<p>The David Lyman II House, also known as the Lyman Homestead, is a historic house at 5 Lyman Road in Middlefield, Connecticut. Built around 1860, it is among the best Gothic Revival structures in the greater Middletown area. The house is built in part on the foundation of a 1785 house that originally stood on the site. The 2 acre property containing the house and its outbuildings was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The David Lyman II House stands in a rural setting of Middlefield, on the west side of Lyman Road just south of its junction with Connecticut Route 147. It is a -story wood-frame structure, with a gabled roof and clapboarded exterior. The roof is crowned by a square cupola with paired round-arch windows on each side, and a flared pyramidal roof. A gabled wall dormer rises in front of the cupola, adorned with vergeboard and crowned by a finial. The main facade is five bays wide, with a single-story porch extending across the front. The porch is supported by chamfered post with sawn brackets. Italianate brackets also adorn all of the roof eaves.</p><br>
<p>The Lyman family owned land in this area for more than 200 years. David Lyman II operated a 500 acre farm, and was a local industrialist, founding (among other businesses) the Airline Railroad. The house was built to a design by New Haven architect Rufus G. Russell and was completed by 1865. Its main block was apparently built on the foundation of an older house, which was built on the site in 1785.</p><br>
<p>The Metro South Historic District encompasses a portion of the downtown area of Middletown, Connecticut. Extending south from Main and College Streets for two blocks, this area was developed in the 19th century, and contains a diversity of well-preserved architecture from that period, some with association to locally important individuals. It was listed on the National Register of Historic Places in 1980.</p><br>
<h2>Description and history</h2><br>
<p>The district includes 15 contributing buildings and one non-contributing building and extends on the west side of Main Street from Church Street (just north of the South Green) to College Street. Two buildings, the armory and a c. 1750s colonial house, are located on the east side of Main Street. The contributing buildings include two Greek Revival churches: a Baptist church (1842) and Universalist Church (1839). One of the buildings, the Middlesex Opera House was designed by nationally known architect Francis Kimball.</p><br>
<p>The southern part of Middletowns Main Street was predominantly residential into the 19th century, and still includes a few houses from the colonial and Federal periods. In the late 19th century, the commercial portion of the downtown began to extend southward, as exemplified by the construction of the opera house 1892 and the armoury in 1921. Other buildings of note from that period are the 1896 firehouse, and the 1867 Middlesex Assurance Company building at 179 Main Street, which is one of the districts most architecturally sophisticated buildings.</p><br>
<h2>List of contributing buildings</h2><br>
<p>Caleb Fuller House (1771, also included in Middletown South Green Historic District)</p><br>
<p>Rev. John Cookson House (1837)</p><br>
<p>Southmayd House (1747)</p><br>
<p>First Baptist Church (1842)</p><br>
<p>Gen. Mansfield House (1810, houses the Middlesex Historical Society)</p><br>
<p>Hall House (1796)</p><br>
<p>109-111 College Street (1926, building that used to serve as entrance for Middlesex Theater)</p><br>
<p>Middlesex Theater/Opera House (1892)</p><br>
<p>Former firehouse (1896)</p><br>
<p>G.A. Chafee Building (1870)</p><br>
<p>Universalist Church (1839)</p><br>
<p>191-195 Main Street (1835)</p><br>
<p>Middlesex Assurance Co.</p><br>
<p>State Armory (1921), including John Watkinson House (1810)</p><br>
<p>Charles Boardman House (1750s)</p><br>
<p>The Old Town Hall is a historic public building on Chester Green in Chester, Connecticut. Built in 1793 and subsequently altered and enlarged, it has been a significant civic meeting point for the community since its construction, hosting religious services, town meetings, and theatrical productions. It was listed on the National Register of Historic Places in 1972.</p><br>
<h2>Description and history</h2><br>
<p>Chesters Old Town Hall is located at the towns traditional center, north of the modern main village. It is set at the north end of the Chester Green, between Liberty Street and Goose Hill Road. It is a 2-1/2 story timber-frame structure, with a clapboarded exterior and steeply pitched gable roof supported by trusses shaped out of heavy wooden timbers. The gabled ends of the building have formal entrances at their centers, which have Federal style surrounds, and are no longer used. There are single-story extensions projecting from both the north and south sides, one providing an enlarged entrance vestibule, and the other a stage area.</p><br>
<p>The structure was built in 1793 as a meeting house, principally to serve the local Congregational parish, which was then still part of Old Saybrook. It served as the meetinghouse for the Congregational Church until 1845 when a new Congregational Church was constructed on West Main Street. It was sold to the town of Chester (incorporated in 1836) in 1847 for $300, and used as the town hall to hold town meetings. In 1876, the building was substantially remodeled as a theater. Aside from its use for local theatrical events and high school graduations, the building continued to be used as the site for town meetings until 1960. and</p><br>
<p>The Carroll County Courthouse is a historic county courthouse located at Hillsville, Carroll County, Virginia. It was built between 1870 and 1875, and is a two-story brick building with a gable roof. It features a two-story, pedimented portico in the Doric order. The building is topped by an octagonal cupola. The courthouse was the scene of the famous Hillsville massacre of March 14, 1912, in which five persons, including the presiding judge, were killed in a courtroom battle.</p><br>
<p>The courthouse was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Carroll County Historical Society and Museum</h2><br>
<p>The Carroll County Historical Society and Museum is located in the historic courthouse. The museum is focused on the heritage and culture of Carroll County, and includes early Native American and Civil War artifacts. The Society also offers tours of the historic building.</p><br>
<p>The Humphrey Pratt Tavern is a historic house at 287 Main Street in Old Saybrook, Connecticut. Built in 1785, it was associated with the locally prominent Pratt family for many years, and served as a tavern and stagecoach stop in the 18th and 19th centuries. It was listed on the National Register of Historic Places in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Humphrey Pratt Tavern is located in Old Saybrook&#39;s central South Green area, on the west side of Main Street southwest of its junction with the Old Boston Post Road. It consists of a main block, stories in height, five bays wide, with end chimneys, and a -story gambrel-roofed ell extending to the rear. It is finished in wooden clapboards, and has a symmetrical facade with a slightly overhanging second story. The main entrance is at the center, sheltered by a Greek Revival hip-roofed portico supported by square columns with modest capitals. The interior follows a central hall plan, and is extended by a two-story addition to the rear and a single-story ell to the side.</p><br>
<p>The house was built in 1785 by Humphrey Pratt, and it remained in the Pratt family until 1943. Pratt was Old Saybrooks first postmaster, operating the towns post office on these premises. It was a popular meeting place, given its central location in the town, and on the main stagecoach route between Boston and New York City. The rear addition has a ballroom with sprung wooden floor on the second floor, where the Marquis de Lafayette is said to have danced.</p><br>
<p>The Rapallo Viaduct is a buried railroad trestle in East Hampton, Connecticut which carries the Air Line Trail across Flat Brook.</p><br>
<p>The viaduct was built as part of the New Haven, Middletown and Willimantic Railroads line from New Haven to Willimantic, forming part of a more or less direct route between Boston and New York City. The directness of the route required the railroad to cross several deep ravines, including that of Flat Brook, southeast of East Hampton, via high-level bridges; this one would be named after Charles A. Rapallo, one of the railroads directors. When Edward W. Serrell, then the Chief Engineer of the railroad, set out to design the high iron bridge that would span the valley in about 1870, bridges constructed completely from wrought iron were still a very new technology. Despite Serrells experience and high reputation as a bridge builder, he was not able to work out precisely what shape the bridge members should take, and their design was subcontracted to the Phoenix Iron Works, which was to build the bridge. While the structure was originally intended to carry a double track, Serrells apprehensions about the strength of the bridge led him to reduce it to a single track before completion. and Serrell was apparently discharged as Chief Engineer by the time of the bridge&#39;s completion in 1873, when he wrote to the Connecticut railroad commissioners expressing his apprehension over the design and construction of the iron bridges on the line, including the Rapallo and Lyman Viaducts. The commissioners had the bridges inspected by James Laurie, an eminent civil engineer, who pronounced them fit for use.</p><br>
<p>Although the New Haven, Middletown and Willimantic was completed in 1873, the Panic of 1873 and the high expenses of construction bankrupted it and forced its reorganization as the Boston and New York Air-Line Railroad in 1875. After a few years of attempted competition, it was leased by the New York, New Haven and Hartford Railroad in 1879, which was the operator of the viaduct thereafter. By the early 20th Century, the iron viaducts capacity was inadequate for the New Havens heavier freight trains, and in 1911, the New Haven submitted to the state railroad commissioners a plan to encase Flat Brook in a culvert and fill in the viaduct. The plan was approved, and from 1912 to 1913, sand was dumped from the tracks over the viaduct trestles until it was completely buried. The fill was topped with a layer of cinders, hiding and preserving the viaduct.</p><br>
<p>Passenger service over the filled viaduct ended by 1937, and the rails were abandoned entirely in 1965. The viaduct was listed on the National Register of Historic Places in 1986, when the abandoned railroad was opened as a rail trail.</p><br>
<p>The viaduct is still covered in fill, although its largely intact condition was verified in 1979 when a sewer line was buried in the fill. Part of the culvert collapsed in 2007, but was repaired and the fill restored that year. The fill covering it protected it where other iron bridges in the state have been demolished, so that the Rapallo and Lyman viaducts are the only surviving bridges in the state from the first generation of wrought iron bridge construction.</p><br>
<p>The William Tully House, also known as Hartsease or Heartsease, is a historic house at 135 North Cove Road in Old Saybrook, Connecticut. Built about 1750, it is a well-preserved and architecturally unusual example of period architecture. It also has a well-documented history, having association with one of Connecticut&#39;s leading physicians of the early 19th century, and an incident in the American Revolutionary War. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The William Tully House is located on the north side of North Cove Road, between it and the eponymous North Cove in eastern Old Saybrook. North Cove Road is a historic road dating to the mid-17th century. The house is a -story wood-frame structure, four bays wide, with a central chimney and centered doorway. Architectural evidence suggests it was originally built as a single-room house, with an attic loft and basement kitchen, which was later enlarged. The house&#39;s name, Heartsease, is of uncertain origin. There is no documentation why this name came about, but it could be in relation to the flower Viola tricolor (also known as heartsease) once growing in the yard. It could also be related to its use as a summer house for working girls during the 19th century.</p><br>
<p>The house was built circa 1750. The exact construction date is not documented, but William Tully&#39;s father divided his land holdings in 1745. This event, and the 1779 American Revolutionary War incident described below, guided architectural historians to date the house at about 1750, assuming that William Tully built the house soon after receiving the land.</p><br>
<p>The house was the site of a minor incident on August 8, 1779, in which Tories from Middletown sought release of some of their own goods to sell to the British. The second William Tully defended the property, killing two of the attackers. The house was later owned by Dr. William Tully (the fourth with that name), described as one of Connecticut&#39;s leading scientific doctors of the first half of the 19th century and a teacher at the Yale Medical School.</p><br>
<p>Villa Bella Vista, also known as the Eila Pierre House and The Ledges, is a historic house at 7 Old Depot Road in Chester, Connecticut. Built in 1908 by Italian masons, it is an architecturally distinctive structure, designed to resemble farmhouses of northern Italy. The house was listed on the National Register of Historic Places in 2000.</p><br>
<h2>Description and history</h2><br>
<p>Villa Bella Vista is located east of the village center of Chester, on the north side of Old Depot Road just east of Connecticut Route 154. It is a large two-story structure, set on a hill overlooking the Connecticut River. It is built out of concrete faced in stuccoed stone, with a three-story tower at the northwest corner, which (like the main roof) has a shallow pitch with deep overhangs. The east side of the house has an open piazza sheltered by pergolas, with French doors providing access to the piazza from the house. There are several second-floor balconies, one of which is accessed by doors having Gothic pointed arches.</p><br>
<p>The villa was built in 1908, and was designed by the owner, Eila Pierre, who was inspired by the Italianate architecture of farmhouses in northern Italy. Although she was not a professional architect, she drew up the plans herself, adapting the form and materials to the settings of the hilltop site. The construction work was conducted by Italian immigrant masons who also did work on the nearby Gillette Castle. Pierre had what was considered locally to be a fairly scandalous life, as a divorcee (from the local Congregationalist minister) who had several gentleman companions.</p><br>
<p>Oakland City is a historic neighborhood in southwestern Atlanta, Georgia, United States, just southwest across the BeltLine from West End and Adair Park.</p><br>
<p>Oakland City was incorporated as a city in 1894 and annexed to Atlanta in 1910.</p><br>
<p>Oakland City Historic District is listed on the National Register of Historic Places. It contains wood and brick bungalows as well as Minimal Traditional, English Vernacular Revival, and Craftsman houses. The district once included the Withers House, which was demolished in the first decade of the 2000s.</p><br>
<p>The neighborhood is served by the Oakland City station.</p><br>
<p>Between 1970 and 2010, Oakland City experienced notable decline. However, since 2010, the neighborhood has undergone major revitalization. Crime, property values, demand, and diversity have notably improved.</p><br>
<p>In 2023, Trees Atlanta opened its new headquarters on the east side of Oakland City near Adair Park. Founded in 1985, Trees Atlanta is a nonprofit community group that protects and improves Atlanta&#39;s urban forest by planting, conserving, and educating. The 23,000-square-foot headquarters building is along the BeltLine Westside Trail.</p><br>
<p>In March 2024, it was announced Murphy Crossing, a 20-acre development along the Beltline&#39;s Westside Trail, officially acquired a development team to revitalize the vacant space. The space formally operated as the Georgia Farmers Market and includes about a dozen warehouses and other buildings. Once the revitalization project is complete, Murphy Crossing will have retail stores, restaurants, 1,100 modern residential units, bike lanes, plazas, public art exhibits, courtyards, a dog park, and a community garden.</p><br>
