<p>The Houses of Mississippi River Men Thematic Resource  is a multiple property submission to the National Register of Historic Places which was approved on April 13, 1979. The structures are all located in the town of LeClaire in Scott County, Iowa, United States.</p><br>
<h2>Structures</h2><br>
<p>The submission includes thirteen architecturally and historically significant structures. The houses included, in order from their NRHP reference number, are:</p><br>
<p>Saint John&#39;s Lutheran Church is an active church building located at 121 South Locust Street in the city of Adrian in Lenawee County, Michigan. It was designated as a Michigan State Historic State on February 23, 1981 and shortly after listed on the National Register of Historic Places on December 27, 1984. The Lutheran congregation moved to a new home in 2007, and the church building now houses the Reformed Baptist Church of Lenawee.</p><br>
<h2>History</h2><br>
<p>The congregation itself dates back to October 10, 1847 when Reverend Wilhelm Hattstaedt of Monroe, Michigan, organized the "German Evangelical Lutheran Church of Adrian, Michigan." Their first church was completed in 1849, and attendance consisted of a small number of German Episcopalians. The first full-time pastor was Reverend Phillip J. Trautmann, who came to head in 1850. A new church was soon built to serve a growing number of German immigrants in Adrian. The current building was originally constructed in 1861 in the style of Gothic Revival architecture by architects C. F. Matthes, John C. Kaumeier, and Pastor Steffan. The building is notable as one of the oldest surviving thoroughly Gothic Revival Lutheran church buildings in Michigan. It was consecrated on June 29, 1862. The brick structure was originally a modest rectangular building until transepts were added in 1896. The stained glass windows were added in 1914.</p><br>
<p>The church&#39;s congregation continues to serve the Lutheran community of Adrian, but on July 8, 2007 moved to a new location at 3448 North Adrian Highway (M-52), 3.5 mi north of the old church.</p><br>
<h2>Description</h2><br>
<p>Saint John&#39;s Lutheran Church is a red brick Gothic Revival structure built in a cruciform plan. It sits on a sandstone foundation, and has a low pitched gable roof and partially projecting tower in the front. The main entrance is in the base of the tower, and is through double doors within a recessed arch. The tower is topped with an octagonal belfry. The corners of the church have angled buttresses topped with metal pinnacles, and the side walls are divided into bays by piers.</p><br>
<p>On the interior, the entry is through a small vestibule in the case of the tower. Stairways lead up to the balcony and down to the full basement, and the auditorium opens off the vestibule. The auditorium is cruciform, with plaster walls and wainscoting made of wide, dark-stained, vertical pine boards. Decorative elements are in the plaster ceiling. Pews face the altar in the apse.</p><br>
<p>The Fredericksburg Historic District is located in Fredericksburg, Texas in Gillespie County. It was added to the National Register of Historic Places in Texas on October 14, 1970 The district area coincides with the original platting of the town by Herman Wilke, and the streets are laid out in a wide grid. The district is bordered approximately on the north by Schubert Street and the south by Creek Street, on the west by Acorn Street and the east by Elk Street. It encompasses one contributing object , 367 contributing buildings and 191 non-contributing buildings. Many of the buildings in the historic district have been designated either a Recorded Texas Historic Landmark, and/or added to the National Register of Historic Places listings in Texas.</p><br>
<p>Wrede School is located at 3929 S. State Highway 16, Fredericksburg, Gillespie County, Texas. It was first built in 1896. The school district was consolidated with Fredericksburg Independent School District in 1960. The schoolhouse now serves as a community center. It was added to the National Register of Historic Places in Texas on June 1, 2005.</p><br>
<h2>Community background</h2><br>
<p>The land on which the schoolhouse sits was owned by Friedrich Wilhelm von Wrede Jr (1820–?) who was born in Germany. Friedrich Jr. first came to Texas as a teenager with his family in 1836. He returned alone to Germany in 1843, but came back to Texas in 1844 as Adelsverein secretary to Prince Carl of Solms-Braunfels. He helped settle New Braunfels, and was one of the group who accompanied John O. Meusebach on the trip to make the 1847 Meusebach–Comanche Treaty. Wrede remained in Fredericksburg to establish a business enterprise. From 1850–1851, he served as County Clerk of Gillespie County. He married Sophie Bonzano, and the first four of their children were born in Fredericksburg. During the Civil War, Wrede served in the Gillespie Rifles, Thirty-first Brigade, under Captain Charles H. Nimitz, grandfather of Fleet Admiral Chester Nimitz. In 1865, the Wrede family returned to Germany.</p><br>
<p>Friedrich Wilhelm von Wrede Sr. (1786–1845) was the author of Lebensbilder aus den vereinigten Staaten von Nordamerika und Texas (Sketches of life in the United States of North America and Texas) first published in 1844 and later reprinted in English in 1970. The book was influential in persuading prospective German colonists to emigrate to Texas. He was a manager of Nassau Plantation. He and botanist Oscar von Claren were scalped and murdered in 1845 by Indians while camped near Austin.</p><br>
<h2>School</h2><br>
<p>The first schoolhouse was constructed in 1896, from lumber hauled in from Comfort. The water supply was a hand dug well. The first school session opened with forty-six students on October 15, 1896. The Pedernales school and Bear Creek school were combined with Wrede in 1949. During its peak enrollment period in the 1950s, two teachers served fifty-three students. Teacher salary spanned the $28 a month paid in 1896 to upwards of $288 by 1959. Over its sixty-four year history, twenty-four teachers served the student body. Unusual for a community where only German was spoken in homes, speaking the German language on the school grounds was not allowed.</p><br>
<p>The school was consolidated with Fredericksburg Independent School District in 1960. Currently, the school is used as a community center and serves as a polling place during elections. The Friends of Gillespie County Country Schools has included Wrede in their preservation efforts.</p><br>
<p>Wrede school was added to the National Register of Historic Places in Texas on June 1, 2005.</p><br>
<p>Mechanics Hall is a historic building and meeting space at 519 Congress Street in downtown Portland, Maine. It was listed on the National Register of Historic Places  in 1973 Built in 1857–1859 by and for the members of the Maine Charitable Mechanic Association, it is a well-preserved example of Italianate architecture executed in brick and stone, and a landmark of Portlands downtown business and arts district. The building, still owned by MCMA, houses the association&#39;s library. The Maine Charitable Mechanic Association was founded in 1815 as a social organization that promoted and supported the skilled trades and their practitioners. Its original members were master craftspeople and entrepreneurs  and their apprentices.</p><br>
<h2>Description</h2><br>
<p>Mechanics Hall is located on the north side of Congress Street in downtown Portland, at the northeast corner with Casco Street. It is a two-story masonry structure, appearing three stories in height owing to an extremely tall (33 ft) second floor. It is covered by a truncated hip roof. Its front facade is finished in granite, while its sides and rear are finished in brick beyond the first bay. The front facade has a pair of commercial storefronts flanking the main building entrance, each storefront having a central recessed entrance. The main entrance is framed by paneled stone posts topped by a lintel on which the building name is incised. The upper-level windows are set in tall openings with rounded-arch tops and quoining of rough textured stone. A bracketed cornice projects along the street-facing sides. The interior of the building has hall on the ground floor with access from both Congress and Casco Streets, and space for the associations library. The upper floor, which originally housed a large meeting space, has been divided into two floors.</p><br>
<p>The Maine Charitable Mechanical Association (MCMA) was formed in 1815 as a charitable and educational association for workers in the "mechanical arts". It sponsored, exhibitions, trade fairs, and lectures on a variety of topics, and accumulated a library.</p><br>
<h2>History</h2><br>
<p>This building was constructed in 1857-59, by members of the association, to a design by Thomas J. Sparrow, a native of Portland who was also an association member. It is one of only three designs by Sparrow known to survive.</p><br>
<p>The building was constructed from Biddeford granite and stone. The building was dedicated on February 23, 1859. In 1861 it was used by troops heading to fight the Civil War. The building survived the Great Fire of 1866 and was used afterward for municipal services.</p><br>
<p>The upper level interior space was modified in 1890 to plans drawn up by noted Portland architect John Calvin Stevens, converting it to office space and a larger library space.</p><br>
<p>It was documented by the Historic American Buildings Survey (HABS) in 1965, 1969 and/or 1971.</p><br>
<p>It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The building underwent interior and exterior restoration in the 2010s. In March 2015 the refurbished ballroom was opened to the public for the first time in over fifty years. Refurbishment of the cast iron details at the building&#39;s base were recognized with a preservation award in 2016.</p><br>
<p>Additional documentation for the National Register of Historic Places listing was approved in 2022, which upgraded assessment of the building&#39;s importance to be of national significance, rather than the local significance assessed in the original 1973 listing.</p><br>
<p>The Elton Hotel is located at 30 West Main Street in downtown Waterbury, Connecticut, United States. It is an early 20th-century building by local architects Griggs & Hunt in the Second Renaissance Revival architectural style.</p><br>
<p>It was built in 1904 to replace a lavish hotel lost in a fire that destroyed much of downtown Waterbury two years earlier. To the surprise of its investors, mainly prominent local businessmen, it turned a profit within a year of its opening. F. Scott Fitzgerald was a guest, and James Thurber is said to have written "The Secret Life of Walter Mitty", during a stay of his. On the eve of the 1960 election, John F. Kennedy gave an early-morning speech from the hotel that was credited with helping him win Connecticut. It continued to be used as a hotel until the early 1970s.</p><br>
<p>In the late 1970s, when the Downtown Waterbury Historic District was created, the hotel building was included as a contributing property. In 1983, it was listed on the National Register of Historic Places individually. Since then it has been converted into professional office space and senior housing.</p><br>
<h2>Building</h2><br>
<p>The hotel is located on the north side of West Main, at the east corner with Prospect Street. It occupies a lot of a quarter-acre, about a thousand square feet (1,000 ft&sup2;). On the opposite corner is Immaculate Conception Church, a Baroque Revival Roman Catholic church built in the late 1920s. To the west, on the corner with North Main Street, is another, smaller office building of similar vintage. Across the street is Waterbury Green, the two-acre (2 acre) downtown park at the center of the city. The surrounding neighborhood is similar high-density urban mixed-use development, with many other buildings dating to the same period and earlier, reflecting contemporary styles.</p><br>
<p>The building itself is a 100-foot (30.5 m) square six-story seven-bay steel frame structure surfaced in buff brick. It is topped with a flat roof. The south (front) facade projects slightly; within that the central five bays project as well.</p><br>
<h3>Exterior</h3><br>
<p>On the first story the face is rusticated limestone. Round-arched openings, set with opening casement windows muntined in wooden ogee curves, have scroll keystones with carved acanthus leaves and floral festoons. Below them are small basement windows screened by curved bombe grilles. The main entrance is centrally located in a flat-roofed projecting portico.</p><br>
<p>A limestone stringcourse sets off the top of the story. The second-story windows have scrolled keystones as well, but over smaller, rectangular openings. They, and all the other window bays on the upper stories, are filled by eight-over-one sash windows, in the outer four bays and recessed French doors in the inner three, opening onto a balcony with wrought iron railing supported in the middle by the entrance portico and on the sides by large scrolled brackets. The brickwork echoes the rustication below and is further quoined at the corners.</p><br>
<p>Another limestone stringcourse divides the second and third stories. At this level copper-sheathed oriel windows fill the two bays flanking the center and continue for the next two stories. Quoins set them off as well, and the oriels are decorated with corner pilasters, recessed panels below the openings and classical cornices in a different motif on each level: a round pediment and dentils on the third story, straight with small mutules at the fourth, and large mutules and a cartouche on the fifth.</p><br>
<p>The other windows on the third and fourth stories are set within slightly recessed two-story rounded arches. They are topped with keystones supporting carved stone motifs above their lintels. Those on the third story have swags, with wreaths in the arch on the fourth.</p><br>
<p>Projecting bricks, interrupted by the quoins and oriels, set off the fifth story. The windows there have less decoration, primarily splayed-brick lintels similar to those on the two stories below but with a projecting keystone. At the top of the oriel is another balcony like the one on the second story, with scrolled brackets supporting it in the center as well. On the sixth floor French doors again open onto the balcony from recessed openings; the outer windows are the plainest on the facade, slightly recessed with a projecting brick surround, divided from each other by recessed panels.</p><br>
<p>At either upper corner of the panels begins the copper roofline treatment. More large scrolled brackets and mutules support projecting eaves create a cornice effect. Atop them is a pattern in which narrow niches alternate with large copper cartouches. Large stylized foot scrolls support a flagpole in the center.</p><br>
<p>The other side facing a street, the west facade looking out on Prospect Street, has a similar appearance. Its four projecting oriels go up an additional story. On the ground floor the central entrance is round arched, and the flanking windows are rectangular, done in stained glass with a heraldric motif on their upper section. The windows alternate between large major openings and smaller minor ones.</p><br>
<p>The north facade, the building&#39;s rear, is its plainest. It is done in red brick with segmental-arched windows having no additional ornament. The east facade, overlooking a narrow alley between the hotel and its lower neighbor, is midway between the north and south in terms of decoration. Here the building is U-shaped, with an airshaft opening in one bay. A copper railing with bulbed balustrade runs along the top of the first story; behind it is the skylight that once lit the dining room.</p><br>
<h3>Interior</h3><br>
<p>Ionic columns with an unusual pattern of alternating fluted and smooth drums support a frieze with alternating triglyph and paterae. Behind them similar pilasters form an arched deeply recessed porch. In the walls are marble niches with a floral carving on top. The porch&#39;s soffit has a large central panel outlined by a wreath of carved fruit and flowers. The doorway itself has sidelights and a transom below a dentilated broken pediment.</p><br>
<p>The interior has undergone some changes since its conversion into office space and then its current use as an assisted living facility. In the lobby, some original features, like the columns and cornice, have been painted and enclosed. The original marble floor and mantels remain, with the latter now in offices that have been created. Above the east one is a realist 1930s mural depicting Waterbury&#39;s industries.</p><br>
