodies. Finally, in 1946, 16 acre of the land was accepted as a gift by the City of Yonkers, and became a city public park. The mansion itself was eventually torn down.</p><br>
<p>Because of inadequate funding, much of the property was not maintained; a number of structures gradually fell into disrepair, and parts of the site became overgrown, reverting to woodland. In 1976, the Untermyer Park and Gardens experienced a period of vandalism and unrest, as neighbors reported hearing chanting, and seeing torches being carried through the woods at night. This culminated in the discovery of the remains of several mutilated dogs in the aqueduct south of the park. David Berkowitz, the notorious "Son of Sam" serial killer, reported being part of a Satanic cult that met in the grounds of the park. The allegation was neither proven nor disproven.</p><br>
<p>In the 1970s an effort was made to restore the garden by Yonkers Mayor Angelo Martinelli, architect James Piccone and Larry Martin, but the campaign was short-lived and the property deteriorated again. Untermyer Park and Gardens was added to the National Register of Historic Places in 1974.</p><br>
<p>In the 1990s community leaders such as Nortrud Spero and Joe Kozlowski persuaded Mayor Terence Zaleski to purchase more of the original estate&#39;s land with the help of the Open Space Institute resulting in the 43 acre of the park today.</p><br>
<p>Since 2011, the Untermyer Gardens Conservancy, a non-profit organization, has been working to restore the gardens, in partnership with the Yonkers Parks Department. The Conservancy employs head gardener Timothy Tilghman in a team of 10 gardeners, and receives advice from Wave Hill&#39;s founding director of horticulture, Marco Polo Stufano.</p><br>
<h2>Gardens</h2><br>
<p>Untermyer Park and Gardens has a number of preserved, restored or re-imagined main features, plus some remnants of original features such as the Sundial Garden, the Six Color Gardens, and the Rose and Dahlia Garden.</p><br>
<h3>Walled Garden</h3><br>
<p>The Walled Garden &ndash; which is surrounded by crenellated walls with octagonal towers &ndash; is based on the Indo-Persian gardens of antiquity, called Paradise gardens or charbaghs. Like those ancient gardens, it is divided into quadrilateral sections by waterways, a concept based on the four gardens of Paradise or Eden mentioned in the Quran and the Bible. In the Bible, the four rivers of Eden were the Pison, the Gihon, the Tigris and the Euphrates, while the two trees were the Tree of Life and the Tree of Knowledge of Good and Evil. In Islamic scripture, Paradise (jannah) had four rivers: water, milk, honey and wine, and the Tree of Life. The four waterways of the Untermyer gardens are &ndash; clockwise from the gardens entrance &ndash; the South, West, North and East Canals, which meet in a pool at the center.</p><br>
<p>While conceptually Indo-Persian, many of the elements that Bosworth designed for the Walled Garden are derived from Greek models, such as the Temple of the Sky, a tempietto, on the western edge of the garden, a circle of Corinthian columns made of Alabama marble topped by an entablature, with a large swimming pool with lion&#39;s heads sculpted by Frederick RothFrederick G.R</p><br>
<p>Roth spouting water, the Doric stoa on the eastern wall for guests to relax in, and the open air amphitheater at the north end where performers would entertain guests. A prominent feature of the amphitheater are the two facing marble sphinxes sculpted by Paul Manship, which sit on platforms each supported by two tall Ionic columns of cipollino marble. The sphinxes were influenced by Attic architecture.</p><br>
<p>Other architectural elements, such as the great gate through which one enters the garden, and the tiled stage of the amphitheater, were based on Mycenaean motifs. The gate was based on the Bronze Age Great Lion Gate of the citadel of Mycenae, but without the two sculpted lions of the original, while the tiling of the amphitheater&#39;s stage floor was based on a fresco from the ancient city of Tiryns, which featured spirals and papyrus lotus blossoms.</p><br>
<h3>The Vista and Overlook</h3><br>
<p>The Vista is a long descending staircase which runs from an inconspicuous doorway in the loggia of the lower terrace of the Walled Garden down towards the Hudson River, where it culminates in the Vista Overlook. The staircase is modeled on the Renaissance era Villa d&#39;Este in Italy at Lake Como. The sides were originally planted with Japanese cedar trees to mimic the dark cypress trees of the original staircase, however non-native tree species invaded, and the cedars had to be restored later.</p><br>
<p>The Overlook features two ancient Roman monolithic cipollino marble columns which came from the estate of noted architect Stanford White.</p><br>
<h3>The Temple of Love and Rock and Stream Garden</h3><br>
<p>The Temple of Love is a cantilevered rocky fantasy designed by a Genoese stone mason Carlo Davite, with a round temple folly on top. In Untermyer&#39;s time it was surrounded by an extensive rock garden with terraced beds. Many of the rocks are hollowed out in order to be used as planters.</p><br>
<p>The Rock and Stream Garden is the remnant of the original Rock Garden, which featured a tiny stream running through a jumble of stones. It was buried beneath vegetation and dirt for many years, until it was rediscovered and rebuilt using elements of the original, and connecting it to the watercourse of the Temple of Love, which includes waterfalls, ponds and bridges.</p><br>
<h3>Lion & Unicorn Gate and Ruin Garden</h3><br>
<p>The Lion and Unicorn Gate entrance to the gardens is located at the Old Croton Aqueduct State Historic Park. The old gatehouse is now the Ruin Garden, completed in 2019. The lion and unicorn sculptures were restored, including a new head for the unicorn, and the masonry was cleaned and restored. A root cellar was converted into a grotto and fountain. Actual graffiti inside the gatehouse was preserved, and the plantings of the garden are meant to give the feeling of being in an abandoned, ruined house.</p><br>
<h3>Rhododendron Walk</h3><br>
<p>The densely-planted Rhododendron Walk, a new feature dating from 2019, is meant to evoke Untermyer&#39;s rhododendron collection. It leads from the Ruin Garden to the main gardens above.</p><br>
<h3>Ornamental Vegetable Garden and Orchard</h3><br>
<p>With its restored pergola and parterre layout, vegetables and fruit trees are planted in a formal configuration with an eye to aesthetic beauty. The garden is tended by student interns from Yonkers public high schools. The terrace below the garden will feature a row of bronze sculptures of Hudson River painters by the noted artist Greg Wyatt.</p><br>
<p>The former Yonkers Trolley Barn is located on Main Street in Yonkers, New York, United States. It is a massive steel frame brick building in the Renaissance Revival style built at the beginning of the 20th century. In 2002 it was listed on the National Register of Historic Places as the last remaining trolley barn in Westchester County and the only remnant of Yonkers&#39; trolley system.</p><br>
<p>After a half-century of use in the city&#39;s trolley network with its hub in Getty Square (downtown Yonkers), it was taken out of service. For another two decades it served as a city government office building. It was then vacant for almost 30 years, until a developer converted it into loft apartments, gutting the interior in the process.</p><br>
<p>After the partners in that effort were unable to complete the building due to the lawsuits they filed against each other, another developer bought it and finished the project. Today it is home to many tenants. A chase scene in the film Catch Me If You Can was filmed on the sidewalks around it. In 2014, a local brewery announced that it would be moving into the Trolley Barn.</p><br>
<h2>Building</h2><br>
<p>The trolley barn building is located in downtown Yonkers on the 1.6 acre lot between Buena Vista Avenue on the east, Main Street to the north and the railroad tracks used primarily by Metro-North&#39;s Hudson Line commuter rail service on the west. The surrounding Getty Square neighborhood of downtown Yonkers is densely developed and urban. Terrain is generally level, reflecting the nearby Hudson River, rising slightly toward the east, away from the river, and more steeply to the south, along Buena Vista.</p><br>
<p>On its north is a small concrete plaza with trees, a pickup and dropoff area for the train station and Bee-Line Bus to its own north. Northeast, across the intersection of Main and Buena Vista, is the Yonkers post office, also listed on the National Register. On the east is a parking garage; to the south along the west side of Buena Vista are smaller commercial and industrial buildings of a similar era as the barn. Southeast, across the Hudson Street intersection, is a block with parking lots, some undeveloped open space and a few residential properties.</p><br>
<p>The trolley barn building covers almost the entire lot. There is a sidewalk and parking area on the north side, along Main Street. A statue of singer Ella Fitzgerald, who grew up in Yonkers, is mounted on the sidewalk. Another sidewalk, much narrower, is located along Buena Vista.</p><br>
<p>There are two sections to the trolley barn. The main building, a three-story 11-by-5-bay brick steel frame structure, reflects the unusual shape of the lot, with its north facade joining its east one at an oblique angle. Attached to the south is a two-story brick building that served as an electrical substation.</p><br>
<h3>Exterior</h3><br>
<p>Along all its street elevations the building shows an exposed foundation faced in rusticated brick topped by a terra cotta water table. Above that it is faced in extruded brown brick with iron spots, laid in common bond. The slope along Buena Vista allows for an entrance at the southeast of the building on the second floor, complementing the original main entrance along Main.</p><br>
<p>The north (front) facade, along Main Street, is the most detailed. There are two storefronts on its east, and a larger set of openings, separated by three cast iron piers, on the west. Atop the first story is a granite sill course with a terra cotta corbel.</p><br>
<p>The second story has 15 segmental-arched windows in groups of three, set with nine-over-nine double-hung sash. It is set off from the third story by a granite sill course without the terra cotta found on its counterpart below. Rising from it are round-arched nine-over-nine double-hung sash. A secondary entrance is located on the southeast, near the substation section.</p><br>
