<p>The Heriot-Moise House, also known as Ingleside, is an historic plantation house located on Brewington Road at Oswego Highway U.S Highway 401 north of Sumter in Sumter County, South Carolina. It is "significant for its illustration of evolving architectural forms and influences from ca. 1790 into the twentieth century, as altered from an essentially vernacular hall-and-parlor house to a residence with Early Classical revival and Greek revival influences. Extant features from the original house and the ca. 1800, ca. 1830, ca. 1850, and later alterations show how succeeding owners adapted the house to their changing needs and circumstances. It is also significant as a basically intact nineteenth and early twentieth century farm complex."</p><br>
<p>The earliest part of the main house was built around 1790 by a man named Pleasant Tisdale, who had taken title to the surrounding 340 acre in 1787. Around 1850, John Ouldfield Heriot substantially expanded the house to its present appearance. In 1920, the property was acquired by Francis Marion Moise (1893–1968) who adapted it to the needs of his family.</p><br>
<p>In 1986 Air Force Lt. Col. Eric McConnell and his wife Jeannie McConnell acquired the property from the Moise family, but waited for two years before they started renovations to the house so they could make it their home. In July 1989 they were able to move in with their two children, but within two months Hurricane Hugo caused extensive damage, which necessitated repairs. Later in December 1991 approximately $37,000 (~$ in ) worth of damage was done to the interior furnishings by vandals.</p><br>
<p>On December 21, 1989, the Heriot-Moise House was added to the National Register of Historic Places. The designation includes the surrounding property and several outbuildings including a log slave house which dates to the 1790s and a small house which dates to the early 19th century.</p><br>
<p>Oak Lodge is a historic recreational building, located on the west side of Schreeder Pond in Chatfield Hollow State Park in Killingworth, Connecticut. Built in 1937, it is one of Connecticut&#39;s finest examples of construction by crews of the Civilian Conservation Corps . It, along with Schreeder Pond and other CCC-built park features, was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>Schreeder Pond is a central feature of Chatfield Hollow State Park, located in central southern Connecticut. It is an artificial pond 6.67 acre in size, created by CCC labor in 1934. A beach area on the right sides includes simply styled CCC-built bathhouses. Oak Lodge is located near the southern end of the pond on its west side. It is a rectangular single-story structure, with a fieldstone chimney, bellcast gabled roof, and exterior clad in novelty siding. Multilight wooden casement windows line its sides, and it has several entrances, each with a door made of vertical boards and fastened with wrought iron strap hinges. The interior of the building is a single large chamber with a kitchen area at one end. The roof trusses are exposed, there is a large stone fireplace, and other original features survive.</p><br>
<p>The lodge and other amenities were built in the 1930s as part of a planned development of recreational activities within Cockaponset State Forest. The pond, named for a state forest supervisor, was created by damming Chatfield Hollow Creek at the southern end. In building the lodge, the CCC benefited from the construction excellence of its masons, wrought-iron smiths, and woodworkers, and some of their best work is shown in Oak Lodge. The property was covered in a 1985 Connecticut statewide study of 15 depression-era CCC, FERA, CWA, and WPA structures.</p><br>
<p>The Charles Daniels House is a historic house at 43 Liberty Street in Chester, Connecticut. Built about 1830 for a local factory owner and moved to its present site in 1978, it is a prominent example of high-style Greek Revival architecture with a temple front, possibly designed by the firm of Ithiel Town. The house was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Charles Daniels House stands in a rural-residential setting about 0.5 mi west of Chester&#39;s village green, on the south side of Liberty Street. It is a -story Greek Revival structure, five bays wide, with a hip-roofed portico supported by paired Doric columns. Having been relocated, it rests on a replacement foundation of concrete blocks, whose exterior has been finished with the ashlar granite veneer of the original foundation.</p><br>
<p>The interior is organized around a central stair hall, with a double parlor to the west and a dining room and library to the east. These principal rooms are embellished with fine woodwork, fluted pilasters, and decorative plaster mouldings.</p><br>
<p>The house, built (probably in the late 1820s) for Charles Daniels, owner of a nearby gimlet factory, is an excellent example of Greek Revival domestic architecture. Its design has traditionally been ascribed, without evidence, to the New Haven architecture firm of Town and Davis, one of whose principals was Ithiel Town. Nevertheless, the house is architecturally consistent with other works by Town.</p><br>
<p>The house was originally located about 300 ft east of its present site, nearer the site of Daniels&#39;s factory, and was threatened with demolition after years of vacancy. The architect Thomas A. Norton moved it to its present site in 1978, and in reconstructing it, retained not only the original stone of the foundation veneer, but also the original brick of the chimney stacks.</p><br>
<p>The Amasa Day House is a historic house museum at 33 Plains Road in the Moodus village of East Haddam, Connecticut. Built in 1816, it is one of the oldest buildings in the village of Moodus, and a fine example of Federal period architecture. The house, now owned and operated by Connecticut Landmarks, has displays which showcase how the Industrial Revolution changed the daily life of American families. It was listed on the National Register of Historic Places in 1972.</p><br>
<h2>History</h2><br>
<p>The Amasa Day House occupies a prominent location at the northwest end of the Moodus village green, on 3.5 acre of land that are mostly screened from the nearby state highway by trees. It is a -story wood-frame structure, with a gabled roof and clapboarded exterior. Corner pilasters rise to a shallow entablature, with modillion blocks in the eaves. The side gable ends are pedimented, with half-round windows at the center. The main entrance is sheltered by a gabled portico; it is flanked by pilasters and topped by a half-oval transom window. Late 19th-century ells extend to the rear of the original main block.</p><br>
<p>The house was constructed in 1816 for farmer Colonel Julius Chapman, his wife Frances, and their four daughters. After his death, Amasa Day purchased the property, but later sold off parcels of land as he focused more on his roles as an insurance agent and banker. The house was subsequently inherited by Day&#39;s daughter and son-in-law Katherine and Eugene Chaffee, who worked for the New York Net and Twine Company, one of several twine factories in Moodus. Their son was Dr. Amasa Day Chaffee, a well-known art photographer.</p><br>
<h2>Museum</h2><br>
<p>The house was donated to Connecticut Landmarks in 1967; and is currently available for tours seasonally, by appointment. An investigation by the attorney general&#39;s office into their alleged neglect of the property concluded in 2019 and found no evidence of wrongdoing. However, it did provide recommendations to improve future accountability.</p><br>
<p>Whiskey Row in Louisville, Kentucky refers to an area along Main Street, close to the Ohio River, which was home to the bourbon industry.</p><br>
<h2>History</h2><br>
<p>In 1857, the buildings were built and used to store whiskey barrels that had been produced from the distilleries nearby. On a list of Louisville Most Endangered Historic Places, the buildings were slated for demolition in 2011, but an agreement between the city, local developers, and preservationists saved Whiskey Row.</p><br>
<p>Numerous distilleries would transport whiskey barrels to the Louisville market for sale by train or wagon. Main Street became so extremely populated with whiskey firms that it decided to name the buildings Whiskey Row. Due to the countless roles that Kentucky played in the liquor market, it later became the leading producer for distilled spirits. Some of the top liquor companies such as Brown Forman, Greenbrier Distillery, John T. Barbee, amongst other major companies have their offices and businesses in Louisville.</p><br>
<p>D.X. Murphy & Brother designed the Galt House Hotel and distillery buildings including:</p><br>
<p>Bernheim Distillery (c.1896)</p><br>
<p>Combined Distillers of Kentucky (c.1905–1906)</p><br>
<p>Bonnie Brothers Distillery (c.1903–1912)</p><br>
<p>The Phil. Hollenbach Company (c.1889), 528 Main, which in 2023 was home of the Evan Williams Bourbon Experience</p><br>
<p>With Prohibition, which was in effect from 1919 to 1933, the distilleries closed and many buildings were lost.</p><br>
<p>The 100 West Main Street Whiskey Row Historic District refers in particular to a block-long stretch from 101 to 133 W. Main Street, which was listed on the National Register of Historic Places in 2010.</p><br>
<p>It is a collection of eleven contributing buildings in Renaissance Revival, Beaux Arts, and Chicago School styles with cast-iron storefronts that were built between 1852 and 1905.</p><br>
<p>The district included:</p><br>
<p>107–109 West Main St., "built by the distilling firm of J.T.S. Brown and Sons, who, under several different titles including Brown, Foreman, and Company, had occupied two different</p><br>
<p>structures on the north side of the 100 block", a buildijng of Chicago School design by D.X. Murphy</p><br>
<p>House of Weller, 121 W. Main Street, separately listed on the National Register in 1979</p><br>
<p>123 West Main Street, which had housed the Galt House Hotel, a hotel of international reputation developed by Norbourne A. Galt. The hotel was located originally (from 1835 to 1865) at 125–127 West Main and 129-31 West Main Street, then expanded in 1861 to what is now 123 West Main. (With the expansion (?) designed by D.X. Murphy (HMDB source))</p><br>
<p>Trade Mart Building, 131 W. Main Street, aka the Louisville and Nashville Railroad Office Building, separately listed in 1973</p><br>
<h2>Fire</h2><br>
<p>On July 6, 2015, a fire partially destroyed three of the Whiskey Row buildings extending from 111 to 115 W. Main Street. Developers vowed to continue redeveloping the properties. The accidental fire began in the basement of one of the buildings that were at the time being renovated. The workers who had been renovating the building were trying to peel away old cast iron piping by using acetylene torches and grinders. According to Maj. Henry Ott, of the Louisville Fire Department, he believes that the slag left behind from these tools dropped and smoldered. Once the fire started from the basement, it made its way up to the rest of the building and across to the two others. Thankfully, the buildings were vacant and there were no injuries.</p><br>
<h2>Development</h2><br>