<p>To the west, the ballroom has had its barrel vaulted ceiling with egg and dart molded cornice mostly hidden by a modern ceiling. It can still be seen from a second floor doorway. It is off the west stairway, which retains its original pilasters, archway and plaster ceiling decoration. The east stairway likewise has its original paneled wainscoting. They and the elevator lead to upper floors where corridors with their original door surrounds lead to offices and rooms that have much of their original trim, including deep cornices, paneling and molded baseboards.</p><br>
<h2>History</h2><br>
<p>By 1900 Waterbury had carved a niche for itself in American industry. With two of the countrys major brassmakers headquartered there, it was "The Brass City". The buildings of downtown were primarily sophisticated Italianate structures that reflected the citys achievements and aspirations. In 1902, a fire burned a three-acre (1.2 ha) area on the east side of Waterbury Green, destroying 42 buildings in the process.</p><br>
<p>The city was stricken, but not devastated. The fire had created an opportunity to rebuild and redefine itself, and the money was there. Many of downtown Waterburys major buildings, such as Cass Gilberts municipal center, were erected in the years afterwards.</p><br>
<p>One of the burnt buildings that had mattered a great deal to the citys business community was the Scovill Hotel, the citys finest. To replace it, the Scovills and other families prominent in the brass and other industries pooled their money, a total of $300,000 ($ in contemporary dollars) to build a newer, more sophisticated hotel for visiting business travelers. It was named after J.S. Elton, founder of the Waterbury Brass Company, since he and his son had contributed the greatest portion.</p><br>
<p>Wilfred E. Griggs, a Waterbury native who had studied at Yale and Columbia, was given the commission. He had already designed two distinctive buildings in the city, the nearby Odd Fellows Hall, a rare use of the Venetian Gothic, and the offices of the Waterbury Clock Company. His design for the hotel featured an elegant exterior, in which many Second Renaissance Revival features like a flat roof, bracketed cornice and quoins were augmented by the classically inspired carved stone ornamentation like the flowers, fruits and festoons, and the smaller-scale elements like the ogee curves in the windows, decoration more common on Beaux-Arts structures of the era. It covered a modern interior that used some of the newest technologies, from its steel frame structural system to the elevators, electric lighting and telephones in every room.</p><br>
<p>The hotels investors did not expect it to turn a profit, at least for a while, since their primary aim was to provide the city with a hotel equivalent to those found in larger cities, and they could absorb the loss. Nevertheless, it made money in its first year of operation. Its restaurants were popular and its ballroom became the site of all the citys most desirable social events. Almon C. Judd, the manager, made it the starting point for the "Ideal Tour", in which a convoy of motorists would depart from Waterbury to visit major resort hotels in northern New England, at sites like Crawford Notch, Sunapee Lake and Poland Spring.</p><br>
<p>Guests in the early 20th century would include F. Scott Fitzgerald, Rosalind Russell and Lefty Gomez. In the late 1930s, James Thurber lived in the area and frequently went into town with his wife to run errands. Those trips inspired his short story, "The Secret Life of Walter Mitty", later published in The New Yorker, widely reprinted and considered a classic of American literature.</p><br>
<p>In it, the title character and his wife visit Waterbury to run errands. Thurber describes Mitty as, having completed his errands, returning to a hotel lobby where they have agreed to meet. While sitting in a leather chair, he lapses into one of his daydreams about being a combat air pilot, until his wife returns. It is believed that the hotel described was the Elton.</p><br>
<p>On October 10, 1922 a group of 15 men, led by Dr. Anthony P. Vastola, met in the basement of the Elton and established Unico National, an Italian American service organization to engage in charitable works, support higher education, and perform patriotic deeds. The organization now has over 7,000 members in 140 local chapters in 19 states. A plaque commemorating the establishment of the organization is fixed to the front of the building.</p><br>
<p>At some point in the late 1950s the Elton was renamed the Roger Smith Hotel. At 3 a.m. on November 6, 1960, John F. Kennedy spoke to a crowd estimated to be at least 40,000 gathered on the Green from the hotels balcony, the concluding stop of an election-eve motorcade up the Naugatuck Valley. It was one of his last speeches of that years election. The size of the crowd, and the enthusiasm with which they greeted Kennedy both at the speech and when he attended Mass at Immaculate Conception in the morning, led state Democratic chairman John Moran Bailey to predict that the senator from Massachusetts would carry the state, then dominated by Republicans. Two days later, Connecticut voted by an even larger margin than he had predicted for Kennedy, the first time it had supported a Democrat since 1944.</p><br>
<p>Pierre Salinger would later call this the greatest night of the campaign. A commemorative plaque was later affixed to the railing. In 1980, Ronald Reagan spoke on the Green and alluded to Kennedys speech as a way of identifying himself with Kennedy. By the time of Reagans visit, the Elton was no longer a hotel and had been converted into offices. Today it is The Elton Residential Care, an assisted living facility.</p><br>
<p>Sodom Schoolhouse is a historic octagonal school in West Chillisquaque Township, Northumberland County, Pennsylvania, United States reportedly built about 1812, 1835, or 1836 and used until 1915. It is located in a rural area on Pennsylvania Route 45 near several Scotch-Irish communities: the "small group of houses" formerly known as Sodom, which was about a mile east of the hamlet of Montandon, and about 3 miles east of a small town, Lewisburg.</p><br>
<h2>Architecture</h2><br>
<p>The eight-sided single story school was built of limestone quarried nearby, has a single chimney in the center of the roof, seven windows, and a single door on the south side facing the road. A vestibule was once attached where students hung their coats. The inside was painted slate grey, and a wood-burning stove stood in the center. On the north wall was a blackboard, with a 30-foot long, 10-foot wide, 8–10-inch high platform for the teacher. The teacher&#39;s chair and desk were painted red. Two recitation benches faced the platform. Six long rough desks were placed parallel to the walls and two more were placed in the center of the room. Students within a three-mile radius attended, sometimes as many as 100 at one time, but usually only 40–60 students attended.</p><br>
<h2>History</h2><br>
<p>The name of the school may come from the "Sodom Tavern" which did business in Montandon 1832–1855, or from the hamlet of Sodom which was named by Lot Carson, the owner of another tavern, who died by falling down a well while drunk. Carson may have donated much of the building material to the school. Until 1858 the school building was also used as a Methodist Church on Sundays. It was also used for political meetings and elections.</p><br>
<p>A cupola and bell once stood above the front door. Stories, or perhaps legends, say that the building of school was delayed by the start of the War of 1812 when the builders went off to war, and not completed until their return from the war. The hamlets of Montandon and Sodom, however, were not established until the 1830s and 1835 is a more commonly accepted construction date.</p><br>
<p>Several similar octagonal schools were built in Pennsylvania, especially in Chester County and rural Philadelphia County, for example the Diamond Rock Schoolhouse (1818), Birmingham Friends Octagonal School (1819), and the Hood Octagonal School (1841).</p><br>
<p>Restoration efforts started in 1935 and were completed in 1961 through the efforts of the Junior Historians Club at Milton High School.</p><br>
<p>Lower South Grape Creek School is located at 10273 E USA Highway 290 in Gillespie County, Texas. In 1960, the school was consolidated with Fredericksburg Independent School District. The building is now used as a community center. The school was designated a Recorded Texas Historic Landmark in 1994, Marker number 10073. It was added to the National Register of Historic Places in Texas on May 6, 2005.</p><br>
<h2>Community background</h2><br>
<p>Luckenbach was settled on the Pedernales tributary of Grape Creek by German colonists such as the Luckenbach family, who arrived in Texas from Stein-Wingert, Germany, aboard the Brig Johann Dethardt January 12, 1846. They were among the first wave of colonists to Fredericksburg in 1846. In 1852, the Luckenbachs moved southeast to the area that came to bear the family name, and became naturalized citizens. William Luckenbach was the first postmaster of South Grape Creek, which was eventually discontinued in 1869. Other early colonists in the area along South Grape Creek were John M. Hunter, Wlihelm Feller and Peter Burg, who were among the petitioners to create Gillespie County, as well as Eramus Frantzen, L.F. Toepperwein, Friedrich Scharnhorst, John Blank, G.J. Weber, and Ferdinand Gellermann.</p><br>
<h2>School</h2><br>
<p>The first school house at South Grape Creek was a log construction built on 1.33 acre of land purchased by the Luckenbach trustees from widow Juliane Wehmeyer in 1871 for $50. The South Grape School District was part of the Luckenbach School Precinct No. 3, which covered Luckenbach, Grapetown, South Grape Creek, and Grape Hill. On May 12, 1889, the school on South Grape Creek was named Lower South Grape Creek School, District #21, because the Grapetown school was named Upper South Grape Creek School. Theodor Huelsemann was the first teacher and taught the Lower South Grape Creek school until 1880.</p><br>
<p>In 1901, a new one-room building was erected out of native limestone, on an acre of land bought for $5 from Charles and Martha Ahrens, 1.5 mi north on USA Highway 290 (then known as the Austin Highway). The original structure had a pyramidal roof, with a chimney, tin roof and bell tower. Capital improvements in later years included a concrete slab porch large enough on which to perform school plays, electricity, and indoor plumbing.</p><br>
<p>Due to sagging enrollment, the school was consolidated with the Fredericksburg Independent School District in 1960. Designated a Recorded Texas Historic Landmark in 1994, Marker number 10073. Lower South Grape Creek School was added to the National Register of Historic Places in Texas on May 6, 2005.</p><br>
<p>The O.K. Corral  was a livery and horse corral from 1879 to about 1888 in the mining boomtown of Tombstone, Arizona Territory, in the southwestern United States near the border with Mexico.</p><br>
<p>Despite its association with the Gunfight at the O.K. Corral, the historic gunfight did not take place within or next to the corral on Allen Street, but in a narrow lot on Fremont Street, six doors west of the rear entrance to the corral. The lot was between Harwoods home and C. S. Flys 12-room boarding house and photography studio.</p><br>
<p>The 1957 film Gunfight at the O.K. Corral made the shootout famous and the public was incorrectly led to believe it was the actual location of the altercation. Despite the historical inaccuracy, the corral is marketed as the location of the shootout, and visitors can pay to see a re-enactment of the gunfight. The corral is now part of the Tombstone Historic District.</p><br>
<h2>Origins</h2><br>
<p>At the time of the gunfight on October 26, 1881, the O.K. Corral and Livery was one of eight liveries and corrals in the city of about 5,300 residents, excluding Chinese people and children. The others included the Dexter Livery (owned by John Dunbar and Johnny Behan), Pioneer Livery, Tombstone Livery, West End Corral, P.W. Smith Corral, C.N. Thomas West End Corral, and the Fashion Stables.</p><br>
<p>The O.K. Corral was owned at the time by "Honest John" Montgomery and Edward Monroe Benson. Most residents of the town did not own a horse; when they needed to go out of town, they rented a horse from one of the liveries or corrals. The corral and livery also cared for transient stock, and provided buggies, carriages, and wagons with teams of horses. As of 1886, they also rented an 11-passenger excursion coach.</p><br>
<p>The corral and buildings were completely destroyed by a fire that burned almost all of the western business district on May 25, 1882. The re-built corral began to gain attention from the American public in 1931, when author Stuart Lake published an initially well-received biography, Wyatt Earp: Frontier Marshal, two years after Earps death. Published during the Great Depression, the book captured American imaginations. It was also the basis for the 1946 film, My Darling Clementine, by director John Ford. After the film Gunfight at the O.K. Corral was released in 1957, the shootout became known by that name and the corral became wrongly fixed in the publics consciousness as the location of the shootout.</p><br>
<h2>Location</h2><br>
<p>According to testimony after the shootout, the outlaw Cowboys who fought the Earps and Doc Holliday went from Dexters Livery Stable, where they had left their horses, to Spangenbergs gun shop on Fourth Street. Wyatt Earp saw them inside and later said he thought they were filling their cartridge belts with bullets. The Cowboys then walked over to the O.K. Corral where witnesses overheard them threatening to kill the Earps. Citizens reported the threats and the armed Cowboys&#39; movements to Tombstone City Marshal Virgil Earp.</p><br>
<p>On April 19, 1881, the city had passed ordinance#9 requiring anyone carrying a bowie knife, dirk, pistol, or rifle to deposit their weapons at a livery or saloon soon after entering town. The ordinance was the legal basis for City Marshall Virgil Earp&#39;s decision to confront the Cowboys that resulted in the shoot out.</p><br>
<p>The Earps and Doc Holliday walked west on Fremont Street, looking for the Cowboys. After passing the rear entrance to the O.K. Corral, they found the Cowboys gathered in a narrow 15 - wide lot adjacent to C. S. Fly&#39;s 12-room boarding house and photography studio at 312 Fremont Street. The gunfight took place within the narrow lot and on Fremont Street.</p><br>
<p>The O.K. Corral at 326 Allen Street is within the Tombstone Historic District.</p><br>
<h2>Current status</h2><br>
<p>Investors from Detroit, Michigan, led by attorney Harold O. Love, purchased the O.K. Corral, along with The Tombstone Epitaph newspaper, the Crystal Palace Saloon, and Schieffelin Hall in 1964., the Love family continues to operate the O.K. Corral as a historic site. The museum property extends from the Allen Street frontage northward to Fremont Street, including the land where the historic gunfight began. The narrow lot where much of the gunfight took place is now maintained as part of the O.K. Corral Historic Complex. Life-sized figures of the gunfighters are positioned using a map drawn by Wyatt Earp. As the gunfight proceeded, some of the participants fled onto Fremont Street (Arizona State Route 80). Re-enactments take place four times daily.</p><br>
<p>In 2004, the towns focus on tourism led the National Park Service (NPS) to threaten to remove its designation as a National Historic Landmark District, a status it earned in 1961 as "one of the best preserved specimens of the rugged frontier town of the 1870s and 80s." The community has since worked closely with the NPS to develop and implement a new more appropriate stewardship program.</p><br>
<h2>Historical significance</h2><br>
<p>Although the historical corral was not the actual site of the gunfight, the association between the two largely contributed to the establishment of the historic district and its placement on the National Register. Another O.K. Corral is known to have existed in Globe, Arizona Territory. The O.K. Corral and Feed Stable was opened before November 8, 1879.</p><br>
<p>The Eugene Masonic Cemetery, the oldest chartered cemetery in Eugene, Oregon, is one of the oldest privately owned and continuously operating historic entities in Lane County. It was incorporated as a burial site in 1859, the same year Oregon became a state. As was the custom at the time, the Eugene City fathers asked a local fraternal organization&mdash;in this case, the Freemasons&mdash;to establish a city "bury ground" open to all. The Masons purchased ten acres on a knoll about two miles from the town center and laid out the cemetery with its main entrance at what is now the intersection of University Street and 25th Avenue.</p><br>