<p>In April 2024, it was announced that Murphy Crossing will be the site of one of four new MARTA rail stations in Atlanta. The station is scheduled to be completed by 2030. The last MARTA rail station opened in 2000.</p><br>
<p>The abandoned warehouse complex at 1088 and 1100 Murphy Ave is set to be transformed into a mix of residential lofts and commercial space. The project is expected to begin by the end of 2024.</p><br>
<p>The William Ward Jr. House is a historic house at 137 Powder Hill Road in Middlefield, Connecticut. Built in 1742, it is the oldest surviving house in Middlefield. It was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The William Ward Jr. House stands in a rural residential area of southwestern Middlefield, on the west side of Powder Hill Road south of Long Hill Road near a local park located in a former brownstone quarry featuring dinosaur tracks. It is a -story wood-frame structure, three bays wide, with a large central chimney, gabled roof, and clapboarded exterior. It has a typical New England saltbox appearance with an integral lean-to extending to the rear, and a single-story ell to the left.</p><br>
<p>The construction of the house includes many early features, including gunstock posts, and its second story overhangs the first slightly, a rare surviving feature in Connecticut. Its foundation and fireplace hearthstones are brownstone, the latter exhibiting fossil remains, suggesting that the stone was probably taken from the nearby quarry site. The interior retains a number of original features, including doors and door hardware.</p><br>
<p>The property was first granted to William Ward in the 17th century, when the area was part of Middletown. His great-grandson, also named William, built this house in 1742. It is the oldest surviving house in Middlefield, and is architecturally distinctive for the use of cantilevered girts to support the rear lean-to roof. The house remained in the hands of the Wards and associated families until 1935.</p><br>
<p>Hotel Row is both a National Register and locally listed historic district consisting of one block of early 20th-century commercial buildings, three to four stories high, located on Mitchell Street west of Forsyth Street in the South Downtown district of Atlanta. The buildings were originally hotels with ground level retail shops built to serve the needs of passengers from Terminal Station, opened in 1905. The buildings are the most intact row of early 20th-century commercial structures in Atlanta&#39;s original business district. The decline of Hotel Row began in the 1920s due to the increased availability of automobile transportation and the construction of the Spring Street viaduct, which made getting to hotels in the northern part of the city easier. In the 1950s and 1960s, the increase in air travel led ultimately to the demolition of Terminal Station in 1971.</p><br>
<p>The district is architecturally significant because the structures that make up the block retain most of their original historic architectural character. Several structures were developed by Samuel Inman and Walker Inman, two of Atlantas most prominent businessmen, and the majority of the structures were designed by the leading architects of the period. They typify the early 20th-century commercial structures once common in Atlanta but now rare because of extensive redevelopment. With Atlantas massive gentrification, plans were underway to convert some of the buildings into lofts, however these plans ultimately stalled as a result of the Late-2000s recession.</p><br>
<h2>Buildings</h2><br>
<p>Buildings in Hotel Row are:</p><br>
<p>The William Barret House, located at 15 South 5th Street, Richmond, Virginia, is a mid-19th-century house, and has been listed on the National Register of Historic Places since 1972.</p><br>
<h2>History</h2><br>
<p>William Barret (1786 – 1871), a wealthy tobacconist in antebellum Richmond, built the Classical Revival styled house in 1844 in Richmond&#39;s Gambles Hill neighborhood. The house is situated on the southeast corner lot of 5th and Cary Streets. The residence and its dependencies survived the 1865 Richmond evacuation fire at the end of the American Civil War, and remain largely intact today.</p><br>
<p>Since it ceased use as a private residence, the Barret House has been used by a variety of organizations and for various purposes. The Navy League Club used it as a social club for sailors during the Second World War, and it later served as the offices for the Virginia Society of the American Institute of Architects Virginia Foundation for Architecture (now the Virginia Center for Architecture) and an antique book store &mdash; all which relocated in 2005 to Branch House on Monument Avenue.</p><br>
<p>Since 2009, Barret House has served as the corporate headquarters of Thompson Davis & Company, an asset management firm.</p><br>
<p>Atkins Park is an intown neighborhood of Atlanta, Georgia, nestled against the southeast corner of the neighborhood of Virginia-Highland, west of Briarcliff Avenue and north of Ponce de Leon Avenue . It consists of just three streets—St. Louis Place, St. Charles Place, and St. Augustine Place—as well as an internal sidewalk known as Malcolm&#39;s Way  that bisects them from St. Charles to St. Louis. It was originally designed to give quicker access to the streetcar stop at Ponce.</p><br>
<h2>History</h2><br>
<p>The first use of the land after its formal platting was farmland. Between 1902 and 1905, Edwin Wiley Grove (a St. Louis businessman who later developed the famous Grove Park Inn and the Grove Arcade in Asheville, North Carolina) purchased the land. Grove plowed profits from his pharmaceutical company into real estate for the development of neighborhoods. Development of Atkins Park began in 1912 as a streetcar suburb of Atlanta, linked to downtown via the Nine-Mile Circle streetcar line. The original name was St. Louis Park; it was changed "to honor a family friend and mentor": Colonel John DeWitt Clinton Atkins, a representative of Tennessee in both the USA Congress and the Confederate Congress.</p><br>
<p>A 27 acre section of Atkins Park has been listed on the National Register of Historic Places since 1982.</p><br>
<h2>Government</h2><br>
<p>Atkins Park has its own community association, called. For purposes of formal civic participation in matters that go before the city&#39;s Neighborhood Planning Unit (NPU-F, in this case), Atkins Park is part of the Virginia-Highland neighborhood and its association (VHCA). APNA provides a member of its own choice to the VHCA Board.</p><br>
<h2>Park</h2><br>
<p>North Highland Park, a small 0.41-acre park purchased by the VHCA in 2008 and formally opened in 2012, is located on the site of a former public library at the northeast corner of St. Charles Place and North Highland Avenue.</p><br>
<p>Public School 15 is a historic school in Eastchester in the Bronx, New York City. It was built in 1877 in the Victorian Gothic style. It is an H-shaped red brick building on a stone foundation. It features a central picturesque bell tower with a steep pyramidal roof topped by a weather vane. It ceased to be used as a school in the late 1970s and serves as a child care center.</p><br>
<p>It was listed on the National Register of Historic Places in 1981.</p><br>
<p>Public School 17 is a historic school located at City Island in the Bronx, New York City. It was designed by architect C. B. J. Snyder  and built in 1897 in the Neo-Georgian style. A rear addition was built in 1930. It is a two-story, five-bay brick building on a high basement. It features a shallow wooden entrance porch with Doric order columns.</p><br>
<p>It served as a school until 1975. The City Island Nautical Museum opened in 1976, and when New York City sold the building to developer Haim Joseph for $500,000 in the 1980s to develop into condominium apartments, the museum and a community center received a 99-year rent-free lease, and reopened in 1995 after renovations.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>A fire allegedly set by vandals on July 13, 2007, damaged the building&#39;s façade.</p><br>
<h2>City Island Nautical Museum</h2><br>
<p>The City Island Nautical Museum is operated by the City Island Historical Society, which aims to preserve the island&#39;s nautical heritage. Exhibits include photos and artifacts about life on the island, its residents, the local yacht building companies, schools and local landmarks. The museum is open on weekend afternoons.</p><br>
<p>Morris High School Historic District is a national historic district centered on a high school located at Morrisania, The Bronx, New York, New York. The district includes 51 contributing buildings. It includes the Morris High School, two streets of brick rowhouses, and Trinity Episcopal Church of Morrisania. The high school and rowhouses were built between 1897 and 1904. The church complex dates to the late-19th century, with the church started in 1874.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Working Girls Vacation Society Historic District is a 27 acre historic district in East Haddam, Connecticut that was listed on the National Register of Historic Places in 1994. It is significant by dint of the properties having been owned, during 1892–1945, by the Working Girls Vacation Society of New York City, and used as a summer retreat for working women from the city.</p><br>
<p>The society is similar to the Young Womens Christian Association, founded in 1866, in that it is one of many organizations intending to "minister to the temporal, moral and religious welfare of self-supporting women. Led by enlightened upper class philanthropist/reformers such as copper heiress Grace Dodge, a national network of "working girls clubs" formed in the 1880s. Their mission primarily was to protect the morality of working women, rather than to improve the conditions of the workplace (note 4); their means included the creation of opportunities for social intercourse, self-improvement (education), and recreation in a morally uplifting setting. The New York Working Girls&#39; Club, founded by Dodge in 1883 and the first of its kind in the nation, maintained, for example, a clubhouse with a library and extensive series of lectures, classes, and social events (note 5).</p><br>
<p>The employment-related health needs of working girls were not ignored. The Working Girls Vacation Society of New York, an offshoot of the Working Girls Club, was founded in 1883 to provide summer vacations in the country for women with demonstrated health problems. The founders of the society included prominent upper-class women and social workers (note 6). In a pattern repeated in other cities, the Vacation Society made available low-cost stays generally of two weeks in duration at rural locations (note 7)."</p><br>
<p>A total of 411 working girls were assisted by the society in the summer of 1884. By 1915 the society had created several retreats in Connecticut and served 1450.</p><br>
<p>The district includes three side-by-side properties on a rural road in East Haddam, Connecticut, with three houses and three barns.</p><br>
<p>When listed, the district included six contributing buildings and one non-contributing building. Three of the six are residences. The Phebe Howell House (c.1835), is constructed with pegged post-and-beam framing, and shows what may be its original clapboard siding. It and the Charles Howell House (c.1825) are constructed on granite ashlar foundations. The latter&#39;s doorway is flanked by fluted pilasters. A vernacular bungalow house (c.1915) is the other. and</p><br>
<p>The three other contributing buildings are 19th-century, wood-frame barns. The one at 66 Mill Road (photograph 5 in accompanying photos) "is similar in size and design to the ell on the Phebe Howell House, which tends to confirm oral history that this barn was formerly attached to the rear of the Charles Howell House."</p><br>
<p>DiNapoli, writing in 1892, describes the working girls&#39; plight.</p><br>
<p>The association renamed in 1950 to become the Katherine Herbert Fund, named after the 1885 founder of the society. In 1974 it merged with the Stony Wold Corporation, an organization that had focused upon tuberculosis, to become the Stony Wold-Herbert Fund.</p><br>
<p>The National Building is a historic warehouse building in downtown Seattle, Washington, located on the east side of Western Avenue between Spring and Madison Streets in what was historically Seattle&#39;s commission district. It is now home to the Seattle Weekly. It is a six-story plus basement brick building that covers the entire half-block. The dark red brick facade is simply decorated with piers capped with small Ionic capitals and a small cornice, which is a reproduction of the original cornice. Kingsley & Anderson of Seattle were the architects.</p><br>
<p>The National Building was constructed from late 1904 to mid 1905 by the Northern Pacific Railway as part of the roads multimillion-dollar plan to improve their many Seattle properties and capitalize on the citys booming commission trade. One of the buildings first tenants was the National Grocery Company which at first only occupied two of the buildings eight stories and would later occupy the entire building, becoming its namesake. It would occupy the building until 1930. The building was later home to many small manufacturing and distributing firms and has been an office building since the late 1960s.</p><br>
<p>The National Building individually was listed on the National Register of Historic Places on April 29, 1982 and became a city of Seattle landmark collectively with the Globe Building, Beebe Building and Hotel Cecil one year later as "First Avenue Groups/Waterfront Center".</p><br>
<h2>Appearance</h2><br>
<p>This architectural description of the National building was written for its National Register nomination in 1982: "The Western Avenue facade consists of eight bays encompassing storefronts at the ground story, and horizontal window bands in the upper five stories. The bays are defined by nine piers which are expressed externally as pilasters, and terminated at the sixth story by large ionic capitals. Wall planes within each bay are recessed behind the nine pilasters and enriched with molded back surrounds at the sides and top. Fenestration is characterized by a regular system of horizontal window groupings, each consisting of four pivoting windows with transoms. The window bands are separated vertically by wide, unadorned brick spandrels. Two of the bays include fire escapes.</p><br>
<p>The two side elevations incorporate four bays each, and are also defined by pilasters</p><br>
<p>with ionic capitals. Fenestration Includes pairs of square-shaped window openings within each bay at each of the upper five stories. Openings at the ground level of both elevators</p><br>
<p>include storefront windows, small windows and doorways.</p><br>
<p>The east, or Post Avenue, elevation is relatively undistinguished and includes a simple</p><br>
<p>series of horizontal window bands in the upper stories, and a loading dock with large</p><br>
<p>freight doors at the ground floor.</p><br>
<p>Several original elements, including a wide cornice and all but two projecting marquees,</p><br>
<p>are presently missing from the building (these were restored during the building&#39;s renovations in 1982)."</p><br>
<h2>History</h2><br>
<h3>National Grocery Company</h3><br>
<p>The National Grocery Company was formed in late 1902 by Portland, Oregon wholesale grocer Julius C. Lang in order to acquire and merge two Seattle wholesale grocery firms: Sylvester Brothers & Co. and Louch-Augustine Cos wholesale arm. The new company moved into the Sylvester Brothers former location at Occidental and Main Streets in the Union Trust Building. By 1904 they were one of the leading wholesale grocery companies in the Pacific Northwest with 15 traveling salesman on the payroll and their trade extending to Alaska and British Columbia.</p><br>
<h3>Building site</h3><br>
<p>In the 1890s, The Northern Pacific Railway had acquired large strips of narrow land between Seattles downtown and the railroad tracks, mostly reclaimed tideland. Their goal was to locate the railroads terminus here but strong local opposition made them reconsider, eventually leading to the construction of a tunnel and King Street Station. With their original plans scrapped, Northern Pacific rented the property to wholesalers and produce distributors which quickly became a success. Northern Pacific decided to capitalize on this and planned to replace the ramshackle tin buildings with permanent brick warehouses that could be rented to large wholesale firms.</p><br>