<p>As of 2014, some or all of the Whiskey Row buildings had been renovated into Old Forester Distillery (its original 1880s home at 119 West Main Street), luxury apartments, restaurants, and retail businesses. When the entire Whiskey Row project would be finished, the 100th block of Main Street was projected to include a distillery tourist attraction, two upscale hotels, and a huge retail outlet.</p><br>
<p>The Thomas Skelton House is an historic house at 124 United States Route 1 in Falmouth, Maine. Built in around 1798 in Portland, it is a well-preserved example of Federal style architecture. It was moved to its present site in 1971 to avoid demolition.</p><br>
<p>It was listed on the National Register of Historic Places on May 7, 1973.</p><br>
<h2>Description and history</h2><br>
<p>The Thomas Skelton House stands at the northern corner of Old US 1 and Gilsland Farm Road in southeastern Falmouth. It is a -story wood-frame structure, five bays wide, with a side-gable roof, central chimney, clapboard siding, and a concrete foundation faced in brick. The house is oriented facing southeast, on a lot that also includes a garage and former carriage barn. Its main entrance is in the center, flanked by pilasters and topped by a simple entablature. The interior retains original plaster and woodwork, and follows a typical center-chimney plan. The entry vestibule has a narrow winding stair leading to the second floor, with parlor to the left and kitchen to the right, with a long and narrow room behind the chimney. A modern shed-roof ell has been added to the rear, in which modern kitchen facilities are located.</p><br>
<p>The house was built about 1798 by Thomas Skelton, a Portland housewright, and stood on Pleasant Street in Portland. Originally stories in height, the second story was added about 1810, around the time its owner, Benjamin Deake, married. Threatened with demolition, the building was carefully documented in 1971 by the Greater Portland Landmarks Commission, and then moved to this site and restored. It is one of Portland&#39;s oldest surviving buildings.</p><br>
<p>The Elisha Purington House also known as Pride Farm, is an historic house at 71 Mast Road in Falmouth, Maine. Built in 1761, it is a rare surviving example of Georgian architecture in Maine&#39;s rural interior. It was listed on the National Register of Historic Places on February 14, 1985.</p><br>
<h2>Description and history</h2><br>
<p>The Purington House stands in the northwestern interior reaches of Falmouth, on the west side of Mast Road, a short way south of Pride Farm Road. The main house is a -story timber-frame structure, with a gabled roof, central chimney, clapboard siding, and stone foundation. It has a number of additions, including a 20th-century garage and an ell joining it to a 19th-century barn. Its front facade is symmetrically arranged, with a center entrance topped by three-light transom window, and framed by a modest surround with entablature. Windows are either six-over-six or nine-over-six sash, and are framed by narrow molding, similar to that found at the building corners and in the interior. Also located on the property is an L-shaped 19th century barn.</p><br>
<p>The house was built in 1761 by Elisha Purington, a Quaker who had a reputation throughout New England as a clockmaker. He is also known to have served the local community as a blacksmith and gunmaker. The roof his recently built house was torn off during a hurricane in 1767. The assemblage of surviving 18th and 19th-century buildings is among the finest in a rural inland setting in the state.</p><br>
<p>Halls Tavern, also once known as the Falmouth Tavern, and now the Quaker Tavern B&B and Inn, is an historic tavern at 377 Gray Road in Falmouth, Maine. Built about 1800 as a private home, it served for many years of the 19th century as a traveler accommodation, and is one of Falmouths few surviving buildings of the period. It was listed on the National Register of Historic Places in 1978.</p><br>
<h2>Description and history</h2><br>
<p>Hall&#39;s Tavern is located in rural northern Falmouth, on the east side of Gray Road (Maine State Route 100), between Kimball Way and Hurricane Road. It is a -story wood-frame structure, with a side-gable roof, twin interior chimneys, clapboard siding, and a granite foundation. Telescoping additions extend to the north, joining the house to a clapboarded barn. The main block is five bays wide, with a center entrance framed by Doric pilasters and topped by a four-light transom window and entablature. The interior of the house retains impressive Federal period woodwork and finishes. The tavern taproom, to the right of the entrance, retains original plaster walls with stencilwork stylistically similar to that of the early 18th-century itinerant artist Moses Eaton.</p><br>
<p>The tavern was built about 1800 by Nicholas Hall, a farmer originally from Dover, New Hampshire. The house was in the Hall extended family for most of the 19th century, and was probably converted into a tavern by Nicholas Hall&#39;s son Ozni, who acquired the property in 1823. The house was moved c. 1826–27, when the present Gray Road alignment was made, which may also be when it was made into a tavern. It is now home to a bed and breakfast accommodation.</p><br>
<p>The Payson House at Thornhurst is an historic house at 48 Thornhurst Road in Falmouth, Maine. A Modernist structure, it was built in 1952, to a design by Serge Chermayeff, and is his only known commission in the state. It was listed on the National Register of Historic Places in 2005.</p><br>
<h2>Description and history</h2><br>
<p>The Payson House is located on Falmouth&#39;s Casco Bay coast, set on a spit of land called Bartlett Point that juts north into the bay on the south side of the mouth of Mill Creek. The house is a single story structure with a roughly T-shaped layout. Most of the exterior consists of a series of units, each with a floor-to-ceiling plate glass window and door, surmounted by a white panel and set above a wooden platform. These units are separated by gray-painted vertical board siding. The sizes of these units roughly correspond to the size of the rooms they enclose, with the largest forming the outside of the living room. The interior of the house is unpretentiously finished, with flat white and gray finishes and hardwood flooring.</p><br>
<p>The house was built in 1952, to a design by Serge Chermayeff, and enlarged in 1972 to a design by Chermayeffs son Peter that was part of the original design vision. The house is the only known Chermayeff commission in Maine, and it is one of a small number of Modern movement buildings in the state. Integral to Chermayeffs design are the landscaping and views of the bay. The property on which it stands had long been in the Payson family, who had torn down a large and dilapidated Victorian (called "Thornhurst") in 1952, in order to make way for a more modern year-round residence. The Paysons, whose son attended school with Chermayeff&#39;s son Ivan, gave Chermayeff freedom to create a design that met their requirements.</p><br>
<p>The Henry Boody House also known as the Boody-Johnson House, is an historic house at 256 Maine Street in Brunswick, Maine, United States. Built in 1849, it is an important early example of Gothic Revival Architecture, whose design was published by Andrew Jackson Downing in 1850 and received wide notice. It was listed on the National Register of Historic Places on 1975.</p><br>
<h2>Description and history</h2><br>
<p>The Boody House is located south of downtown Brunswick and opposite the main Bowdoin College Campus at the northwest corner of Maine and Boody Streets. The house&#39;s main block has a roughly H-shaped configuration, with a pair of projecting gabled sections joined by a central section with a roof ridge perpendicular to the others. It is stories in height, with board-and-batten siding and a granite foundation. The street-facing gables have identical Gothic trim in the gables, and single-story projecting window bays. A gable-roofed porch with Stick style decoration projects slightly from the narrow center section, and shed-roof porches extend across the sides of the main block. An ell extends to the rear, joining the house to a carriage barn.</p><br>
<p>The house was built in 1849 for Henry Hill Boody, Professor of Rhetoric and Oratory at Bowdoin College in Brunswick from 1845 to 1854. It cost $6,000 to build the house and purchase the land. Boody sold the property in 1870. It then passed through several hands before being purchased by Bowdoin Professor Henry Johnson in 1877. When Johnson died, the property passed to his oldest daughter, Helen Johnson Chase, who was married to Bowdoin Professor Stanley P. Chase. The property is now owned by Bowdoin College.</p><br>
<p>The house was designed in 1848 by Gervase Wheeler, an English architect whose work reflected a growing architectural aesthetic to externalize aspects of a buildings construction, exemplified here by the use of vertical board-and-batten siding. Wheelers design was published in Andrew Jackson Downing&#39;s 1850 work The Architecture of Country Houses, an influential work in popularizing the Carpenter Gothic style. The house is also regarded as an important precursor of the Stick style, which followed the Gothic Revival.</p><br>
<p>Rhinecliff Hotel is a historic hotel located at Rhinecliff, Dutchess County, New York. It was built about 1855 and is a two- to three-story, L-shaped frame building. It is built into the side of a steep hill and features a two-story verandah and cross-gable roof. Also on the property is a contributing carriage shed / garage.</p><br>
<p>It was added to the National Register of Historic Places in 1987.</p><br>
<p>The Samuel Eliot House is a historic house at 500 Main Street in Old Saybrook, Connecticut. Probably built in 1737, it is a well-preserved example of Georgian residential architecture, and one of Old Saybrook&#39;s older buildings. The house was listed on the National Register of Historic Places in 1972.</p><br>
<h2>Description and history</h2><br>
<p>The Samuel Eliot House is located in a residential area south of the town center of Old Saybrook, on the narrow section of the Saybrook Point Peninsula, an east-facing projection into the Connecticut River that was the site of the initial settlement of the Saybrook Colony. It is a -story wood-frame structure, five bays wide, with a side-gable roof and two interior chimneys. Its main entrance is centered on the south facade, with a projecting portico supported by square posts. The interior has retained much of its original woodwork, include wide floorboards on the second floor, fine carved fireplace surrounds on the ground floor, and the carved elements of the main staircase and hall.</p><br>
<p>The house&#39;s construction date is traditionally said to be 1737, when Samuel Eliot (son of Yale founding trustee Jared Eliot) was married. Eliot, a physician, never actually lived in the house, due to ill health and an early death. The house was owned for many years by the Stowe and Newell families (related by marriage), who acquired the house in 1753. Some of its features, notably its interior Federal period features and an unusual fireplace frame credited to the Pennsylvanian Isaac Potts, date to their period of ownership.</p><br>
<p>Steenburg Tavern is a historic Revolutionary War-era tavern located at Rhinecliff, Dutchess County, New York.</p><br>