<p>In 1994, cemetery ownership passed from the Masons to the non-profit Eugene Masonic Cemetery Association, whose board members are volunteers. The EMCA retains "Masonic" in the cemetery&#39;s name as an important historic reference, but it is no longer officially affiliated with Freemasonry. The cemetery contains Hope Abbey Mausoleum which, together with the cemetery itself, was placed on the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>The cemetery was established on a treeless hill in the country outside Eugene. For many years it was one of the principal resting places chosen for Eugene&#39;s prominent citizens, a number of whom are listed below. Through many generations and in varying conditions, it was managed by the local Masonic Lodge, but eventually the load became too much, and the site, overrun by weeds and blackberries and subject to vandalism, became a matter of public concern. The City of Eugene, with cooperation from the Masonic lodge, began a process that resulted in transfer of ownership to a new Eugene Masonic Cemetery Association (EMCA).</p><br>
<p>The Association&#39;s immediate goal was to reverse generations of neglect, and its primary aim remains the rehabilitation and interpretation of this historic resource. Since 1994, the EMCA has largely restored the native and heritage landscape of the cemetery. Over $300,000 has been invested in the rehabilitation and improvement of Hope Abbey Mausoleum and the repair of hundreds of damaged historic tombstones. The goal of historic interpretation has resulted in production of a book, Full of Life, numerous brochures and over 50 interpretive signs on site. These and many other improvements have transformed the cemetery from an urban disaster to an urban amenity.</p><br>
<h2>The site</h2><br>
<p>Originally treeless and, like the valley floor, covered with prairie grasses and wildflowers, the cemetery is now dominated by a mature stand of Douglas-fir trees, together with a wide variety of understory species. One of the EMCAs first acts was the development of a landscape plan, which emphasized the cultivation of native plants&mdash;more than 100 native species of plants can be found in the cemetery&mdash;and the preservation of the sites unique qualities as an island of tranquility in an urban setting. In 2006, the Eugene Tree Foundation presented its award for excellence in stewardship of an urban forest to the EMCA. Mowing is limited, to allow the native plants to flourish and provide an uninterrupted display, as well as to protect ground-nesting birds.</p><br>
<p>The cemetery was initially platted in a formal grid with streets and alleys. Numerous family plots, measuring 20×20 feet and subdivided into ten lots, were purchased by pioneer subscribers for $15 apiece. Over the years, the Eugene Masonic Cemetery has remained an active cemetery, and even today a limited number of in-ground burial spaces are still available. Two scatter gardens for burial of cremated remains have been created, and three Jewish sections of the cemetery have been defined and consecrated.</p><br>
<p>Over fifty historic markers describing notable early and recent notable Eugeneans are maintained near gravesites. An on-site bulletin board is provided, with informational brochures, including maps for walking tours, and Hope Abbey is a venue for occasional lectures and musical performances.</p><br>
<h2>Hope Abbey</h2><br>
<p>Hope Abbey is a mausoleum that was designed in the Egyptian Revival style by Ellis F. Lawrence and dedicated in 1914. Its distinctive architecture includes a massive entrance archway, with lotus blossom urns and bundles of papyrus on either side of the copper-clad doors. Details include ancient Egyptian symbols above the entrance: the circular disc representing the sun, twin cobras denoting death, and vulture wings symbolizing protection and maternal care. The history of the mausoleum has been extensively researched and has been used to guide its rehabilitation after years of neglect. It was placed on the National Register of Historic Places in 1980.</p><br>
<p>Hope Abbey Mausoleum was dedicated on June 14, 1914 at the southwest corner of the Eugene Masonic Cemetery, which itself was founded in 1859 by Masonic Lodge #11 at the request of the city. Over the years, both the cemetery and the mausoleum had been vandalized repeatedly, and Masonic Lodge #11 did not have the resources for the upkeep of the cemetery or Hope Abbey. In 1995, with the active assistance of the City of Eugene, ownership of the cemetery, including Hope Abbey, was turned over to the Eugene Masonic Cemetery Association (EMCA), a non-profit organization, whose Board of Directors members are volunteers.</p><br>
<p>Since 1995, Hope Abbey has been largely rehabilitated and updated. A new roof, proper drainage, a wheelchair-accessible front porch, electrical service and a working lavatory are among the improvements. The eighty glass clerestory windows that had been bricked up as protection against vandalism have been reopened and reproduction stained glass windows by local glass artisan John Rose allow sunlight to once again illuminate the interior. Additional work, including extensive marble repair and replacement, as well as structural repairs, has continued as funds have permitted.</p><br>
<p>Hope Abbey, with crypts and niches still available for purchase, is normally kept secure and locked, but the huge doors are opened to the public from 1 to 4 p.m. on the last Sunday of each month except December, as well as on special occasions such as Memorial Day weekend or for musical events, including the summer Music To Die For series.</p><br>
<h2>People</h2><br>
<p>City founder Eugene Skinner and Oregon&#39;s first governor, John Whiteaker, are buried here, as are many Civil War veterans. More recent burials include those of 20th century radio personality Carolyn Spector and blues disc jockey "Rooster" Gavin Fox. Notables include mayor Ruth Bascom, as well as presidents of both the University of Oregon and Northwest Christian College. Names from prominent local families such as Chambers, Friendly, Condon, Luckey, Collier, McCornack, and Kerns pepper the hillside. An extensive, searchable list of burials is available on the EMCA website.</p><br>
<p>Hope Abbey also contains the remains of a number of prominent members of the Eugene business, academic and professional communities, some of whom are listed in the book Full of Life, published by the EMCA and downloadable from the cemetery website.</p><br>
<h2>Organization</h2><br>
<p>The Eugene Masonic Cemetery Association is a non-profit 501(c)(3) organization with a Board of Directors, a Cemetery Administrator and a Site Manager. Money raised for the restoration and operation of the cemetery totals well over one million dollars. Both a general endowment and a landscape endowment have been established. Work is also accomplished through matching grants, in-kind business contributions, pro bono professional help, and a vast number of volunteer hours. It is the largest cemetery restoration project in Oregon and is considered a model throughout the state.</p><br>
<p>Rheingold School is located at 334 Rheingold School Road, in Gillespie County, Texas.</p><br>
<p>In 1949, the school was consolidated with Fredericksburg Independent School District. The building is now used as a community center. It was added to the National Register of Historic Places in Texas on May 6, 2005.</p><br>
<h2>Community background</h2><br>
<p>The Rheingold community was founded in 1859 on North Grape Creek, 13.5 mi northeast of Fredericksburg. Colonists included Heinrich Herbert, Gottfried Ottmers, Conrad Bock, Peter Herber, Heinrich Eckhardt, and Peter Fahrenhorst. The settlement became known as Rheingold, because the majority of land and business owners were the widows and sons of German immigrants Jacob and Peter Gold, victims of a cholera epidemic. At one time, Rheingold had a general store, cotton gin, dance hall, blacksmith shop, and a gasoline service station, most of it owned by the Gold family. William Grobe was the postmaster when the community received a post office under the name Rheingold in 1878. The post office continued under the original name of Rheingold until 1907 when the mail service was transferred to Willow City. The original name of Rheingold was officially shortened to Gold when the area received a new post office in 1908. The Gold post office was discontinued in 1931, and the community received its mail from Johnson City.</p><br>
<h2>School</h2><br>
<p>In 1873, William Gold donated 2 acre of land to accommodate the need for a school for the communitys children. Labor and materials for the schoolhouse came from area families. The first structure was a 12 x 14&#39; log house. A replacement frame schoolhouse was later built. The school had an indoor wood stove for heat, and separate outhouses for girls and boys. The water supply came from a hand pump in the yard. August Schuchard was the first teacher, who taught grades 1 through 8. The school was tuition free for the first six months, but required a payment of tuition if the student continued to the end of the school year.</p><br>
<p>The school was consolidated with the Fredericksburg Independent School District in 1949. Rheingold School was added to the National Register of Historic Places in Texas on May 6, 2005. The building is now used as a community center.</p><br>
<p>Heinold&#39;s First and Last Chance is a waterfront saloon opened by John  M. Heinold in 1883 on Jack London Square in Oakland, California, United States. The name "First and Last Chance" refers to the time in which for many sailors, the pub was the first and last chance to drink alcohol heavily before or after a long voyage.</p><br>
<p>Heinolds First and Last Chance is also known as "Jack Londons Rendezvous", as it was the inspiration for scenes from the Oakland writer&#39;s novels Call of the Wild and The Sea Wolf.</p><br>
<h2>Beginnings and name</h2><br>
<p>The pub in its original form was a preserved building from 1880, built from the remnants of an old whaling ship at the foot of Webster Street in Oakland, where it remains today. It was originally designed as sleeping quarters for the workers of the nearby oyster beds, and was used as a bunk for nearly three years. In 1883 it was purchased by German-born Philadelphian Johnny Heinold for 100 USA dollars and with the help of a ship carpenter, converted into a pub which he named J.M. Heinold&#39;s Saloon.</p><br>
<p>The pubs central location near the ferry between Oakland and Alameda made it a popular first or last destination to drink alcohol, as its consumption and sale were illegal in Alameda. Heinolds First and Last Chance was also a popular spot for sailors leaving or arriving through the Oakland port on long trips, known as the first or last place to drink alcohol in larger quantities. The popular nickname "First and Last" stuck, and the pubs name was eventually officially renamed to Heinolds First and Last Chance.</p><br>
<p>"Heinolds" is the official, and more accepted, spelling of the name of the establishment, owing to its etymology; despite this, the name of the pub as painted on the front outside wall is "Heinolds", with the apostrophe presumably erroneously following the S meant to indicate the possessive. "Heinholds", with no apostrophe at all, is a common misspelling.</p><br>
<p>Heinold&#39;s First and Last Chance is one of the two most notable "Last Chance Saloons". The term "last chance" was a name widely used by saloons in the USA beginning in the 19th century to indicate to customers that this was the last stop to purchase and consume alcohol before entering a dry county, or other places where alcohol was not easily obtainable.</p><br>
<h2>Jack London&#39;s Rendezvous</h2><br>
<p>Oakland author Jack London, after spending some time out at sea and traveling throughout the USA and Canada, returned to his hometown to complete his high school education. As a schoolboy, London would study at the bar&#39;s tables that remain today. At 17, he confessed to Johnny Heinold during his stay at the pub that he was planning to attend University and pursue a career in writing. Heinold lent London the money needed for tuition, and he enrolled at the nearby University of California, Berkeley.</p><br>
<p>While London only made it through his first year of college, Heinold&#39;s pub introduced him to the sailors and adventurers that would influence his writing.</p><br>
<p>Many of Londons evenings were spent at Heinolds pub, gathering ideas for his later works. In his autobiographical novel, John Barleycorn, London mentioned the pubs likeness seventeen times. The pub was the place where London met Alexander McLean, a captain known for his cruelty at sea, on whom the protagonist in Londons novel The Sea-Wolf, Wolf Larsen, is based.</p><br>
<p>Jack Londons Rendezvous became the bars nickname in more recent years because of its influence on the author. A sign was added to the original roof with the title.</p><br>
<h2>Heinold&#39;s today</h2><br>
<p>John Heinold ran the bar until 1939 when his son, George, took over. George ran the bar until 1969 and then his wife, Margaret, stepped in to run the establishment, continuing the tradition until 1984 when Carol Brookman became the proprietor.</p><br>
<p>Heinold&#39;s is the last commercial establishment in California with its original gas lighting. The tables, which reportedly came from a whaling ship, and other furnishings date back to the days when Johnny Heinold ran the pub. The walls and ceilings are covered with business cards, hats of past patrons and money, often signed by sailors about to deploy so they would have money for a drink waiting for them upon their return.</p><br>
<p>The bar still holds the original potbellied stove used to warm the room, their only source of heat since 1889. Bob Fitzsimmons boxing gloves, Jim Jeffries boxing gloves, and John Heinold&#39;s hat remain where they were hung; the original bar glassware and mahogany bar are still in use today.</p><br>
<p>One of the most notable characteristics of the pub is the very slanted floor. The uneven ground formed in 1906 during the great San Francisco earthquake when a portion of the piles the pub is built on in swampy ground sank. In the corner of Heinold&#39;s is a clock that has been stopped since the moment of the 1906 quake, at 5:18.</p><br>
<p>Some say Heinold&#39;s First and Last Chance is haunted. Brookman, the current owner and other saloon employees have reported hearing footsteps and finding doors left open.</p><br>
<h2>Historical landmark</h2><br>
<p>On January 12, 1998 the Friends of Libraries USA added Heinold&#39;s to the Literary Landmarks Register. Outside they placed a plaque that reads:</p><br>
<p>On September 1, 2000, the United States Federal Government listed Heinold&#39;s First and Last Chance on the National Register of Historic Places.</p><br>
<p>Luckenbach School is a Recorded Texas Historic Landmark and on the National Register of Historic Places Listing. It is located at 3566 Luckenbach Rd. in Gillespie County, Texas. In 1964, the school was consolidated with Fredericksburg Independent School District. The building is now used as a community center.</p><br>
<h2>Community background</h2><br>
<p>Luckenbach was settled by German colonists such as the Luckenbach family, who arrived in Texas from Stein-Wingert, Germany, aboard the Brig Johann Dethardt January 12, 1846. They were among the first wave of colonists to Fredericksburg in 1846. In 1852, the Luckenbachs moved southeast to the area that came to bear the family name, and became naturalized citizens. August W. Engel was the first postmaster of Luckenbach when the post office was established on August 30, 1886.</p><br>
<h2>School</h2><br>
<p>The first school house at Luckenbach was a 16 x 15 log construction built on land purchased for $4 from Peter Pehl on July 22, 1855. It was constructed by the local men. When the need outgrew the building in 1881, a 10 ft addition was built of native limestone. Luckenbach School was part of the Luckenbach School Precinct No. 3, which covered Luckenbach, Grapetown, South Grape Creek, and Grape Hill. Tuition was $1 per year per child. The school day began at 9 a.m., and the school week was Monday through Saturday. A one-room stone teacherage was built in the 1860s, with floors made of wooden planks salvaged from Indianola. The teacherage was later adjoined to the school house. A new schoolhouse of native limestone was built in 1905. In 1949, Luckenbach school became a two-teacher school in order to adhere to the state Gilmer-Aiken Act that limited the number of students per teacher. In 1964, the school was consolidated with the Fredericksburg Independent School District.</p><br>