<p>In 1904, Northern Pacific subsidiary the Northwest Improvement Company hired the Seattle architectural firm of William Kingsley and Joseph Anderson to design two four story brick warehouses that would face each other on Western Avenue between Spring and Madison Streets in the heart of the citys produce district. Each building, costing about $200,000, would have ample lighting, ten freight elevators, and facilities for moving and storing heavy goods. In the end, only the National Building was built at height. One of the first companies to sign up for the building, which had not yet been built, was the National Grocery Company who had outgrown their small space in Pioneer Square. They leased the southern 40% of the building. As more tenants lined up to lease space in the buildings, Northern Pacific responded by adding two more floors to each buildings plans. Both buildings were completed by early 1905 and, realizing the potential, Northern Pacific would build many more warehouses on Western Avenue over the following years.</p><br>
<h3>Later years and restoration</h3><br>
<p>The National Grocery Company moved out of the National building in 1930 but the name of the building stuck. Soon after their departure the upper floors were remodeled to accommodate office space by architect Robert C. Reamer, usually known for much larger scale projects. Small produce distributors remained in the building along with a rotating mix of small shops, distributors and offices up until the 1960s when many companies left downtown for newly developed industrial areas south of downtown and in Tukwila that gave better access to trucks and trains. During this time many warehouses along Western Avenue fell vacant and many more were demolished for parking lots. The National Building was the oldest remaining warehouse of the many that the Northern Pacific built.</p><br>
<p>In the early 1980s, the building was acquired by Cornerstone Development Corporation who proceeded to nominate it for the National Register of Historic Places (It was deemed ineligible in a 1979 survey) and began restoring the building for use as offices. When completed they sold the building for $2.16 million to San Francisco-based Seattle Waterfront Associates who as part of their Waterfront Center offices project. The building was added to the Register of April 29, 1982, the same day as the Globe Building, Beebe Building and Hotel Cecil which occupied the other half of the block. One year later the entire block became a City of Seattle landmark under the title "First Avenue Groups/Waterfront Center".</p><br>
<p>The &#39;John Brett Richeson House&#39; in Maysville, Kentucky was built in 1832 and purchased by John Richeson, an educator from Charlottesville, Virginia, for his wife Mildred Richeson and their eight children. The house was occupied by the Richeson family for more than 100 years until the death of Edward Richeson in 1941.</p><br>
<p>The Richeson family provided Maysville with some of the most accomplished and brilliant teachers ever known in Kentucky, and they helped to establish Maysville as a leading educational community during the period 1832–1880. Several of John Richeson&#39;s children were teachers, including sons William and John Richeson, and his daughter Ann Frances Richeson Peers. Several grandchildren were also teachers.</p><br>
<h2>Maysville Academy</h2><br>
<p>Upon his arrival in Maysville in 1832, John Brett Richeson, in partnership with professor Jacob Rand, founded and operated Maysville Academy for several decades. The academy was the first successful secondary school in Maysville and specialized in preparing young men for university level studies. It attracted a number of students who later attained prominence including:</p><br>
<p>* Ulysses Grant, Civil War General and two-term U.S. President</p><br>
<p>* William "Bull" Nelson, Civil War General</p><br>
<p>* Walter Newman Haldeman, Editor and founder of the Louisville Courier</p><br>
<p>* John J. Crittenden, accomplished jurist and politician</p><br>
<p>* Thomas H. Nelson, U.S. Minister to Mexico</p><br>
<p>* Henry Stanton, Confederate soldier and Poet Laureate</p><br>
<p>* Ormond Beatty, educator and President of Centre College</p><br>
<h2>Rosemary Clooney</h2><br>
<p>Singer and actress Rosemary Clooney was born in Maysville and lived in the Richeson House in the late 1940s. The city named a nearby street in her honor when her first movie, The Stars Are Singing, premiered at the Russell Theatre.</p><br>
<p>The Great Fire of 1911 Historic District is located in downtown Bangor, Maine, and has been listed on the National Register of Historic Places since 1984. It preserves Maines most significant collection of early 20th century public and commercial buildings, and commemorates an urban re-building campaign matched only by Portlands following its own destruction by fire in 1866. The Great Fire of 1911 was Maines  last large-scale urban conflagrations, but resulted in the creation of an early 20th-century urban space relatively unique in Maine or northern New England.</p><br>
<p>The district comprises 48 buildings (and three parks), most of them constructed between 1911 and 1915 in the burned area, which accounted for half of Bangor&#39;s commercial core. Stylistically, the rebuilding was mainly a showcase for the Renaissance Revival, but with elements of the Romanesque Revival, Chicago School, Prairie Style, Art Deco, Classical Revival, and Colonial Revival. The designs were contributed by a number of nationally prominent architectural firms, including Peabody and Stearns; Carrere and Hastings; and Jardine, Kent & Hill; as well as USA government architect Oscar Wenderoth, and local architects C. Parker Crowell, Wilfred E. Mansur, Victor Hodgins, and Frederick A. Patterson. Every building except one is of brick, though some are steel-framed, two are faced with terra-cotta, and two are completely sheathed in granite. The coloration and patterning of the brickwork is extremely varied.</p><br>
<p>Architecturally significant buildings within the Great Fire District include the:</p><br>
<p>Bangor Public Library, 1912, Peabody and Stearns</p><br>
<p>Bangor High School (now apartments), 1912, Peabody and Stearns</p><br>
<p>Morse Building (now University of Maine art gallery), 1914–1915, Victor Hodgins</p><br>
<p>First National Bank - Bangor Hydro Electric Building, 1915, Wilfred E. Mansur</p><br>
<p>Exchange Building, 1913, Peabody and Stearns</p><br>
<p>Bangor Savings Bank Building, 1912, Carrere and Hastings</p><br>
<p>Eastern Trust Building, 1912, C. Parker Crowell</p><br>
<p>Graham Building, 1911, Wilfred E. Mansur. One of the first and largest buildings constructed, commissioned by John R. Graham, President of the Bangor Hydro Electric Company, and a prime mover in the rebuilding.</p><br>
<p>Stearns Block, 1911, Wilfred E. Mansur</p><br>
<p>Stetson Block, 1911, Wilfred E. Mansur</p><br>
<p>Bangor Post Office (now City Hall), 1914–1915, Oscar Wenderoth</p><br>
<p>Three of the district&#39;s architecturally-significant buildings were constructed somewhat later, in the 1920s and 1930s, most prominently the Bangor Telephone Exchange (1931), designed in Art Deco style in 1931 by the Boston architectural firm of Densmore, LeClear, and Robbins, and the most prominent example of that style in Maine. A few other important buildings within the district actually pre-date the fire, including the Tarratine Club (1907) by Parker, Thomas, and Rice of Boston, and the Nichols Block (1892) by Wilfred Mansur of Bangor.</p><br>
<p>The district also includes three parks:</p><br>
<p>Norumbega Mall (laid out 1933, on site of the burned Norumbega Hall</p><br>
<p>Kenduskeag Mall (1912), Warren H. Manning, which includes a bronze statue of Hannibal Hamlin</p><br>
<p>Pierce Park (1912), which includes a bronze statue of river drivers</p><br>
<p>The Old Customshouse is a historic government building at 516 North King Street in Wilmington, Delaware. It was built in 1855 and added to the National Register of Historic Places in 1974.</p><br>
<h2>History</h2><br>
<p>Originally, Delaware&#39;s custom house existed in New Castle, but it was moved to a small rented building on Water Street in Wilmington around 1800. In 1837, the First Board of Trade came into existence to promote trade through the port of Wilmington. As one of their first actions, the organization sent a petition to Congress asking for a permanent custom house.</p><br>
<p>Representative George R. Riddle secured appropriations for what was intended to be a dedicated customs house in 1852 which was completed in 1855. Despite the intent for a single-use facility, the Federal Court and the Post Office also shared the building until 1897.</p><br>
<p>During the Korean and Vietnam war periods, the Old Customshouse served as the Delaware initial reporting and induction site for drafted soldiers. The Wilmington Parking Authority built the Customs House Garage, a 1,335 car facility adjacent to the building.</p><br>
<p>Wilmington University purchased the building from the federal government in 1983 and used it for both business meetings and downtown classes. In 2008, Wilmington University sold the building to a group of investors who then created Old Customs House LLC. In 2018, the building was then sold to the State of Delaware, who plans to turn the space into offices for the judicial branch and community court facilities.</p><br>
<h2>Architecture</h2><br>
<p>Ammi B. Young designed the Greek revival building. The two-story structure consist of a cut stone base with stucco exterior walls and four smokestacks. It used to have a portico with a triangular pediment but that was removed in 1929. The hip roof is made of iron using innovative foundry technology for the period.</p><br>
<p>Casa Amadeo, antigua Casa Hernández is the oldest, continuously-occupied Latin music store in New York City, and the Bronx, having opened in 1941.</p><br>
<p>Casa Amadeo is located in a historic apartment building located in the Longwood section of The Bronx, New York. Designed by James F. Meehan, the apartment building was built in 1905 and named The Manhaset. The building is a six-story, Neo-Renaissance style building with commercial storefronts on the first floor. The lower two stories are faced with rusticated stone and the upper floors in red brick. It features a projecting entrance porch flanked by Corinthian order columns.</p><br>
<h2>History</h2><br>
<p>The first Puerto Rican owned music store in New York City, Almacenes Hernández was founded by Victoria Hernández and her brother Rafael Hernández at 1724 Madison Avenue in 1927. Almacenes Hernández was sold to record producer Luis Cuevas in 1939.</p><br>
<p>The second music store founded by the siblings, Casa Hernández, was founded in 1941. It was sold in 1969 to musician and composer Miguel Angel "Mike" Amadeo, who renamed it Casa Amadeo, antigua Casa Hernández. Mike Amadeo still owns and operates the music store.</p><br>
<p>It was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Miguel Angel Amadeo</h2><br>
<p>Miguel Angel Amadeo, better known as "Mike" Amadeo, is a Puerto Rican musician and owner of the Casa Amadeo music store in the Bronx. Amadeo, born in Bayamon, Puerto Rico is the son of composer Alberto "Titi" Amadeo, a musician who played with Cuban bandleader Desi Arnaz for NBC. He is the uncle of Grammy Award-nominated musician Tito Nieves. Mike Amadeo is a prolific composer, with nearly 300 songs to his credit, performed by artists such as Celia Cruz, Danny Rivera, and Cheito Gonzalez.</p><br>
<p>In 1954 Amadeo took a trip to Puerto Rico. While there he met pianist Rafael Ithier, who was working for bandleader Rafael Cortijo. When Cortijos group fell apart, Ithier formed El Gran Combo de Puerto Rico, and Amadeo began contributing music to the Gran Combo, including Amadeos best known song - Que Me Lo Den en Vida (Give it to Me in Life).</p><br>
<p>Back in New York City, Amadeo joined Alegre Records, and associated with the first generation of Nuyorican musicians including</p><br>
<p>Johnny Pacheco, Ray Barretto and the brothers Eddie Palmieri, and Charlie Palmieri.</p><br>
<p>With his long residency, and personal connections to the Latin music community, Mike Amadeo is known as a community historian. For his contributions to Puerto Rican music and the Bronx, Mike Amadeo has been honored by the National Puerto Rican Day Parade in 2008, a Hostos Center for the Arts & Culture concert in 2005, and by the Bronx Council on the Arts in 2010. In 2014, the corner of Logwood Avenue and Prospect Avenue was renamed Miguel Angel "Mike" Amadeo Way.</p><br>
<p>United Workers Cooperatives, also known as Allerton Coops (colloquially Coops or Commie Coops</p><br>
<p>), is a historic apartment building complex located at 2700–2870 Bronx Park East in Allerton, Bronx, New York City. The complex includes three contributing buildings and five contributing structures. The Tudor Revival style buildings were built during two construction campaigns, 1926–1927 and 1927–1929 by the United Workers&#39; Association. The buildings feature half timbered gables, horizontal half-timbered bands topped with sloping slate roofs, corbelled and crenellated towers, and picturesque chimneys.</p><br>
<h2>History</h2><br>
<p>The complex was built by the United Workers&#39; Association (part of the Industrial Workers of the World or "IWW"), and was an important early example of cooperative housing for working-class people. Most of the Association members were secular Jews with Communist political leanings who were engaged in the needle trades. The association sought to improve the living standards of its members, many of whom lived in squalid conditions in the tenements of the Lower East Side.</p><br>
<p>The plans for forming "the Coops", has its origins partially as a response to the Palmer Raids in 1919 where radicals and immigrants were targeted by the government, with neighborhoods mapped by ethnicity. Facing this, Jewish socialists & communists began selling shares for the planned cooperative at $250 a room.</p><br>
<p>They bought a plot of land in 1925 in an undeveloped section of the Bronx, near the open space of Bronx Park, and envisioned a community of socially and politically engaged residents who would each have an equal say in the running of the complex, regardless of the size of their apartments or the prices that they paid for them. The complex had classrooms, a library, and other amenities and activities that were uncommon in other cooperative complexes that were built for profit. The complex also had a non-eviction policy, so although many workers had trouble paying rent during the Great Depression, they had greater security during it. It was also racially integrated after active efforts from the Jewish tenants living there.</p><br>
<p>In the 1940s, facing potential foreclosure there was the opportunity to re-mortgage if rent was raised a dollar more a month, however political divisions among the coop tenants lead to the discussion breaking down and ultimately voting against it. Though considered a social success, the complex failed financially in the Great Depression and was converted to rental housing in 1943. Taken over by the BX Corporation that year. In spite of this, because of the highly organized nature of the tenants there, the conditions in the Coops remained largely the same at first. Later on they were targeted by the FBI during the Second Red Scare (1947–1957). The electoral voting districts were also split 3 ways along the Coops to prevent them voting as a Bloc at the time.</p><br>
<p>After decades of neglect by a succession of landlords, the complex was purchased and renovated by a new owner in the mid-1980s.</p><br>
<p>The complex was listed on the National Register of Historic Places in 1986, and was designated a National Historic Landmark in 1991.</p><br>
<p>C. Rieger&#39;s Sons Factory, also known as Arden Manufacturing Corporation and Piser Company, is a historic factory building located in the Mott Haven section of the Bronx in New York City. It was built in 1906, and is a six-story building clad in yellow iron spot brick in the Romanesque Revival style. The facade and windows are trimmed in bluestone. It originally housed a furniture manufacturer. It was converted for use as affordable housing during 2002–2003.</p><br>
<p>It was listed on the National Register of Historic Places in 2004.</p><br>
<p>Hertlein and Schlatter Silk Trimmings Factory is a historic factory building located in the Mott Haven section of The Bronx, New York, New York. The original building was built in 1887 and expanded in 1892 and 1910–1911. It is a five-story brick building, 14 bays long. A six-story extension was built in 1904–1905. It originally housed a silk trimming supplier. After 1935, it housed the Hygrade Casket Corporation until about 1982. The original building and extension remained vacant until restored during 1999-2000 for residential and commercial use.</p><br>