<h2>History</h2><br>
<p>Located on the west side of Route 9, it was originally built about 1749 and expanded in the late 18th century. A 1749 map shows Joachim Radcliff living on the property; he was likely the original builder. A 1798 map indicates that it was by then a tavern owned by Benjamin van Steenburg.</p><br>
<h2>Building</h2><br>
<p>It is a four bay wide, two bay deep stone building built into a hillside. It features a sweeping gable roof and broad low verandah. The overhang of the front roof, sheltering a porch is a typical Dutch feature. Also on the property is a contributing carriage barn and privy. Originally built as a farmhouse,</p><br>
<p>It was added to the National Register of Historic Places in 1987.</p><br>
<p>Grasmere is a national historic district and estate located at Rhinebeck, Dutchess County, New York. It was built by Janet Livingston Montgomery, widow of General Richard Montgomery.</p><br>
<h2>History</h2><br>
<p>The property that became Grasmere was originally part of a patent granted to Colonel Henry Beekman. Upon the death of Col. Beekman, this portion came to his son, Henry Beekman, whose daughter Margaret married Robert R. Livingston of Clermont. In July 1773, their daughter Janet married retired British officer Richard Montgomery. After their marriage, Janet&#39;s maternal grandfather, Henry Beekman, gave them a cottage on the Post Road north of the Beekman Arms in Rhinebeck in which to reside. Montgomery bought some surrounding land and set to work fencing, ploughing fields, and laying the foundation for a larger home called "Grasmere". He also built a grist mill on the Landsman Kill. Having enlisted in the Continental Army, Montgomery was killed in December 1775 during the Battle of Quebec.</p><br>
<p>The Grasmere estate was built by the widowed Janet Livingston Montgomery, who had inherited the land from her grandfather. The bricks were made from clay from a field south of the house that came to be called "the Brick Lot". In 1802 she built Montgomery Place in Annandale-on-Hudson in order to be closer to the river. After moving there in 1805, she rented the Grasmere estate, to her cousin Catherine Duer, daughter of Major General William and Sarah Livingston Alexander. At that time it was called "Rhinebeck House". She then rented it to her sister Gertrude and brother-in-law Morgan Lewis, who occupied Grasmere for nine years.</p><br>
<p>In 1822, Janet Montgomery sold the property to her sister Joanna, wife of their cousin Peter R. Livingston. The manor house was destroyed by fire in 1828 and rebuilt on the ruins of General Richard Montgomery&#39;s earlier house. Upon his death in January 1847, the childless widower Peter Livingston, bequeathed the estate to his brother Maturin. When Maturin died the following November, it then passed to his widow Margaret Lewis Livingston, sole heiress of Gov. Morgan and Gertrude Livingston Lewis. Margaret gave Grasmere to her son Lewis. Lewis lived there, along with his sons, James Boggs Livingston and Lewis Howard Livingston, until his death in 1886. Lewis H. Livingston died in 1893.</p><br>
<p>Grasmere then passed to Margaret Livingston Lee, the daughter of Lewis&#39;s younger brother Henry Beekman Livingston.</p><br>
<p>Margaret Lee rented the property for a time to a farmer who grew rye. In 1893 it was purchased by Mrs. F.A. Crosby.</p><br>
<p>In 1894, Sarah Minerva (nee Kendall) Schieffelin, widow of Henry Maunsell Schieffelin, bought Grasmere estate. She wanted her daughter Frances ("Fanny") Schieffelin Crosby and her son-in-law Ernest Howard Crosby to live there with their children Margaret Eleanor Crosby and Maunsell Schieffelin Crosby.</p><br>
<p>Maunsell Schieffelin Crosby ran a successful crop and dairy farm at Grasmere. In 1954 the property was purchased by Louise Clews who subsequently married Robert Livingston Timpson. Mrs. Clews Timpson held a couple of charity masked balls at Grasmere.</p><br>
<h2>Estate</h2><br>
<p>It consists of 12 contributing buildings and four contributing structures. The main house was originally built about 1828 and expanded with a second and third story in 1861. Mrs. Crosby added the west wing. Starting in 1894, the dilapidated wooden farm buildings were gradually replaced with stone structures built from old stone fences that separated the fields. Maunsell Crosby added a wing in 1907. The building is a three-story brick dwelling with restrainted classically inspired design. It sits on a stone foundation and has a hipped roof. In addition to the manor house the contributing buildings / structures include: a barn, three garages, five sheds, the formal gardens, stone walls / gateposts, two corn cribs, two tenant houses (c. 1916), and a stone stable complex (c. 1901). The driveway is lined with mature locust trees planted by Janet Montgomery.</p><br>
<p>By the mid-19th, it included as dependencies the separately listed Benner House, Fredenburg House, and Steenburg Tavern. Much of the Grasmere land has been restored to active farm use in recent years. The 1901 stone barn was rebuilt after a fire and has been adapted for use as a wedding venue.</p><br>
<p>It was added to the National Register of Historic Places in 1987.</p><br>
<p>Pilgrim&#39;s Progress Road Bridge is a historic stone arch bridge located at Rhinebeck, Dutchess County, New York. It was built about 1858 and is a triple arch stone masonry structure built of mortared random fieldstone.</p><br>
<p>The bridge is one of two stone bridges that carry Miller Road over Landsman Kill, the first, Salisbury Turnpike Bridge, is a single arch bridge east of New York State Route 308. Pilgrim&#39;s Progress bridge is found south of School House Lane, after Miller Road turns from east to south. It was added to the National Register of Historic Places in 1987.</p><br>
<p>The Henry Perviance Peers House is a rectangular, two-story painted brick house in Maysville, Kentucky overlooking the Ohio River. The structure has a moderately pitched standing-seam hipped roof with a flat center section. There are four chimneys extending from the roof line, and the flat portion of the hipped roof has an unusual framed clerestory window that provides ventilation and natural light to the attic room. It is built into the hillside such that the northern face is two-story while the southern face is single-story.</p><br>
<p>Henry Peers (1807–1846) was employed during the early 1840s as a general agent for the Maysville Eagle Newspaper, traveling to the larger towns in Kentucky to expand the subscription base and gather news. He began taking notes on the Kentucky history he gathered in the course of his work with the intent to author a Gazetteer for the state but died in March 1846 before publishing it. He left a 250-page manuscript of narrative and statistics that was used by his employer and brother-in-law, Lewis Collins, as the basis for a history of Kentucky.</p><br>
<p>Peers was the son of Major Valentine Peers, born in Ireland and a veteran of the American Revolution. Major Peers moved to Maysville in 1803 and became one of the area&#39;s most successful pioneer industrialists.</p><br>
<p>Kip-Beekman-Heermance Site is a historic archaeological site located at Rhinebeck, Dutchess County, New York.</p><br>
<h2>History</h2><br>
<p>The site includes the ruins of the Kip-Beekman-Heermance House built 1700 by Hendrick Kip, Patentee. It was also the home of Col. Henry Beekman Jr. later of his Grandson Col. Henry Brockholst Livingston (1757 - 1823). It was destroyed by fire in the early 20th century. The house was of such local prominence that Franklin Delano Roosevelt based the design of the Rhinebeck Post Office on the manor house and used the ruins for the stone construction of the building.</p><br>
<p>It was added to the National Register of Historic Places in 1989. The site, on County Road 85, is marked by a historic marker.</p><br>
<p>Messerschmidt Pond Wildlife Management Area is a tract of land in Westbrook and Deep River, Connecticut, adjacent to Cockaponset State Forest. The area includes the millpond and former site of the Deep River Manufacturing Company , which preserved a variety of historic manufacturing machinery until its demolition in 1987. The mill and an associated shed and dam were listed on the National Register of Historic Places in 1985.</p><br>
<h2>History</h2><br>
<p>The mill on the site was originally built in about 1875 by Russell Doane, a local farmer, as a sawmill. It was powered by the water behind an earthen dam built across the Falls River, which forms a millpond of about 73 acres. The extensive logging of the area that Doane anticipated did not materialize, and the mill was foreclosed on in 1884. It passed through a succession of owners before being sold to Charles Messerschmidt, Sr., who owned an adjacent farm, in 1914. Messerschmidt derived most of his income from the farm and ran the mill part-time. In 1929, he and three other men formed a partnership which bought the Deep River Manufacturing Company. and</p><br>
<p>Deep River Manufacturing had begun in the 1860s as J.A. Smith & Co., a firm which made hooks and other bent-wire objects in a shop in Deep River. In 1885, the firm was bought by Henry Snell and Mathewson Potter, who used its equipment to manufacture crochet hooks, knitting needles, and button hooks. The partnership operated until 1927, when it was sold to one of the employees, but went bankrupt within a year; the eclipse of high-button shoes and gloves in fashion had largely destroyed the companys market. Ernest Prann and other local men formed the Deep River Manufacturing Company and bought the firm, but sold the company to another partnership, which included Messerschmidt, Sr., in 1929. Messerschmidts son, Charles, Jr., who had obtained a bookkeeping certificate from Baypath Institute in 1928, was also brought into the partnership.</p><br>
<p>The company did not prosper during the Great Depression. Unable to afford the mortgage on the Deep River location, the equipment was moved in 1933 to Messerschmidts largely idle sawmill. One by one, the partners dropped out until only the Messerschmidts were left. They drew no salary during those years, as all the companys receipts went towards paying the dozen employees. On the edge of collapse, Deep River was saved by the National Silver Co., of New York City, which offered to buy all the nutcrackers and nut picks the company could make. (The company would later produce lobster forks as well.) Charles Messerschmidt, Jr., was placed in charge of converting the company&#39;s equipment to make these products.</p><br>
<p>Charles&#39; mechanical work was highly successful. Though he lacked formal training as a mechanical engineer, a natural mechanical inclination sharpened by boyhood on the farm and in the sawmill allowed him to create unique machinery to cheaply manufacture his products. His achievements including building a knurling machine for utensil stock from a mixture of home-made and purchased parts, and the extensive modification of a power press to stamp nutcracker teeth. In addition to the mechanical changes within, a shed was built across the road from the mill in about 1935 so that the products could be nickel plated. Manufacturing continued at the mill, using the original machinery, until 1974 or 1976. In 1970, two waste lagoons were dug on the property for disposal of the nickel waste, and the dam was patched with concrete during the 1970s.</p><br>