<p>Above them is another terra cotta belt course. The roof of the main building is flat, while the substation comes to a gable. Both buildings have parapets at their rooflines. The main building&#39;s is stepped along the north face and topped with granite coping. In the center is a large terra cotta-trimmed recessed panel. A similar, smaller stepped parapet along its gable sets off the roofline of the substation.</p><br>
<p>Windows on the east profile have a similar treatment. Those on the south and west, not visible from the street, are more restrained. They have bluestone sills; the roof has bluestone coping supported by unglazed terra cotta corbels.</p><br>
<h3>Interior</h3><br>
<p>Inside, the building has been converted from its original purpose of storing and repairing the city&#39;s trolleys to residential use. Tracks that remained in the building at the time it was listed on the Register have been removed.</p><br>
<p>Its original structural system for the upper stories is retained. They were supported by segmented terra cotta tiled arches spanning the spaces between the steel beams, connected by tie rods. Where they were exposed, they were parged. The roof has flat terra cotta slabs set in T-shaped steel purlins, supported by built-up trusses. The terra cotta arches are supplemented by built-up steel latticework columns.</p><br>
<h3>Substation</h3><br>
<p>The substation&#39;s east (front) facade has similar extruded brown brick as the main building over its steel frame, but laid in a stretcher bond pattern. Its base is rusticated granite laid in an ashlar pattern topped with a granite sill course.</p><br>
<p>On the first story it has a round-arched main entry flanked by two round-arched 9-over-15 double-hung sash windows. Above them another granite course, denticulated and projecting, separates the first and second stories. The windows on that story are also round-arched, with nine-over-nine double-hung sash. A terra cotta belt course separates that story and the parapet. More terra cotta forms the corbels below the parapet&#39;s granite coping. Atop the roof is a monitor with metal cornice covered by galvanized siding.</p><br>
<p>The interior has also been converted into loft apartments. Like the main building, its structural system includes terra cotta tiled roofs supported by steel trusses. An original mezzanine level was removed when the building was redeveloped.</p><br>
<h2>History</h2><br>
<p>Until the 1840s, Yonkers was a quiet farming community that relied on the Hudson River to ship its produce the short distance south to New York City, its major market. Later in that decade, the construction of the Hudson River Railroad brought the city closer and allowed Yonkers to industrialize. By 1855 its population reached 5,000.</p><br>
<p>The growth continued after the Civil War, and Yonkers incorporated as a city in 1872. To allow the workers who had moved to the city to more easily get to their jobs at plants like the Alexander Smith Carpet Mills, some distance from downtown, the city commissioned the Yonkers Railroad Company to develop a trolley system. It opened in 1886.</p><br>
<p>Initially it ran just along Main Street through Getty Square, but it soon needed to be expanded to the rest of the city. In the 1890s it was electrified. The Third Avenue Railway Company, operators of streetcars along that street in Manhattan and elsewhere in the region, bought the Yonkers Railroad Company in 1898.</p><br>
<p>Five years later, in 1903, the trolley barn was built to serve as a storage and maintenance facility as well as the company&#39;s office. City newspapers of the time hailed its construction as a sign that Yonkers, whose population had increased almost tenfold from the middle of the century as it became as much as suburb as an industrial community, had arrived as a city.</p><br>
<p>Little is known about the buildings credited architect, Albert V. Porter, although it is believed he was a native of the city. His work combines standard Renaissance Revival decorative features such as the coping and the unusual iron-spotted brick with the trolley companys considerable functional requirements, taking advantage of the unusual lot shape and its southward slope.</p><br>
<p>Trolleys entered and exited through the garage doors at the northwest corner. Tracks throughout the building branched out to allow them to be stored and repaired. An elevator in the rear could bring them up to additional space on the second floor, part of which was devoted to the companys offices as well as reading and recreation rooms. The third floor was devoted entirely to trolley storage and maintenance. At the trolley systems peak the barn serviced 85 cars.</p><br>
<p>The barn helped the trolley network grow with the city to nine lines total. It made connections with other Third Avenue Railway System lines such as across the county in Mount Vernon. The Broadway lines connected to the New York City Subways Broadway–Seventh Avenue line at the Van Cortlandt Park—242nd Street station in the Bronx, their southern terminus and the subways northern end.</p><br>
<p>By 1911 it was carrying over 14 million passengers a year. It spread over the city, helping Yonkers suburbanize as residents who could afford to begin moving from the industrial downtown to former farm properties that were being subdivided into residential building lots. In 1922 the trolleys were carrying 70,000 passengers a day over 53 mi of track.</p><br>
<p>Some changes were made to the original building. The entrance along Buena Vista near the southeast corner was added. The openings at the northwest corner were rebuilt and expanded, and the cast iron piers added.</p><br>
<p>Private automobiles became more affordable and more common in the years after that, and trolley systems began closing down in favor of buses during the 1930s. The Yonkers Railroad Company continued to operate until 1953. Its tracks were torn up and the cars sold, but the barn remained. The city&#39;s Street Lighting Bureau moved into the offices and remained there until 1975.</p><br>
<p>The effects of spreading out the citys population became more apparent in the last quarter of the 20th century. With most of the citys more prosperous citizens not living there anymore, they had less interest in maintaining a healthy downtown. When the industries that were still located there moved elsewhere or closed, urban decay became apparent. At the time it was listed on the Register, in 2001, most of the long-vacant trolley barn&#39;s windows were boarded up.</p><br>
<p>The city made restoring the trolley barn its top priority for revitalizing its downtown. Early in the 21st century, the building got some visibility when its exteriors were used as the background for a chase scene in the film Catch Me If You Can.</p><br>
<p>The project soon fell victim to lawsuits between the four partners who had redeveloped it. Tenants waited as amenities they had been promised such as a gym and laundry room remained unbuilt. "We were in a warehouse," complained the firefighter who had pioneered the space. Rents climbed, but the tenants, mostly artists, were grateful that long-promised improvements were materializing.</p><br>
<p>In 2014, the Yonkers Brewing Company announced that it would be moving into the Trolley Barn. One reason cited was access to the intermodal transit hub in the Getty Square neighborhood, especially the access to the Metro-North commuter rail station. It hoped to attract an increasing amount of beer tourists from the city who use trains to travel between breweries.</p><br>
<p>Yonkers Water Works is a historic public water works located at Yonkers, Westchester County, New York. Three buildings remain extant; two were built in 1876 and one in 1898. They are reflective of the High Victorian style. The Tuckahoe Road Pumping Station was built in 1876 and expanded before 1900. The original section is three bays wide and three bays deep with a central projecting pavilion and pedimented gable roof. The gatehouse at Grassy Sprain Reservoir was also constructed in 1876. It is a small, one story masonry building on a high granite foundation. The Tubewell Station was built in 1898 and expanded in 1922. It is a red brick building, one and one half stories high and five bays wide and 13 bays deep.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>Bell Place–Locust Avenue Historic District is a national historic district located at Yonkers, Westchester County, New York. It includes 11 contributing buildings. They are residential structures and outbuildings representative of the High Victorian, Italian Villa, and Second Empire styles. They were built between 1855 and 1887 and consists of medium-sized, single family residences, between two and three stories in height. Some have extant carriage houses on their properties.</p><br>
<p>It was added to the National Register of Historic Places in 1985.</p><br>
<p>The Delavan Terrace Historic District is located along the street of that name in Northwest Yonkers, New York, United States. It consists of 10 buildings , all houses. In 1983 it was recognized as a historic district and listed on the National Register of Historic Places.</p><br>
<p>The houses were home to a number of prominent industrialists in Yonkers at the time, since they enjoyed an excellent view over the Hudson River. They are built in Late Victorian and other turn of the 20th century revival architectural styles. One has one of the few remaining Eastlake interiors in the city. The earliest house in the district, the Smith-Collins House, dated to 1854 with an 1875 renovation, has since been demolished, spurring historic preservation efforts throughout Yonkers. Most of the district was built after 1900. Note: This includes</p><br>
<p>Originally it was home to affluent residents, such as local business executives at the Otis Elevator Company and the Alexander Smith Carpet Mills. Actress Billie Burke, an early silent film star who later played Glinda the Good Witch in The Wizard of Oz, lived on Delavan Terrace in the 1920s after her marriage to Florenz Ziegfeld, when she was concentrating on her stage career on Broadway. The district has become more middle-class over time as Yonkers has grown and suburbanized around it. All the remaining houses are privately owned. Many remain intact.</p><br>
<h2>Geography</h2><br>
<p>The district is essentially rectangular in shape, covering both sides of Delavan Terrace and the lots at the corners on Palisade and Park Avenues. An extension at the southwest includes the now-vacant lot where the Smith–Collins House stood on the west side of Palisade. The total area is 4.2 acre.</p><br>