<p>It was listed on the National Register of Historic Places in 2001.</p><br>
<p>High Pumping Station is a historic pumping station located in Jerome Park, Bronx, the Bronx, New York City. It was built between 1901 and 1906, and is a rectangular red brick building with a steeply pitched slate covered gable roof. It was built as part of the Jerome Park Reservoir complex.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>The station is run by the New York City Department of Environmental Protection.</p><br>
<p>The Keeper&#39;s House at Williamsbridge Reservoir is a historic home located in the Borough of the Bronx in New York City. It was built in 1889 as part of the Williamsbridge Reservoir complex. It is a -story, L-shaped stone house. The stones used to build the house were pieces of granite taken from the excavation of the reservoir it was to serve. It is 5,000 ft&sup2; in size and has a slate-covered gable roof with a clay tile roof ridge and copper gutters.</p><br>
<p>It was listed on the National Register of Historic Places in 1999. At that time, it was acquired by the Mosholu Preservation Corporation, a non-profit enterprise founded by the Montefiore Medical Center in 1981, intended as a powerful antidote to widespread housing deterioration and abandonment in its surrounding neighborhood in the Norwood section of the Bronx. The corporation did a major renovation of the building and restored it to the point where it could provide modern conveniences. The house now serves as the corporation&#39;s headquarters. It is also the headquarters for the Norwood News.</p><br>
<p>Rainey Memorial Gates is a historic entrance gate located at the north side of the Bronx Zoo, within Bronx Park in the Bronx, New York City. It was built in 1934 and constructed of sculpted bronze in the Art Deco style. It was designed by noted sculptor Paul Manship , who worked on them starting in 1926. It stands as a memorial to noted big game hunter Paul James Rainey . The gates feature stylized animal and plant life including the figure of a seated lion. Low bronze screens flank the gate and connect it to the granite gatekeepers lodges.</p><br>
<p>It is a New York City designated landmark and was listed on the National Register of Historic Places in 1972.</p><br>
<p>Fonthill Castle and the Administration Building of the College of Mount St. Vincent are two historic buildings located at the College of Mount Saint Vincent in The Bronx, New York, New York.</p><br>
<h2>Fonthill Castle</h2><br>
<p>Fonthill Castle was built in 1852 as the country estate of Shakespearean actor Edwin Forrest and his wife, the actress Catherine Norton Sinclair. According to Lawrence Barrett, the plans were formed by Mrs. Forrest and approved by her husband. Steven E. Smith noted that in laying the cornerstone, Forrest set into it a few coins and a volume of Shakespeare. The castle was located on the slopes above the Hudson River as the Hudson River Railroad planned to lay its tracks along the river. The name Fonthill was derived from William Beckford&#39;s Gothic Fonthill Abbey in England.</p><br>
<p>Forrest later sold the property to the Sisters of Charity of New York who relocated the Academy of Mount Saint Vincent from McGowans Pass when the City of New York was developing Central Park. The castle has served as a convent, chapel, museum, chaplains residence, and the college library. It later came to house the admissions office of the College of Mount Saint Vincent.</p><br>
<p>Fonthill is a Gothic Revival style building consisting of a cluster of six octagonal towers at varying heights, built of hammered grey stone. Five of the towers radiate from a three-story central tower. A sketch of Fonthill&#39;s octagons among the papers of Alexander Jackson Davis suggests that he had some part in its design, although it has also been attributed to Thomas C. Smith. In 1942, the castle became the Elizabeth Seton Library and, in 1969, the college admissions office.</p><br>
<h2>Administration Building</h2><br>
<p>The Administration Building was built between 1857 and 1859 in the Early Romanesque revival style. The initial structure of the administration building was designed built by Henry Engelbert, an architect active in NYC from 1852–1879. The building was expanded in 1865, 1883, 1906–1908, and in 1951. The original building is a five-story red brick building on a fieldstone base. It features a six-story square tower topped by a copper lantern and spire. The tower is flanked by five story gabled sections. At the base of the tower, a double stairway rises from a porte cochere to the level of the veranda, leading to the entrance.</p><br>
<p>In 1910 the Academy of Mount St. Vincent became the College of Mount Saint Vincent. The original academy building now serves as the Administration building of the college, and the additions house related administrative and academic functions. The 1951 wing was added to the northern end of the complex and serves as the Convent of Mount St. Vincent.</p><br>
<p>They were listed on the National Register of Historic Places in 1980.</p><br>
<p>The Pogue House is a historic house in Maysville, Kentucky. It was built in 1845 on a fifteen-acre lot for industrialist Michael Ryan. The property was named "Riverside" by Ryan since it sits on a hillside with a sweeping 10 mi vista of the Ohio River. The property was subdivided in 1955 and the historic portion currently comprises three acres. The Greek Revival floor plan includes three stories of living space two rooms wide and two rooms deep with a center hall plus a partial basement. The brick structure with an ashlar limestone foundation was one of the largest Kentucky residences in 1845 with 4,850 ft&sup2; of living space.</p><br>
<p>The residence was purchased by Henry E. Pogue II and significantly upgraded circa 1890. Improvements included the installation of three sets of pocket doors and quarter sawn flooring on the first level. One of the first bathrooms in Mason County was installed on the second floor. The porch was replaced by a 42 ft. x 18 ft. roofed stone and tile terrace. The terrace deteriorated over time and was eventually demolished.</p><br>
<p>Henry Pogue was a distiller who opened the H. E. Pogue Distillery in 1876 near the residence his son would later purchase. The distillery was a large scale operation which could produce up to 2,000 gallons of whiskey per day and carried a normal inventory of 15,000 barrels of aging whiskey. At its peak, distillery employment was more than 100. Popular brands around the start of the 20th century included "Old Time" Sour Mash Pure Whiskey and "Belle of Maysville" Fire Copper Whiskey. Henry E. Pogue II ran the distillery until his death in 1918 in a distillery accident.</p><br>
<p>The Puuōpae Bridge  is a one-lane, single-span, concrete-encased steel bridge across Kalama Stream located along Puuōpae Road between Kalama and Kīpapa Roads in the Wailua Homesteads area near Kapaa in Kauai, Hawaii, United States. Originally built in 1915, it was listed on the National Register of Historic Places in 2005.</p><br>
<p>The design of the bridge is of little significance. Its endposts appear to have come from materials dismantled from the old Wailua River Bridge in 1919, and its original trusses were removed during repair work in 1958. It is currently in poor condition and may have to be replaced, rather than restored, according to Kauai County Engineer Donald Fujimoto. It is listed on the Hawaii Department of Transportation&#39;s current statewide transportation improvement schedule.</p><br>
<p>Much more significant is its role in the socioeconomic history of the island. It was built to facilitate access to the Kapaa uplands, which had been opened to homesteaders two years earlier. When Hawaii became a United States Territory in 1900, most of its land was held in very few hands, primarily those of large-scale sugar planters and the government itself. Despite being dominated by the sugar industry, the territorial government sought to encourage the growth of family farms by opening up large tracts of its own land to homesteaders. The best coastal plains were already devoted to sugarcane plantations, so homestead lands on Kauai were located in the uplands of Kapaa on the east side of the island and Kalāheo on the southeast side.</p><br>
<p>The Puuōpae Bridge was designed to serve tracts of land along Olohena and Waipouli Roads known as Kapaa Homesteads 2nd Series, which included 81 lots ranging from roughly 20 to 40 acres, on which 90 homesteaders harvested 31,500 tons of sugarcane by 1917, despite poor roads, limited water, and dependence on the large plantations for milling and marketing their sugar. Although most of the homestead plots have subsequently been rezoned as residential, the nearly 400 acres surrounding this bridge remain the only significant expanse of agricultural land in the region.</p><br>
<p>Greystone Castle is a small Tudor style cottage in the Newlands Manor section of Reno, Nevada, USA. It was added to the National Register of Historic Places as an example of its architectural style as well as its ties into Reno&#39;s history as a migratory divorce town. Starting with the William E. Corey divorce, Reno became known for its much quicker and simpler divorce laws, the only requirement being that the individuals had to stay in town for six months to achieve residency. Greystone Castle is the type of smaller upscale housing that divorcing individuals used during their waiting period.</p><br>
<p>The Dr. Samuel Catlin House is a former residence located at 213 East Chicago Boulevard  in downtown Tecumseh, Michigan, United States. It was listed as a Michigan State Historic Site and added to the National Register of Historic Places on August 13, 1986. It is located across the street from Saint Elizabeth&#39;s Church and down the street from  the Tecumseh Downtown Historic District.</p><br>
<h2>History</h2><br>
<p>This house was built in 1866–1867 by renowned architect Salmon Crane, who built many of the original structures in the Tecumseh area. After it was finished, it served as the residence to Dr. Samuel Catlin and his wife Rebecca, who first moved to the area in 1856. They lived in the house until 1881, when they sold it to George and Adeline Tiffany, who lived there for the next 30 years. Today, the structure serves as a Farm Bureau insurance office.</p><br>
<h2>Description</h2><br>
<p>The house is a simple, red-brick cube structure built in Italianate architecture.</p><br>
<p>The Emmanuel DeHodiamont House is a house located at 951 Maple Place in the West End neighborhood of St. Louis, Missouri. The house was originally constructed about 1830 by local farmer Emmanuel DeHodiamont and was modified into the Gothic Revival style about 1875. It shares the status of being the oldest extant residence in the city of St. Louis with the Lewis Bissell House, and it is the oldest privately owned building in St. Louis. It was listed as a St. Louis Landmark in 1966 and listed on the National Register of Historic Places on December 4, 2002.</p><br>
<h2>History</h2><br>
<p>Emmanuel DeHodiamont and his wife Caroline purchased a 180-acre tract of land including parts of the River Des Peres in 1829 from Hypoline and Josephine Papin. No permits exist to date the original construction, but it is considered likely DeHodiamont built the structure soon after the purchase. Shortly after moving into the house, DeHodiamont&#39;s wife died, and he remarried in 1833. However, his new wife abandoned him in 1836, and he divorced her. He continued to farm the land until 1871, when he sold the house and remaining nearby property to land speculators. These speculators anticipated the construction of a railroad from St. Louis, which occurred in 1875. By that time, the house and its 57 acres were platted into a parcel called Maryville. It was likely at this time that the current Gothic Revival architecture was added. Construction of homes in the new subdivision was relatively slow until the 1890s, when most of the land was sold and developed. Houses that surround the DeHodiamont House date from this period and to the 1960s, when many of the circa 1890s houses were demolished and redeveloped.</p><br>
<h2>Architecture</h2><br>
<p>The portion of the house dating to 1830 is a -story stone house, measuring 20 by 40 feet. The stone walls are nearly two feet thick, and the house retains its two original chimneys at the south and north ends of the house. The second story of the house is wood framed, and the center of the house has a high-pitched gable, both dating to the 1875 addition. The door placement and window placement on the first floor are original to the 1830 plans of the house. In 1890 and 1906, brick kitchen additions were made to the rear of the house. The first floor interior of the house has two nearly identical rooms, divided by a central corridor with a staircase. The north room opens into the kitchen at the rear. The second floor has two bedrooms, both nearly identical. In the back yard of the house stands a brick garage built in 1904, which is a contributing resource to the house listing.</p><br>
<h2>Significance</h2><br>
<p>The house has the dual significance of being an "exceptionally early stone house" and a "rare example of the early Gothic Revival style in St. Louis." Although a great number of stone houses were built in the St. Louis area prior to the 1850s, most of these were demolished as the commercial district of the original city expanded. Not only is the DeHodiamont House an early stone house, but it also is one of the earliest known houses to still exist in the St. Louis. It is also listed as a St. Louis City Landmark.</p><br>
<p>The Grand Avenue Water Tower is a water tower located at the intersection of Grand Boulevard and 20th Street in the College Hill neighborhood of St. Louis, Missouri. It is the oldest extant water tower in St. Louis, pre-dating both the Bissell Street Water Tower and the Compton Hill Water Tower.</p><br>
<h2>History</h2><br>
<p>The tower was built in 1871 by architect George I. Barnett in the form of a Corinthian order column with brick, stone and cast iron trim. Inclusive of its base, shaft and capital, it stands 154 ft tall. Inside was a standpipe with a diameter of five feet, designed to hold water. In addition to being used for firefighting, the pressure in the pipe regulated water pressure in the area. In 1912, the water tower was decommissioned, and its standpipe and internal spiral staircase were removed. The staircase was replaced by a vertical ladder, and the tower was modified to include an aircraft warning light.</p><br>
<p>The tower is the tallest free-standing Corinthian column in the world. At 46.94 m it is much taller than the free-standing Corinthian columns Pompey&#39;s Pillar in Alexandria (20.46 m) or the Column of the Goths in Istanbul (18.5 m), or those in colonnades at the Temple of Jupiter at Baalbek which are 19.82 m tall, the Temple of Mars Ultor in Rome at 17.74 m, and the Olympieion in Athens at 16.83 m.</p><br>
<p>Flushing Town Hall is a performing arts center and historic town hall at 13735 Northern Boulevard in the Flushing neighborhood of Queens in New York City. It served as the seat of government of the village of Flushing until the village became part of City of Greater New York in 1898. It was built in 1862 and is a 2-story, three-by-six-bay, brick building with basement and attic. A style of architecture that originated in Germany, Rundbogenstil , was used here and in a number of American buildings of the Civil War Era. The earliest photographs show the building to have been painted a light color. The use of paint was discontinued following adhesion problems during a restoration. A small rear wing was added in 1938 containing a block of jail cells. The front facade features a triple arched portico topped by a classic entablature with low balustrade.</p><br>
<p>It was listed as a New York City Landmark in 1968 and on the National Register of Historic Places in 1972.</p><br>
<p>The building houses the Flushing Council on Culture and the Arts (FCCA). As a member of New York City&#39;s Cultural Institutions Group (CIG), the FCCA serves as stewards of Flushing Town Hall, restoring, managing and programming the historic 1862 landmark on behalf of the City of New York. FCCA celebrates the history of Queens as the home of jazz by presenting jazz performance.</p><br>