<p>Ownership of the site, including the millpond, passed to the Connecticut Department of Environmental Protection in 1982 or 1983. Abandoned drums found near the mill in 1982 led to the removal of several drums and tanks of wastes and sludges. The mill, the plating shed, and the dam were placed on the National Register of Historic Places in 1985. However, the DEP demolished the mill in 1987 and the plating shed in 1988. Though some soils on the property have been contaminated by PCBs and metals, a preliminary investigation and site assessment in 1995 concluded that there was, at the time, no need to remove additional material from the site.</p><br>
<h2>Description</h2><br>
<p>The area now consists of a 77 acre or 82 acre pond created by impounding the Falls River with an earthen dam. The dam is up to 22 ft high, with a rubble core and a stone spillway now faced with concrete. The dam and the remains of the millrace incorporated into it are the only remaining component from the site&#39;s NRHP listing.</p><br>
<p>A boat launch is located on the opposite side of the pond.</p><br>
<h3>Mill</h3><br>
<p>The mill, demolished in 1987, was a gable-roofed, chestnut timber-framed structure 2½ stories high, built on the edge of the dam. In later years, additions on three of the four sides were incorporated and the mill was covered in asphalt shingles. Although augmented by steel bolts, the building retained treenails in its framing until its demise.</p><br>
<p>The machinery was left inside the building after the mill closed, with the exception of footpresses for riveting. It drew its power from a turbine beneath the building, which powered a direct current generator. The electricity from the generator drew a motor that turned a line shaft, to which the machinery was attached by belting. The machinery present included three power presses, one of them extensively modified by Messerschmidt; a knurling machine, built by Messerschmidt; two multiple-spindle screw machines; and seven swaging machines, as well as machinery and hand tools for metalworking in a toolroom contained in an addition to the building.</p><br>
<p>The Downtown Rock Springs Historic District is a historic district that was listed on the National Register of Historic Places in 1994, with an enlargement in 2023. It is roughly bounded by K, 4th, C, 2nd, A, and 5th Streets in downtown Rock Springs, Wyoming.</p><br>
<p>The district was site of the 1885 Chinese Massacre.</p><br>
<p>It included 27 contributing buildings and 18 non-contributing buildings. Two properties were already separately-listed on the National Register.</p><br>
<p>Contributing buildings include:</p><br>
<p>Park Hotel (1914–15), 19 Elk Street, designed by D.D. Spani</p><br>
<p>First National Bank Building, now known as First Security Bank, separately listed on the NRHP</p><br>
<p>City Hall, separately listed on the NRHP</p><br>
<p>The David Carpenter House is a former residence currently operating as a restaurant called the Hathaway House. It is located at 424 West Adrian Street  in the village of Blissfield in Blissfield Township, Michigan. It was designated as a Michigan State Historic Site on August 13, 1971, and also later listed on the National Register of Historic Places on November 20, 1979.</p><br>
<p>Built in approximately 1851, it is a rather large Greek Revival house built by New York native and merchant David Carpenter, who was one of Lenawee County&#39;s most prominent residents when he moved to the area in 1838. The house originally contained 18 rooms, which included a card room, several parlors, dining room, library, three kitchens, and five bedrooms. Several walls were removed at later dates to create larger rooms. Minor additions, such as the addition of a second story to the side wings, were added soon after its construction.</p><br>
<p>Carpenter lived in the house from 1851 until his death in 1891. After his death, the house passed to other members of his family, and it was sold to the Hathaway family at the turn of the century. It remained a private residence until 1960 when it was converted into the Hathaway House restaurant by the Weeber family. In 1995, the most recent addition included a back parlor and new back porch. Today, the structure includes three dining rooms and two parlors on the main floor and three dining rooms and a ballroom on the second floor. The structure has retained most of its exterior details since it was first constructed.</p><br>
<p>Barrett House is a historic home located at Poughkeepsie, Dutchess County, New York, today home to. This triple-landmark  Greek Revival brick townhouse was built in the early 1840s. The Barrett House reflects three phases of construction. The original building is a ca. 1842 three-story, three-bay by four-bay Greek Revival brick house with a side-gabled, stepped roof. A two-story, three-bay by two-bay, front-gabled brick addition was constructed to its rear ca. 1867.</p><br>
<p>In the twentieth century, Barrett House achieved notoriety as the family home of Poughkeepsie-born WPA muralist Thomas Weeks Barrett. Jr. (1902-1947), who founded the Dutchess County Art Association (DCAA) in 1935 and lived there until his death in 1947. His artwork, family archive, and DCAA records remain in the house today.</p><br>
<p>Thomas W. Barrett Jr. graduated from the School of the Museum of Fine Arts, Boston in 1926, but his energies and artwork centered on the Hudson Valley. Barrett worked professionally as a designer, painter, printmaker, and as a muralist for the Treasury Relief Art Project (1936) and the Works Progress Administration (1937). As a Hudson Valley “American Scene” painter Barrett fashioned a modern iteration of the regions landscapes first immortalized a century earlier by the founders of the nations first major art movement, the Hudson River School. Barrett turned his artistic attention to the urban landscapes of cities along the Hudson as symbols of a resilient and modern American character. Barrett organized the first art exhibition in Dutchess County at the Luckey Platt Department Store in 1934. Barrett founded the DCAA a year later.</p><br>
<p>Barrett died in 1947 and his sister bequeathed the townhouse to the DCAA in 1974. The DCAA subsequently converted its first and second floor living spaces to four galleries, a community arts space, and offices, and operates under the name Today, the third-floor studio Barrett designed in 1930, with a 7-foot by 9-foot north-facing sky-light, is an active studio used by an artist in residence. The DCAA collection includes artwork – much of it Barrett&#39;s – and archives including his family papers, film, photographs, manuscripts, memorabilia, and DCAA records, all of which remain in the house.</p><br>
<p>The three-story, three bay brick building in the Greek Revival style. It is on a raised basement and features brownstone trim and a third story Eastlake style porch.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>Early 19th century Poughkeepsie & the Construction of 55 Noxon Street</p><br>
<p>One of the oldest communities along the Hudson River, was initially settled during the late seventeenth century. Though it grew slowly, it was well situated near the major transportation routes and was named the county seat in 1717. The village became a center of commerce and trade and by the nineteenth century its economy came to be dominated by industry and manufacturing. For about a decade starting in 1832, Poughkeepsie also became an important center of the regional whaling industry. During the late 1830s and early 1840s, Poughkeepsie experienced a real estate boom in response to the growth of these enterprises and the efforts of the local Improvement Party, a group of businessmen and politicians who boosted the City within the region. The area&#39;s role as a manufacturing center was spurred by the completion of the Hudson River railroad to Poughkeepsie in 1849.</p><br>
<p>Virgil D. Bonesteel, an ambitious Yale graduate (Phi Beta Kappa, Class of 1827) and descendant of Red Hooks early settlers, was one of the new professionals attracted to the bright future of Poughkeepsie that was heavily promoted during the boom years of the 1830s. His first position was that of law student in the office of James Hooker, Dutchess Countys Surrogate for 16 years and a dominant force in the awarding of political patronage jobs within the Democratic Party. Bonesteel quickly became an up-and-coming young leader in county and state Democratic Committee work and was appointed Clerk of the County Board of Supervisors. His rise in these political and legal circles may have been assisted by his marriage in 1840 to Sarah E. Todd of New Milford Connecticut, the niece of Poughkeepsie attorney and former Secretary of the Navy, Smith Thompson who was then serving as a Justice on the United States Supreme Court.</p><br>
<p>Following the national financial panic of 1837, Poughkeepsie&#39;s booming real estate market ground to a near-halt. Bonesteel was able to take advantage of this, purchasing a lot for $1,325 on Noxon Street at a foreclosure auction in November 1841. The lot was made available by the financial collapse of shoe manufacturer Benjamin Bissell, one of the many who had ventured into real estate speculation during the ‘years of Poughkeepsie’s “Improvement Party” boom in the mid-1830s.</p><br>
<p>Newly married, Virgil and Sarah Bonesteel began constructing their home soon after; construction most likely occurred in 1842 since Bonesteel is listed as residing at 55 Noxon St. in the first extant village directory of 1843. The builder is unknown. The completion of the elegant brick town home projected Bonesteels success within the community. Well-to-do families of this period, such as the Bonesteels, expressed their taste within this restrained form of domestic architecture that symbolized a young nations hopes for becoming the new embodiment of the purity, strength and equality of an idealized ancient Greece. With its wide frieze of wreathed attic windows, ornamental stoop railing, two story porch with fluted Doric columns, and recessed double front door with rectangular transom, the Bonesteels’ Greek Revival townhouse embodied the quiet elegance typical of this style.</p><br>
<p>In 1844, Bonesteel was appointed to the position of Dutchess County Surrogate. But the rough and tumble of politics derailed Bonesteels rise when his enemies in the opposing Whig party accused him of levying “bloodsucking” fees on defenseless widows and orphans forced to settle their estates in his court. Bonesteels seemingly extravagant personal life also came under fire by his enemies in the Whig party newspaper who sarcastically observed, “We understand that our surrogate made an excursion the other day to New Milford WITH A COACH AND FOUR. Now it is clearly none of our business how he rides, but as he is now the leader of the party in the county, he must excuse us for feeling concerned about THE DEMOCRACY OF THE THING…”</p><br>
<p>Whether it was a “coach and four” lifestyle, excessive real estate speculation or some other unknown factor, Bonesteel declared bankruptcy in 1848. In 1849, his extensive real estate holdings were sold to pay his debts. The Bonesteel home at 55 Noxon Street was described in foreclosure auction advertisements as a “large and spacious house, one of the most desirable in Poughkeepsie.”</p><br>