<p>On the east and south are large modern apartment complexes. To the southwest is a sharp drop down into a parking lot for a Ukrainian American cultural center. Northwest of the district is another apartment complex. On the northeast and east are other houses, generally more modern than those in the district. The neighborhood in general is residential, with downtown Yonkers a mile (1.6 km) to the south-southwest.</p><br>
<h2>Buildings</h2><br>
<p>All 10 buildings in the district are houses. There are no non-contributing properties.</p><br>
<p>147 Park Avenue. The only property in the district not known by the name of an owner, this five-bay two-and-a-half-story Mission Revival stucco-faced house dates to 1908. Its entrance porch has a hipped roof supported by stucco piers; the main entrance has a denticulated paneled surround with one-over-one double-hung sash window sidelights. Most of the sash windows elsewhere on the house are set in molded architraves. At the northeast corner is a six-sided pavilion. The main house&#39;s hipped pantile roof is pierced by dormer windows with six-over-six three-part windows. A hipped-roof, below-grade garage is on the east.</p><br>
<p>Reuben Borland House, 10 Delavan Terrace. This is a timber frame two-bay two-and-a-half-story house faced in stone at ground level and shingles on the upper stories topped by a cross-gabled gambrel roof. Built in 1904, it is a late application of the Queen Anne Style. Its distinctive features include a recessed porch around the entrance and its architrave flanked by Ionic pilasters, as well as a variety of fenestration typical of the style, including bay windows, oriel windows and oval windows. Upstairs is a recessed attic porch with curved shingled cheek walls and semi-elliptical balcony supported by brackets. The roofline has flaring eaves and denticulated raking boards. Dormers have been added and a side balcony removed. The garage has a hipped roof and half-timbering.</p><br>
<p>Alexander Denniston House, 6 Delavan Terrace. This three-bay two-and-a-half-story cross-gabled Tudor Revival house dates to 1911. It too has a recessed pent-roofed entrance porch with four-pointed arch on the architrave, flanked by sidelights. Above it is a projecting gabled pavilion supported by consoles with pendants and diamond-paned casement windows. Elsewhere on the facades are bay windows and half-timbering in the gable ends, per the style. The side porch is supported by Tuscan columns; the rear porch has an open deck.</p><br>
<p>A. Doty House, 4 Delavan Terrace. Built in 1926, this is the newest house in the district. It is a two-and-a-half-story five-bay brick neo-Colonial building topped by a slate-shingled hipped roof with a balustrade at its apex. At the center of the ground floor on the north is a fluted, paneled main entrance surround with sidelights and an elliptical fanlight. The two six-over-six sash windows on either side have paneled lintels. At the roofline is a denticualted cornice. Segmental-arched dormers and end chimneys pierce the roof. On the east side a three-bay breezeway leads to the garage.</p><br>
<p>William Howard House, 9 Delavan Terrace. Another two-and-a-half-story cross-gambreled frame Queen Anne, this was built in 1904. It features a front porch with wrought iron work and Ionic columns running the full three bays, topped by an open deck. Ionic pilasters also frame the double doors at the main entrance. Dormers pierce the roof; the original shingle siding has been covered over by vinyl.</p><br>
<p>Griffith John House, 23 Delavan Terrace. This two-and-a-half-story three-bay 1906 Queen Anne combines stone facing on the ground level with vinyl upstairs. The continuous porch has a bracketed cornice and is upheld by stone piers. A bay window projects at the southwest corner. The hipped roof is pierced by large projecting gabled dormers and a stone chimney.</p><br>
<p>E.D. Knap House, 14 Delavan Terrace. This 1907 house is the only one in the district in the Western Stick style, demonstrating its evolution into the Bungalow style. Its shingled two and a half stories are four bays wide, with that facade looking east. It has a glazed entrance porch, oriel window on carved brackets, mix of casement and sash windows and a recessed first-story porch supported by wooden piers. The hipped roof has hipped dormers and exposed rafters at the roofline.</p><br>
<p>Law–Baldwin House, 354 Palisade Avenue. With a construction date of 1886, this three-bat, three-and-a-half-story Shingle Style house is now the oldest property in the district. A one-story south wing was added in 1894. It features a continuous balustraded porch with Ionic columns and an open deck on top. In the gable ends of its intersecting gambrel roofs is a recessed window with curving cheeks. The roofline features denticulated raking boards.</p><br>
<p>Littel House, 149 Park Avenue. This is a Tudor Revival-style house that has the stucco facing but not the half-timbering, built in 1915. Five bays in width and two and a half stories tall, its cross-gabled roof is complemented by a pent roof on the first story entrance porch, supported by Tuscan columns with intervening trellis work. Wood string courses set off the stories. Oriels with diamond-paned casement windows are complemented by sash in various sizes on the main facades.</p><br>
<p>Charles E. Otis House, 5 Delavan Terrace. This two-and-a-half-story three-bay Tudor Revival house was built in 1904. It features a recessed four-centered pointed-arch balustraded entrance porch. Applied pilasters and sidelights frame the main entrance, and a projecting gabled entrance pavilion with half-timbering and wooden consoles. On the stucco and half-timbered facade themselves are a mixture of sash windows, diamond-paned casement and bracketed oriel windows. The hipped roof has a centrally placed gabled dormer; the garage is below grade.</p><br>
<h3>Smith–Collins House</h3><br>
<p>The Smith–Collins House was located at 323 Palisade Avenue. Built in 1854, it was the oldest building in the district at the time it was listed. It was a two-and-a-half-story High Victorian Gothic house with many bays, sided at first in clapboard and later stucco.</p><br>
<p>Its most striking feature was a three-story crenelated entrance tower on the northeast corner with a round-arched entrance and windows. It was complemented by bay windows elsewhere on the facade; the sash windows had wooden architraves and shutters. On the rear was a two-story glazed veranda with four center-arched windows and a balustraded terrace. The many gables on the roof were themselves pierced by gabled dormers with vergeboards.</p><br>
<p>In the rear was a carriage house, the only one in the district. It had its original clapboard siding and a hipped roof with a cupola. The main house&#39;s interior had Eastlake-style wooden paneling, molding and mantels. It was one of the few intact examples of that kind of interior in the city.</p><br>
<p>In 1875 it was renovated substantially. The clapboard was refaced with stucco. The porte-cochère, tower belvedere, gable trim and most of the front porch were removed. In 2007 it and the carriage house were demolished. Only the front wall and gate remain.</p><br>
<h2>History</h2><br>
<p>Due to being part of large landholdings, Delavan Terrace, and the land that eventually became it, was developed later than some other comparable areas of the city. When it was, however, that development occurred in bursts which caught it up with them.</p><br>
<h3>1693–1853: Pastureland</h3><br>
<p>The future Delavan Terrace was part of the original land grant to Frederick Philipse from the British crown during the colonial era. It was used as pasture, and remained so even after the Philipse family&#39;s lands were confiscated for their Loyalist stance during the American Revolution. Lemuel Wells, who eventually obtained that parcel as part of his 320 acre estate, was averse to selling or subdividing any of his real property, so it remained undeveloped when he died in 1842.</p><br>
<p>His heirs had less compunction about doing so, and by 1843 it had been sold and partitioned. Streets were soon surveyed and laid out, with houses coming not long afterwards. This process accelerated in 1849, when the Hudson River Railroad was built, spurring the industrialization of Yonkers.</p><br>
<h3>1853–1903: The first two houses</h3><br>
<p>The first house in the future district was built during this period, although not by either of its later eponyms. In 1854, I.F. Wheeler built the house on the west side of Palisade Avenue, overlooking the river. It is likely that he was inspired by the work of Andrew Jackson Downing, an architect based upriver in Newburgh who had, until his death two years earlier, advocated for houses more harmonious with their natural surroundings than those built in the classically-inspired Federal or Greek Revival modes, the architectural styles that had up to then been prevalent in 19th-century America. Two designs in The Architecture of Country Houses, Downing&#39;s 1850 pattern book, strongly suggest the house Wheeler built.</p><br>
<p>In 1873, after the population of Yonkers had more than quadrupled, Wheelers land and house were sold and became part of the estate of Alexander Smith, founder of the carpet mills that bear his name, also today listed on the Register. Property tax records show that the assessed valuation of Smiths new purchase almost tripled, suggesting either that a new structure was built there or, as seems more likely, the existing house was substantially renovated. The effect was to transform it from the Italianate style promoted by Downing into the High Victorian Gothic then becoming popular. In this it shares many similarities with Glenview, financier John Bond Trevor&#39;s home on the banks of the river, now part of the Hudson River Museum. Both homes have their main entrances located in towers with belvederes, similar consoles, balustraded porches and Eastlake interiors.</p><br>
<p>It is believed today that the house was, at that time, the residence of Alexander Smiths oldest son, Warren Baldwin Smith. He lived there until succeeding his father after his death in 1878 and moved to Hillbright, the estates main house. That year, the house was sold to Charles Collins, a merchant from Hartford who had retired to Yonkers. These two owners lent it their names.</p><br>