<p>Firemens Hall is a historic meeting hall located in the College Point section of the New York City borough of Queens. It was built in 1906-1907 and is a two-story, rectangular brick building with a hipped roof in the Queen Anne style. A small rear addition was built about 1936. It was built for the Exempt Firemens Benevolent Association of College Point. Although owned by the College Point Little League, the building is used by a number of community groups as a meeting and social hall.</p><br>
<p>It was listed on the National Register of Historic Places in 2000.</p><br>
<p>The Forest Park Carousel is a historic carousel at Forest Park in the borough of Queens in New York City, New York, USA The carousel, one of two known surviving carousels built by Daniel Carl Muller, was built and contains 52 figures and its original band organ. Originally located in Dracut, Massachusetts, the carousel was relocated to Forest Park in 1972, replacing an earlier carousel on the site. The ride, operated by NY Carousel since 2012, is part of a seasonal amusement center called Forest Park Carousel Amusement Village. The Forest Park Carousel was listed on the National Register of Historic Places in 2004</p><br>
<p>The carousel is on Forest Park Drive, just west of Woodhaven Boulevard, and is housed in a one-story pavilion designed by Victor Christ-Janer. Its figures include 36 moving horses, 13 stationary horses, three menagerie figures, and two chariots. The horses, animals, and chariots are placed in three rows on a two-level rotating platform. Each of the horses has a different hand-carved design, and the horses also have realistic features such as glass eyes and genuine horse hair. Although Muller designed most of the horses, one horse is credited to William Dentzel, while two others are attributed to Charles Carmel. Two other horses were made of fiberglass and may date from the 1980s. The platform rotates around a wooden cabinet with a band organ designed by the Andreas Ruth and Sohn Band Organ Company. The organ is surrounded by 18 panels with murals, which were installed in the early 2000s and were designed by Jonathan Lev.</p><br>
<p>The current Forest Park Carousel is older than the structure that it replaced, which was built and burned down under suspicious circumstances in December 1966. The New York City Department of Parks and Recreation (NYC Parks) attempted to procure a replacement carousel for several years, and it gave Restaurant Associates a concession to operate the ride. Restaurant Associates bought Lakeview Park&#39;s carousel and reopened it in November 1973; the ride continued to operate until the mid-1980s. Carousel Parks Inc., led by Marvin Sylvor, leased the ride in 1988 and reopened it the next year following an extensive restoration. Sylvor operated the ride until 1993, and NYC Parks reassigned the concession to Carlos Colon the next year. After the carousel closed in 2008, various community groups began advocating for the ride to be designated as a New York City landmark. NY Carousel reopened the ride in 2012 following an extensive restoration, and it renovated the carousel again in 2014.</p><br>
<h2>Description</h2><br>
<p>The carousel is near the center of Forest Park, a 500-acre park within the New York City borough of Queens. The carousel is on Forest Park Drive, just west of Woodhaven Boulevard, which separates the park&#39;s western and eastern sections. The ride is just north of Strack Pond</p><br>
<h3>Carousel</h3><br>
<p>The carousel was one of approximately a dozen manufactured by German immigrant Daniel Carl Muller. and, along with the Midway Carousel at Cedar Point in Ohio, is one of two known remaining carousels made by the D.C. Muller and Brother Company. The New York Times wrote in 1976 that the carousel "reflects the more genteel Philadelphia style of Daniel Carl Mueller and the Dentzel family". Early reports cite either Michael or Gustav Dentzel as having built the carousel; Muller was associated with the Dentzel family until 1899 and from 1917 to 1928. The carousel has a diameter of 56 ft.</p><br>
<h4>Horses and animals</h4><br>
<p>When the carousel was reinstalled in the 1970s, it was cited as having 36 moving horses, 13 stationary horses, three menagerie figures (a panther, lion, and stag), and two chariots. The horses, animals, and chariots are placed in three rows on a two-level rotating platform. The horses also have a large number of realistic features: for instance, the tails consist of genuine horse hair, and the horses have glass eyes.</p><br>
<p>Although Muller designed most of the horses, one horse is cited as having been designed by William Dentzel, while two others are attributed to Charles Carmel. Over the years, several of the horses have been replaced. Of Carmels two horses, one has five feathers on its chest strap, while the other has a fringed shawl on its chest. William Dentzels horse contains an object at the back of its saddle, which resembles a horse. Two other horses were made of fiberglass and may have been manufactured by the Fabricon Design Group, which renovated the ride in the late 1980s.</p><br>
<h4>Organ</h4><br>
<p>The platform rotates around a wooden cabinet with a band organ designed by the Andreas Ruth and Sohn Band Organ Company. The cabinet is divided into three sections and includes a scrolled molding at its top. The organ includes a set of nine pipes flanked by a drum and cymbals. Although these instruments were capable of playing pre-recorded music, they are no longer in use. The organ also contains a central power unit surrounded by 18 panels, each of which originally depicted the carousels original location at Lakefield Park. The modern-day organ contains tall, narrow panels that are identical to each other. The lower sections of these panels have mirrors, as well as decorations surrounded by faces; there is a winged cherub with garlands atop each face. The panels originally contained projecting poles for the carousels brass rings. The power unit is surrounded by modern-style wallboard.</p><br>
<p>The organ is surrounded by 18 panels with murals, which were installed in the early 2000s and were designed by Jonathan Lev. At the time of the current carousel&#39;s construction, many carousels contained similar murals.</p><br>
<h3>Pavilion</h3><br>
<p>The carousel is installed within an octagonal, single-story wooden pavilion. The pavilion contains vertical steel piers placed at regular intervals, as well as metal doors, which retract upward into the ceiling when the carousel is in operation.</p><br>
<h2>Original carousel</h2><br>
<p>Not much is known of Forest Parks original carousel, which occupied the same site as the current carousel. although local website QNS.com was unable to verify the exact date of the carousels opening. It was designed by William Dentzel, son of prolific carousel manufacturer Gustav Dentzel. Its horses were described as being "of German design and import" by way of Coney Island. That year, the New York City government awarded a five-year contract to Fred J. L. Hassinger, who already operated a carousel at the park. According to the Eagle, although the city government owned the carousel structure, the concessionaire was responsible for providing the machine that powered the carousel.</p><br>
<h3>Destruction and replacement attempts</h3><br>
<p>The carousel was destroyed in a fire on December 10, 1966; investigators determined that the conflagration was "of suspicious origin". Residents of the nearby Richmond Hill, Kew Gardens, Woodhaven, and Glendale neighborhoods indicated in February 1967 that they would ask the New York City Department of Parks and Recreation (NYC Parks) to provide money for several improvements to Forest Park, including a new carousel. That April, the Glendale Taxpayers Association asked the Queens borough president&#39;s office to fund the replacement of the Forest Park Carousel. IRC president Robert Stralle said the next month that the carousel would be replaced.</p><br>
<p>The city and IRC began planning a new carousel in mid-1967 after the city received a $50,000 insurance payout. By the end of the year, the city planned to rebuild the carousel and add several small attractions in the immediate area. Construction was expected to start in February 1968. Little progress occurred for two years until May 1970, when New York City parks commissioner August Heckscher said "we have made substantial progress toward the reconstruction of the carousel in Forest Park". NYC Parks opened a request for proposals (RFP), soliciting bids from concessionaires that wished to operate a proposed carousel and food-concession stand within the park. In late 1971, Heckscher and NYC Parks&#39; concessions director Joseph Fallon said they were trying to procure a carousel from the defunct Palisades Amusement Park. Ultimately, Restaurant Associates was selected as the new concessionaire.</p><br>
<h2>Current carousel</h2><br>
<p>The current Forest Park Carousel was originally part of the Lakeview Amusement Park, a trolley park in Dracut, Massachusetts, that was developed in the late 19th century. The carousel was built. The Barbuti family operated the carousel for 52 years, starting around 1920. The resort was largely destroyed by fire in 1950, although several of the parks individual operations continued to operate until 1971, including the carousel. Local residents referred to the attractions horses as "Bobbie Horses".</p><br>
<h3>Relocation and Restaurants Associates operation</h3><br>
<p>After the 1971 season, the Barbuti family decided to sell off the carousel. The Lowell Sun wrote at the time: "Selling the carousel marked the death of that park that was once Dracut&#39;s pride." In any case, Christ-Janer instead opted to sell it to Arthur Schleifer of Restaurant Associates, who paid $30,000 for the carousel. Prior to obtaining the Lakeview Park carousel, Schleifer had considered buying at least 24 carousels over the preceding two years.</p><br>
<p>In January 1972, Heckscher announced that Restaurant Associates was to install a carousel in Forest Park by that June at a cost of $100,000. By that April, the reopening date had been pushed back to 1973. A pavilion was being built for the relocated carousel near the intersection of Woodhaven Boulevard and Forest Park Drive. City councilman Frederick D. Schmidt asked that the New York City Police Department patrol the area around the carousel, citing the fact that several violent crimes had recently occurred in that section of the park. Three technicians worked on the carousel and replaced many defective components with handmade pieces. Initially, Mike Conroy managed the ride, one of five wooden carousels operating in New York City at the time.</p><br>
<p>The relocation of Lakeview Parks carousel to Forest Park coincided with the 1975 New York City fiscal crisis, during which New York Citys public parks declined in quality. The ride fell into a state of neglect after it closed. Political candidates Peter King and John Imperiale said in 1986 that Forest Park&#39;s carousel and bandshell were a popular meeting place for drug dealers. By 1987, members of Queens Community Board 9 recommended that NYC Parks create a master plan for Forest Park and that the agency restore the carousel. Mary Ann Carey, a district manager for Community Board 9, contacted Queens borough president Claire Shulman after learning of a proposal to replace the carousel with a replica. Shulman then opened an RFP for the restoration of the existing carousel.</p><br>
<h3>Carousel Parks operation</h3><br>
<p>Carousel Parks Inc., led by Brooklyn-based carousel manufacturer Marvin Sylvor, leased the carousel for five years starting in November 1988. a Sothebys expert appraised the carousel at $1.5 million. Several local firms donated materials for the carousels renovation, and a nonprofit organization, Carousel Restoration Inc., was established to raise money for the project.</p><br>
<p>Carousel Parks was contractually obligated to reopen the ride by July 4, 1989. Despite the extensive restoration, the carousel was closed shortly after its reopening because the carousels main gear had cracked. The rides turning mechanism was repaired in 1990, as were the floor and poles, and Sylvor began raising money to stabilize the carousel&#39;s frame and improve its lighting. Sylvor cited low patronage and increasing costs in his decision to withdraw from the operating agreement. NYC Parks wanted the new concessionaire to conduct additional upgrades, such as a heating system, and to introduce additional amusement rides near the carousel. The ride was valued at $1.8 million. Around the same time, the New York City government contemplated selling the ride for parts to raise money.</p><br>
<h3>Colon operation and closure</h3><br>
<p>Spanish-born entrepreneur Carlos Colon signed a contract with NYC Parks in 1994 to operate the ride for five years. The carousels patronage suffered because of its relatively secluded location, leading the Daily News to refer to the carousel as one of "Queens little-known treasures". According to the LPC, the pavilion lacked architectural or historical significance, while the carousel itself did not qualify as an interior landmark. A similar attempt to designate the carousel as a regular city landmark failed in 2000. Afterward, the groups asked the New York state government to place the ride on the New York State Register of Historic Places and the National Register of Historic Places (NRHP).</p><br>
<p>Colon restored the carousel ahead of its centennial, The artist Jonathan Lev was commissioned to paint 18 panels for the carousel around 2000</p><br>
<p>By the late 2000s, Thomas Makkos of New York One LLC operated the ride. New York One allowed its operating contract to expire in 2009, and the carousel did not operate during that season. Although NYC Parks had opened an RFP for new operators in late 2008, The agency canceled its contract with New York One During the rides closure, it was used as a filming location for the movie The Sitter in 2010. Potential concessionaires were turned away by the rides unprofitability, particularly compared to the Flushing Meadows Carousel, whose operating lease expired in 2011. NYC Parks tried to attract concessionaires by offering to lease both carousels to a single operator, as well as allowing the concessionaire to serve alcoholic beverages and add amusement rides near both carousels. Despite only receiving a single bid from Sal Napolitano (who had maintained New York City carousels for four decades), NYC Parks rejected Napolitano&#39;s bid.</p><br>
<p>Meanwhile, local groups again began advocating for the carousel to be designated as a city landmark. They also created a Facebook page and distributed T-shirts to raise awareness for the carousel. Maria Thomson of the Greater Woodhaven Development Corporation said the LPC had declined a previous request to designate the carousel as a landmark because the fence near the carousel was not old enough to qualify for landmark status.</p><br>
<h3>NY Carousel operation</h3><br>
<p>NYC Parks reported in February 2012 that it had agreed to lease out the carousel under a long-term contract. NY Carousel was announced as the winning bidder the next month. and quickly became popular among local residents. Ami Abramson of NY Carousel began selling alcoholic beverages near the carousel, and he began planning additional rides near the carousel as part of his contract with NYC Parks. By the end of the 2012 season, Abramson reported that he had sold 30,000 carousel tickets. The restored carousel was featured in such media as a Saturday Night Live skit and in an ad in Vanity Fair magazine.</p><br>
<p>During Hurricane Sandy in 2012, a tree fell onto the carousel building; the carousel itself was not damaged. The agency finally hosted discussions about the ride&#39;s potential landmark status in early 2013; The LPC designated the carousel as a city landmark in June 2013, and city officials installed a landmark plaque on the ride that October. The carousel was the first in New York City to be designated as an individual city landmark, and it was one of three operational amusement rides in the city with such a designation, along with the Coney Island Cyclone and the Wonder Wheel.</p><br>
<p>Ahead of the 2014 operating season, the carousel&#39;s lights were replaced with LEDs, and new mirrored panels were installed. As a result, during the 2014&ndash;2015 off-season, the carousel was disassembled and repaired by Carousels & Carvings. NY Carousel added several games and rides around the carousel in 2018 as part of the Forest Park Carousel Amusement Village, as well as a Ferris wheel in 2019.</p><br>