<p>Designated a Recorded Texas Historic Landmark in 1982, Marker number 10075. Lower Luckenbach School was added to the National Register of Historic Places in Texas on May 6, 2005.</p><br>
<p>Point Au View is an Italian villa architecture house located in Mason County, Kentucky. It was built in the 1850s for Judge Emory C. Whitaker, a prominent Maysville lawyer. Whitaker was born in New Hampshire in 1816 and moved to Kentucky in 1841. In 1849, he was elected to represent Mason County in the lower house of the Kentucky state legislature. He was elected Mason County Judge in 1853 and served for eight years.</p><br>
<p>Construction of the house on the Whitaker farm began in 1854 and continued for a number of years. Bricks used for construction of the 13-inch-thick walls were made on site. Completion was accelerated and the family occupied the house in 1860 based on a rumor that the unfinished structure was about to be confiscated to serve as a base hospital during the Civil War.</p><br>
<p>The Whitaker family occupied the property until about 1900 when it was sold to a prominent horseman named Langhorn Anderson. Horses from the farm were shown every year at the Germantown Fair. Stone pillars from the farm&#39;s show rings still stand on the grounds.</p><br>
<p>The farm was sold in the 1930s and subdivided into building lots. The house stood empty for several years and deteriorated from lack of maintenance. Robert Buckley bought the house in 1946 and restored many of its original features as well as adding a modern kitchen and three-car garage.</p><br>
<p>Honey Creek Friends&#39; Meetinghouse is a historic building located in New Providence, Iowa, United States. It was listed on the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>The Religious Society of Friends, who were originally from Yadkin County, North Carolina, organized the Honey Creek Monthly Meeting in 1852. They were a party of 44 composed of members of the Reece family ranging in ages from 8 weeks to over 70 years. It took two months for the party to reach their destination of Salem, Iowa. They moved on from there to establish the church in New Providence, Iowa. Not one railroad was crossed during the trek. Their first meeting house was a log structure that was built in 1854 and was replaced in 1859 after it had been destroyed by a fire. Various additions were made to the building and served the community until 1916 when they constructed this building. The meetinghouse was constructed by Ernie Moon, a local builder, and church members. Services are no longer held in the building (Reopened February 20, 2022, for weekly Unprogrammed gatherings), which is now owned by the Honey Creek Preservation Group. They maintain the building, sponsor events and maintain records and other information from the church.</p><br>
<h2>Architecture</h2><br>
<p>The meetinghouse is constructed of clay tiles with a brick veneer on the exterior. The building&#39;s main gable is oriented on a north-south axis, with a smaller front gable that sits asymmetrically on the east side. It contains the main entrance into the building. Behind the entrance is a short square bell tower with a crenellated parapet and pairs of elliptical arched openings on each side of the bell chamber. There is a secondary entrance on the north side of the building.</p><br>
<p>Large segmental arched windows light the interior on the north, south and east sides of the building. All of the other window openings on the building are rectilinear. The main entrance consists of two paneled doors. They open into a vestibule and stair hall, as the meeting room sits a few steps above the entrance. The meeting room occupies most of the main level of the building.</p><br>
<p>The Shelden-Dee Block is a commercial building located on the corner of Shelden Avenue and Isle Royale Street in Houghton, Michigan. The building was listed on the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>In 1890, successful Houghton businessman George C. Shelden purchased property on the corner of Shelden Avenue and Isle Royale Street for $8,500, intending to erect a sandstone building. George Shelden died in 1894, before beginning construction. However, his wife Mary (Edwards) Shelden partnered with another local businessman, James R. Dee, and hired Chicago architect Henry L. Ottenheimer to design a commercial building for the site, The two investors each took possession of half the building. The building was constructed in 1899-1900 by the Chicago- and Houghton-based construction firm of Paul P.F. Mueller.</p><br>
<p>The first businesses to occupy the four ground-level storefronts were a drug store, a shoe store, a dry goods store, and a café / saloon; a barber was located in the basement. The upper floors consisted of office suites; this space was later converted into apartments.</p><br>
<h2>Description</h2><br>
<p>The Shelden-Dee block is a three-story Classical Revival commercial building, constructed from smooth-cut Portage Entry sandstone on the streetside facades and brick on the rear facades. The facade is symmetrical, with Ionic order pilasters separating second- and third- floors windows. Stone balconies are set into the third floor, and the arches above doorways feature highly detailed carving. A sandstone cornice topped with a second copper cornice surmounts the structure.</p><br>
<p>The main floor of the building contains four storefronts lined, each with floor-to-ceiling windows topped with a transom of Luxfer prisms, which scatter incoming light. The second and third floors were originally office space, but have been converted to apartments.</p><br>
<p>Major General Marquis Gilbert de Lafayette is a statue in the southeast corner of Lafayette Square, in Washington, D.C., near the intersection of Pennsylvania Avenue and Madison Place, across the street from the White House. The statue was erected in 1891 to honor Gilbert du Motier, Marquis de Lafayette, and his contributions in the American Revolutionary War. The square, originally part of the President&#39;s Park, was named in honor of the Marquis in 1824 during a visit he made to the USA The statuary was made by Alexandre Falguière and Antonin Mercié, and the architect who designed the marble pedestal was. The monument comprises a bronze statue of the Marquis de Lafayette about high, standing on a French marble pedestal with four faces decorated with classical mouldings, accompanied by seven additional bronze statues, all larger than life size.</p><br>
<p>Lafayettes statue is one of 14 American Revolution Statuary in Washington, D.C., that were collectively listed on the National Register of Historic Places in 1978 and the District of Columbia Inventory of Historic Sites the following year. In addition, the statue is a contributing property to the LEnfant Plan and the Lafayette Square Historic District, a National Historic Landmark.</p><br>
<h2>History</h2><br>
<h3>Biography</h3><br>
<p>Gilbert du Motier, Marquis de Lafayette, was born in 1757 near Le Puy-en-Velay, France. His father, Michel du Motier, Marquis de La Fayette, was a colonel who died at the Battle of Minden when his son was only two years old. He was raised by his grandmother until his mother summoned him to Paris where they lived in the Luxembourg Palace. Lafayette attended school at the Lycée Louis-le-Grand. Around the time his mother and great-grandfather died in 1770, he was sent to train at a military institution, where he attained the rank of second lieutenant in the Musketeers of the Guard. A few years later, he married Adrienne de La Fayette.</p><br>
<p>Lafayette continued his education, attending the Académie de Versailles, and became a dragoons where he was commissioned a lieutenant in 1773. Two years later, in a meeting with Charles François de Broglie, Marquis of Ruffec, the American Revolutionary War was discussed. Lafayette was allegedly still angry at the British for the death of his father, and due to his new Masonic views, thought the idea of human liberty was admirable.</p><br>
<p>By the end of the year, Lafayette had developed a strong bond with General George Washington, who became Lafayette&#39;s "adopted father." Amongst the battles where Lafayette participated are the Battle of Brandywine, the Battle of Barren Hill, and the Battle of Rhode Island. After the French officially joined the colonial forces fighting the Kingdom of Great Britain, Lafayette returned to France and helped enlist 6,000 soldiers. He returned to American in 1880. After assisting with several battles, Lafayette participated in the successful Siege of Yorktown, effectively ending the war.</p><br>
<p>Lafayette returned to France in 1782, where he was greeted as a hero. He returned to the United States a few years later to celebrate America&#39;s independence. During the French Revolution, he supported the cause and, along with Thomas Jefferson, wrote the first draft of the Declaration of the Rights of Man and of the Citizen. His eventual souring of the ideals of the revolution led to the Day of Daggers, which saw him defend King Louis XVI and experience a rise in popularity amongst a portion of the citizenry. After the king was overthrown, Lafayette fled and was later captured, spending five years in prison. He did not return to France until the reign of Napoleon had begun. He served ten years in the Chamber of Deputies and in 1824, after receiving an invitation from President James Monroe, returned to the USA He was the only surviving hero of the war and Lafayette was welcomed with great fanfare. Lafayette stayed in the country for a year, touring all of the states, before returning to France. In 2002, Lafayette became one of the few people to receive honorary citizenship.</p><br>
<h3>Memorial</h3><br>
<p>USA Senator John W. Johnston from Virginia made the first proposal to erect a statue of the Marquis Lafayette in Washington, D.C., initially suggesting an equestrian statue in January 1883. A commission was created to select the design and site of the statue. The commission included Secretary of War William Crowninshield Endicott, Senators William J. Sewell and John Sherman, and Architect of the Capitol Edward Clark.</p><br>
<p>The commission received design proposals from five French and three American artists. Amongst the Americans were Daniel Chester French, who later completed the Lafayette Memorial in Brooklyn and a statue of Lafayette at Lafayette College in Easton, Pennsylvania, Larkin Goldsmith Mead, whose proposal was similar to the design eventually chosen, and Augustus Saint-Gaudens, who would not submit a design but suggested the names of Alexandre Falguière and Antonin Mercié to the commission. The three French artists were Frédéric Auguste Bartholdi, whose statue of Lafayette had been erected in New York City in 1876, submitted two designs, one considered too expensive and the other too plain, and Falguière and Mercié, who submitted four joint designs. After a somewhat long process, one of Falguière and Mercié&#39;s designs was selected in 1887.</p><br>
<p>Falguière and Mercié first modelled the statue in clay at a quarter scale, which was then cast in plaster, and scaled up to a full-size model, from which sand molds were created, and then cast in bronze in Paris in 1890 by the founder Maurice Denonvilliers. The French architect Paul Pujol designed the pedestal using marble from the quarry of Derville and Company. The completed bronze and marble parts were shipped on the steamer La Normandie in 30 heavy boxes weighing. The boxes arrived in New York City in August 1890, and were then transported by train to Washington, D.C.</p><br>
<p>The best location for the statue was a matter of some debate after it had been commissioned. One congressman told a reporter from The Washington Post "If anything should be done, it is that the name of the square should be changed to Jackson Square." He wanted the statue to be erected where the equestrian statue of John A. Logan now stands. Lafayette Square seemed the obvious place, but the prominent site at the center of the square was already occupied by an equestrian statue of Andrew Jackson. Other possible sites near the Treasury Building or the USA Capitol were considered, but eventually the granite foundation was laid directly to the south of the Andrew Jackson statue.</p><br>
<p>However, Senator William B. Bate of Tennessee, Andrew Jacksons home state, objected that aligning both statues on an axis with the White House would mean the sightline from the statue of Andrew Jackson to the White House would be blocked by the statue of the Marquis. When the installation of the statue was completed in April 1891, there were no funds left to hold a dedication ceremony. The Sons of the Revolution lays a wreath annually on Lafayettes birthday, September 6; and the 200th anniversary of Lafayette&#39;s birth was celebrated in 1957.</p><br>
<h3>Later history</h3><br>
<p>Verdigris has been removed from the statue on numerous occasions, first in 1910 and second in 1921. A major cleaning of the statue and others in Lafayette Square took place in 1987, but it was noted that weather and time had made the marble discolored in places. The foundation and base were recaulked, and the statues were cleaned via air abrasion. The last known cleaning of the statue in 2000 noted weather damage. The monument has been vandalized on occasion, including pieces of the base statues being replaced after they were stolen.</p><br>
<p>The Lafayette statue is one of 14 American Revolution Statuary that were collectively listed on the National Register of Historic Places (NRHP) on July 14, 1978. The statuary was added to the District of Columbia Inventory of Historic Sites (DCIHS) the following year on March 3, 1979. Because of its location on a square planned by Pierre Charles LEnfant, the statue is a contributing property to the LEnfant Plan, listed on the NRHP and DCIHS on April 24, 1997, and January 19, 1971, respectively. In addition, the statue is a contributing property to the Lafayette Square Historic District, a National Historic Landmark which was added to the NRHP on August 29, 1970, followed by the DCIHS on June 19, 1973. The statue and surrounding park are owned and maintained by the National Park Service.</p><br>
<h2>Location and design</h2><br>
<p>The Lafayette statue is located on the southeast corner of Lafyette Square, at the intersection of Madison Place and Pennsylvania Avenue NW, across the street from the White House and near the Freedman&#39;s Bank Building. It is one of four statues on each corner of Lafayette square. The others being statues of Friedrich Wilhelm von Steuben, Comte de Rochambeau, and Tadeusz Kościuszko.</p><br>
<p>With its marble pedestal and granite foundation, the monument stands about high and wide. The monument rests on a base of American granite on a slight mound of grassed earth, within a circle of granite curb stones with a diameter of about. The statue of Lafayette faces south towards the White House. He is depicted in civilian dress with a long coat bearing the badge of the Society of the Cincinnati, boots, and wig. He is gesturing with his right arm, with a cloak over his left arm and his left hand resting on the hilt of his sword. He is commonly interpreted to be petitioning the French National Assembly to assist the revolutionary Americans.</p><br>
<p>Before the south face of the pedestal is seated a draped female figure cast in bronze, symbolizing America, turning to seek aid from the Marquis and offering him a sword. A cartouche on the pedestal bears the inscription: "TO / GENERAL / LA FAYETTE / AND HIS / COMPATRIOTS / 1777–1783 / DERVILLE FARBRE". The east and west faces have pairs of bronze statues of French military figures associated with the American Revolutionary Wars. The east face has statues of Comte d&#39;Estaing and the Comte de Grasse in military uniform, conversing, with an anchor symbolising their command of French naval forces, and the west face has statues of the Comte de Rochambeau and the Chevalier du Portail, also in military uniform, with a cannon symbolising their command of French armies. Apart from the Chevalier du Portail, all remained well-known revolutionary figures in the late 19th century. In 1890, The New York Times wrote that, "The commanders of the fleets are too well known to require comment, and Rochambeau is even better known...but Duportaille is not so familiar."</p><br>