<p>19th Century History of 55 Noxon Street</p><br>
<p>From 1849 to 1866, 55 Noxon St. was owned by Eliza Thompson, the widow of Supreme Court Judge Smith Thompson. Eliza Thompson was the daughter of Henry Livingston Jr. and grew up on the Livingston estate we know today as Locust Grove. In 1836, she married the much older widower, Supreme Court Justice Smith Thompson and became the elegant young hostess of an elite political circle at her husband&#39;s riverfront estate “Rust Plaetz” (now part of Poughkeepsie Rural Cemetery). Eliza Thompson used 55 Noxon as an income-producing property, renting it to a series of well-to-do tenants.</p><br>
<p>During the years she owned 55 Noxon Street, Eliza Thompson remarried and began a new life elsewhere. The rental of 55 Noxon Street may have been managed for her, possibly by Jennette Jewett who purchased the property in 1866 and two lots on Mill Street for $14,425. Jewett owned other properties in the city and was not new to the real estate world. In fact, she was the daughter of one of Poughkeepsies first Main Street developers, the industrialist and inventor Gilbert Brewster. Jennette Jewett likely saw a good investment opportunity in 55 Noxon Street. Properties like it, which were being used as “high class boarding houses,” were in high demand in 1866. A year later, Jewett sold 55 Noxon for $7,000. By 1869, she had sold the property on Mill St. for $8,500 - netting a profit of $1,075 on the deal. The doubling of the houses value from $3,550 in 1849 to $7,000 in 1867 suggests that the large rear addition to the house was completed sometime between 1849 and 1867.</p><br>
<p>In 1867, Jewett sold the property to retired Marlborough farmer Benjamin F. Townsend and his wife Lucy. Census records show that they operated 55 Noxon as a boarding house; assorted white-collar boarders occupied rooms in the house during the Townsend years at 55 Noxon Street. The number of boarders grew to as high as 14 by 1875 when Lucy Townsend (by then a widow) was described as “keeping a boarding house” in the federal census. At Lucy Townsends death in 1879, the house was inherited by her wealthy nephew George W. Townsend. The house was sold by his heirs in 1882 to Captain James H. Wheeler and his wife Phebe. Wheelers earliest years were said to have been spent at sea followed by work as a ship builder, hotel keeper and operator of a small boat on the Hudson. The nickname “Captain” followed him his entire life. During his years at 55 Noxon Street, from 1882 to 1887, Wheeler used the house as his family home and for his business as an awning and sail maker.</p><br>
<p>After failing to sell the house at auction in 1887, the Wheelers sold it two years later to Miss Mary Elizabeth Weeks for $4,500. Within the decade after her purchase, the family likely added the rearmost addition to the house to update and expand its kitchen space. For the next three generations, the house would stay in the Weeks-Barrett family. The sister of prominent lawyer James H. Weeks, Mary purchased the house at a time when the family was in transition soon after her brothers death. Without the patriarch James Weeks, described in an 1881 newspaper article on real estate assessments as “the richest man in town,” the family began sinking into shabby gentility. The familys first decade in their new home at 55 Noxon was filled with loss. In 1892, Mary Elizabeth died of pneumonia. In 1893, Charles W. Barrett, the husband of James Weeks’ sister Eloise, also died. Perhaps most tragic was the loss of Eloise and Charles Barretts son, the quiet and reserved young bank clerk Charles K. Barrett, who died of tuberculosis at age 27 in 1894. Finally, another of Weeks’ sisters, Emily Weeks Vary died in 1897. It must have seemed that the spell of sadness was at last broken in 1900 when Eloise and Charles Barretts other son, Tom Barrett, married Miss Kate Stoutenburgh of Washington D.C. and Hyde Park. Unfortunately, a year later, Tom Barrett and his wife Kate were burying their infant son.</p><br>
<p>However, Kates arrival did start a new, more prosperous chapter in the familys history. Tom Barrett began a promising career at the Poughkeepsie National Bank, following in the footsteps of his deceased brother Charles and his uncle Isaac. At 55 Noxon Street, Tom and Kate Barrett settled into the quiet life of a small-town banker and his wife raising their two children, Thomas Jr. and Elizabeth, in a sheltered and loving environment with idyllic summers spent at the Putnam, Connecticut farm of Kate Barrett&#39;s father.</p><br>
<p>Thomas Weeks Barrett Jr. (1902-1947)</p><br>
<p>Born in 1902, Tom Barrett enjoyed a sheltered and loving childhood at 55 Noxon Street. As an adult, Barrett gratefully noted that he had been born into a “protected sphere of family care which has not diminished.” The remarkably tender devotion and domesticity of the Barrett family is evident in the diaries, photos, letters and clippings the family lovingly saved as cherished objects which are now preserved in the Barrett Art Centers archive at 55 Noxon Street. In their public lives, the Barretts showed equally impressive loyalty to their community. Barretts father, a banker for 54 years, was the trusted expert the community turned to when it needed a treasurer for major civic projects like saving the historic Glebe House from demolition, building St. Francis Hospital, or creating the Bowne Memorial Tuberculosis Sanitarium. Barretts mother was engaged with the community as well, although in the traditionally acceptable ladylike activities of the D.A.R. and the womens auxiliary of Christ Church.</p><br>
<p>Barrett began his career in the mid-1920s as a freelance commercial artist for New York City department stores and manufacturers - designing things like playing cards, book plates, wallpaper, and radio cabinets. Unable to make a living at this as the Depression deepened, Barrett returned home to 55 Noxon Street in 1929 where he lived for the rest of his life, working from the attic studio he created, which looked out over the backyards and rooftops of his “dear Poky.”</p><br>
<p>During the summers of 1928–1930, a fundamental shift began occurring in Barretts life as an artist. While visiting friends in New Hampshire, Maine and Massachusetts, Barrett began experimenting with oil painting. His depictions of the mills, fishing sheds and wharves of New England caught the attention of art critics and launched Barrett in a new direction. His new success with oil painting brought exhibit opportunities in New York at the Anderson Gallery, Argent Gallery, Times Gallery, Fifteen Gallery, Academy of Allied Arts, and the Brooklyn Museum. Outside of New York City, Barretts work appeared at the Pennsylvania Academy of Fine Arts, the Philadelphia Print Club, the Albany Institute of History and Art, the Connecticut Academy of Fine Arts, the Palm Beach Art Club, the Wood Cut Society of Kansas City and the Wichita Art Association. In the Hudson Valley, Barrett held one man shows at Bard College and the Hudson River Museum in Yonkers. Like other Depression era artists, Barrett also found work as a WPA muralist in 1936 and 1937 and became deeply committed to the art of social realism and the goal of introducing art into everyday life through murals and free public exhibitions.</p><br>
<p>Throughout the 1930s, Barrett continued to more fully explore localism, an art movement that focused on looking for the universal in the particular. He obsessively painted Poughkeepsie, his own home town, in all its desolate and gritty beauty. In 1941, Barrett achieved one of his proudest moments when art critic and collector Duncan Phillips purchased his painting “Downtown Poughkeepsie” for the Phillips Memorial Gallery in Washington D.C.</p><br>
<p>Tom Barrett Jr.’s focus extended from painting Poughkeepsie to growing its arts community and improving the local quality of life. He pursued a particularly bold agenda for community betterment, advocating for a municipal art gallery, a civic center, and a reimagined waterfront long before others in his community realized the importance of these key elements in urban design. From 55 Noxon Street, Tom Barrett also organized the county’s first art show in 1934. The show, which was held on the top floor of the Luckey-Platt Department store, included the work of approximately 50 local artists. A few months before his death in 1984, fellow artist Vince Walker remembered how it all began:</p><br>
<p>A group of us used to meet in Barrett’s studio to do some sketching and drawing. Tom and I thought it would be a good idea to get an exhibition together so we drove around the county and talked to some artists. Tom contacted Eleanor Roosevelt and some others to sponsor the exhibit. There really was no art community in Poughkeepsie at the time. Exclusive of exhibits at Vassar College, this was the first art exhibition in the community.</p><br>
<p>Over 2,000 people visited this first ever regional art exhibit in the auditorium on the top floor of the Luckey-Platt Department Store. The press pronounced it “exhilarating” and an “eye opener of startling dimensions.” The community seemed stunned not just by the talent they saw revealed but also by how oblivious they had been to its existence. The following year, Tom Barrett and Vince Walker formalized this initial success by founding the Dutchess County Art Association. Tom Barrett served as its first president.</p><br>
<p>Never content with leaving art inside a gallery, Barrett also became county chairman of the national program “American Art Week” which promoted the placement of art in the windows of stores, banks, theaters, and hotels in cities and towns across the country during the first week of each November. Barretts sister Elizabeth, known to her family as Bet, supported her brothers efforts to grow and sustain the local arts community. A long-time employee of the Poughkeepsie Bank and Trust Company, she helped the arts community with her financial skills. For example, she served as treasurer of the “Victory Calendar” project of 1943. This fundraiser for local war work agencies captured the attention of President Roosevelt, who invited the Victory Calendar artists to hold an exhibit of their work at the FDR Library with a special opening ceremony hosted by the first lady.</p><br>
<p>Barretts most cherished dream, however, remained the creation of a dedicated space for art exhibits and classes. During much of Barretts life time, artists of the region had to rely on leased or donated exhibit space in various venues such as the Luckey-Platt Department Store, the Hotel Campbell, Three Arts Bookstore, the Elverhoj Art Shop, the IBM Country Club, and the county fair. Art classes had to be arranged in the evenings at the public school. Barrett&#39;s dedication to finding a better and more permanent alternative to these makeshift arrangements even extended to planning out how his own home at 55 Noxon Street could be redesigned as an art gallery with small private quarters at the back of the house for himself, his sister Betty and his parents – if only an “angel” were to step forward with the funding.</p><br>