<p>The RKO Keiths Theater was an RKO Pictures movie theater at 13535 Northern Boulevard in the Flushing neighborhood of Queens in New York City. It was designed by architect Thomas W. Lamb and built in 1928. While the RKO Keiths had a plain three-story facade, its interior was elaborately designed in a Spanish Baroque Revival style. The theater had a square ticket lobby and an oval grand foyer, which led to the double-level auditorium. The auditorium was designed as an atmospheric theater with a blue ceiling and gilded-plaster decorations; it contained 2,974 seats across two levels. There were also four lounges and a mezzanine promenade.</p><br>
<p>The theater was developed by Benjamin Franklin Keith and Edward Albee of the Keith–Albee vaudeville circuit, which bought the site in 1927. The Keith–Albee Theater, as it was known, opened on Christmas Day 1928 and originally operated as a vaudeville theater. In the 1930s, the theater was renamed the RKO Keiths and began showing movies. The theater continued to prosper after World War II in spite of a decline in New York Citys large neighborhood movie palaces during that time. It began to decline in the 1960s and was eventually divided into a three-screen multiplex in 1977. The RKO Keiths was added to the National Register of Historic Places in 1982. While the New York City Landmarks Preservation Commission (LPC) designated most of the theater as a New York City interior landmark in 1984, the New York City Board of Estimate curtailed the LPCs designation to cover only the ticket lobby and grand foyer.</p><br>
<p>Despite the landmark designations, the RKO Keiths closed after local developer Thomas Huang acquired the theater in 1986. Over the next three decades, it went through several efforts at redevelopment. After the theater was partially destroyed in 1987, Huang was forced to stop work on his project, and work stalled for over a decade. During this time, the RKO Keiths interior continued to deteriorate, and residents and politicians raised concerns over Huangs treatment of the theater. The RKO Keiths was sold to Shaya Boymelgreen in 2002, then to Patrick Thompson in 2010 and Jerry Karlik in 2014; all three men unsuccessfully tried to redevelop the site. After Chinese developers Xinyuan Real Estate bought the theater in 2016, most of the theater was finally demolished from 2020 to 2021. Xinyuan made plans to replace the theater with a condominium development, which would preserve the theater&#39;s ticket lobby and grand foyer.</p><br>
<h2>Description</h2><br>
<p>The RKO Keiths Theater was at 13535 Northern Boulevard, at the intersection with Main Street, in the Flushing neighborhood of Queens in New York City., most of the theater was being demolished and replaced with 269 condominium apartments, developed by Xinyuan Real Estate. The ticket lobby and grand foyer were temporarily removed and are planned to be reinstalled in the condominium developments lobby.</p><br>
<p>The theater was designed by architect Thomas W. Lamb in a Spanish Baroque Revival style and opened in 1928. The RKO Keiths was originally conceived as a venue for vaudeville, which in the late 1920s was competing with films; as a result, the design was more elaborate than that of older theaters. The buildings facade on Northern Boulevard was relatively plain, with a curved marquee facing Main Street (later replaced with a horizontal advertising board). The ground story had storefronts, while the other stories had a brown facade, with marble spandrel panels between the second- and third-story windows. The interior was ornately decorated in plaster and wood.</p><br>
<h3>Ticket lobby and grand foyer</h3><br>
<p>The ticket lobby is a double-height space, square in plan. The room measures. Along with the grand foyer, it is the only part of the theater that is preserved. Originally, there was a ticket booth at ground level. The ceiling, of flat plaster painted blue, is supported by carved columns, designed in the Spanish Baroque Revival style., plans call for a retail elevator vestibule to be built east of the ticket lobby, with two elevators. A circular stair, leading up to retail spaces on the mezzanine level, will also be built east of the ticket lobby. A sloped glass facade will be installed in the base of the condominium building, overlooking the ticket lobby.</p><br>
<p>The grand foyer is also a double-height space, oval in plan; it measures wide. The east wall of the grand foyer contains a terracotta drinking fountain with polychrome tiles. The north wall contained gilded plaster doorways to the auditorium&#39;s orchestra level; these doorways were sealed by the 1980s. The 2017 plans for the site call for a mail room and a residential lobby with three elevators to be built behind these doorways. The ceiling was also painted blue and had an arched vault.</p><br>
<p>On either side of the grand foyer are staircases between the ground story and mezzanine level, decorated with bronze balustrades.</p><br>
<h3>Auditorium</h3><br>
<p>The auditorium contained 2,974 seats across an orchestra level and a balcony. The RKO Keith&#39;s auditorium was designed to give the feeling that the audience was in a garden, with Baroque, Gothic, and Moorish ornament in the style of Spanish architect J. M. de Churriguera. The balcony level protruded very far forward, nearly reaching the proscenium opening in front of the auditorium. This was characteristic of vaudeville theaters, where the proximity of the audience to the stage was an important factor. The underside of the balcony had cut-glass chandeliers, which hung from panels shaped like eight-pointed stars.</p><br>
<p>The rear wall had an arcade of round arches with double columns. Each column was designed to resemble spirals made of leather and was topped by a capital depicting an angels or a babys face. The side and front walls had wooden screens and gilded plaster walls, which wrapped around to the proscenium. The wooden screens were decorated with arcades and broken pediments. The finials atop each screen reached the ceiling; these finials were designed to resemble a "romantic outline" against a sky. At the center of each screen was a mural within an opening of three arches, supported by spiral columns. Each mural panel was intended to symbolize a Spanish facade. These murals were flanked by gilded plaster walls with indirect lighting. The side walls also had doorways to exit halls, flanked by spiral columns.</p><br>
<p>The proscenium arch was made of wood and plaster and was supported by large piers on either side. At the top of each pier was a niche containing an urn. The top of the proscenium had a niche at its center, as well as a Baroque-style broken pediment with an urn. There were also organ screens next to each of the proscenium&#39;s piers. The screens had decorative detail such as spiral columns and niches. The screens surrounded a Wurlitzer organ, Opus 1975, which had 3 manuals and 15 ranks; the organ was donated to the College of the Ozarks in 1969.</p><br>
<p>In the theaters heyday, the auditoriums plaster ceiling was painted dark blue, and light bulbs were embedded in the ceiling to evoke the appearance of stars.</p><br>
<h3>Lounges</h3><br>
<p>The theater contained four lounges, all designed in the Spanish or Mexican Baroque style. To the east of the grand foyer was a small space with a drinking fountain, plaster walls, and an overhanging lamp. This small space led to the ground-level mens lounge, which was square in plan. The floor was tiled, while the walls were decorated with moldings of gilded plaster. Each corner also had niches flanked by spiral columns. On one wall was a fireplace with a large hood; there were lighting sconces on either side of the fireplace. The 2017 plans call for the ground-level mens lounge to be converted to retail and mechanical space.</p><br>
<p>To the west of the grand foyer was a marble staircase with iron handrails, which led to a circular ground-level womens lounge. The floor was covered with carpets, while the walls were decorated with moldings of gilded plaster. The walls also had niches with gilded plaster surrounds. One section of the wall had a fireplace with a large hood. The plaster ceiling contained moldings, designed to resemble twisting vines. The 2017 plans call for the ground-level womens lounge to be converted to retail.</p><br>
<p>There were two lounges directly adjacent to the mezzanine promenade, directly above the ground-floor lounges. The womens lounge was to the east and the mens lounge was to the west; this was the opposite arrangement from the ground floor lounges. In both lounges, a wrought-iron chandelier was hung from the wooden ceiling, and there were fireplaces with hoods. The fireplace in the womens lounge was next to an arched window overlooking the foyer. An arched doorway also led from the womens lounge to a restroom. Plans from 2017 indicate that the womens lounge will be replaced by a fitness center, while the mens lounge will be replaced by residential amenity space. South of these will be retail spaces.</p><br>
<h2>Use as movie palace</h2><br>
<p>Movie palaces became common in the 1920s, between the end of World War I and the beginning of the Great Depression. In the New York City area, only a small number of operators were involved in the construction of movie palaces. Relatively few architects were responsible for these theaters&#39; designs, including legitimate theater architects Thomas Lamb, C. Howard Crane, and John Eberson, Furthermore, in the 1920s, the dominant vaudeville circuit on the East Coast of the United States was the Keith–Albee circuit, composed of Benjamin Franklin Keith and Edward Albee.</p><br>
<h3>Development and early years</h3><br>
<p>In May 1926, the Keith–Albee circuit announced that it planned to build three theaters in New York City as part of a nationwide expansion program, including one venue in Flushing, Queens. The Flushing theater and several others in the expansion program were planned to be funded by a $25 million bond issue. The following year, the Keith–Albee circuit bought a site at the northern end of Main Street, at the intersection with Northern Boulevard. He filed plans for the theater with the Queens Bureau of Buildings in May 1927. At the time of the merger, films were directly competing with vaudeville.</p><br>
<p>The theater was originally projected to be completed by August 1928 but was ultimately completed that December. It opened on December 25, 1928, as a vaudeville house There were 11 acts during the first week, including a Pathé News newsreel and an organ performance of "Hello, Flushing" by Bernie Cowham. Many stars performed at the theater, including Bob Hope, Jack Benny and the Marx Brothers, Judy Garland, Mae West, Milton Berle, Jimmy Durante, and Jerry Lewis.</p><br>
<p>When the theater opened, the surrounding section of Flushing was rapidly growing into a residential and commercial hub. By February 1930, the theater hosted performances twice a day and often played to a full house. Following further mergers, KAO became part of Radio-Keith-Orpheum, subsequently RKO Pictures. Some time in the 1930s, the theater switched to screening movies nearly exclusively. The theater was also used for high school graduation ceremonies and beauty competitions.</p><br>
<h3>Use as movie palace</h3><br>
<p>RKO reorganized its operations into eight subdivisions in March 1934, and the Flushing theater was assigned to RKOs New York Senior Metropolitan Division. In addition to films, the theater hosted childrens programs in the late 1930s. Some vaudeville features continued at the Flushing theater through the end of that decade, but they tended to charge very low admission. RKO managers changed their policy for screening double features (where patrons could see two films for one ticket price) at the Flushing Keiths in 1941. After this change, the more popular feature was typically screened at 9 p.m., while the less popular feature was shown later, so patrons could leave early if they did not want to see the second feature. RKO briefly tried to revive vaudeville at the Flushing theater and its other neighborhood venues in the early 1940s. For example, the B. F. Keiths Oldtime Vaudeville Revue performed there in February 1942, and Ink Spots and Tiny Bradshaw appeared that December as part of a tour.</p><br>
<p>Following another reorganization of RKO theaters, Louis Goldberg took over operation of the Flushing Keiths and several other theaters in 1943. The Flushing theater also continued to host some productions for children in the late 1940s. The Flushing Keiths continued to prosper after World War II in spite of a decline in New York Citys large neighborhood movie palaces during that time. Many such theaters in Manhattan were demolished, but those in the outer boroughs were generally either divided into smaller complexes or outright abandoned. The theaters outer lobby was damaged in a car crash in 1955, when a driver on Main Street died of a heart attack while driving; two patrons were killed in the crash.</p><br>
<p>Live performances continued in later years, such as in 1965 when Hollywood stars Cesar Romero and Connie Stevens performed at the Flushing Keiths. Flushing had started to decline by the late 1960s, and the theaters success decreased with it. The theaters owners renovated the auditorium around 1976, turning the RKO Keiths into a multiplex with three screens. The lower level had two screens while the balcony level contained the third screen; these spaces were separated by partitions. Surviving into the 1980s intact, RKO Keiths was one of New York Citys few remaining atmospheric theaters.</p><br>
<h3>Preservation</h3><br>
<p>The New York City Landmarks Preservation Commission (LPC) considered designating the theaters interior as a landmark in 1981 but took no action at the time. The next year, developer Lawrence Gresser proposed redeveloping the theater into a shopping mall. The project was redesigned that August into an office complex, but residents still opposed it. Fred Ferretti of The New York Times wrote in 1983 that the RKO Keiths remained "one of the citys great theaters", despite its subdivision and the uncertainty over the theaters fate.</p><br>
<p>The LPC designated the interior as a landmark in February 1984, citing it as "one of the few surviving examples in New York of the uniquely American institution of the movie palace". The New York City Planning Commission endorsed the designation. The New York City Board of Estimate then had to review the landmark status for ratification in June 1984, This left the main portion of the theater vulnerable to redevelopment. Manes had overturned six landmark designations in Queens over the past several years. The RKO Keith&#39;s landmark status was unusual in that neither the exterior nor the main portion of the interior was protected. Typically, most landmarked interiors in New York City were inside buildings whose exteriors were also landmarks, such as the Empire State Building, the Chrysler Building, and Grand Central Terminal.</p><br>
<h2>Closure and abandonment</h2><br>
<h3>Huang ownership</h3><br>
<p>By the 1980s, Flushings white population was moving out, while its Asian population grew drastically, particularly Flushings Chinatown. Huang, a Taiwanese-American developer who had turned Flushing into "New Yorks second Chinatown" over the preceding decade, Residents expressed concerns over Huangs acquisition of the theater, as he had publicly announced plans to demolish the auditorium. Huang said the theater was "a junk building&quot he had to erect sidewalk sheds on Northern Boulevard because part of the facade had begun to fall off.</p><br>
<h4>Partial demolition of lobby</h4><br>
<p>A group called the Committee to Save the RKO Keiths Theatre of Flushing, Inc., worked to gain community support as part of its goal to maintain and preserve RKO Keiths Theater for adaptive reuse as a performing arts/convention center. In 1986 and 1987, over 3,000 Queens residents signed petitions in order to request that the entire structure become a city landmark. The petitions were submitted to Borough President Claire Shulman, who refused to support landmark status for the entire interior. The Committee gained support from the Theater Historical Society, Queens Historical Society, New York Landmarks Conservancy, Queensborough Preservation League, and State Senator Frank Padavan. The Queens Historical Society wrote a letter to the organizations founder, Jerry Rotondi, saying: "The Committees work to protect a recognized landmark from insensitive development and inappropriate use... very commendable."</p><br>