<p>The north face has two bronze cherubs before a cartouche with a commemorative inscription, which reads: "BY THE CONGRESS / IN COMMEMORATION / OF THE SERVICES / RENDERED BY / GENERAL LAFAYETTE / AND HIS COMPATRIOTS / DURING THE STRUGGLE / FOR THE / INDEPENDENCE / OF THE UNITED STATES / OF AMERICA". A further inscription on the south side of the marble pedestal records the names of the creators of the statues and pedestal: "ALEXANDRE FALGUIERE / ANTONIN MERCIE / STATUAIRES / PAUL PUJOL / ARCHITECTE", and a reference to the French quarry that provided the marble: "DERVILLE ET C / MARBRES". An inscription around the rim of the cannon&#39;s mouth records the name of the Parisian founder that cast the bronzes: "MAURICE DENONVILLIERS FOUNDEUR / PARIS 1890", with another inscription cast into the base of the statue of the Marquis: "FONDU PAR MAURICE DENONVILLIERS".</p><br>
<p>The Des Moines County Court House located in Burlington, Iowa, United States, was built in 1940. It was listed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of Iowa Multiple Properties Submission.</p><br>
<h2>History</h2><br>
<p>The first court sessions in the county were held in log cabins until the county leased Marion Hall. The county purchased Mozart Hall in 1866 which was destroyed in 1873 by a fire that also destroyed many of the county records it housed. County offices again occupied Marion Hall temporarily until 1882 when the new four-story courthouse, designed by Perley Hale, was completed at a cost of $130,000. The building was constructed of sandstone from Ohio and brick and was topped with a cupola. Empty spaces between the ceiling and floor above were filled with concrete in an attempt to fireproof the structure. The county sold the building in 1940 after offices moved into the current courthouse.</p><br>
<p>The county board of supervisors applied for and received a grant from the Public Works Administration (PWA) in August 1938 to assist with funding for the new courthouse. Voters passed a bond referendum the following month and the board selected the Des Moines architectural firm of Keffer & Jones to design the building. Paul Steenberg Construction Co., of St. Paul, Minnesota, submitted the winning construction bid in February 1939. Final construction costs totaled about $280,000. Construction began a short time after the bidding process, however, poor soil conditions and various labor problems slowed construction. With work nearly finished, county workers moved into the new courthouse in April 1940. The courtroom was dedicated by Justice Oscar Hale of the Iowa Supreme Court on April 6, 1940. A larger celebration was deferred because on the onset of World War II.</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The 126 by building features a symmetrical façade with a central section that protrudes slightly forward. The exterior is composed of buff-colored brick and Bedford limestone trim. On the interior, a central corridor extends the length of each floor. Office spaces open onto the corridor and vaults occupy the corners of the structure to house records. The interior featured multi-colored terrazzo floors, marble wainscoting and acoustic tile. Originally, the courtroom was decorated in dark wood tones and Art Deco ornamentation. A single-story addition was added to the north side of the building in the 1970s.</p><br>
<p>The building is located on a quarter block on the north side of the central business district, overlooking the Mississippi River. The previous courthouse was located a half block to the south. The site itself is a contributing site on the courthouse&#39;s nomination to the National Register of Historic Places. Also on the property is a flagpole and a brick and stone monument with a stone carving of the Sauk warrior Black Hawk whose namesake treaty opened this section of Iowa to Euro-American settlement in 1832. The carving was from the old courthouse that was found in storage in the 1960s. The monument was created in 1972. There is also a small freestanding building that is used for transporting county prisoners. It was built in 1997 after the jail was removed from the courthouse in 1997.</p><br>
<p>The Audubon County Court House is located in the county seat of Audubon, Iowa, United States. It was listed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of IA Multiple Properties Submission.</p><br>
<h2>History</h2><br>
<p>After the county was established in 1851, court was held in a schoolhouse in Hamlin&#39;s Grove. Ten years later, the county seat relocated to Exira and a fight ensued as to where the county seat should be located. The board of supervisors made an appropriation for a new courthouse in 1871, but it was delayed due to the disagreement. Court sessions continued in the schoolhouse, while county offices were housed in a single-story building the county purchased from the county judge. Exira eventually won and officials constructed a courthouse for about $2,200. The county seat was again moved in 1879 to Audubon. The county secured $7,000 in 1884 to build a new courthouse. The 100 by brick building featured a central tower. It was demolished in 1939 to make way for the current structure.</p><br>
<p>In July 1938, a citizens group encouraged the county board of supervisors to apply for funding from the Public Works Administration (PWA) to build a new courthouse. The grant was approved in August of the same year and a referendum was passed by voters the following month. The Des Moines architectural firm of Keffer & Jones designed the new building. Construction bids came in well below the estimates, so the bonds were sold at a lower interest rate. The PWA grant was amended to include a new jail in the building. A 96-year-old Civil War veteran turned the first shovelful of dirt to start construction. J.C. Mayer of Clarion, Iowa, was awarded the contract to construct the building in December 1938, and it was completed at a final cost of $133,000. The courtroom was first used February 15, 1940, and county offices opened in the building a short time later. The dedication ceremony was held on June 11, 1940, with the celebration including a parade, baseball games, and a county historical pageant. Dr. Thomas Niven of First Presbyterian Church in Omaha, Nebraska, gave the keynote address.</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The building features a symmetrical façade with a central section of two stories that is flanked by two lower sections. It is built over a raised basement. The exterior is composed of buff-colored brick and Bedford limestone trim. On the interior, the central corridors extend the length of the building. Vaults were built into the corners of the structure with the county offices opening onto the corridor. The interior features multi-colored terrazzo floors, marble wainscoting and acoustic tile. Originally, the courtroom was decorated in dark wood tones and Art Deco ornamentation.</p><br>
<p>The Bremer County Court House in Waverly, Iowa, United States, was built in 1937. It was listed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of IA Multiple Properties Submission.</p><br>
<h2>History</h2><br>
<p>Bremer County&#39;s first courthouse was a small frame building used from 1854-1857. It was replaced by a two-story brick structure measuring 63 by at a cost of $23,000. The jailer and his family lived in the basement. It was used for a variety of civic purposes until 1869 when the county board of supervisors limited its use to political and county societies. A "fireproof" building was built next to the existing courthouse in 1870 to house county records and several county offices.</p><br>
<p>Throughout the 1920s and 1930s conversations were held at various times concerning a new courthouse to replace the 1857 structure, which had become too small. The county applied for funding from the Public Works Administration (PWA) in 1935 to assist with construction costs and received approval of the request of $60,750. This is one of ten courthouses in Iowa that received PWA funds. County supervisors retained Waterloo architect Mortimer Cleveland to design the new building and a debate began about moving the county seat to Tripoli, the supervisors tabled it. In March 1936, voters approved a referendum to fund the rest of the construction costs. Drape Construction Co. of Tripoli received the contract to build the building, and work commenced in October 1936 and was completed the following summer. Final construction cost was $119,000. The June 6, 1937 dedication ceremony seen by 1,500 people. The square was then graded and landscaped.</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The building features a symmetrical façade with a central section of 3½ stories that is flanked by two lower sections of 2½ stories over a raised basement. The exterior is clad in brick and Kasota stone, a cream-colored limestone. A central corridor extends the length of the building on each floor and office spaces extend from the corridors. The interior featured multi-colored terrazzo floors, marble wainscoting, and acoustic tile.</p><br>
<p>The building is located on the courthouse square on the east side of the central business district where the previous courthouse was also located. Two elements on the courthouse square, which itself is a contributing site, are contributing objects on the buildings nomination to the National Register of Historic Places. The first element is the buildings original flagpole. The second is a replica of the Statue of Liberty (1950), which commemorates the 40th anniversary of the Boy Scouts of America.</p><br>
<p>The Allamakee County Court House in Waukon, Iowa, United States was built in 1940. It was placed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of IA Multiple Properties Submission. The courthouse is the third building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>There was a long and bitter fight between the towns of Waukon and Lansing as to which one would be the county seat in Allamakee County. Leaders held ten elections to determine the county seat before the American Civil War. A frame building in Waukon was used as a courthouse from 1854 to 1861. A more permanent courthouse and jail were completed in Waukon for $13,635 in 1861. In 1867, the Iowa Supreme Court finally settled the debate when it ruled that Waukon was the county seat. The building constructed in 1861 served as the county courthouse until 1940.</p><br>
<p>The county board of supervisors applied for and received a grant in 1938 from the Public Works Administration (PWA) to pay for 45 percent of the construction costs for a new courthouse. On September 22, of the same year voters approved a referendum authorizing the sale of $105,000 in bonds for construction. Decorah architect Charles Altfillisch was chosen to design the building. Bids for construction were submitted and reviewed in March 1939 and Rye & Henkel of Mason City, Iowa won the contract. The Allamakee County Court House was the last PWA funded courthouse built in Iowa.</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The exterior of the building is composed of pressed brick and Bedford limestone. On the interior, the central corridors extend the length of the building and various county offices open onto the corridor. The interior features a monochromatic color palette and terrazzo floors that are laid out in large squares. The corridors were finished in plaster and marble, and aluminum handrails were used in the staircases. This courthouse has more structural problems associated with it than any others built during the PWA era in Iowa. An American Civil War monument dating from the 1920s stands on the courthouse grounds.</p><br>
<p>The Old Allamakee County Courthouse, also known as the Allamakee County Historical Museum, is a historic building located in Waukon, Iowa, United States. It was built in 1861 and was listed on the National Register of Historic Places in 1977 as a part of the County Courthouses in Iowa Thematic Resource. It was the second building used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>There was a long and bitter fight between the towns of Waukon and Lansing as to which one would be the county seat in Allamakee County. The Iowa legislature chose Jefferson Township as the county seat. An election in 1851 rejected the choice as well as others and Columbus became the county seat. Two years later the legislature approved a petition to move the county seat closer to the center of the county and Waukon received two-thirds of the vote. A frame building in Waukon was used as a courthouse beginning in 1854, and a second building was constructed next to it in 1857. They served together as the courthouse until this building was completed. In 1859 Lansing offered to build an $8,000 courthouse and Waukon countered with its own offer and won by 420 votes. This building was constructed for the courthouse in Waukon, and it was completed for $13,635 in 1861. That same year both Columbus and Lansing joined together to fight for the courthouse. This time they beat Waukon by 22 votes in an election that was held in 1862. Court functions and records were moved to Lansing. Another election was held in 1864 with similar results. The county sheriff, who lived in Waukon, along with a posse removed the county records from Lansing. He was intercepted by horsemen from Lansing and forced to return the records. In 1867 the Iowa Supreme Court ruled that Waukon was the county seat. The building constructed in 1861 served as the county courthouse until 1940 when the present courthouse was built. The old courthouse was converted into a history museum from 1964 to 1966.</p><br>
<h2>Architecture</h2><br>
<p>The Old Allamakee County Courthouse is a two-story, brick, vernacular Greek Revival structure. It is a temple form without a portico. On the roof above the main entrance is a two-stage cupola. It features cornice work and paired brackets on both stages, louvers at the bell chamber, and a finial on top of its tin-covered dome. Other decorative elements of the building include a classical pediment with a returned cornice and paired brackets, simple brick pilasters on all four sides of the building, and stone window sills and lintels. Even though the interior was altered in the 1960s, it still retains tin ceilings, most of its original woodwork, and a divided-flight stairway with large wooden newel posts and slender spindles.</p><br>
<p>The Pagoda is a novelty building, built atop the south end of Mount Penn overlooking Reading, Pennsylvania, United States. It has been a symbol of the city for more than a century.</p><br>
<h2>History</h2><br>
<p>Completed in 1908 at a cost of $50,000, this pagoda was intended to be the hotel/restaurant centerpiece of a luxury resort. When plans for the rest of the resort were abandoned, the 7-story wooden building on 10 acre of land was donated to Reading in 1911. It is now part of the Mount Penn Preserve, 1,595 acre of municipally-owned land.</p><br>
<p>The Pagoda is 28 ft wide, 50 ft long, and 72 ft tall. Perched on the edge of a cliff, 620 ft above the city and 886 ft above sea level, it offers a 30 mi panoramic view of the city and the surrounding countryside.</p><br>
<p>Within the top story hangs a tocsin, a massive bell cast in Obata, Mie Prefecture, Japan, in 1739, and formerly installed in a Buddhist temple in either Ogose or Hannō, Saitama Prefecture, just north of Tokyo. Listed on the bell&#39;s sides in Japanese characters are the names of its 48 donors and a prophecy about the end of time. The temple was closed in 1881, and later destroyed.</p><br>
<p>Anti-Japanese sentiment was rampant during World War II, and there were calls to demolish the building. But it was restored in 1949, with the lower story and balconies rebuilt in stone. In 1960, neon lights were installed outlining its roofs. In the 1970s, the Japanese garden was restored, and Japanese cherry trees were planted around the building. LED lights were installed in 2008-09. A webcam on its third floor periodically records and publishes the weather atop Mount Penn.</p><br>
<p>The Pagoda is owned by the City of Reading but is managed and preserved by the Foundation for the Reading Pagoda. It functions as an icon for the City of Reading. The Pagoda is also the home of Pagoda Skyline, Inc., a non-profit volunteer organization formed in 1969 to help with the restoration and preservation of the Pagoda, the William Penn Memorial Fire Tower and Skyline Drive.</p><br>
<p>It was added to the National Register of Historic Places in 1972.</p><br>