<p>The Smith–Collins House was joined in 1886 by a house just up Palisade and across the street built by Walter W. Law, an executive at another Yonkers carpet company. Its use of the then-popular Shingle Style, exemplified by not only that face on its exterior but its overhanging roof and generally large form, made it markedly different from its neighbor. Law lived there only for three years, after which he took a job at a competing carpet company and moved to New York. He is known for later having developed the village of Briarcliff Manor.</p><br>
<p>In 1894 the house was purchased by the Bradley–Currier Co. and enlarged. The following year it was in turn sold to William Delavan Baldwin, an executive with the Otis Elevator Company, another one of Yonkers&#39; industrial concerns. At that time all of the land in the current district was part of his estate, known as Hillcrest. Baldwin became president of Otis in 1900, and then subdivided the property four years later, opening Delavan Terrace.</p><br>
<h3>1904–1926: Suburbanization</h3><br>
<p>By the end of the new centurys first decade, most of the new street had been developed. Like their predecessors, the houses reflected the latest architectural trends, largely built in the Tudor Revival or Queen Anne styles. With the exception of the house at 5 Delavan, built by Charles Otis, grandson of company founder Elisha Otis, they embraced the latters asymmetrical massing. But their ornamentation was more restrained than the early Queen Annes of the 1880s, reflecting the new century&#39;s slow embrace of minimalism and functionalism. The house at 10 Delavan, built by Reuben Borland, who had worked his way to the presidency of the Smith Mills from his start as a bobbin boy, is an excellent example of a typical middle-class home from this period.</p><br>
<p>In 1910, the Smith-Collins House, which had been owned by Collins&#39; son, changed hands again. Isidore Beaudrias, a prominent local lawyer, bought it and renovated it, giving it the appearance it would have for the remainder of its days. He refaced it in stucco and removed much of its porches and decorative trim. These changes brought it into line with the same trends in architecture that were evident in the newer houses. Its basic form, however, remained unchanged from its original construction.</p><br>
<p>Two more of those early houses introduced new styles associated with the West Coast into the district. The Knap House used the Western Stick Style, developed in response to California&#39;s sunny climate and rarely used in Yonkers. Similarly, 147 Park Avenue used the Mission Revival style, also known at the time for its popularity in California. The next house to be built in the district, the Littel House of 1915 at 149 Park Avenue, marked a return to its architectural roots in its spare application of the Tudor Revival style, keeping its forms and massing but dropping the half-timber from its stucco exterior.</p><br>
<p>In the years after World War I, due to the growth in automobile ownership, suburban neighborhoods like Delavan Terrace multiplied.</p><br>
<p>She reportedly liked the neighborhood, and the Borland House in particular, because it reminded her of the cottage in the London neighborhood of St John&#39;s Wood where she had lived while growing up. "She seems... to have warmed to its very ordinariness," observed one biographer. A reporter who visited the house to interview her described it as "a homey one and a half story red granite and wood structure built upon a still green terrace... About it hangs an air of quaintness and quiet." She preferred simple interior decoration, eschewing pictures of herself in favor of modest furniture, paintings and Native American handicraft.</p><br>
<p>The districts last house was built in 1926. Like its predecessors, the A. Doty House at 4 Delavan Terrace used a contemporary style, in its case the neo-Georgian mode, a substyle of the Colonial Revival style that evolved from the Queen Anne Style at the end of the 19th century and has remained popular in the USA ever since. The Doty Houses signature features of that style are its symmetrical facade, Adamesque interior detailing, and balustraded deck atop its hipped roof. Like the other revival-styled houses on the street, it testifies to its owners&#39; quest for stability and legitimacy regardless of the geographical or historical appropriateness of the style.</p><br>
<h3>1927–present: Preservation issues</h3><br>
<p>Delavan Terrace spent the rest of the 20th century as just another Yonkers residential street. Owners came and went but kept the houses largely as they had found them. Vinyl siding was installed on two, but it was not a significant enough change to prevent the district&#39;s listing on the Register in 1983.</p><br>
<p>That changed slightly with the 21st century. In 2007 the city allowed the owner of the Smith–Collins House to demolish it. Former City Council President Chuck Lesnick, who had been trying to prevent the demolition, was moved to offer legislation that would make any demolition of a building over 75 years old subject to the city&#39;s landmark review process.</p><br>
<p>The Hamblen Block  is a historic series of four row houses at 188–194 Danforth Street in Portland, Maine, United States. Built in 1835, it is one of the oldest such buildings in the state, and also a rare example, as comparatively few row houses were built anywhere in Maine. The row houses were added to the National Register of Historic Places in 1983, and are a contributing property to the larger Hamblen Development Historic District.</p><br>
<h2>Description and history</h2><br>
<p>The Hamblen Block is located on the east side of Portland&#39;s West End neighborhood, on the southeast side of Danforth Street, between Brackett and Clark Streets. It consists of four virtually identical row houses, each three bays wide and three stories high. They are built of brick and have gabled roofs separated by party walls with rectangular brick chimneys projecting from the left side. Entrances are located in the rightmost bay, recessed in an opening flanked by pilasters and topped by an entablature and cornice. One of the units has a later 19th-century two-leaf door, while the others have single doors flanked by sidelight windows.</p><br>
<p>The row houses were built in 1835 by Nathaniel and Eli Hamblen, developers who were active in pushing the citys development westward from the port area. The only known block of similar age in the state is located in Bangor and has been significantly altered. The Hamblens development of the area continued with the buildings to the west of this one, which together form the Hamblen Development Historic District.</p><br>
<p>Halcyon Place Historic District is a national historic district located at Yonkers, Westchester County, New York. It includes 12 contributing buildings. They are residential structures representative of the Queen Anne and turn of the 20th century revival styles, including Classical Revival. They were built between 1901 and 1924 and developed as a planned, middle-class suburban development.</p><br>
<p>It was added to the National Register of Historic Places in 1991.</p><br>
<p>The Alexander Smith Carpet Mills Historic District is a national historic district located at Yonkers, Westchester County, New York. It includes 85 contributing buildings. It encompasses 19 stylistically varied mill buildings and six rows of workers housing. They were developed between 1871 and 1930 in the vicinity of northeastern Getty Square along the banks of the Saw Mill River. The main mill building was originally built in 1871 and expanded between 1876 and 1883. It is a three-story, rectangular building, 52 bays wide and five bays deep in the Second Empire style. It features a four-story tower and a five-story tower. The workers housing, known as Moquette Row, North and South, was built between 1881 and 1886. Many workers that lived in this housing originally were immigrants to the United States. They came from Scotland, Ireland, and Ukraine. The carpet works were developed by Alexander Smith  The company closed the Yonkers mills and relocated to Greenville, Mississippi, in 1954. At the time of its closing, there were 2,400 who worked at the carpet mill. At the time of World War II, there was 7,000 employees who worked at the mill.It was later absorbed into Mohawk Carpet, later Mohasco Corporation. The carpet weaving industry was revolutionized by looms invented in this plant by Alexander Smith and Halcyon Skinner. Skinner, an engineer, designed a loom known as the Axminster power loom , which revolutionized the production of carpets. A patent for this loom was created in 1877 and royalty rights were sold to European and American companies at the rate of twenty cents per yard of carpet produced.</p><br>
<p>It was added to the National Register of Historic Places in 1983. Today, members of the YoHo Artist Community work out of two of buildings, located at 540 and 578 Nepperhan Avenue.</p><br>
<h2>Carpet Mills Arts District</h2><br>
<p>The Carpet Mills Arts District in Yonkers, New York was formalized in March 2016 when the City Council cast a unanimous vote in favor of its approval. City Mayor Mike Spano subsequently signed the legislation on April 5, 2016. The arts district occupies the former carpet mills factory buildings located in the Alexander Smith Carpet Mills Historic District. Its boundaries lie from Lake Avenue to the north and Ashburton Avenue to the south, and to Nepperhan Avenue to the west, extending to Saw Mill River Road to the east, encompassing the following buildings:</p><br>
<p>430 Nepperhan Avenue,</p><br>
<p>440 Nepperhan Avenue,</p><br>
<p>450 Nepperhan Avenue,</p><br>
<p>470 Nepperhan Avenue,</p><br>
<p>498E Nepperhan Avenue,</p><br>
<p>500–530 Nepperhan Avenue,</p><br>
<p>540–578 Nepperhan Avenue,</p><br>
<p>252 Lake Avenue,</p><br>
<p>222 Lake Avenue</p><br>
<p>145 Saw Mill River Road,</p><br>
<p>167 Saw Mill River Road, and</p><br>
<p>179 Saw Mill River Road.</p><br>
<h2>District beginnings</h2><br>
<p>Early creative industry and artist activity in the area dates back decades ago, with a few tenants working out of the factory buildings as early as the 1980s. When private developers acquired two buildings at 540 and 578 Nepperhan Avenue in 2005, there were 25 artists working out of the Mills. This group grew to become to the YOHO Artist Community.</p><br>
<p>Developers managed and carefully grew the community through the use of events and promotion of the community until it grew from 25 to 85 artists over eight years, and the artist trend spread to other sections of the Mills owned by other developers. The developers collaborated through events and lobbying Yonkers City Officials to form the Carpet Mills Artists District - a change that was approved by the City of Yonkers under Mayor Mike Spano on April 5, 2016.</p><br>