<p>In January 1987, Huang started remodeling the facade into storefronts and adding offices to the upper floors. Early that March, after most of the auditorium had been demolished, the New York City Department of Buildings issued an order demanding that Huang stop all work on the theater after the inspectors found that three of the landmarked columns in the ticket lobby had been destroyed. The construction permit was also revoked. Huang claimed that vandals broke into the theater building on February 23, 1987, and destroyed the columns. Demolition contractor Steven Shapiro said he had reported the vandalism to the New York City Police Department (NYPD)&#39;s 109th Precinct, but the NYPD had no record of such a report being made.</p><br>
<p>The LPC could not ascertain who destroyed the columns, so it did not issue any fines or violations.</p><br>
<h4>Further deterioration</h4><br>
<p>At the start of 1989, two sets of bronze doors were stolen from the theater along with their frames, and Rotondi requested a thorough inspection after realizing that someone had penetrated the wooden barrier surrounding the theater. Preservationist Richard McTighe and Huang decided that a gate should be erected to separate the landmarked interior from the rest of the site. A fire was set inside the empty theater that July. Though local media accused Huang of wrongdoing, Huang denied the accusations against him.</p><br>
<p>More issues arose in December 1990, when the citys buildings department fined Huang $3,250 for building-code violations at the theater. Despite the fact that the LPCs preservation rules were among the strictest in the United States, the damage to the lobby was not fixed for several years. In March 1993, the LPC mandated that Huang keep $40,000 in an escrow account for the theater&#39;s restoration. Huang filed for bankruptcy in 1993 (later RKO Delaware).</p><br>
<p>Residents and local politicians accused Huang of letting the theater deteriorate and selling off part of the theaters decoration, but Huang blamed the damage on vandalism. Huang also filed a lawsuit against the citys government, wishing to develop seven storefronts along the Northern Boulevard portion of the site.</p><br>
<h4>Criminal charges and lawsuit</h4><br>
<p>Early in 1997, the city government said it would consider Huangs request for a certificate of occupancy if he and the city agreed to hire a third-party architect or engineer to oversee the work. Local officials proposed that the state government charge Huang with racketeering so the state could seize the theater through criminal forfeiture. Huang was arrested in March 1997 and charged with environmental violations in relation to the RKO Keiths after city officials discovered that he had lied about cleaning up the oil leak in the theater. and he unsuccessfully attempted to dismiss the environmental charges against him. By the end of the year, the office of the Attorney General of New York proposed an agreement in which Huang would stabilize the theater and allow a city inspection in exchange for not going to prison.</p><br>
<p>In January 1998, a judge for the New York Supreme Court, the states trial court, postponed Huangs criminal trial by a year after Huangs lawyers claimed that he could not get a fair trial in Queens. The postponement was criticized by Huangs opponents, such as state senator Leonard P. Stavisky, who said, "Justice delayed is justice denied." The New York Daily News said: "The RKO Keiths Theatre can only be described today as a ghostly shell." That March, Huang and the city made an agreement to allow city inspectors to check the theaters interior. The agreement included hiring an independent monitor to review the repairs; in addition, Huang had to file a plan for asbestos removal with the DOB. A local task force hosted a meeting in November 1998 to determine the theater&#39;s future, but city officials did not attend the meeting because it was open to the public.</p><br>
<p>Huang pleaded guilty in January 1999 to lying about having cleaned up the leak in the theater. Huang sued the LPC and the DOB for $39 million in May 2000, alleging that the agencies continued to delay the theater&#39;s redevelopment. He dropped his lawsuit in December 2001 and consented to spending $40,000 on repairing the lobby and auditorium the following March. The media subsequently reported that Shaya Boymelgreen of Boymelgreen Developers was negotiating to buy the building for $12 million. By then, the planks in front of the theater had been removed.</p><br>
<h3>Boymelgreen, Thompson, and Karlik plans</h3><br>
<p>Huang sold the theater in 2002 to Boymelgreen, who planned to build the RKO Plaza, a mixed-use development with apartments, retail, restaurants, and a senior center; the ticket lobby and foyer would be preserved. As part of the $100 million project, Boymelgreen would demolish the facade and build a curving glass wall in front of the lobby and foyer. This came after an engineering study found that the auditorium was "so devastated that little of it can be saved". A hole behind the proscenium arch exposed the auditorium to the outdoors, and plaster and paint were peeling off the walls and ceilings. Glenn Collins of The New York Times characterized the theater as "a Sistine Chapel for connoisseurs of decay". The next year, Community Board 7 approved a revised plan, which was narrower and was set back further from Northern Boulevard. The project, as approved, would have contained 200 condominium apartments, along with 229 parking spaces.</p><br>
<p>In 2007, Boymelgreen and his development partner Lev Leviev decided to stop working together, and Boymelgreen put the RKO Keiths site for sale. Eastern Consolidated was originally hired as the broker. Real estate brokerage Massey Knakal had taken over the listing by May 2008, seeking $31 million for the site. Preservationists sought to purchase the RKO Keiths Theater in 2009 in the hopes of reusing or renovating it as a performing arts center. The theater was valued at $24 million. In order to fully revitalize the theater, Friends of RKO Keiths sought to collect donations from various film stars. Jon Favreau was one such actor that the group hoped would make a donation, since he once worked there. By late 2009, Venator Capital was planning to buy the mortgage on the theater from Boymelgreens lender, Doral Bank, for $20 million. Preservationists held a fundraiser for the theater in early 2010.</p><br>
<p>Doral took over ownership of the theater and sold it in May 2010 to developer Patrick Thompson for $20 million. Thompson planned to restore the lobby and build condominiums and a senior center behind it. the Federal Aviation Administration (FAA) said the next month that the development&#39;s height might interfere with planes landing at the nearby LaGuardia Airport. and approved a revised plan the following May. The theater had accumulated $400,000 in unpaid taxes by March 2012, as Thompson had not paid taxes for 14 months. Thompson was reportedly looking to sell the theater by that time, though he was able to reduce his delinquent tax bill over the next several months.</p><br>
<p>Jerry Karlik of JK Equities bought the theater in 2013 for $30 million. Karlik wished to downsize the project to 269 condos and reduce the number of parking spaces in the basement. In addition, Karlik wished to redesign the curtain wall in front of the lobby and increase the buildings height to accommodate mechanical space. By February 2016, Karlik had placed the building for sale again after JK Equities canceled plans to redevelop the RKO Keiths site. The previous developers had received a tax exemption for the site, which was also included in the sale. Graffiti artists had covered many parts of the abandoned theater, and its windows had been sealed with boards or bricks.</p><br>
<h3>Xinyuan ownership</h3><br>
<p>Chinese developer Xinyuan Real Estate bought the theater in August 2016 for $66 million. Xinyuan announced that it would build a 16-story luxury condominium tower in the space, with 269 residential units and no hotel rooms. The new building, which would keep the original facade over the lower floors, would be designed by Pei Cobb Freed & Partners. Following the announcement of Xinyuans revised plans, preservationist and Forest Hills resident Richard Thornhill started a petition to restore the theater to Lambs original design. The petition received 4,400 signatures.</p><br>
<p>Gerner Kronick and Valcarcel Architects took over the design process in 2019, discarding Pei Cobb Freeds original design. Subsequently, EverGreene Architectural Arts took apart the lobbys decorations and moved them to a warehouse for future installation in the new building. Xinyuan presented its plans for the redevelopment of RKO Keiths to Queens Community Board 7 members in February 2019. Xinyuan submitted a new proposal for the site in August 2020, which called for hotel rooms in the new building. The demolition of the theater began the same year. Maverick Real Estate Partners, which had acquired Madison Realtys loan, indicated in July 2023 that it would foreclose on the site after Xinyuan defaulted on its real estate taxes.</p><br>
<p>The Parker Building  is a historic commercial building located in Brainerd, Minnesota.</p><br>
<h2>Description and history</h2><br>
<p>The Romanesque style, three-story building was built in 1909 by the Parker-Dunn Corporation, mainly to serve the 1889-organized Citizens State Bank (Charles N. Parker was vice president), but it was also home to a piano store and, in its basement, a barber shop.</p><br>
<p>Since 1984, it has housed E.L. Menk Jewelers, whose website has some interesting historical information about the building:</p><br>
<p>“In 1920, Con O’Brien bought the building, apparently for 45,000.00. In 1924, the bank across the street to the south failed. One local story is that Con O’Brien had a son that was the black sheep of the family who showed up at his dad’s office in the middle of the day and told his dad that he was fired from the Citizens bank. Con then canceled the banks lease and the bank moved across the street in 1927.</p><br>
<p>In the early 1980s, Jon Rappaport bought the building and land on a contract for deed. The upper two floors have been unoccupied since the winter of 1983 because the boiler system failed. Mr. Rappaport turned back the building in early 1988. At that time, Ed and Susan Menk bought the building. Since then, the main floor has been occupied by various businesses.”</p><br>
<p>It was listed on the National Register of Historic Places on May 23, 1980.</p><br>
<p>The Wainwright Tomb is a mausoleum located in Bellefontaine Cemetery in St. Louis, Missouri. Originally constructed for Charlotte Dickson Wainwright in 1892, the tomb also contains the remains of her husband, Ellis Wainwright. The mausoleum was designed by noted Chicago school architect Louis Sullivan, who also designed the Wainwright Building for Ellis Wainwright.</p><br>
<h2>History</h2><br>
<p>Shortly before the construction of the Wainwright Building in Downtown St. Louis (itself now a National Historic Landmark), the "young and beautiful" wife of wealthy St. Louis brewery owner Ellis Wainwright died. Only 34 years old when she died of peritonitis on April 15, 1891, Charlotte Augusta Dickson Wainwright was said to be the most beautiful woman in St. Louis. Wainwright commissioned Louis Sullivan to design a tomb for his wife and himself, which was completed in 1892.</p><br>
<p>In 1901, Wainwright fled the United States after being indicted for bribery, but he later returned and died in St. Louis in 1924, then was entombed with his wife. After his death, an endowment was established that provided for the reconstruction or renovation of the tomb in case of earthquake or vandalism.</p><br>
<h2>Architecture and significance</h2><br>
<p>The tomb is a domed cubic building with walls of concrete covered in limestone on the exterior. On the northeast (front) side of the tomb is the entrance with a double-leafed bronze grill and double-doors. The sides of the tomb each have windows, also covered in bronze grills. The limestone walls are carved with floral patterns that do not repeat. The interior of the tomb has two burial slabs and a mosaic floor and ceiling. The Wainwright Tomb has significance as a work of Louis Sullivan, and it has been described as "the most sensitive and the most graceful of Sullivans tombs" and as "one of Sullivans masterpieces."</p><br>
<p>The Boone County Distillery Superintendent&#39;s House and Guest House is a historic house located in Petersburg, Kentucky. It was added to the National Register of Historic Places in 1989.</p><br>
<p>The building was planned with four apartments, two up and two down. The two first-floor units have shed roofed kitchens, lacking on the second floor. This is a rare surviving example of a 19th-century multiple residence structure in Boone County.</p><br>
<p>The Boone County Distillery was a major local industry between the American Civil War and 1916, consisting at the time of the 1883 atlas of approximately 25 buildings, most of which have been demolished. The only other known distillery located in Boone County was in the Ohio River town of Hamilton, and none of the buildings associated with that distillery remain.</p><br>
<p>The Bauer Manor, also known as the Davenport House or Davenport Hotel, is a hotel located at 1280 USA Route 12  near the unincorporated community of Tipton in Franklin Township in northern Lenawee County, Michigan. It was designated as a Michigan State Historic State on May 18, 1971 and listed on the National Register of Historic Places on May 4, 2007.</p><br>
<h2>History</h2><br>
<p>The Chicago Road (now USA 12) was built in the late 1820s and early 1830s, and quickly became a prime transportation route. In 1834, Henry W. Sisson built a log tavern at this site along the Chicago Road. In 1839, he sold the tavern and associated property to John Davenport, the owner of a local saw and grist mill. Davenport owned the property until 1864, and at some time during that period constructed the present hotel building, Although the exact date of construction is unknown, it was likely in about 1861.</p><br>
<p>In 1864, Davenport sold the hotel to Henry Lancaster. Lancaster renamed the hotel the "Lancaster House," and operated it as a hotel and a social center for the local population until 1884, when he moved. He continued to own the property until 1888, when the mortgage was foreclosed. At that time, businessmen John and Edward Smith purchased the hotel, and in 1889 sold it to Edward L. Clapp. Clapp served as the local postmaster, and operated a post office in the hotel from 1890 to 1900. In 1907, Clapp sold the hotel to Charles F. Pitcher, who operated it until his death in 1925. Frank H. Ridley then purchased it, and hired George and Jessie Bauer to manage the establishment.</p><br>
<p>The late 1920s were a boom period for the Irish Hills area: the Chicago Road was paved in 1926, and the area was touted as a tourist destination. The Bauers had the hotel renovated, enlarging the dining room and updating the decor. Frank Ridley owned the hotel until 1938, then sold it to the Bauers, who renamed in "Bauer Manor." The Bauers retired in 1963, and sold the hotel to Kenneth and Mary Van Doren in 1965. The establishment became primarily a restaurant, still operating under the "Bauer Manor" name. AI and Diane Andrews purchased the hotel in 1979, and the restaurant continued operation until 2003. In the later 2000s, the property was renovated into office space and apartments, and the lower floor housed a realty company.</p><br>
<h2>Description</h2><br>
<p>The Bauer Manor is a broad, two-story wooden Greek Revival structure with a wide hip-roof main mass, a gabled wing extending to the rear from one end, and another rear single-story addition constructed in 1965. The front facade is seven bays wide, with a two-story square-column portico extending across the entire front. Two entrances are in the front. The primary entrance is located near the center, and has a Revival molded trim enframement, sidelights, and a transom. A plainer, secondary entrance is located at one end of the building. Both the front and side facades have double-hung six-over-six windows.</p><br>
<p>The original interior layout had the main entrance opening into an entry hall containing a staircase. Off the hall was a dining room, two bedrooms, a bar area, and a kitchen behind. The dining room has since been expanded twice: once in the 1920s with the removal of the two bedrooms, and later in the 1960s with the construction of a rear addition. On the second floor, a central hallway leads to the guest rooms. To the rear is a large ballroom. The ballroom has since been subdivided.</p><br>