<p>The Dalton Covered Bridge, also called the Dalton Bridge, is a historic covered bridge that carries Joppa Road over the Warner River in Warner, New Hampshire. Its name refers to a nearby resident  at the time of its construction. The bridge was built in 1853 by Joshua Sanborn, and its original abutments were built by George Sawyer and Webster Davis; all were local residents. The bridge has a span of 76 ft, with a total bridge length  of 84 ft. The bridge is 17 ft wide, with a road bed width of 14 ft, although guard rails have reduced its usable width to just under 13 ft.</p><br>
<p>The bridge uses a combination of truss types to support the load, following a patent issued in 1837 to Stephen Long, who also patented the Long truss. Its primary support mechanism is a king post truss, in which a vertical post is joined to chord members by iron bolts. This primary support is supplemented by a queen post truss system that flank the king truss walls. The trusses are mounted on abutments that are primarily fieldstone, but were capped in concrete in the 20th century. The mounting is secured by iron tension rods. The exterior walls of the bridge are vertical boarding with four windows; this finish was also rehabilitated in the 1960s. The gabled roof is made of corrugated metal.</p><br>
<p>The bridge was listed on the National Register of Historic Places in 1976.</p><br>
<p>The Hancock–Greenfield Bridge is a historic covered bridge carrying Forest Road over the Contoocook River at the town line between Hancock and Greenfield, New Hampshire. The New Hampshire Department of Transportation covered bridge database refers to it as County Bridge. Built in 1937, it is the first wooden covered bridge in the northeastern United States to use modern engineering techniques . The bridge was listed on the National Register of Historic Places in 1981.</p><br>
<h2>Description and history</h2><br>
<p>The Hancock–Greenfield Bridge carries Forest Road (historically known as Old County Road) over the Contoocook River, which forms the border between eastern Hancock and northwestern Greenfield. It is a single-span Teco–Pratt timber truss, 88 ft long and 27 ft wide, with an internal clearance of 14 ft. The road bed is 20 ft wide and carries two lanes of traffic. The bridge&#39;s roof is sheathed in asphalt, and its walls are finished in vertical board siding. The vertical load-bearing trusses are joined by a latticework web at both the ceiling and floor, effectively making the structure into a single box truss. The roadway is asphalt laid on horizontally placed timbers. All of its major interconnection points are reinforced by steel gussets, and crossing and connection points of the trusses are made with steel pins.</p><br>
<p>The bridge was built in 1937, replacing a Long-truss covered bridge built in 1852. That structure was extensively damaged by flooding in 1936. The Timber Engineering Company of Washington, DC, provided the interconnecting elements, which greatly strengthen the structure, based on plans it had first published in 1935. Construction of these types of bridges was generally supplanted by the more economical steel girder bridges after World War II.</p><br>
<p>Peacock Farm is a residential neighborhood and historic district of mid-century modern houses in Lexington, Massachusetts.</p><br>
<h2>Description</h2><br>
<p>Peacock Farm is a residential neighborhood located in the southeast corner of Lexington, Massachusetts. Most houses use a standard split-level plan designed by the architectural firm of Comptom & Pierce and were built between the years of 1953 and 1960. Because of siting on the hilly landscape and use of mirror-imaged versions of the plans, the effect is one of diversity but with a common architectural theme. The neighborhood includes a large tract of community-owned land for active and passive recreation. This was the third planned modernist development to have begun in Lexington, after Six Moon Hill, and at about the same time as Five Fields.</p><br>
<p>The original c.1830 farmhouse and barn still stand and can still be seen today, at the entrance to the modern development. Previous to its purchase for the development, the land had been used for training trotting horses and raising peacocks.</p><br>
<p>The neighborhood was listed on the National Register of Historic Places in 2012 as the Peacock Farm Historic District.</p><br>
<h2>Background</h2><br>
<p>In 1951, Danforth Compton and Walter Pierce were recent graduates of the Massachusetts Institute of Technology&#39;s School of Architecture. At MIT they had been influenced by the ideas of William Wurster, Lawrence Anderson, and the houses built in the area around the same time by Carl Koch. MIT, like the Harvard Graduate School of Design (led at that time by Walter Gropius), represented the trend in design education away from backwards-looking Beaux Arts, to instead embrace the principles of Modernism.</p><br>
<p>The newly formed Compton & Pierce firm purchased 42 acre of land that had been a dairy farm in the 19th century, as a place to try out their ideas. By this time, modernist designs for housing were no longer anomalies. The widely-circulated magazine Better Homes and Gardens featured both modernist and traditional plans which subscribers could order from the magazine. However, modern housing designs were most popular in areas with more cosmopolitan tastes such as the suburbs of New York, Boston, and coastal California.</p><br>
<h2>Architecture</h2><br>
<p>Compton & Pierce designed a single-story house with a raised basement, low-pitch roof, and vertical cedar siding that was available in several sizes. The entry was at mid-level, and the houses incorporated large expanses of glass. The house at 4 Peacock Farm Road was built as a demonstration model late in 1951. Pierce said most traditional architects had found the land undesirable for development: "Much of the land gradient was steep, and much of the site was underlaid with ledge. To our eyes, these were assets that could be worked with. The land formed a natural bowl, shielded from the north by the hill and sloping down to the south and southeast, nice attributes in this northern latitude."</p><br>
<h2>Community and family life</h2><br>
<p>Similar to other modernist communities in Lexington, Peacock Farm attracted young professionals and academics. The neighborhood was organized to function as a community with shared land, bylaws, and architectural restrictions. These restrictions were reaffirmed by membership vote in 2001.</p><br>
<h2>Notable residents</h2><br>
<p>Wesley A. Clark, American physicist and computer scientist, credited with designing the first modern personal computer</p><br>
<p>Gerald Holton, American physicist, historian of science, and educator</p><br>
<p>Salvator Luria, biologist, winner of the Nobel Prize in Physiology or Medicine in 1969</p><br>
<p>Walter Pierce, architect of the development, lived here for 55 years until his death in 2013</p><br>
<p>Oliver Selfridge, computer scientist, pioneer in the field of artificial intelligence</p><br>
<p>Jill Stein, the 2012, 2016, and 2024 Green Party nominee for president</p><br>
<p>Cave Creek School is located at 470 Cave Creek Road, in Gillespie County, in the USA state of Texas. Built in 1881, it was consolidated with Fredericksburg Independent School District in 1950. The building is now used as a community center. It was added to the National Register of Historic Places in Texas on December 29, 2004.</p><br>
<h2>Community background</h2><br>
<p>Cave Creek, Texas is an unincorporated farming and ranching community on FM 1631, approximately 10 mi north of Fredericksburg. Tombstones in the Cave Creek Cemetery indicate a population primarily of German ancestry, settling into the area in the late 19th century. The area was named after the Pedernales River tributary of Cave Creek, on which it is located. The creek was so named because of natural caves along its course.</p><br>
<h2>School</h2><br>
<p>In 1865, John Ebert donated 8 acre of land to accommodate the need for a school for the community&#39;s children. James A. Larson was the first teacher in 1891 when the one-room schoolhouse opened for classes. A total of twenty teachers served students for sixty-eight years in the structure. Attendance peaked when Cora Hahn taught eighty-two students in 1917. A wood stove in the middle of the room heated the school in the winter, when the students brought in the wood to fuel it. The students were also responsible for cleaning the school. The end of school graduation ceremonies were an all-day community event that centered on a barbecue picnic and entertainment, with an afternoon graduation ceremony, culminating in an evening play presented by Cave Creek School alumni.</p><br>
<p>Local legend has it that one of the caves in the area was man-made by a recluse named Berg who brewed and sold moonshine, creating a cave to hide his activities and from the law enforcement. Known as Berg&#39;s Cave, the students often explored the site of the alleged moonshine business.</p><br>
<p>The school was consolidated with the Fredericksburg Independent School District in 1950. Cave Creek School was added to the National Register of Historic Places in Texas on December 29, 2004. The building is now used as a community center.</p><br>
<p>75th Police Precinct Station House is a historic police station located in Brooklyn, New York. It was built in 1886 and is a three-story, yellow brick building above a sandstone foundation and watertable in the Romanesque Revival style. It features a round corner tower and Norman-inspired projecting main entrance portico. The stable is a two-story brick building connected to the station house by a one-story brick passage. It ceased use as a police station in 1973 and later used by a local church.</p><br>
<p>It was listed on the National Register of Historic Places in 2007.</p><br>
<p>In 2009 the precinct was re-named Ghee&#39;s old command.</p><br>
<p>The Edith Marion Patch House is a historic house at 500 College Avenue in Old Town, Maine. Built about 1837, the house was from 1913 to 1954 it was the home of entomologist and writer Edith Marion Patch. She named the house Braeside for the Scottish bluebells that grew on the property.</p><br>
<p>The house was rescued from demolition in 2000, and plans are in development to establish a research center and museum dedicated to Patch&#39;s life and work. It was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Patch House is set on the east side of College Avenue, at the northern end of the campus of the University of Maine, most of which is located in Orono. It is a -story wood-frame Cape style house, three bays wide, with a side-gable roof, clapboard siding. A two-story addition extends to the rear of the main block. The main facade is symmetrically arranged, with a gable-roofed entrance bay flanked by sash windows. The entrance is flanked by sidelight windows and is topped by a molded hood; there is a sash window in the gable above.</p><br>
<p>The house was built about 1837 and expanded twice, the last time about 1900. Edith Marion Patch purchased the house, which sat on a parcel of land more than 90 acre in size, in 1913. She sold off the land across College Avenue, and lived in this house with her sister Alice. Edith died in 1954, several years after Alice. Patch, a graduate of the University of Minnesota, was hired by the university to work at its agricultural experimental station. She eventually came to head that station, and spent her entire professional career at the university. She published a number of articles in leading journals, and did groundbreaking research on aphids, which were a major crop pest. She retired from the university in 1937, but continued to be active in professional circles.</p><br>
<h2>Preservation</h2><br>
<p>In 1997, the building, owned by the University of Maine, was scheduled to be burned as a training exercise for the Old Town Fire Department. After the Maine Historic Preservation Commission determined that it was eligible for NRHP consideration and it was listed as one of Maine&#39;s 10 most endangered historic properties, the University worked with private groups to raise funds for a rehabilitation of the house.</p><br>
<p>The Eaton House is an historic house on Sanford Road in Wells, Maine. Built in the late 18th century, it is one of a collection of well-preserved 18th-century Cape style houses in Wells. It was listed on the National Register of Historic Places in 1979, listed as being in the North Berwick area. However, it is physically located in the town of Wells.</p><br>
<h2>Description and history</h2><br>
<p>The Eaton House is set on the north side of Sanford Road (Maine State Route 109), just west of the High Pine Baptist Church in northwestern Wells. The main block is a -story wood-frame structure, five bays wide, with a central chimney and clapboard siding. Attached ells extend to the west, joining the house to a barn. The front entrance is simply styled, with sidelight windows. The chimney supports three fireplaces, and there is a stairway leading to the attic that has an original banister.</p><br>
<p>The town of Wells, Maine is located in York County on the coast of southern Maine. Wells was settled in the 1640s, and was from its earliest days a primarily agrarian settlement, while neighboring York and Kennebunkport developed economically around fishing, lumber, and seagoing merchant activity. Growth in the 17th century was limited by a series of French and Indian Wars. As the area was resettled in the 18th century, Wells again developed only slowly, because of its lack of harbor facilities, and remained an agricultural area with a low population density. This rural setting allowed a larger number of these older humble farmsteads to survive. This house is believed to have been built in the late 18th century by one of the first families to settle the area, although deed research has only identified owners to 1854, when it was sold by Nason Hatch.</p><br>
<p>The Hatch House is an historic house at 2104 Sanford Road in Wells, Maine. Built about 1800, it is one of a collection of well-preserved 18th-century Cape style houses in Wells. It was listed on the National Register of Historic Places in 1979, listed as being in the North Berwick area. However, it is physically located in the town of Wells.</p><br>
<h2>Description and history</h2><br>
<p>The Hatch House is set on the south side of Sanford Road (Maine State Route 109), just west of the High Pine Baptist Church in northwestern Wells. The main block is a -story wood-frame structure, five bays wide, with a central chimney and clapboard siding. A -story ell, with a tall gable dormer and a second chimney, extends to the east, joining the house to a barn. The entrances and windows are all simply framed.</p><br>
<p>The town of Wells, Maine is located in York County on the coast of southern Maine. Wells was settled in the 1640s, and was from its earliest days a primarily agrarian settlement, while neighboring York and Kennebunkport developed economically around fishing, lumber, and seagoing merchant activity. Growth in the 17th century was limited by a series of French and Indian Wars. As the area was resettled in the 18th century, Wells again developed only slowly, because of its lack of harbor facilities, and remained an agricultural area with a low population density. This rural setting allowed a larger number of these older humble farmsteads to survive. This house is believed to have been built about 1800 by Jeremiah Hatch. The Hatches were one of the first families to settle this area.</p><br>
<p>The Floyd County Court House in Charles City, Iowa, United States was built in 1940. It was listed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of IA Multiple Properties Submission. It is the only property in this group, however, that was built without funding from the Public Works Administration . The courthouse is the third structure to house court functions and county administration.</p><br>
<h2>History</h2><br>
<p>In the early years of the county records were kept in the homes or businesses of county officials. The first courthouse was a two-story stone structure built for $18,000 in 1861. The building featured a self-supporting roof and a cupola which lightning struck on June 7, 1874. A fire destroyed the courthouse in 1881, but most county records were saved. Officials constructed a new courthouse of brick trimmed in stone on the foundation of the former structure at a cost of $17,000 and it was completed in 1881.</p><br>
<p>In 1938, officials campaigned voters to approve the sale of $110,000 in bonds for construction of a new courthouse based on a matching grant of $90,000 from the PWA. Mason City architects Hansen & Waggoner had been retained to design the new building and a campaign to fund the courthouse contained their design sketch. The referendum passed on September 23, 1938, but the PWA funding was not approved.</p><br>