<p>In April 2015, Mayor Mike Spano announced the proposal of Carpet Mills Arts District (CMAD). He hosted a ribbon-cutting for the recently named district as a kick-off for Yonkers Arts Weekend the following month, the success of which was attributed to the collaboration of city officials, building owners Huang and Rose, and the growing numbers of local artists in the area. Similar events had been happening at YOHO for many years, with the artist community inviting the public to their popular Annual Open Studios event.</p><br>
<p>The Open Studios paved the way for a more widespread event that would branch out to other locations in Yonkers. The mayor noted with the proposed zoning change that coincided with the creation of CMAD, the district would see future growth as restaurants, boutiques, galleries, retail shops, and a higher number of artists would be encouraged to move into the area.</p><br>
<h2>Approval of Arts District</h2><br>
<p>On April 5, 2016, Mayor Mike Spano approved the zoning change that would allow the area to operate as a formal arts district, and officiated a legislative signing ceremony on May 12, with Councilman Sabatino, George Huang, and Randolph Rose participating.</p><br>
<p>The district has been awarded a $500,000 capital grant to be used for further development, including building improvements, landscaping, signage, and lighting. With the formation of this arts district, Yonkers, New York and the supporters of this project see a future as a public arts destination. According to Yonkers Deputy Planning Commissioner Louis Albano, " It was decided to take advantage of some of the artisans in the area and create this district to allow them two things - to show their wares and to open galleries that would be ancillary and complementary to the crafts that they produce in their shops, but also to create restaurant space to create more visitors and foot traffic into the area." He further describes the arts district as "our little baby Soho going on in the Nepperhan Valley."</p><br>
<p>Thomas Nelson House is a historic home located at Peekskill, Westchester County, New York. It was built about 1860 and is a two-story, frame dwelling with a slightly hipped roof in the Italianate style. It has a two-story rear wing. It is clad in clapboard and sits on a stone and brick foundation. It features a one-story, open front porch with scrolled brackets, paired posts, and bracketed eaves. Also on the property is a contributing well house.</p><br>
<p>It was added to the National Register of Historic Places in 2001.</p><br>
<p>The Mason House is a historic residence in the unincorporated community of Coal Run in Washington County, Ohio, United States. A saltbox built in 1802,</p><br>
<p>The Mason House is a wooden clapboard structure built on a foundation of sandstone; it is covered with a slate roof, and its architecture includes elements made of brick and of other kinds of stone. Its first owners (and likely its builders) were Daniel Davis and Joseph Thompson; a veteran of local Indian wars, Davis was a member of the garrison for Fort Frye in nearby Waterford. The Mason House&#39;s first residents, like many other pioneers in southeastern Ohio, were natives of New England who had moved to what was then the western part of the United States. Among the cultural elements that they brought with them was their architecture; the saltbox style of construction is more common in New England than in Ohio.</p><br>
<p>In 1979, the Mason House was listed on the National Register of Historic Places; it qualified for inclusion because of its well-preserved and historically significant architecture. Seventeen years later, much of Coal Run was designated a historic district and added to the Register; the Mason House was named one of its eighty-nine contributing properties.</p><br>
<p>The Beecher-McFadden Estate is a historic estate located on East Main Street in Peekskill, Westchester County, New York.</p><br>
<h2>Description and history</h2><br>
<p>The estate includes an imposing brick mansion and a large support building set among scenic landscaping. The mansion, designed by architect Joseph Lyman Silsbee, was originally built in 1877 in a Victorian Gothic style, and was extensively remodeled in the 1920s in the Tudor Revival style. It is a large, -story, asymmetrical brick building with stone trim, Tudor arches, and plain balustrades. The north elevation retains the original -story, red brick walls with polychrome brick trim. The large support structure has a two-story center section, flanked by -story wings, and is in the Jacobean Revival style. The property was originally developed by Rev. Henry Ward Beecher (1813-1887), then purchased by the locally prominent McFadden family in 1902.</p><br>
<p>It was added to the National Register of Historic Places on November 2, 1987.</p><br>
<p>Van Cortlandt Upper Manor House is a historic home of the van Cortlandt family located in Cortlandt Manor, Westchester County, New York. The original house was built about 1773 and subsequently enlarged and altered a number of times.</p><br>
<h2>History</h2><br>
<p>The original structure is a -story, five-bay brick house, altered by the Van Cortlandt family in the 1830s. It has a gable roof covered in slate. A large -story frame wing covered in stucco was built in the 1920s. It was built or remodeled in 1773 by Pierre Van Cortlandt. After 1783, the house was occupied by his son Pierre Van Cortlandt, Jr. (1762–1848) until his death. In 1889, the house was converted for use as a convalescent home and was later used as a nursing home.</p><br>
<h2>Revolutionary War</h2><br>
<p>During the American Revolutionary War, the house served as headquarters for General George Washington from November 10 to 12, 1776; November 28 to 30, 1779; and June 25 to July 2, 1781.</p><br>
<p>It was added to the National Register of Historic Places in 1981.</p><br>
<p>Villa Loretto is a historic institutional building located at Peekskill, Westchester County, New York. It was built in 1928 by the Sisters of the Good Shepherd for the housing and treatment of young delinquent women. It is a three- to four-story, H-shaped brick building containing more than 175,000 square feet. The facility closed in June 1975. It has been converted to condominium residences known as Villa at the Woods.</p><br>
<p>The property was added to the National Register of Historic Places in 1989.</p><br>
<p>Hickory Hill is a historic estate in Rockbridge County, Virginia.</p><br>
<p>The main house at Hickory Hill was built from 1823 to 1824 for Reuben Grigsby who was born June 6, 1780.</p><br>
<p>He was one of many children, cousin to educator Hugh Blair Grigsby (1806–1881).</p><br>
<p>Daughter Mary Ann Grigsby (1828–1878) married William Sanderson McCormick (1815–1865) on July 11, 1848. McCormick was son of Robert McCormick (1780–1846) of the plantation called Walnut Grove which was located on the northern end of the same county. After giving birth to Robert Sanderson McCormick (1849–1919), the family moved to Chicago to go into business with brothers Cyrus McCormick and Leander J. McCormick.</p><br>
<p>Reuben Grigsby died on the estate on February 6, 1863. Son Lucien Porter Grigsby (1820–1893), was the last Grigsby to own the farm. The estate was broken up in 1874 with some going to various daughters. In 1878 the house was sold to settle Lucien&#39;s debts, and passed through a number of owners. On June 10, 1929, it was purchased by Robert Rutherford "Colonel" McCormick (1880–1955), and Chauncey McCormick (1884–1954), cousins who were great-grandsons of Reuben Grigsby.</p><br>
<p>The main house is constructed in the Federal architecture style from Flemish bond brick with three integrated chimneys. The south side has a two-story portico with Doric columns.</p><br>
<p>Hickory Hill was owned by the McCormick family until 1944.</p><br>
<p>It was added to the Virginia state list of historic places as site 081–0022 on June 8, 2006, and the National Register of Historic Places on August 30, 2006. At the time its owners were Donald J. Hasfurther and his wife Cameron F. Bushnell, and about 123 acre remained preserved.</p><br>
<p>It is located at 197 Hickory Hill Lane between State Route 608 (Forge Road) and Interstate 81, north of the current town of Glasgow, Virginia.</p><br>
<p>Thunderbird Lodge is a building of historical and architectural significance in the utopian community of Rose Valley, Delaware County, Pennsylvania.</p><br>
<h2>Architect</h2><br>
<p>In 1904, architect William Lightfoot Price converted an existing circa-1790 stone barn into studios for the artists Charles H. and Alice Barber Stephens. Appended to this, he designed a rambling fieldstone-and-stucco house, including a 3-story octagonal stair tower that joined the wings and served all five levels.</p><br>
<p>Price, a founder of Rose Valley, attempted to create a community of artists and artisans working side by side under the principles of the Arts and Crafts Movement. These included truth in the use of materials, traditional craftsmanship using simple forms, and often medieval, romantic or folk styles of decoration.</p><br>
<p>Price described the house:</p><br>
<p>"The old barn standing near the road was converted into first and second floor studios, the old timber roof being rebuilt for the upper studio, and large windows and fireplaces being built into the old walls. The house rambles off from the fireplace and off the studios and is connected to them by an octagonal stair hall. It is built in part of fieldstone so like that in the old barn that it is almost impossible to tell old work from new. The upper part is of warm gray plaster, and the roof of red tile. All of the detail is as simple and direct as possible, and the interior is finished in cypress stained to soft browns and grays and guilty of no finish other than wax or oil."</p><br>
<h2>Artists and activists</h2><br>
<p>Charles H. Stephens (1864–1940) was an instructor at the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania, and a painter of Native American subjects. He had lived among the Blackfeet, and amassed an extensive collection of artifacts. The fireplace that Price designed for his studio is in the silhouette of a Thunderbird, a symbol that also appears on the buildings exterior in Henry Mercer’s Moravian tiles. Alice Barber Stephens (1858–1932) was a highly successful illustrator for magazines and childrens books. They raised their son, D. Owen Stephens (1894–1937) in Rose Valley, and painted there until their deaths.</p><br>