<p>However, the haunting quality of Barretts depictions of Poughkeepsie took its toll on Barretts emotional and physical health. Privately, he mused that the intensity of producing such honest and original art would probably result in his early death. Barrett sought relief from the intensity of oil painting by also becoming a self-taught woodcut artist and printmaker. Barrett scholars Karal Ann Marling and Helen Harrison have noted that in woodcuts and printmaking, Barrett was able to return to his roots in the decorative arts. In woodcut work, Barrett could indulge his special talent for advanced linear thinking which, back in his student days, had convinced him to major in decorative arts and design rather than painting. Among the results of Barretts woodcut work are some particularly beautiful architectural images that attracted many, including FDR. For his private collection, President Roosevelt purchased a Barrett woodcut of St. James Church in Hyde Park. Barretts brilliant woodcuts and haunting oil paintings remain important examples of Depression era regionalism in Hudson Valley art history.</p><br>
<p>Despite his extraordinary talent and determination, Tom Barretts life was filled with challenges too great to surmount: alcoholism, a deep sense of guilt for failing to earn even a modest income from his art, and tormented feelings about a hometown he found both dishearteningly provincial and desolately beautiful. The international horrors of World War II, in particular the use of the atomic bomb, seemed to shake Barrett deeply. At home, the death of Barretts father in 1944 and the new need to share the familys beloved home with income-producing tenants were difficult burdens to bear. In 1947, Tom Barrett died prematurely as he had predicted. He was 45 years old. In responding to a condolence letter, Barretts mother wrote simply about her son: “While his life was short, it was full; but he was unhappy about the many sad things in the world that are happening to people.” His home at 55 Noxon Street was the deeply loved touchstone of Barrett&#39;s world, serving as both an art studio and a refuge for a gifted but vulnerable soul who found there, with the help of a loving family, the strength to continue believing in himself and the importance of art in the modern world</p><br>
<p>In 1974, 27 years after her brothers death, Barretts beloved sister Betty fulfilled her brothers dream by bequeathing 55 Noxon to the Dutchess County Art Association as its permanent home – now known as the Barrett Art Center. After taking ownership of Barrett House, the DCAA replaced the failing roof and equipped former domestic spaces on the first floor as galleries, maintaining interior woodwork, fireplaces, and surrounds. On the second floor, two spaces used as bedrooms by the Barrett family were combined to create an art classroom space. Back bedrooms were converted to a library, collections, storage and a gallery space. Barretts third floor studio was transformed into a printmaking studio with a fire escape. Barrett House maintained this layout until 2017, when the print studio equipment on the third floor was moved to an accessible community space (the Poughkeepsie Underwear Factory). Since then the space has returned to its intended use as an artists’ studio.</p><br>
<p>The Boughton-Haight House is a historic house located at 73-75 South Hamilton Street in Poughkeepsie, Dutchess County, New York.</p><br>
<h2>Description and history</h2><br>
<p>It was built in about 1875 and is a three-story, four-bay wide, brick double townhouse designed in the Italianate style. It features round arch windows, cast iron lintels and sills, and brownstone front steps.</p><br>
<p>It was added to the National Register of Historic Places on November 26, 1982.</p><br>
<p>Cedarcliff Gatehouse is a historic gatehouse located in Poughkeepsie, in Dutchess County, New York. It was likely designed by architect George E. Woodward and built about 1862 for Lindley M. Ferris. It is a -story, cruciform plan brick cottage in the Gothic Revival style. It features deep eaves with extended rafters and bargeboards with scroll-sawn overlay. The property includes a period cast iron gateway and fence.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>Eastman Terrace is a historic rowhouse block located at Poughkeepsie, Dutchess County, New York. It was built in 1872 and consists of ten sections. The block is three stories high on a raised basement. It features a mansard roof with polychrome slate and an elaborate roofline with decorative stone parapets and iron cresting. The block was part of a larger plan to develop the Eastman Park section of the city.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<h2>History</h2><br>
<p>Harvey G. Eastman was an educator, politician, and prominent citizen of the City of Poughkeepsie in the mid-19th century. He established the Eastman Business College in 1859 and was the city&#39;s mayor from 1871 to 1874. Among other innovations Eastman brought to Poughkeepsie like street lighting and a central water system, he had a vision for the area bordering the southern edge of downtown. In 1865, he purchased 27 acres of swamp land right next to his mansion at Montgomery Street and South Avenue, and envisioned a park with a housing development to complete it. The park was to be of grand design and became known as the “Central Park” of Poughkeepsie. It was complete with fountains, a pond with a central island, a terraced walkway, a concert area, a ball field, a skating park, a small zoo, and an extensive flower garden. The park was bordered with walls of marble and paths of bluestone. The park, open to the public at no charge, was privately funded by Eastman at a total cost of $200,000 ($ in 2016).</p><br>
<p>The second part of Eastman&#39;s vision was an urban townhouse community. In 1872, he planned to build 24 five-story rowhouses bordering the southern edge of the park in one long block along a street still known as Eastman Terrace. The development, which would ultimately fail, became known as “Eastman’s Folly.” The townhouses were offered at $17,000 each ($ in 2016) and were marketed as the finest, most modern townhomes between New York City and Albany. Buyers had choices to their interior finishes like specially designed furniture and stenciled walls, all of the highest quality craftsmanship available. Eastman had 10 of the houses built but struggled to sell them. The answer seemed trivial to the local wealthy population; a narrow, connected house was unnecessary when one could build a large, detached house on nearby Academy Street or Garfield Place. While Eastman had the lots and walkways for the remaining 14 townhouses laid out, his struggle to sell the first 10 influenced his decision to stop construction of them before they were complete.</p><br>
<p>Eastman Park and the rowhouses still exist today, although with much less allure. The park no longer has its extravagant features, and in the 1970s the YMCA built a mostly athletic facility on the grounds and turned much of the park into athletic fields and a dirt running track, though the facility was closed in early 2009 from financial issues. The building and fields are mostly dilapidated now. The western side of the park is a combination football/baseball field which still hosts select football games between local high schools. Much of the park&#39;s marble walls and bluestone perimeter walks are still intact. The rowhouses were mostly converted to apartments in the early 20th century, with only one remaining a single-family home.</p><br>
<p>Hershkind House is a historic home located at Poughkeepsie, Dutchess County, New York. It was built about 1885 and is a -story, five-bay-wide Swiss chalet–style dwelling with a steeply pitched roof. It features a three-sided bay with a four-sided conical roof with V-shaped cutouts. It also has board-and-batten and clapboard siding, pierced balcony railings, and a stick style porch.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>Mader House is a historic home located at Poughkeepsie, Dutchess County, New York. It was built about 1925 and is a -story, three-bay-wide bungalow-style dwelling with a low-pitched roof. It is sheathed in pink stucco and sits on a raised basement. It features a spacious front porch and large multi-paned windows.</p><br>
<p>It was designed by architect Percival M. Lloyd. Lloyd has nine buildings on the National Register, including the Hudson Valley&#39;s first skyscraper - a six story bank building also in Poughkeepsie.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>The Mulrien House is located on Montgomery Street in Poughkeepsie, New York, United States. It was built in 1862 and is a -story, Gothic Revival–style dwelling with a steeply pitched, slate-covered cross-gable roof. It features curved and cut-out bargeboard with ornamentation and a small balcony over the front door.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>The Tarr–Eaton House is an historic house at 906 Harpswell Neck Road in Harpswell, Maine. Built before 1783 and enlarged about 1840, it is a well-preserved 18th-century Cape with added Greek Revival features, and one of Harpswell&#39;s few surviving pre-Revolutionary War buildings. It was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Tarr–Eaton House stands in Harpswell Center, on the west side of Harpswell Neck Road (Maine State Route 123), in a field just north of the 1750 Harpswell Meetinghouse, a National Historic Landmark. It is a single-story wood frame structure, with a side gable roof, a large central chimney, five-bay facade, clapboarded exterior, and a foundation of concrete and rubblestone. A single-story shed-roof ell extends northward from its rear northeast corner. The main facade faces south, consisting of four windows with simple surrounds, two on either side of the main entrance, which is topped by a four-light transom window. A porch extends across the eastern facade, supported by simple square posts. The interior has a typical center-chimney plan, with the entry vestibule housing a narrow and steep winding staircase, with parlor spaces to either side, and the kitchen behind. Fireplaces feature Federal period mantels, and the interior retains other period finishes.</p><br>
<p>The house was probably built sometime before 1783, the year in which William and Elizabeth Tarr&#39;s first child was born. It was the farmstead for a farm of over 100 acre. Tarr was a veteran of the American Revolutionary War, and is also recorded as operating a tavern in the town and serving as its constable. Tarr sold his property to Joseph Eaton in 1811, a relative of the ministers Elijah and Samuel Eaton who served at the adjacent 1758 Harpswell Meeting House, and it remained in the Eaton family until 1908 when John Hackett, a hired hand, purchased the property from Emeline Eaton. The house and two acres were given to the Harpswell Historical Society in 1982, which resold it into private ownership with protective covenants.</p><br>
<p>The Elijah Kellogg House is an historic house on Barton Lane in Harpswell, Maine. It is a well-preserved Greek Revival house, built in 1849 by Elijah Kellogg, a Congregationalist minister at the nearby church, and a lecturer and author of popular boy&#39;s adventure books. The house was listed on the National Register of Historic Places on April 28, 1975.</p><br>