<p>The Sacramento Historic City Cemetery , located at 1000 Broadway, at 10th Street, is the oldest existing cemetery in Sacramento, California. It was designed to resemble a Victorian garden and sections that are not located in level areas are surrounded by brick or concrete retaining walls to create level terraces. The cemetery grounds are noted for their roses which are said to be among the finest in California.</p><br>
<h2>History</h2><br>
<p>The cemetery was established in 1849 when Sacramento founder John Augustus Sutter, Jr. donated 10 acre to the city for this purpose. The grounds were landscaped in the Victorian Garden style popular at the time. The New Helvetia Cemetery was founded in c. 1845 and was also prone to flooding, which would unbury the bodies from the earlier graves; as a result some of the burials from New Helvetia were reinterred to the Sacramento Historic City Cemetery starting as early as 1850.</p><br>
<p>In 1850, some 600 victims of the Cholera epidemic that swept the city were buried in mass graves in City Cemetery. The remainder 800 victims claimed by the epidemic were buried in the nearby New Helvetia Cemetery, also in mass graves.</p><br>
<p>In 1856, the city engaged a cemetery superintendent and began to plan the grounds. In 1857, the gatehouse and bell tower were constructed. These were demolished in 1949 during the widening of Broadway. Several fraternal groups purchased sections for their members including the Masons (1859), Odd Fellows (1861) and the Sacramento Pioneers Association (1862). The city set aside a section for volunteer firemen in 1858 and members of the Grand Army of the Republic in 1878. The cemetery continued to acquire additional land through 1880 when Margaret Crocker, widow of Edwin B. Crocker, donated 23 acre to expand the grounds to 60 acre total.</p><br>
<p>It was declared a State Historic Landmark on May 5, 1957, by the State Historical Landmarks Commission. The cemetery was listed on the National Register of Historic Places in 2014.</p><br>
<h2>Notable burials</h2><br>
<p>These are some of the notable people interred in the cemetery:</p><br>
<p>Hardin Bigelow – first directly elected Mayor of Sacramento</p><br>
<p>Marion Biggs – US Representative</p><br>
<p>John Bigler – third Governor of California and Minister to Chile</p><br>
<p>Newton Booth – United States Senator & eleventh Governor of California</p><br>
<p>John Chilton Burch – US Representative</p><br>
<p>Amos P. Catlin – California State Legislator that wrote and carried the bill to make Sacramento the permanent capital of California</p><br>
<p>Thomas Jefferson Clunie – US Representative</p><br>
<p>George B. Cosby – Confederate State Army Brigader General</p><br>
<p>Aimée Crocker – heiress daughter of Edwin B. Crocker</p><br>
<p>Edwin B. Crocker – California Supreme Court Justice and founder of the Crocker Art Museum</p><br>
<p>Jerome C. Davis – Pioneer rancher/farmer and namesake of Davis, California and UC Davis, which were built on his former land</p><br>
<p>John W. Donnellan – 1st Treasurer of the Wyoming Territory</p><br>
<p>Charles Duncombe – Member of the Legislative Assembly of Upper Canada, California State Assemblymember in Sacramento County and one of the first doctors in Sacramento</p><br>
<p>James L. English – Mayor of Sacramento and California State Treasurer</p><br>
<p>Newton T. Gould – Civil War soldier and Medal of Honor recipient</p><br>
<p>William S. Hamilton – son of American founding father Alexander Hamilton. He died in Sacramento, most likely of cholera, in 1850.</p><br>
<p>Frederick Winslow Hatch – served as Chaplain of the United States Senate</p><br>
<p>Mark Hopkins Jr. – one of the Big Four & a founder of the Central Pacific Railroad</p><br>
<p>William Irwin – thirteenth Governor of California</p><br>
<p>Grove L. Johnson – US Representative and father of US Senator & Governor of California Hiram Johnson</p><br>
<p>John F. Madden – US Army brigadier general</p><br>
<p>Hugh C. Murray – California Supreme Court Justice</p><br>
<p>Henry L. Nichols – Mayor of Sacramento and Secretary of State of California</p><br>
<p>Levi Rackliffe – State Treasurer of California</p><br>
<p>Benjamin B. Redding – Mayor of Sacramento, California State Assemblymember, Secretary of State of California and the namesake for the city of Redding, California</p><br>
<p>Lebbeus Simkins – Civil War sailor and Medal of Honor recipient</p><br>
<p>Royal T. Sprague – California State Senator and California Supreme Court Justice</p><br>
<p>John Augustus Sutter Jr. – founder and planner of the City of Sacramento, US Consul in Acapulco, Mexico and son of John Augustus Sutter, Sr.</p><br>
<p>Jabez Turner – Mayor of Sacramento</p><br>
<p>A. A. H. Tuttle – California State Assemblymember, Secretary of State of California and the namesake of Tuttletown, California</p><br>
<p>Edwin G. Waite – California State Assemblymember and Secretary of State of California</p><br>
<p>Albert Maver Winn – first City Council of Sacramento and chosen as President (ex officio Mayor), California State Adjutant General and founder of the Native Sons of the Golden West</p><br>
<p>Gen. George Wright – General in the Union Army of the American Civil War</p><br>
<p>Lt. Thomas F. Wright – son of Gen. George Wright, was killed while fighting in the Modoc War</p><br>
<p>The Jamaica Savings Bank was a bank incorporated in 1866 in the Jamaica section of the borough of Queens in New York City. It had four branches across Queens before it was acquired by North Fork Bank in 1999, which itself was acquired by Capital One Bank in 2008.</p><br>
<p>The bank&#39;s original building was built between 1897 and 1898 in the Beaux-Arts style. It is a slender, four-story brick building with a limestone facade. It features a deeply rusticated ground floor with windows protected by elegant metal grilles. The facade is framed by double-story pilasters and covered with elaborate carved brackets, swags and other elements.</p><br>
<h2>History</h2><br>
<h3>Incorporation</h3><br>
<p>The original Jamaica Savings Bank was incorporated on April 20, 1866, by 19 local business leaders, including John Alsop King, governor of New York (1857-1858); Morris Fosdick, and Colonel Aaron A. Degrauw, who met in the Jamaica Town Hall in an effort to "pool their local resources for the purpose of protecting their savings and financing future development" of the Jamaica area. The bank officially opened to the public on July 14, 1866, at 161-02 Jamaica Avenue —a year after the civil war—and operated out of the Queens County Clerk&#39;s office with 15 customers depositing a total of $2,675.00. To supplement the ever-expanding community of Jamaica, the bank trustees hired the architectural firm of Hough and Deuell to build the new Beaux-Arts style bank headquarters that became flagship building of the Jamaica Savings Bank in 1898. "This building conveyed the kind of monumentality that is often associated with private social clubs and civic institutions."</p><br>
<h3>Jamaica grows</h3><br>
<p>With the advent of the railroad and other transportation systems, Jamaica quickly developed into the economical and commercial hub of Queens County throughout the early-twentieth century. To fulfill the economic needs of Jamaica&#39;s rapidly expanding population, the President of the Jamaica Savings Bank, George S. Downing, felt that the creation of more bank branches was necessary. In December 1934, the Queensboro Savings Bank (located at 90-55 Sutphin Boulevard) was merged with the Jamaica Savings Bank. As a result, the Queensboro Savings Bank was henceforth known as the Jamaica Savings Bank; the bank with the Jamaica Avenue address became the Main Office of the company and the Sutphin Boulevard address served as the Branch Office. The employees of the Queensboro Savings Bank all retained their positions but were then considered employees of the Jamaica Savings Bank.</p><br>
<p>In 1934, Jamaica Savings Bank had a total of 50,614 accountants and was listed as fifty-seventh among the 100 largest savings banks in the United States. The officers of the Jamaica Savings Bank at that time were George S. Downing, president; Supreme Court Justice Leander B. Faber, Robert W. Higbie and George K. Meynen, vice-presidents; Charles R. Doughty, treasurer; G. Warren Smith, secretary, and Richard W. Reeves, assistant secretary.</p><br>
<p>On August 27, 1938, George S. Downing announced that the construction of the second Jamaica Savings Bank branch was underway and was expected to be completed on February 1, 1939. Downing stated that the "decision to construct the building had been precipitated by the rapid grown of the Jamaica area" and that the "extension of the Eighth Avenue subway line to Jamaica had resulted in a phenomenal growth of apartments in that section." The Sutphin Boulevard Branch of the Jamaica Savings Bank officially opened on April 22, 1939, and was designed by Architect Morrell Smith of 475 Fifth Avenue and Builder/General Contractor Theodore L. Rubsamen and Company of Jamaica. This unique art deco building featured striking decorative features; its most notable feature being the American eagle carved in a low relief and placed over the entrance. "Ornamental cast bronze doors grace the entrance which opens upon a semicircular vestibule lined with marble of black and gold...Furnishings in American walnut, bronze lighting fixtures...and carpets of and draperies of harmonious design and hue complete the interior.</p><br>
<h3>Late 20th century</h3><br>
<p>The modern Jamaica Savings Bank of 1964 is on the corner of 161st Street in downtown Jamaica just across from its Victorian predecessor. Constructed as the new headquarters, the bank built a modernistic steel blue facade with a curved wall of blue Venetian glass. The concave entrance continues the accents and it was given an annual architectural award for commercial buildings for innovation by the Queens Chamber of Commerce. The award cites the fireproofing materials of gray glazed enamel brick, incorporation of stainless steel columns, and the exterior blue mosaic panels. The building interior had a wrap-around interior mural 162 ft x 11 ft depicting themes of historic Jamaica that included Captain Kidd, the Muscogee Native American tribe and Revolutionary War General Nathaniel Woodhull. The fourth branch was built during 1966-1968 at a 56th Avenue and Queens Boulevard in Elmhurst, next to the Queens Place Mall. The New York City Landmarks Preservation Commission designated the building as a landmark on June 28, 2005 (designation number LP-2173), but the full council voted the designation down on October 20, 2005.</p><br>
<h2>Legacy</h2><br>
<p>The legacy of the Jamaica Savings Bank lasted for nearly a century until the bank was acquired by North Fork Bank in 1999, which itself was acquired by Capital One Bank in 2008. The Sutphin Boulevard branch of the Jamaica Savings Bank building is a Capital One Bank branch. The original Jamaica Savings Bank building was listed on the National Register of Historic Places in 1983, and a New York City Landmark in 2008. The second branch building on Sutphin Boulevard was dedicated as a New York City Landmark in 2010. The third building has closed and a sneaker company resides inside, the mural is no longer visible. The Queens Boulevard building with an elongated-saddle roof, built in 1966–1968, houses a Bank of America branch.</p><br>
<p>Queens County Savings Bank is a historic bank building, that used to house the Kew Gardens Hills branch of the Queens Library, located on Main Street in the Kew Gardens Hills section of the New York City borough of Queens. It was built in 1953-1954 to resemble Independence Hall in the Georgian Revival style. It is a brick building that consists of a tall central tower with flanking two-story, side-gabled wings.</p><br>
<p>It is four bays wide and has a six-stage, square tower featuring a second story Palladian window. The tower has an octagonal belfry topped by a smaller cupola and spire.</p><br>
<p>It was listed on the National Register of Historic Places in 2005.</p><br>
<p>Jamaica Chamber of Commerce Building is a historic office building located in the Jamaica section of the New York City borough of Queens. It was designed in 1928 by George W. Conable  and is a ten-story, T-shaped building in the Colonial Revival style.</p><br>
<p>George W. Conable designed the building&#39;s facade based on 19th-century American and British precedents.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>J. Kurtz and Sons Store Building is a historic commercial building in the Jamaica neighborhood of Queens in New York City. It was built in 1931 and is a six-story, steel-frame building with two decorated sides in the Art Deco style. It is three bays by six bays and features a metal-framed windows with stepped pylon motif rising through all four floors. They are of cast aluminum with geometric designs. It was built to house a franchise of the J. Kurtz and Sons furniture store, founded by Jacob Kurtz in 1870.</p><br>
<p>It was designated as a New York City Landmark in 1981, and listed on the National Register of Historic Places in 1983. Today it is a local The Children&#39;s Place franchise, as well as other local shops and an office for the New York City Department of Probation.</p><br>
<p>La Casina is a historic commercial building located in Jamaica, Queens. New York City. It was originally built about 1907 and completely redesigned about 1936 in the Streamline Moderne style. It is a one-story building designed for use as a nightclub. It has a streamlined facade in the form of a stepped pyramid or ziggurat. The building retains its original vertical neon sign. From the 1940s through 1987, the building housed a clothing factory.</p><br>
<p>It was listed on the National Register of Historic Places in 1990, and a New York City Landmark in 1996.</p><br>
<p>The sidewalk clock on Jamaica Avenue is an early-20th-century sidewalk clock at the southwest corner of Jamaica Avenue and Union Hall Street in the Jamaica neighborhood of Queens in New York City. The cast iron clock&#39;s design incorporates a bell-cast shaped column base and an anthemion finial above the dial casing.</p><br>
<p>The clock originally was installed at 161-11 Jamaica Avenue but was moved in 1989 to 92-00a Union Hall Street. The clock is a New York City designated landmark and was listed on the National Register of Historic Places in 1985.</p><br>
<h2>Description</h2><br>
<p>Originally erected in 1900 at 161-11 Jamaica Avenue, the clock was designated a New York City landmark in 1981. The Jamaica clock has a pedestal with paneling; a fluted column; and a double-faced clock topped by an anthemion. Originally placed in front of Busch&#39;s Jewellers, it is 15 ft tall.</p><br>
<p>The clock is similar to cast-iron post (tower) clocks produced between 1881 and 1910 by the E. Howard Clock Company and the Seth Thomas Clock Company. In 2021, restorers found that the clock&#39;s design matched one sold by the Self Winding Clock Company. While the Self Winding Company had once made many sidewalk clocks throughout New York City, all of the other clocks had long since been destroyed.</p><br>
<h2>History</h2><br>
<p>The clock likely dates from the early 1900s, though the date of its manufacture is unclear. The clock originally had a dial that took up the entire clock face, which measures 3 ft wide. It was probably electrified in the 1930s. The earliest known photograph of the clock, a city tax photo, dates from 1940. The photo shows that the clock&#39;s original dials had been replaced with smaller ones, which were surrounded by letters that probably showed the name of a business. The exact text of the letters is unknown, as the 1940 tax photo was taken from behind a pillar of the elevated BMT Jamaica Line.</p><br>
<p>At one point in the clocks lifetime, the words "Tads Steaks" were added in neon, but these words were subsequently removed during a restoration. The clock was restored and moved to its present location at 92-00a Union Hall Street in 1989.</p><br>
<p>By the 2020s, the clock had again fallen into disrepair; its head was dented and a panel in its pedestal had to be sealed using duct tape. Local activist Thomas Crater contacted politicians and city government agencies about issues with the clock. After nobody claimed ownership of the clock, the Jamaica Center Business Improvement District decided to restore it, receiving $30,000 in funding from the office of New York City councilman Daneek Miller and another $30,000 from the city government. Save America&#39;s Clocks and the Electric Time Company found that the clock closely resembled a Self-Winding Company design and decided to restore it.</p><br>