<p>Thunderbird Lodge then became the home of a leading social activist couple, Allen Seymour Olmsted and Mildred Scott Olmsted. He was a lawyer, a member of the Mens Commission for Womens Suffrage, and helped in the founding of the American Civil Liberties Union. She worked with the American Birth Control League and was the longtime director of the USA section of the Women&#39;s International League for Peace and Freedom. Together they worked with the American Friends Service Committee, the National Association for the Advancement of Colored People, and many other liberal organizations. The house was used as a safe meeting place for other activists, including Jane Addams, James Farmer, George Washington Carver, and Martin Luther King Jr.</p><br>
<p>In September 2015 a Pennsylvania Historical and Museum Commission marker was dedicated to Mildred Scott Olmsted just north of the house.</p><br>
<p>Thunderbird Lodge was donated to the by the Olmsted family in 2015.</p><br>
<h2>Great Minquas Path</h2><br>
<p>At the edge of the property, along Rose Valley Road, is a 1926 Pennsylvania State historic marker, commemorating an important Native American trading route, the Great Minquas Path, that ran nearby. Charles Stephens designed the bas-relief on the marker, and Albert Laessle created the beaver sculpture below the plaque.</p><br>
<p>Thunderbird Lodge was added to the National Register of Historic Places in 1989, and is a contributing property in the Rose Valley Historic District, which was listed on the NRHP in 2010.</p><br>
<p>The Cox-Hord House is a three-story brick structure in Maysville, Kentucky designed by Cincinnati architect, Edwin Anderson, and built in 1880 at a cost of $49,000. The architectural style is eclectic with elements of Victorian Gothic, Italianate and Victorian Romanesque. It is considered an excellent example of the "Mauve Decade"  due to the "use of the finest materials and superb workmanship". Ceiling heights are 14 for the first floor, 12 for the second and 10&#39; on the third. A variety of wood was used for interior trim including light and dark walnut, cherry, fruit wood and ebony.</p><br>
<p>The house was built in 1880 for Andrew Cox and his wife, Mary Thomas Cox, daughter of a local distiller. In 1897, it was sold to wholesaler Milton Russell, and sold again in 1926 to Ferdinand Hechinger for his daughter, Rebekah H. Hord,</p><br>
<p>Rebekah Hord was active in Maysville civic affairs and is noted as the first elected female mayor in Kentucky, serving from 1951 to 1962. Hord&#39;s daughter and grandson were also elected Mayor of Maysville in 1986 and 1999 respectively.</p><br>
<p>Saint Ignatius Loyola Church is a church located at 703 East Houghton Avenue in Houghton, Michigan. The church was designated a Michigan State Historic Site in 1977 and listed on the National Register of Historic Places in 1987.</p><br>
<h2>History</h2><br>
<p>Early Roman Catholics living in Houghton met for worship first in a boarding house and later in a school. Bishop Frederic Baraga, then located in L&#39;Anse, Michigan, spearheaded efforts to build a new church. Ground was broken for the new church in early 1859, and on July 31, 1859, Bishop Frederic Baraga dedicated the original St. Ignatius Loyola Church.</p><br>
<p>Beginning in 1859, a long list of priests were assigned to the church, all of whom served for only a short time. However, in 1895, Father (later Monsignor) Antoine Ivan Rezek was appointed pastor to the parish. In the late nineteenth century, the Keweenaw Peninsula had seen an explosive growth due to the local copper mining industry, and a substantial, ethnically diverse population of Catholics had taken up residence in the Houghton area. One of Rezik&#39;s first priorities was the erection of a new church. Rezek hired the Milwaukee architectural firm of E. Brielmaier & Sons to design the church; Brielmaier designed a number of Catholic churches in the western Upper Peninsula in the late nineteenth and early twentieth centuries. Construction on this building began in 1898, and the church was finished in 1902. Anton Ivan Rezek remained as pastor of the church for a total of 51 years, until 1946.</p><br>
<p>Three significant additions to the building were made in later years: a boxy, glassed-in portico, added in 1928, a rear addition, added between 1959 and 1964, and a connected building added in 1991–1992. Further interior renovations were made in 1959 and in the late 1980s.</p><br>
<h2>Description</h2><br>
<p>St. Ignatius Loyola Church is an imposing Neo-Gothic structure located on the hillside above downtown Houghton. It is constructed of red, Jacobsville sandstone with a symmetrical gabled facade centering on a square tower topped with a spire. The tower belfry contains a single brass bell, cast in 1860 by the Jones and Hitchcock Company of Troy, New York.</p><br>
<p>Stained glass windows, created by Gavin Art Glass Works of Milwaukee, were installed in the church in 1907. An elaborate Gothic altar adorns the nave.</p><br>
<p>The Dawley House is an historic property located in Le Claire, Iowa, United States, and has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>Daniel V. Dawley</h2><br>
<p>Born in Vermont in 1811, Daniel V. Dawley worked in Troy, New York and New York City before moving to Iowa in 1834. He started his first river job as a clerk on the steamer Hero two years later. Dawley spent the next 38 years working on the river as either a clerk or captain, often for the Minnesota Packet Company. He worked on boats such as the Galena, the Henry Clay, and he was a part owner of the Golden Era. In 1881 Dawley was appointed the Le Claire postmaster. He died in 1893. His single-family house was converted into the Crane & Pelican Cafe.</p><br>
<h2>Architecture</h2><br>
<p>The Dawley House is a two-story brick structure built on a stone foundation. It is a variation on the vernacular Italianate style. The bricks used in the construction were manufactured locally. The main facade of the house is three bays wide and four along the side elevations. The bays are separated by Flat brick pilasters that have narrow caps just below the cornice level. The house is capped by a shallow hipped roof with narrow eaves with paired brackets. The main entrance is located off-center to the left. The porch, which extends across the front of the facade, and is probably of a later construction. It is influenced by the Gothic Revival style and features thick chamfered posts. The windows are six over six sashes with flat lintels and sills. Built onto the rear of the house is a single-story kitchen wing. Like the main house block, it is capped with a bracketed hip roof and a wooden cornice. The small porch on the south side of the kitchen wing is supported by attenuated columns. The lot on which the house is built slopes steeply to the east. It features a stone retaining wall extends across its south side.</p><br>
<p>The James Brown House is a historic building located in Riverdale, Iowa, United States. It has been listed on the National Register of Historic Places since 1982.</p><br>
<h2>History</h2><br>
<p>James Brown and his family are the first residents known to have lived in this house. He wrote to his wife from Davenport in 1844 that he had leased the house. He bought the property in 1854. The previous joint owners of the property were Horace Bradley, Lucius Moss, Aaron Moss and Amasa Doolittle, and one of them probably built the structure. The Brown family continued to live in the house until around 1865. It became known as Riverview Farm and for thirty-five years it had a succession of owners. Davenport businessman James R. Nutting bought the property in 1900 and it remained in his family until 1920. Universal Atlas Portland Cement Company bought it from the Nuttings in the 1920s and then sold it to John Crissey in 1937. He restored and maintained the property for 30 years. Alcoa, which operates a plant across the highway, bought the house and grounds in 1967.</p><br>
<h2>Architecture</h2><br>
<p>The stone house is situated on 5.8 acre at the base of a bluff overlooking the Mississippi River. The two-story structure is a vernacular interpretation of the Greek Revival style. At the same time, it reflects Roman or Jeffersonian Classicism found in the four-columned front porch and carved balustrades, the raised basement, and tall chimney stacks. The exterior walls and foundation are composed of coursed rubble stone that was quarried locally. For the most part, the windows are the six-over-six variety with wood sashes set in rectangular surrounds. They also feature stone lintels and lug sills. The main entrance is topped with a rectangular transom that is broken by two engaged piers and flanked by sidelights. The house is capped with a hipped roof that is sheathed in seamed tin. There are single gabled dormers on the north and south sides of the roof. At the roofline is a plain frieze and overhanging boxed cornice. Sometime before the turn of the 20th century a 1½-story clapboard addition was built onto the rear of the house. It was used as a blacksmith shop and as a summer kitchen.</p><br>
<p>The East Hill House and Carriage House, also known as the Decker French Mansion, is a historic property located in Riverdale, Iowa, United States. The Georgian Revival style residence and its carriage house have been listed on the National Register of Historic Places since 1999. The historic listing includes two contributing buildings, one structure and one site.</p><br>
<h2>History</h2><br>
<p>The estate was built for the George W. "Decker" French family, who were part of the Iowana dairy farms that raised prize Holstein cattle. The family named the house "East Hill House" to differentiate it from the larger home built for them on a hill to the west of this property in 1909 that became known as "West Hill House". The family also used these names on their stationery. East Hill House was designed by noted Chicago architect Howard Van Doren Shaw. About the same time, the family donated French Hall for nurses at St. Lukes Hospital in Davenport, no longer extant, and hired Shaw to design that building as well. Davenport architect Arthur Ebeling was the supervising architect during the construction phase of the project. He is noted locally as the architect for the Joseph Bettendorf House (1915), Regina Coeli Monastery (1916), and the Henry Kahl House (1920).</p><br>
<h2>Architecture</h2><br>