<p>The old courthouse was condemned in 1939, which necessitated emergency measures. Voters approved a second referendum March 25, 1940, for an amount double the earlier authorization due to no promise of PWA funding. In April 1940, the county board of supervisors narrowly authorized construction of a new courthouse based on Hansen & Waggoner&#39;s design on the same site as the previous courthouse. Ground was broken on August 15, 1940, and the cornerstone was laid on October 19, 1940. The total construction costs were $265,000, and it was all paid for by county funds with no PWA funds. Governor George A. Wilson was the featured speaker at the dedication held October 10, 1941.&lt</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The design also includes Art Deco elements. It features a central bay that extends from the symmetrical façade. The exterior is composed of pressed brick and red granite trim. On the interior, a central corridor extends the length of each floor with the offices opening onto the corridors. A central staircase is located opposite the main entrance. The interior featured multi-colored terrazzo floors, marble wainscoting, and glass block in office entrances and stairwell lights.</p><br>
<p>The building is located on the courthouse square to the south of the Cedar River. It is a contributing site in the historic designation. The square is planted with deciduous and coniferous trees, and the county veteran&#39;s memorial sits in front of the main entrance. The previous courthouse was located on the same square. The central business district is on the opposite side of the river.</p><br>
<p>The Shelden Avenue Historic District is a commercial historic district located along Shelden, Lake, & Montezuma Avenues in Houghton, Michigan. The district contains 43 contributing buildings  in an area of 22 acres. It was listed on the National Register of Historic Places in 1987.</p><br>
<h2>History</h2><br>
<p>The structures in the Shelden Avenue Historic District range in age from the 1870s to the 1980s, but were primarily built in 1880-1910, during the copper boom that brought waves of workers into the Keweenaw Peninsula.</p><br>
<h2>Description</h2><br>
<p>The Shelden Avenue Historic District contains the western Upper Peninsulas largest concentration of architecturally significant commercial buildings. The district includes primarily commercial structures, but warehouses, lodge halls, municipal buildings, a movie theater, and a railroad passenger depot are also included within the districts boundaries. The structures are built in a range of architectural styles, including Late Victorian commercial, Richardsonian Romanesque, Sullivanesque, Renaissance Revival, Prairie School, and gable-roofed vernacular buildings. Nearly all of the most significant structures were designed by architects from outside of the immediate area—typically from Detroit, Chicago, and Marquette, including the firms of Charlton, Gilbert and DeMar and Henry L. Ottenheimer. The structures range between one and four stories in height, and are in general constructed from local materials including waste rock from copper mines and native red sandstone.</p><br>
<p>Spring Villa is a historic Carpenter Gothic plantation house on the outskirts of Opelika, Alabama. It was built by William Penn Yonge in 1850 next to a 30 acre spring-fed lake, from which it takes its name.</p><br>
<p>The house was acquired by the city of Opelika in 1927 and now forms the nucleus of its 325 acre Spring Villa Park. It was added to the National Register of Historic Places on January 3, 1978, due to its architectural significance.</p><br>
<h2>Architecture</h2><br>
<p>The -story wood-frame building has a front elevation with three bays. The ridge-line of the roof is parallel to the front façade. Each side of the main structure is gabled and flanked by stuccoed chimneys. The upper story makes extensive use of steeply pitched cross-gables. Each window on the upper floor is fronted by an individual sawnwork balcony. These originally incorporated latticework rather than the current simple balusters. Each gable is trimmed with bargeboards and crowned with a diamond-shaped pinnacle.</p><br>
<p>The semi-detached, centrally placed rear ell, also one-and-a-half stories, has a four-bay façade on each long side and replicates features seen on the main façade. It was added to the building in 1934 by the Civil Works Administration, during conversion of the house into a clubhouse for the city.</p><br>
<p>Philipse Manor Hall State Historic Site is a historic house museum located in the Getty Square neighborhood of Yonkers, New York. Originally the family seat of Philipse Manor, and later Yonkers city hall, it is Westchester County&#39;s second oldest standing building after the Timothy Knapp House. Located near the Hudson River at Warburton Avenue and Dock Street, it is owned and operated by the New York State Office of Parks, Recreation and Historic Preservation.</p><br>
<h2>History</h2><br>
<p>The southwest corner, the oldest part of the structure, was built around 1682 by Dutch-born merchant and trader Frederick Philipse, the first Lord of Philipsburg Manor, and his wife Margaret Hardenbroeck. Philipse, who by his second marriage became a son-in-law of Stephanus Van Cortlandt, had amassed by the time of his death a 52,000 acre estate along the Hudson River that encompassed the entire modern city of Yonkers and much of western and lower Westchester County.</p><br>
<p>During Philipse&#39;s life, the building was used primarily as a stopover point on the long journey up and down the river between his home in New Amsterdam and the northern parts of his estate. His grandson, Frederick Philipse II, the second Lord, and his great-grandson, Frederick Philipse III the last, successively enlarged and enhanced the building, making it the primary family residence.</p><br>
<p>On November 28, 1776, nearly five months after the signing of the Declaration of Independence and the start of the American Revolution, Frederick Philipse III and over 200 of his contemporaries signed a document declaring their allegiance to the British Crown and their unwillingness to support the Revolutionary cause. Because of his Loyalism, Philipse was branded a traitor and placed under arrest on orders signed by General George Washington. He was held in Connecticut for a time, but was given special permission to travel back to Yonkers to settle his affairs on the condition he was not to aid the British cause. In violation of his parole, he and his family fled to British-occupied New York City and later to Great Britain, leaving their estate and Philipse Manor Hall behind to be attainted in 1779.</p><br>
<p>Philipse family holdings, which included the Philipse Patent, a 250 square mile tract that became todays Putnam and part of Dutchess counties, were sold at public auction by New Yorks Commissioners of Forfeitures during the Revolution. Philipse Manor Hall was occupied by various families throughout the 19th century. In 1868, the building became Yonkers&#39; municipal center (as Village Hall, and later, as City Hall) and remained such until 1908. During this period, an elaborate monument to those Yonkers natives who had died during the American Civil War was installed on the east lawn (1891).</p><br>
<p>By 1908, the growing complexity of city government had made the building nearly obsolete as a government center. Public meetings were held, and options such as adding wings onto the building and tearing it down outright were discussed. The question became moot when Eva Smith Cochran, matriarch of a wealthy local carpet milling family, stepped in and donated $50,000 to the city as a nominal reimbursement for their care of the building during the previous 40 years. This allowed the city to turn ownership of the building over to the State of New York. Between that time and the 1960s, the building was owned by the state but cared for by the American Scenic and Historic Preservation Society. Since the dissolution of the Society, the building is owned, maintained and curated by the New York State Office of Parks, Recreation and Historic Preservation.</p><br>
<p>From 1911 to 1912, the most intense restoration project in the building&#39;s history brought the house back to a semblance of its colonial appearance. The building has been open as a museum of history, art and architecture since 1912.</p><br>
<p>The building was declared a National Historic Landmark in 1961.</p><br>
<h2>Collections</h2><br>
<p>The house is home to a ca. 1750 papier-mâché and plaster Rococo ceiling, one of two in-situ ceilings of its type in the United States. The elaborate ceiling is covered in designs and motifs relevant to Frederick Philipse III&#39;s lifestyle. For example, his love of music is represented by lute players, bagpipers and singers; his enthusiasm for hunting is represented by hunting dogs and game birds; and his education in the arts and sciences is represented by busts of Alexander Pope and Sir Isaac Newton.</p><br>
<p>Also of architectural significance is the 1868 City Council Chamber, designed by John Davis Hatch. The Chambers high, vaulted ceiling and woodwork are intentionally reminiscent of a typical English manor houses great hall.</p><br>
<p>Throughout the house are paintings from the Cochran Collection of American Portraiture. This collection was put together by agents of Alexander Smith Cochran (son of Eva Smith Cochran and owner of the family&#39;s carpet mills) and features works by Charles Willson Peale and John Trumbull. Represented among the 60 paintings are nearly all of the presidents of the United States from Washington to Calvin Coolidge, as well as war heroes, historical figures, and members of the Philipse family.</p><br>
<h2>Further reading</h2><br>
<p>Great Houses of the Hudson River, Michael Middleton Dwyer, editor, with preface by Mark Rockefeller, Boston, MA: Little, Brown and Company, published in association with Historic Hudson Valley, 2001.</p><br>
<p>The Sitka Pioneer Home is an assisted living home, located in the USA state of Alaska at 120 Katlian Street in downtown Sitka. It is operated by the Division of Pioneer Homes within the Alaska Department of Health and Social Services and it is the oldest and fourth largest of the six homes in the State. The building was designed by the Tacoma firm of Heath, Gove & Bell.</p><br>
<p>Currently, the Home can care for 65 residents including those suffering from Alzheimer&#39;s disease, or other forms of dementia. The home provides three Levels of Care: Level 1 or "Independent", Level 2 or "Basic Assistance", and Level 3 or "24-Hour Care".</p><br>
<p>The property, including the Totem Square located across Katlian Street, was placed on the listed on the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>A contingent of USA Marine Corps had been stationed from 1879 to 1892 in a group of barracks built by Russia in the 1800s, located at the actual site of Sitka Pioneer Home. When the troops were withdrawn and the base closed in 1912, the site, which had expanded with the addition of several buildings, remained unused.</p><br>
<p>When the Territory of Alaska was established in August 1912, Sitka representatives asked to the Navy Department the permission to create the Sitka Pioneer Home in the area.</p><br>
<p>The Sitka Pioneer Home was opened in September 1913 on a $10,000 budget. The home struggled financially until the 1930s, when the federal and territorial governments appropriated around $400,000 to replace the dilapidated and fire-prone buildings, creating a new home capable of caring for 170 men. The Public Works Administration provided financial assistance for the facility. In 1949, upon mandate from the territorial legislature, an expansion was constructed, with women permitted to be taken under care.</p><br>
<p>The Pioneer Home has also played a large part in Sitka&#39;s Alaska Day festivities. The parade through downtown ends close to the grounds and hundreds of people mingle at a free reception inside the home with live entertainment traditionally provided by the New Archangel Dancers. The annual Alaska Day croquet tournament takes place on the grounds at the same time.</p><br>
<h2>Prospector statue</h2><br>
<p>A statue entitled The Prospector, sculpted by Alonzo Victor Lewis, serves as the centerpiece of the grounds of the Sitka Pioneer Home. The sculpture was supposed to be modeled after real-life pioneer William Clark "Skagway Bill" Fonda, a resident of Skagway and originally of Fonda, New York. This statue is the larger of two models that Lewis created. The smaller of the pair sits in Seattles Klondike Gold Rush National Historic Park in Pioneer Square. After more than three tons of clay and 21 years of fundraising, the sculpture was finally shipped to Sitka in time for its dedication at 1949s Alaska Day.</p><br>
<p>Rookwood Pottery is an American ceramics company that was founded in 1880 and closed in 1967, before being revived in 2004. It was initially located in the Over-the-Rhine neighborhood in Cincinnati, Ohio, and has now returned there. In its heyday from about 1890 to the 1929 Crash, it was an important manufacturer, mostly of decorative American art pottery made in several fashionable styles and types of pieces.</p><br>
<h2>History</h2><br>
<h3>Beginnings</h3><br>
<p>Maria Longworth Nichols Storer, daughter of wealthy Joseph Longworth, founded Rookwood Pottery in 1880 after being inspired by what she saw at the Centennial Exhibition in Philadelphia, including Japanese and French ceramics. The first Rookwood Pottery was located in a renovated school house on Eastern Avenue which had been purchased by Marias father at a sheriffs sale in March 1880. Storer named it Rookwood, after her father&#39;s country estate near the city in Walnut Hills. The first ware came from the kiln on Thanksgiving Day of that year. Through years of experimentation with glazes and kiln temperatures, Rookwood pottery became a popular American art pottery, designed to be decorative as well as useful.</p><br>
<p>Rookwood was noted for its employment of women. Emily Faithfull mentioned in Three Visits to America that "perhaps there is no institution of the kind so successful as the famous Rockwood Pottery under the management of Mrs. Nichols" and stated "that the perfumes made by Young, Ladd & Coffin are put into dainty bottles, some of those I most admired being the Limoges jugs made by the women-workers at the famous Cincinnati Rockwood Pottery, which is under the control of a very clever lady, the daughter of the wealthy wine-grower, Mr. Longworth. Some of the plaques, bowls, and vases produced at this pottery have deservedly received the recognition of leading Art connoisseurs."</p><br>
<p>Clara Chipman Newton was the archivist and general assistant, as well as a china decorator, for the first decade of the pottery; she shared with Storer the responsibility for overseeing the decoration and glazing. The artist Laura Anne Fry worked at Rookwood as a painter and teacher from 1881 to 1888.</p><br>
<p>The second Rookwood Pottery building, on top of Mount Adams, was built in 1891–1892 by H. Neill Wilson, who was son of prominent Cincinnati architect James Keys Wilson.</p><br>
<h3>Wares</h3><br>
<p>The earliest work from the pottery is relief-worked on colored clay, in red, pinks, greys and sage greens. Some were gilt, or had stamped patterns, and some were carved. Often these were painted or otherwise decorated by the purchaser of the "greenware" (unfinished piece), a precursor to today&#39;s do-it-yourself movement. However, such personally decorated pieces are not usually considered Rookwood for purposes of sale or valuation.</p><br>
<p>After this period, Storer sought a "standard" look for Rookwood and developed the "Standard Glaze," a yellow-tinted, high-gloss clear glaze often used over leaf or flower motifs. A series of portraits — often of generic American Indian characters or historical figures — were produced using the Standard Glaze. A variant on the Standard Glaze was the less-common but very collectible "tiger eye" which appears only on a red clay base. Tiger Eye produces a golden shimmer deep within the glaze; however, the results of this glaze were unpredictable.</p><br>
<p>Rookwood also produced pottery in the Japonism trend, after Storer invited Japanese artist Kitaro Shirayamadani to come to Cincinnati in 1887 to work for the company. Davis Collamore & Co., a high-end New York City importer of porcelain and glass, were Rookwood&#39;s representatives at the Exposition Universelle, Paris 1889.</p><br>