<h2>Description and history</h2><br>
<p>The house is located near Harpswell Center, on the north side of Barton Lane, a private road extending west from Harpswell Neck Road (Maine State Route 123), the principal north–south route on the Harpswell peninsula. It is an L-shaped -story wood-framed structure, with a rectangular main block and a long two-story ell extending to the east. The south facade is two bays wide, with widely separated windows, and corner pilasters rising to an entablature. Above thus is a fully pedimented gable, with a triangular diamond-pane window at its center. The front entrance is located at the eastern end of the ell, flanked by pilasters and topped by a gabled pediment. A secondary entrance, likely once the main entrance, stands at the crook of the L, sheltered by a simple shed-roof porch with square posts. The interior exhibits original Greek Revival woodwork and finishes throughout.</p><br>
<p>Elijah Kellogg, a native of Portland, attended Bowdoin College, and was called to the ministry by the Congregationalists of the nearby town of Harpswell, who were in the process of building a new church (now known as the Elijah Kellogg Church in his honor). Kellogg was officially the pastor there from 1845 until his death in 1901, although he spent many years at other postings. Kellogg acquired a national reputation for a series of children&#39;s adventure books, based on his life growing up in Maine.</p><br>
<p>The Washington Street Historic District encompasses a residential area of Middletown, Connecticut that has a long history as a fashionable and desirable neighborhood. Extending along Washington Street and Washington Terrace between Main and Jackson Streets, the area has a broad diversity of residential architecture dating from 1752 to 1931, reflecting the city&#39;s patterns of growth. The district was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>Middletown was established in the 17th century as a mainly agrarian community, and developed as a major regional port in the mid-18th century, with shipping extending along the east coast and to the West Indies. During this period, merchants and ship captains built fashionable houses along Washington Street, which was then known as Boston Road. It was renamed in honor of George Washington after his visit in 1789. The city continued to flourish as a maritime center until the War of 1812. Investment then began into various industrial manufacturing concerns, which brought the city out of its decline in the second half of the 19th century and powered it into the mid-20th century. The residential architecture of Washington Street is reflective of the changing fortunes of the city.</p><br>
<p>The district is centered on the five-acre Washington Terrace Park. In addition to the park, the district also includes the West Burying Ground and 32 contributing buildings dating from 1752 to 1931 with examples of Late 19th and 20th Century Revivals, Greek Revival, and Late Victorian architecture. The district is mostly linear along Washington Street (Route 66) bounded on the west by Jackson Street and on the east by Main Street. Some of the buildings in the district are now owned by and part of Wesleyan University.</p><br>
<p>Although it is mainly residential, the district includes two churches. One is St. Sebastian Church, a Mediterranean Revival structure built by Italian masons to resemble a church in Melilli, Sicily. The other church, built to house a Lutheran congregation in 1958, is not historically significant.</p><br>
<p>The University of North Dakota Historic District is a 127 acre area in Grand Forks, North Dakota that was listed as a historic district in the National Register of Historic Places on January 13, 2010.</p><br>
<p>The district is located on the University of North Dakota campus and neighboring streets. It includes 56 contributing properties. The area also includes 17 non-contributing buildings and three non-contributing structures.</p><br>
<p>While it is considered to retain a cohesive design, the district demonstrates changes in education from the 1880s, when the campus was first built, through the years after World War II. The district has dates of significance in 1883, 1922, and 1949. Some work within the area was designed by architect Joseph Bell DeRemer. The district includes Late 19th and 20th Century Revivals architecture.</p><br>
<p>The Wickham Road Historic District encompasses a well-preserved 18th-century rural streetscape in East Haddam, Connecticut. Included in the district are three houses built c.1735, c.1738, and c.1760, their outbuildings, remnants of another 18th-century house, and remnants of a period sawmill. The area is significant as a visual reminder of what the region might have looked like prior to the advent of industrialization in the 19th century. The district was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The district covers 225 acre of rural landscape that is now mostly wooded. Wickham Road is a narrow winding gravel lane lined with stone walls, running roughly parallel to an arm of the headwaters of the Eight Mile River. Widely spaced along the road are three houses, with the foundation of a fourth set at the junction with Geoffrey Road. Each of these properties includes at least portions of agricultural lands historically associated with them. To the northeast of the road is a dam that impounds the Eight Mile River branch, creating Pecks Meadow Pond, with the foundational remnants of the sawmill nearby.</p><br>
<p>All three of the houses date to the mid-18th century, with estimates of their construction dates ranging from 1736 to 1760. Two are 2-1/2 stories in height, while one is 1-1/2 stories; all are basically vernacular in form and style, and are finished in wooden clapboards with central chimneys. Two of the houses have three-bay facades, architecturally distinctive in a period when five-bay facades were more typical. The house foundation is that of a house erected in 1782 by David Wickham, who also established the sawmill. The sawmill was operated by numerous owners until 1883.</p><br>
<p>The Town Farms Inn is a historic poor farm on Silver Street at River Road in Middletown, Connecticut. It was listed on the National Register of Historic Places in 1979. The poor farm provided employment and food for indigent people.  and</p><br>
<p>There are two principal buildings. The older structure dates back to the late 1830s and is a -story, Federal style house built of brick. It measures 36 ft by 34 ft. The exact date of construction is not known, but the date 1839 is carved into a flagstone in the front walk, and the style of construction is consistent with architecture in the late 1830s. The second building was built in 1891. It is also built of brick on brownstone foundations and measures 52 ft by 34 ft. Between the two buildings, there were 14 rooms on the first floor, 29 rooms on the second, and three on the third floor. The back yard contains a long brick outbuilding, which is one story high and has a pitched roof. The total area of the nominated property is 4.3 acre.</p><br>
<p>The inn was originally built as a farmhouse by Thomas Griswold Mather, who married his first cousin Jane Ann Mather in 1834. His wife died in 1853, at which point he sold the farm and the buildings to the town of Middletown. At that time, there were 35 acre in the farm, with an additional 16 acre in a wood lot. The town operated it as a poor farm until 1946. By that time, town farms had been superseded by other social agencies. The town sold the property, and the new owners established a restaurant.</p><br>
<p>The Pratt House is a historic house museum at 19 West Avenue in Essex, Connecticut. With a construction history of one ell possibly dating to the mid-17th century, it is one of Connecticut&#39;s oldest surviving buildings, owned for centuries by a single family. Now owned by the local historical society, its displays exhibit Pratt family and regional history. The building was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>The Pratt House stands in the village center of Essex, on the north side of West Avenue a short way east of town hall. It is a -story timber-framed structure, with a gabled roof, central chimney, and clapboarded exterior. The main facade is asymmetrically arranged, with an off-center entrance framed by fluted pilasters and a corniced entablature over a four-light transom window. Two windows are placed on either side of the entrance, and there are another four windows on the second floor. Two ells, of increasingly older age, extend to the rear of the main block. The building&#39;s interiors are well-preserved.</p><br>
<p>The main block of the house was built about 1732. The rear ell is believed to date to the mid-17th century, and was probably moved to this site in 1701, when the middle ell was built. The early builder was William Pratt, one of the first colonial proprietors of Essex. Six generations of his family resided in this house from 1701 to 1915, when it was converted into a tenement house.</p><br>
<p>In 1952 the house was given to the Society for the Preservation of New England Antiquities, which in 1985 turned it over to the local historical society. The society offers thirty-minute tours from 1-4 every Friday, Saturday, and Sunday during the summer.</p><br>
<p>The Valley Pike Covered Bridge was a historic covered bridge located in Mason County, Kentucky, United States. It crossed the Frasure Branch of Lee Creek. It was added to the National Register of Historic Places in 1976. The bridge was dismantled after flood damage on April 27, 2018.</p><br>
<p>The bridge construction was single kingpost, resting on stone abutments. The span was short – 30 to 35 feet – consistent with the single kingpost system. The structure had tin siding and roofing. It was the only privately owned covered bridge in Kentucky and had provided access to farmland.</p><br>
<p>A number of reasons have been offered to explain the construction of covered bridges in Kentucky during the 19th century. Roads across the bridges were kept dry and free of snow in winter. The protection the cover provided against wood deterioration was likely most important. The cover allowed timbered trusses and braces to season properly and kept water out of the joints, prolonging the life by seven to eight times that of an uncovered bridge.</p><br>