<p>East Hill House is a three-story, brick Georgian Revival mansion. It was built just beyond Riverdale, which is essentially a middle-class subdivision. The house features a vertically symmetrical main block with a small wing on the east side and a large porch on the west side. It is capped with a steep hipped roof that has four dormers on the south side and three dormers on the north. On its front facade the main block is five bays wide and the east wing is two bays wide.</p><br>
<p>The house is surrounded by approximately 20 acre of woodlands. Immediately surrounding the house is 3 acre of lawn that is planted with large oaks, maples, and pines. A formal garden, which is considered the contributing site, is located behind the house and it includes a fishpond and stone walkways that are enclosed by a stone wall. All of the landscaping was a part of the original design for the estate.</p><br>
<p>The carriage house, built at the same time as the main house, is the second contributing building. It reflects the main house in both design and material. The two-story structure has three garage bays. The center bay has large barn-style sliding doors and is flanked by two bays with hinged doors. The second level of the carriage house is a two-bedroom apartment with a bathroom, kitchen, hall and living room. The French family&#39;s chauffeur and his family lived in the apartment. An enclosed porch is located on the south side of the carriage house. The structure has two separate basements, one under the house and the other is located under the porch and housed the old boiler.</p><br>
<p>A concrete tennis court is located north of the carriage house and is a contributing structure. It is surrounded by a fence and trees. The French family would flood the court in the winter and use it as an ice skating rink.</p><br>
<p>The Roswell Spencer House is a historic property located in Pleasant Valley, Iowa, United States. The house was listed on the National Register of Historic Places in 1982.</p><br>
<h2>History</h2><br>
<p>Roswell Spencer was a native of Vermont who headed west in 1830 when he was 29 years old. He initially settled in Greene County, Illinois before settling in Rock Island, Illinois. After he served in the Black Hawk War he relocated to the newly opened lands of eastern Iowa. He became the first white settler in what would become Pleasant Valley Township when he built a log cabin near the mouth of Spencer Creek in 1833. The following year he built another cabin above the mouth of Crow Creek. Spencer was a farmer and an industrialist. He operated saw mills with his partner Stephen Henley on both Spencer and Crow creeks. He established another sawmill on Spencer Creek with John Work in 1837. The following year he and Henley brought down the Mississippi River one of the first rafts of white pine logs from Wisconsin. Spencer entered politics and became Scott County&#39;s first treasurer.</p><br>
<p>Spencer built this house in the early 1850s and a steam-powered flouring mill across from the house in 1856. In the Financial Panic of 1857, he lost all of his property, except for his house. He served as the local postmaster and continued to live in Pleasant Valley until 1862 when he moved to Cedar County, Iowa where he was once again engaged in farming. Spencer returned to Rock Island in 1866 where he worked in the grocery business. He died there in 1876.</p><br>
<h2>Architecture</h2><br>
<p>The Roswell Spencer House was a -story, Greek Revival structure that overlooked the Mississippi River. The exterior was covered in Wisconsin white pine. It was three by four bays wide with a rectangular-shaped main block. There was a single-story wing on its east side. The house had double hung windows with rectangular surrounds and pediment shaped window heads. The first floor featured one-over-one windows and the second floor featured six-over-six windows. Medium pitched gable roofs capped both the main structure and the wing. The exterior also featured pilastered corner boards, projecting boxed cornices and a plain frieze on the gable ends where double hung windows were located. The front porch had a hipped roof that was supported by Doric columns. There was also a small triangular pediment over the entranceway. There were five rooms on the first floor, four rooms on the second, and a large attic.</p><br>
<p>The James Gamble House is a historic building located in Le Claire, Iowa, United States. It has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>History</h2><br>
<p>James Gamble was a native of the United Kingdom of Great Britain and Ireland and was born on Ireland in 1821. He immigrated with his parents to the United States in 1823. They first settled in Delaware and then moved to Pittsburgh in 1836. Gamble&#39;s entered the printing and publishing business and co-published the Warsaw Signal in Warsaw, Illinois from 1840 to about 1842. He studied medicine in New Orleans and St. Louis before he received his medical degree from the University of Missouri in 1847. Gamble moved to Le Claire that same year and practiced medicine there for close to 50 years. He was active in local medical associations and served on the Le Claire school board for over 20 years.</p><br>
<h2>Architecture</h2><br>
<p>The Gamble House is a two-story brick structure built on a limestone foundation. It reflects the Italianate palazzo style. The bricks are laid in a 6-course common bond. The central block of the house is three bays wide and it is flanked by single-story wings that are two bays wide. The house is capped by a low hipped roof with broad eaves. The wings also feature low hips with plain, narrow cornices. The main entrance is located off-center to the left and it is framed with sidelights and a transom. The porch is possibly a later construction. Its flat roof is supported by two wooden columns on high pedestals. To the right of the entrance is a narrow, flat roof that is supported on large brackets that overhangs two tall windows. The porches on the side wings are simple structures with square, freestanding and engaged posts. The balustrades are very slender, turned spindles that are similar to those of the entrance porch. Behind the rear of the house is a single-story wing that was probably used as a summer kitchen. It is attached to the main house block by a long roof that is supported by slender posts with fringed edges that are similar to those on the front porch.</p><br>
<p>The Horton–Suiter House is a historic building located in Le Claire, Iowa, United States. The residence has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>History</h2><br>
<p>The house was possibly built in 1860 for Henry Horton, who was an engineer on raft steamers. James Suiter lived here after Horton. He was one of the</p><br>
<p>last river pilots who worked the Le Claire Rapids. He worked as a mortician to supplement his income during the winter months when the river was frozen.</p><br>
<h2>Architecture</h2><br>
<p>The Horton–Suiter House is a 1½-story frame "cottage". It is five bays across the front, with the main entrance in the center. The house is capped by a low-pitched gable roof with a ridge that parallels the front facade. The entrance is covered by a small porch, which is supported by slender turned posts. A large, triangular, roof dormer is centered above the entrance. A single-story section with a slanted roof was added to the northeast corner of the structure. The house is set on a raised lot that is surrounded by a stone retaining wall.</p><br>
<p>The Kattenbracker House is an historic building located in Le Claire, Iowa, United States. The house has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>History</h2><br>
<p>The Kattenbracher family were German immigrants who established the C. Kattenbracher & Son foundry located in the original town of Parkhurst along the river. The town was later incorporated into Le Claire. The foundry supplied metalwork and made repairs for the Le Claire Marine Railway boatyards that were run by J.W. Van Sant. The family built this house in 1860.</p><br>
<h2>Architecture</h2><br>
<p>The Kattenbracher House is a two-story, rectangular, brick house built on a stone foundation. At one time the house was covered with stucco, but it has subsequently peeled off. The main facade is three bays wide, and the main entrance is located in the center. The windows feature flat enframements and shallow, triangular pediments. The house is capped by a low hipped roof with wide bracketed eaves and modillions. There is a protruding, rectangular bay window on the southeast corner of the house. A single-story frame addition was built on the north side. It features a gable roof and now contains the main entrance into the house.</p><br>
<p>The McCaffrey House is an historic building located in Le Claire, Iowa, United States, and has been listed on the National Register of Historic Places since 1979. It is also a contributing property in the Cody Road Historic District.</p><br>
<h2>History</h2><br>
<p>John McCaffrey was Irish and born in the United Kingdom of Great Britain and Ireland in 1842. He immigrated with his family to St. Louis when he was a child. McCaffrey began working on the river when he was 13 as a hand on a floating raft. He went on to work in a variety of jobs during his long career on the river. He was a boat clerk, pilot, captain, and a raft boat owner. By 1864 he was working as river pilot on a regular basis on the Upper Rapids. His first boat was the Alvira and he bought interests in the James Means and the Le Claire Belle. He also had interests in lumber and mining ventures. McCaffrey left Le Claire toward the end of his life and became a planter in Louisiana. He built this house in Le Claire in 1870.</p><br>
<h2>Architecture</h2><br>
<p>The McCaffrey House is a two-story, frame, vernacular Italianate house built on a stone foundation. The frame construction of this house is somewhat unusual in Iowa as most Italianate houses are executed in brick. The exterior is covered in narrow clapboards with cornerboard that extend to the cornice. The main facade is three bays wide with the main entrance located to the right of center. The windows and the doors feature curved wooden lintels and flat enframements. The house is capped by a low hipped roof with a plain, unbracketed, wooden cornice. The south side of the house features a two-story polygonal bay that has a bracketed cornice above the main floor bay. The single-story screened porch on the south side and the chimney of rock on the rear are later additions. The house is located on a corner lot that is raised above the street, and it has a stone retaining wall on east and south sides.</p><br>
<p>The Old Mill House is an historic property located in Le Claire, Iowa, United States. The Greek Revival style residence has been listed on the National Register of Historic Places since 1979. It is also a contributing property in the Cody Road Historic District.</p><br>
<h2>History</h2><br>
<p>Alfred Jansen built this house in 1851. It, and the adjoining boatyards, were acquired by J.W. Van Sant about 1865. Van Sant began his river career as a ship carpenter and boat builder in Rock Island, Illinois in the 1840s. He moved to Le Claire in 1862 to take over the boatyards established by the Davenport and Rogers Co. The yards took up about two blocks along the river and employed about 100 men who built and repaired boats. Van Sants son Sam found success with his raftboat, the J.W. Van Sant, so the yards produced a number of them, including the D.A. McDonald, the Le Claire Belle and the Silver Wave. Several of the boats were owned and operated by the Van Sants through the Van Sant-Musser Navigation Co.</p><br>
<h2>Architecture</h2><br>
<p>The Old Mill House is a two-story, five-bay clapboard structure built on a stone foundation. It is a fine example of the Greek Revival style. It features a symmetrical facade, a handsome door frame on the main entrance, and a gable roof with a pair of chimneys near the ridge of the roof. The main entrance is located in the center bay. It has a wide door enframement flanked by sidelights and a transom. Because the house is built on a sloping lot the basement on the river side of the house is exposed.</p><br>
<p>The Rambo House is an historic building located in Le Claire, Iowa, United States. The residence was individually listed on the National Register of Historic Places since 1979. It is also a contributing property in the Cody Road Historic District.</p><br>
<h2>History</h2><br>
<p>When William Rambo came to Le Claire in 1844 he established the Scott and Rambo sawmill south of the town. From 1853 to 1871 he worked as a river pilot on the Upper Rapids. He built this house in 1855. While he worked on the river he also invested in real estate in Nebraska. His son James began his river career as a raft hand in 1862 and the following year he received his pilot&#39;s license.</p><br>
<h2>Architecture</h2><br>
<p>The Rambo House is a two-story, three-bay, transitional Greek Revival/Italianate frame house. It is also two bays deep and has cornerboards that terminate in molding under the broad eaves and large brackets of the hipped roof. The main entrance is located in the center bay and it features a triangular pedimented lintel. The windows on both floors are tall with straight, molded lintels and flat enframements. The front porch extends across the facade and has a pent roof that is supported by slender turned posts. A polygonal bay on the first floor protrudes from the south side. The house is located on a lot that sits above street level and is surrounded by a stone retaining wall.</p><br>
<p>The Jacob Suiter House is a historic building located in Le Claire, Iowa, United States, and has been listed on the National Register of Historic Places since 1979. Jacob Suiter was one of three generations of his family to make his living on the river.</p><br>
<h2>Jacob Suiter</h2><br>
<p>Jacob Suiter (1828-1904) was of the second generation of Suiters to work the Upper Rapids as a river pilot. During the 1870s he would have charged $10 a trip.</p><br>
<h2>Architecture</h2><br>
<p>The Jacob Suiter House is a two-story, three bay structure built on a limestone foundation. It is constructed of bricks that were manufactured locally, and the structure features clean proportions and simple lines. The residence is a variation on the vernacular Italianate style. The main entrance is located in the central bay and it is covered by a small wooden porch that is supported by slender turned posts. It features a bracketed cornice and corner pilasters. The house is capped with a low hipped roof. Built onto the back of the house is a single story addition with a gable roof that served as a kitchen. Beyond that is a smaller frame addition. It is essentially a smaller and simpler version of the Dawley House in Le Claire.</p><br>
<p>The John H. Suiter House is a historic building located in Le Claire, Iowa, United States. The house was built in 1855 and it has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>John H. Suiter</h2><br>
<p>John H. Suiter was part of the second of three generations of his family to make his living on the river.</p><br>
<h2>Architecture</h2><br>
<p>The John H. Suiter House is a two-story, three-bay, frame structure built on a stone foundation. The house sits high on its foundation because the lot slopes downward from the back of the house on the west to the front of the house on the east. The main entrance is located in the center bay and the original wooden porch structure has been replaced with wrought iron. The windows are set in flat surrounds that feature narrow cornices. The house is capped with a shallow gable roof.</p><br>
<p>The William Suiter House is an historic building located in Le Claire, Iowa, United States. The house was built in 1855 and it has been listed on the National Register of Historic Places since 1979.</p><br>
<h2>William Suiter</h2><br>
<p>William Suiter was one of three generations of his family to make his living on the river. William began his river career as a raft hand. He became a river pilot by the time he was 21 and worked in the profession for close to 40 years. His three sons, Mordecai, William and Charles, all went to work for the railroad, which replaced the steamboat as a primary form of transportation in the region.</p><br>
<h2>Architecture</h2><br>
<p>The William Suiter House is a simple two-story, three-bay, frame structure with a shallow gable roof. It follows a traditional center-hall plan and single pile arrangement. The main entrance is located in the center bay and is flanked by sidelights and sheltered by a small gable roof. The windows are 6 over 6 sash in flat, plain surrounds. The frame and concrete-block additions built onto the rear of the house are more recent.</p><br>
<p>The Samuel Van Sant House is an historic building located in Le Claire, Iowa, United States. The house was built in 1860 and it has been listed on the National Register of Historic Places since 1979. It is also a contributing property in the Cody Road Historic District.</p><br>
<h2>Samuel Van Sant</h2><br>
<p>Samuel was the son of J.W. Van Sant who was the head of the Le Claire Marine Railway boatyards. Along with John Smith, also of Le Claire, he developed the raftboat named the J.W. Van Sant after his father. It pushed the lumber rafts down the river from the forests in the north to the mills further south. Their invention revolutionized the transportation of logs and lumber down the Mississippi River. They also developed the bowboat, which was a small sternwheeler set crosswise at the front of the raft to provide additional control over direction of movement. Van Sant moved to Minnesota in the 1880s where he was elected to the Minnesota House of Representatives and served as Speaker of the House. He later became the state&#39;s governor.</p><br>
<h2>Architecture</h2><br>
<p>The Samuel Van Sant House is a 1½-story frame house whose exterior is composed of narrow clapboards. It follows an L-shape plan. The house features a wide front gable and the main roofline that parallel the street. There is also a large triangular wall dormer that is centered on the front of the long arm of the "L". The house&#39;s windows have flat enframements with shallow triangular pediments. A plain, wooden porch is located in the angle of the "L" and is a later addition.</p><br>
<p>The Bernard-Hoover Boathouse was built in 1915 on the shore of Lake Mendota on the isthmus in Madison, Wisconsin.</p><br>
<p>Today it sits in James Madison Park - the oldest standing boathouse on Lake Mendota, a remnant of an era when commercial boating thrived in the "city of the four lakes." In 1981 the boathouse was listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Charles Bernard was born in 1824 in the Grand Duchy of Baden in Germany and immigrated to the USA with his parents around 1832. He served in the USA Marine Band, as a soldier in the Mexican–American War, as a ship&#39;s carpenter, and worked as a tailor in Lancaster County, Pennsylvania, arriving in Madison in 1853. Here he worked as a tailor and fisherman. In 1855 he bought the property where his boathouse now stands to use as a fishing station. The 1875 city directory lists "Charles Bernard Boat Delivery, First Class Pleasure and Fishing Boats and Fishing Material to Let, Landing Near Woolen Mill on Fourth Lake."</p><br>
<p>Bernards fishing business grew into "the first major commercial boating concern in Madison." From about 1886 to the 1940s, before it was easy to hop in the car and go, boating excursions were a popular pastime in Madison, and various enterprises took customers on recreational outings around the lakes. Most of the excursions ran on the more peaceful Lake Monona, taking tourists to Schuetzen Park, the Tonyawatha Springs Hotel, the Monona Lake Assembly chatauqua at what is now Olin Park, and Esther Beach Dane Pavilion. Bernards business took adventurers out on bigger, wilder Lake Mendota. For his excursions Bernard built steamboats Anne in 1890, Columbia in 1893, and Wisconsin in 1905. Charles died in 1907, and his son William took over the business. Around that time the Bernards bought some land at Woodwards Grove across the lake and created Bernards Pleasure Park, their own destination with picnic spots, a refreshment stand, swings, and a dancing pavilion.</p><br>
<p>As hinted by Bernard&#39;s directory listing above, the boat businesses were diverse. Along with excursions, Madison had boat-builders and boat liveries, which rented boats.</p><br>
<p>In 1915, after a previous boathouse on the site burned, the Bernards built the boathouse that stands today. It is a wooden structure on a concrete foundation, with the main central block standing two stories tall. Six skylights in the central roof admit light. A shed-roofed lean-to is attached to each side, expanding the storage space. Facing the lake are four garage-door-type openings for moving boats in and out of the bays.</p><br>
<p>The commercial boating business in Madison declined with the rise of the automobile. Around 1940 the Bernards sold their boathouse, boats and docs to Berg&#39;s Sporting Company. In 1943 they were sold in turn to Harry Hoover, who ran the business until 1968. At that point the city bought it all and incorporated it into James Madison Park. Since 1975, the Hoover Boathouse has been home to the Mendota Rowing Club.</p><br>