<p>Rombout House is a historic home located at Poughkeepsie, Dutchess County, New York. It was built about 1854 on land that had been part of the original British royal Rombout Patent of 1685 and is a -story, three-bay-wide, Hudson River Bracketed architectural style dwelling. It sits on a raised basement and features a central pavilion. It has been owned by Vassar College since 1915.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>South Hamilton Street Row is a set of historic homes located at Poughkeepsie, Dutchess County, New York. There are four contributing houses, built in 1871 or 1872, and a large period barn. They represent popular architectural styles including a 2-story Second Empire style residence and -story Italian Villa. The group is representative of upper middle class suburbs of the 1870s.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>Vassar-Warner Row is a set of historic homes located at Poughkeepsie, Dutchess County, New York. Included in the row is the Vassar-Warner Home, built in 1837 in the Greek Revival style. It is a three-story, massive brick structure with a wing designed in 1898 by Corydon Wheeler. Also in the row are three Queen Anne style residences.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>The Warner House is a historic house at 307 Town Street in East Haddam, Connecticut. Built in 1738, it is notable for its high quality interior woodwork and hardware, the latter of which were probably made by some of its owners. The house was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>The Warner House is located in a rural-suburban setting of western East Haddam, on the west side of Town Street (Connecticut Route 82) near its junction with Petticoat Lane. It is a -story wood-frame structure, five bays wide, with a side-gable roof, large central chimney, and clapboarded exterior. The main entrance is at the center of the symmetrical front facade, sheltered by a gabled portico supported by round columns. The entrance is flanked by simple pilasters. The interior follows a typical period center-chimney plan, with high-quality wood paneling around the main parlor fireplace, and elaborate millwork in the second parlor.</p><br>
<p>The house was built in 1738 by John Warner, and was restyled in 1790, when most of its fine woodwork was added. John Warner was a noted regional maker of interior hardware (hinges, latches, and so on), whose work is probably in this house. His son and grandson, the next occupants of the house, were blacksmiths.</p><br>
<p>The house was purchased in 1936 by Frederic T. Palmer, a restoration architect, who undertook a careful restoration of the house. In the mid-1940s, Palmer&#39;s lover, Howard Metzger, also moved into the house. The couple were not publicly out, but their status as a couple was well-known in their community. They hosted many gatherings of LGBT friends at the home.</p><br>
<p>Palmer and Metzger also enjoyed collecting antiques, and the house was featured in Antiques Magazine in 1957.</p><br>
<p>Palmer was a trustee and boardmember of Connecticut Landmarks, who received the property after the death of his partner in 2005.</p><br>
<p>The William Allison House  near College Grove, Tennessee is an antebellum, brick central passage plan house with Federal style detailing built during 1827–1832. It is a two-story house with a two-story rear ell and exterior brick chimneys. It has a one-story shed-roof addition from c. 1860 and a c. 1940 porch.</p><br>
<h2>Description and history</h2><br>
<p>The house was built by William Allison, whose father James Allison had acquired a large estate of several hundred acres. James had married into the family of William Ogilvie, who was an original settler in the creek area in 1800. William Allison died in 1834. The home was later owned by one of his sons, Thomas P.P. Allison who fought in the Fourth Tennessee Cavalry during the American Civil War and was promoted to major. Thomas P.P. Allison became a prosperous farmer and also served in the Tennessee legislature (during 1871–73) and was Commissioner of Agriculture for the state during 1893–1897. He promoted the use of fertilizers. After he died in 1913 the property was sold by his wife.</p><br>
<p>It was listed on the National Register of Historic Places in 1988. The property was listed on the National Register in 1988 study of Williamson County historical resources, which described the house as "imposing" and as one of the most finely crafted residences in the College Grove area.</p><br>
<p>A c. 1830 log structure survived nearby, but off the property, in 1988.</p><br>
<p>The Bank of College Grove in College Grove, Tennessee, opened in a frame building in 1911, and the building was significantly remodelled in 1927, with the exterior gaining a brick veneer and Doric pilasters. The building was listed on the National Register of Historic Places in 1988.</p><br>
<p>The bank had assets of $27,000 at the end of its first year, and was a successful venture for the next two decades. Unlike several other Williamson County banks in rural areas, such as Bank of Nolensville, Thompson Station Bank, and a bank at Leiper&#39;s Fork, the College Grove bank then survived the Great Depression, and continued in operation at this location until 1965, when it moved to a building next door.</p><br>
<p>The property was listed on the National Register as part of a 1988 study of Williamson County historical resources.</p><br>
<p>The Brooks Round Barn was a historical building located near Nashua in rural Floyd County, Iowa, United States. It was built in 1914 by Emil Cable, with Dale Butler as the supervisor. The building was a true round barn that measured 74 ft in diameter. It was constructed of clay tile and featured a two-pitch roof and a 16 ft central clay tile silo. The interior featured stanchions around the silo on the ground floor, double horse stalls and grain bins in a circular arrangement on the main floor, and a hayloft. The barn was listed on the National Register of Historic Places in 1986. It was destroyed in 1995.</p><br>
<p>The Spotts Round Barn is a historic building located near Charles City in rural Floyd County, Iowa, United States. It was built in 1914 as a dairy and horse barn. Its design was influenced by the Iowa Agricultural Experiment Station. The building is a true round barn that measures 55 ft in diameter. It is constructed of clay tile from the Johnston Brothers Clay Works. It features a two-pitch roof, a large hay dormer on the north side and a 12 ft central silo. The barn has been listed on the National Register of Historic Places since 1986.</p><br>
<p>The United Presbyterian Church in Pullman, Washington, also known as the Greystone Church, is a historic Presbyterian church which was listed on the National Register of Historic Places in 1989. After being slated for demolition in 2002 the building was purchased and restored. In 2018 it was listed on the Pullman Register of Historic Places. In 2023, it is an apartment building.</p><br>
<p>Mainly built in 1914, it is a "massive structure built of quarry-faced, ashlar Tenino sandstone on a base of rough cut basalt". It was designed by prolific local architect William Swain.</p><br>
<p>The original church on the site was a wood frame building built in 1898-99. In 1912 this building was moved to the back of the property and rotated 90 degrees. A larger stone church was built in front in 1914, and the original building was faced in the same quarry-faced stone to unify the entire composition."</p><br>
<p>The Nelson Round Barn is a historic building located near Allerton in rural Wayne County, Iowa, United States. It was built in 1912, and it was originally used as a dairy barn. The building is a true round barn that measures 50 ft in diameter. It features white vertical siding, an aerator, and a conical roof. The barn has been listed on the National Register of Historic Places since 1986.</p><br>
<p>The Round Barn, Norway Township is a historical building located in rural Norway Township, Winnebago County, Iowa, United States. It was built in 1920 as a dairy and horse barn. The building is a true round barn that measures 53 ft in diameter. It is constructed of clay tile from the Johnston Brothers&#39; Clay Works in Webster County. It features an aerator, conical roof and a hay dormer on the south side. The barn has been listed on the National Register of Historic Places since 1987.</p><br>
<p>The Todd House is a historic house museum that was the home to abolitionist and Congregationalist minister, John Todd. The house is located on Park Street in Tabor, Iowa.</p><br>
<p>It was built in 1853 around the time when Todd moved to Tabor as a co-founder of Tabor College and the town of Tabor. John Brown visited the home around the time of his raids, and the house served as a stop on the Underground Railroad prior to the Civil War. John Todd served as a model for the grandfather of the main character in the 2004 Pulitzer Prize winning book, Gilead. The house is a two-story frame clapboard structure. Todd&#39;s House was added to the National Register of Historic Places in 1975. It is currently maintained as a museum by the Tabor Historical Society.</p><br>
<p>Tabor Antislavery Historic District is a historic district on Park, Center, Orange & Elm Streets in Tabor, Iowa.</p><br>
<p>The area was largely settled in 1853 and many mid-19th century revival buildings survive. The district includes the Todd House and the Public Square (Tabor City Park). This area was the home to several notable abolitionists, including Rev. John Todd. John Brown visited the area during his raids in the 1850s and camped in the square. It was also used by Tabor College (1853–1927) for recreational purposes. The area was added to the National Register of Historic Places in 2007.</p><br>
<p>Hunter School is a historic building near Tabor, Iowa, United States. The one-room schoolhouse was built in 1901. The school was named for John H. Hunter, a farmer and landowner on whose property the original school was built in 1901. Its use as a schoolhouse came to an end in 1920 when it was consolidated into the Tabor School District. The building was used as a township meeting and a polling place until 1990. Since then it has been maintained as a historical landmark. The former schoolhouse is a frame structure built on a brick foundation, and consists of a 24 by main block and an 8 ft square bell tower-entrance. While the schoolhouse overall follows a basic plan for a one-room schoolhouse, it departs from that plan with the asymmetrically placed corner tower. It was added to the National Register of Historic Places in 2007.</p><br>
<p>The Parmelee House is a historic house at 4 Beckwith Road in Killingworth, Connecticut. It was built about 1770 for a member of one of the area&#39;s founding families, and is architecturally important as an example of a farm outbuilding converted to a residence during the 18th century. It was listed on the National Register of Historic Places in 2007.</p><br>
<h2>Description and history</h2><br>
<p>The Parmelee House is located in a rural setting of western Killingworth, facing west on the east side of Beckwith Road, a short way south of Connecticut Route 148. It is a -story wood-frame structure, five bays wide, with a side-gable roof and a central chimney. Because it is set in a hill, it only has a single-story at the rear. Although it has a conventional colonial appearance, the house is architecturally distinctive for the period, with an atypical floor plan that is partly a consequence of using what would normally be the basement as a living space.</p><br>
<p>The house was apparently built c. 1770 by Ezra Parmelee, descended from one of the areas first colonial settlers. The buildings structure suggests that it may have been built originally as a three-bay bank barn; the fireplace styles are suggestive of post-Revolutionary War construction, indicating the conversion took place in the late 1780s. There is no mention of a house on the property in a sale recorded in 1770, but a house is present in 1787. The property remained in the hands of Parmelee descendants for most of the years between then and 1928. The property also includes a c. 1880 barn.</p><br>