<p>In 1894, Rookwood introduced three glazes: "Iris" a clear, colorless glaze, "Sea Green" which was clear but green-tinted, and "Aerial Blue" which was clear but blue-tinted. The latter glaze was produced for just one year, while the two former glazes were used for more than a decade.</p><br>
<p>With increased interest in the American Arts & Crafts Movement, a matte glaze was needed which could be used over under-glaze decoration (largely floral and scenic). Rookwood introduced a "Vellum" glaze in 1904, which presented a matte surface through which the slightly frosted-appearing decoration beneath could be seen. Rookwood artist Sara Sax, experimented in working with translucent vellum glaze and relief carving.</p><br>
<p>One of the last glaze lines of Rookwood was "Ombroso," not used until after 1910. Ombroso, used on cut or incised pottery, is a brown or black matte glaze.</p><br>
<p>In 1902, Rookwood began producing architectural pottery. Under the direction of William Watts Taylor, this division rapidly gained national and international acclaim. Many flat pieces were used around fireplaces in homes in Cincinnati and surrounding areas, while custom installations found their places in grand homes, hotels, and public spaces. Original Rookwood-installed tiles can be viewed in Carew Tower, Union Terminal and Dixie Terminal in Cincinnati, as well as the Rathskeller Room at the Seelbach Hilton in Louisville, Kentucky. In New York City, the Vanderbilt Hotel, Grand Central Station, Lord & Taylor, and several subway stops feature Rookwood tiles. "One of the most important Rookwood tile installations in the country" is on display at the Carnegie West Branch of Cleveland Public Library and depicts Durham Cathedral in England.</p><br>
<p>The 1920s were highly prosperous years for Rookwood. The pottery employed about 200 workers, including sculptor Louise Abel and future sculptor Erwin Frey, and received almost 5,000 visitors to the Mount Adams business each year.</p><br>
<h3>Decline</h3><br>
<p>The company was hit hard by the Great Depression. Art pottery became a low priority, and architects could no longer afford Rookwood tiles and mantels. By 1934, Rookwood showed its first loss, and by 1936 the company was operating an average of just one week a month. Several employees, most notably Harold Bopp, William Hentschel and David Seyler left the company and started Kenton Hills Porcelains in Erlanger, Kentucky. On April 17, 1941, Rookwood filed for bankruptcy. Through these tough times, ownership of the company changed hands, but the Rookwood artists remained.</p><br>
<p>In 1959, Rookwood was purchased by the Herschede Clock Company, and production moved to Starkville, Mississippi. Unable to recover from the losses experienced during the Great Depression, production ceased in 1967.</p><br>
<h2>Revival</h2><br>
<p>By 1982, Rookwood was in negotiations to be sold to overseas manufacturers. Michigan dentist and art pottery collector Arthur Townley used his life savings to purchase all of the remaining Rookwood assets. During his tenure as Rookwood&#39;s owner, Townley produced small quantities of pieces to maintain the original trademarks. Townley refused offers to sell Rookwood for over two decades, but eventually collaborated with Cincinnati investors Christopher & Patrick Rose in 2004 to move the company back to Cincinnati. In July 2006, after approximately one year of negotiations, the Rookwood Pottery Company entered into a contract to acquire all of the remaining assets of the original Rookwood Pottery from Townley. These assets included, among other things, the trademarks, more than 2,000 original molds, and hundreds of glaze recipes used by the original Rookwood Pottery Company.</p><br>
<p>In 2011, Martin and Marilyn Wade gained sole ownership of the company. It operates from a production studio in the historic Over-the-Rhine neighborhood of Cincinnati. The company is in full production, having invested in new kilns and equipment and hired new staff. Rookwood Pottery also works with many major institutions to create awards and commemorative pieces. Rookwood Pottery artist Roy Robinson, for example, designed the Center Court Rookwood Cup for the ATP World Tour.</p><br>
<p>In 2012, the historic Monroe Building of Chicago completed a restoration of its original architectural elements to include the reconditioning and replacement of thousands of original Rookwood Pottery tiles. In 2013, a fireplace created by Rookwood Pottery, in collaboration with artists at the University of Cincinnati, was installed at the Contemporary Arts Center in Cincinnati. Describing the collaboration, co-owner Marilyn Wade said: “Our goal in working with these three talented artists is to reposition Rookwood Pottery to what it was originally – a forward-thinking company with its eye on the future, willing to take risks, and in the vanguard of the industry, by affiliating ourselves with like-minded artists.” That same year, Rookwood Pottery was featured on the Martha Stewart Living Blog and on the Science Channel program How It&#39;s Made.</p><br>
<p>In 2015, the company collaborated with Cincinnati-based artist Kevin Auzenne to create commemorate baseball-themed tiles. In 2017, Rookwood Pottery Company and the Cincinnati Zoo teamed up to create a Fiona ornament, dedicated to a premature hippo.</p><br>
<p>A dedicated gallery of Rookwood Pottery is in the Cincinnati Wing of the Cincinnati Art Museum, and masterpiece Rookwood pieces are exhibited at the Museum of the American Arts and Crafts Movement in St. Petersburg.</p><br>
<p>The Cherokee Triangle is a historic neighborhood in Louisville, Kentucky, USA, known for its large homes displaying an eclectic mix of architectural styles. Its boundaries are Bardstown Road to the southwest, Cherokee Park and Eastern Parkway to the southeast, and Cave Hill Cemetery to the north, and is considered a part of a larger area of Louisville called The Highlands. It is named for nearby Cherokee Park, a 409 acre park designed by Frederick Law Olmsted, the designer of New York&#39;s Central Park.</p><br>
<h2>History</h2><br>
<p>The land was part of a 6,000 acre military land grant in 1774 to Southall and Charlton, and changed hands numerous times between then and 1863, when most of the land that is today&#39;s neighborhood was purchased by George Douglass. His home was located at the corner of Dearing Court (formerly Douglass Place) and Dudley Avenue, and is now included in the grounds of Cave Hill. In 1869, he sold 125 acre to realtors James W. Henning and Josiah S. Speed for $135,000.</p><br>
<p>The largest portion of Cherokee Triangle was developed by Henning and Speed in the 1880s, as an early streetcar suburb of Louisville. While the two were long-time developers, they had plans to establish residences for themselves there and develop the neighborhood as "the best possible environment of suburban living." They laid out the first subdivision, the Highland Addition, in 1870, containing just 150 lots, with an average size of 60 by 180 feet. The first house in the neighborhood, located at the corner of Transit Avenue (now Grinstead Drive) and New Broadway (now Cherokee Road), was completed in 1871 as a wedding present for Henning&#39;s daughter.</p><br>
<p>Henning and Speed sold lots briskly for an average of $1,200 each, between 1870 and 1873, but development virtually halted in Cherokee Triangle and everywhere else after an economic depression known as the Panic of 1873. Development was slow until 1883, when the opening of Louisville&#39;s Southern Exposition, which had the greatest impact on Old Louisville, stimulated the real estate market in the Highlands. Clayton Longest subdivided his property in 1884. But prices for lots were still relatively low.</p><br>
<p>After the opening of Cherokee Park in 1891, The area quickly became a popular site for affluent families to build homes, and the Baringer Farms subdivision, as well as the rest of the undeveloped land in the area, was soon developed.</p><br>
<p>Much of Cherokee Triangle was originally part of a city called Enterprise, which had incorporated in 1884 for tax reasons and to keep liquor sales out of the community. Enterprise even had a school, which is now Bloom Elementary. The city was annexed by Louisville in 1896.</p><br>
<p>Many wealthy residents left for new suburbs after World War II, and as was typical of older affluent neighborhoods such as Old Louisville, large multi-story buildings were split up into inexpensive apartments. The Cherokee Triangle Association formed in 1962, and new rules and down-zoning slowed the trend. It was designated a preservation district in 1975, with suburban-style zoning restrictions, partially to prevent developments such as modern apartment complexes that were seen as out of place. Largely as a result of the preservation district status, the neighborhood has undergone a period of sustained gentrification and enjoyed the greatest appreciation in property values in the city over the past decade.</p><br>
<p>The Aquarius Apartments on Cherokee Road, the construction of which was a major factor in establishing the preservation district, was cited as an example of an "incompatible intrusion". As a sign of how the neighborhood has appreciated in recent years, the property was recently purchased by a developer who submitted a controversial plan to raze the apartments and build a 29-unit luxury condominium building on the site. Though his proposal was rejected by the local Architectural Review Committee due to its size, it is reflective of the increased attractiveness of the neighborhood.</p><br>
<p>The neighborhood is known for its annual art fair, which occurs over a weekend in late April, one week before the Kentucky Derby. A local landmark was a statue of General John Breckinridge Castleman, dedicated in 1913, and supposedly the only equestrian statue in the world for which the horse posed also. The statue was removed on June 8, 2020.</p><br>
<h2>Demographics</h2><br>
<p>As of 2000, the population of Cherokee Triangle was 4,290, of which 94.1% are white, 2.2% are listed as other, 2% are Hispanic, and 1.7% are black. College graduates are 51.8% of the population, people w/o a high school degree are 5.9%. Females outnumber males 50.2% to 49.8%.</p><br>
<p>The Llano County Courthouse and Jail were erected separately, but added to the National Register of Historic Places in Texas on December 2, 1977, as one entry. The courthouse, located in the middle of Llano&#39;s historic square, was built in 1893. The exterior is made of sandstone, marble, and granite. The interior of the courthouse was damaged by fire in 1932 and again in 1951. It is still in use today by local government. The jail was erected in 1895, with the prisoner cells on the second and third floors, and the ground level solely for the office and living accommodations for the sheriff and his family. The jail was designated a Recorded Texas Historic Landmark 1979, Marker 9448. The courthouse was designated a Recorded Texas Historic Landmark 1980, Marker number 9446.</p><br>
<h2>The four courthouses of Llano County</h2><br>
<p>The present courthouse is Llano County&#39;s fourth, one of which was only for temporary purposes.</p><br>
<h3>1859–1880 courthouse</h3><br>
<p>The original 1859 box-like structure courthouse burned down in 1880, destroying all the county records.</p><br>
<h3>1880–1885 temporary courthouse</h3><br>
<p>Architect C.S. Jones and builder J. K. Finely erected the $1550 a temporary courthouse in 1880, pending the construction of a permanent structure. Its two rooms contained a fireproof vault, with one room being for county administrative personnel, and the second room for the legal and law enforcement personnel.</p><br>
<h3>1885–1892 courthouse</h3><br>
<p>A new courthouse was erected in 1885, designed by architect Alfred Giles, who also designed the Brooks County Courthouse, Fredericksburg Memorial Library, Kendall County Courthouse, Live Oak County Courthouse, Presidio County Courthouse, Wilson County Courthouse, as well as courthouses in the counties of Goliad and Kerr The structure mirrored exactly the 1882 Gillespie County courthouse, and was temporarily rented for church services. This structure burned down January 22, 1892. County records were saved. Remains of the building were sold.</p><br>
<h3>1893–present courthouse</h3><br>
<p>The current two-story courthouse was designed in a Romanesque Revival style by A.O. Watson and Jacob Laramour, also architects of Llano&#39;s 1891 Badu Building. Watson also designed the DeWitt County courthouse. The firm of J. A. and G. H. Wilson of Sulphur Springs, Texas, was awarded the contract for a brick building trimmed with granite, at a cost of $47,000.</p><br>
<p>Construction of the present-day courthouse was completed on August 1, 1893. A foundation of granite supports the marble and granite columns, with a brick and stone exterior. F. Heierman and Bros. of Austin manufactured the interior iron stairway treads. Ornamental newels and balusters are of wood. The tower with colonnades and cupola was placed in the southwest corner, accessible only on the south and west. The roof of each corner pavilion section is pyramidal, with the main section truncated pyramid. A clock was added to the tower at a later date.</p><br>
<h2>Llano County Jail</h2><br>
<p>The Llano County Jail was designed by F.W. and W.S. Hull, and built in 1895 by the Pauly Jail Building and Manufacturing Company of St Louis, Missouri. Gray granite used to build the jail was quarried from within Llano county. The jail, which was also built in a Romanesque Revival style, has been known as "Red Top" for its red roof. The first floor was used by the sheriff and his family for his office and the family living quarters. The second floor had four cells and two drunk tanks. The third and fourth floors housed the gallows.</p><br>
<p>The Cass County Courthouse in Atlantic, Iowa, United States, was built in 1934 as the first courthouse in the state built with funding from the Public Works Administration . It was listed on the National Register of Historic Places in 2003 as a part of the PWA-Era County Courthouses of Iowa Multiple Properties Submission.</p><br>
<h2>History</h2><br>
<p>Cass County was organized in 1853. The first county commissioners met in Indiantown and chose a place called Lewis as the county seat where they used a two-story house for the courthouse. The Chicago, Rock Island and Pacific Railroad extended tracks to Atlantic and the town offered the county land for a new courthouse. In 1869, the county accepted Atlantic&#39;s offer and constructed a small frame building on the site. The building soon proved to be inadequate and the county rented the nearby Park House to provide additional space. In 1888, the county spent $50,000 to erect a new two-story brick and stone courthouse that featured a clock tower. It was destroyed by fire in March 1932.</p><br>
<p>Because of the Great Depression, the first referendum to build a new courthouse failed in the General Election of 1932. The following year President Franklin Delano Roosevelt began the PWA, and Cass County was the first of ten counties in Iowa to receive such funding. Voters passed the second referendum in 1933 and the county retained the Des Moines architectural firm of Dougher, Rich & Woodburn to design the new building. C.C. Larsen Co. of Council Bluffs, Iowa won the bid to construct the building and work began in March 1934. It was built for $119,000. The new building was dedicated on December 26, 1934, with Governor Clyde L. Herring as the main speaker.</p><br>
<p>Dougher, Rich & Woodburn was able to save three other Iowa counties money by providing a similar design for their county&#39;s new courthouse. Newspapers in Buchanan and Humboldt counties printed drawings that were nearly identical when they were planning to build new courthouses in the 1930s.</p><br>
<p>A two-bay garage of matching brick was built in the southwest corner of the square shortly after the courthouse was completed. Around 1984 a 1½-story addition was built onto the west side of the courthouse for a correctional facility.</p><br>
<h2>Architecture</h2><br>
<p>The architectural style of the building is known as Depression Modern or PWA Moderne. The building features a symmetrical façade with a central section flanked by two lower wings. The exterior is composed of buff-colored brick and Bedford limestone trim. It is three stories tall above a raised basement. On the interior, central corridors on each floor extend the length of the building, with the offices opening onto the corridors. The building features multi-colored terrazzo floors, marble wainscoting, and acoustic tiles. The three tall windows with decorative metal grills that extend from the second to the third floors of the main elevation mark the location of the courtroom, which was decorated in dark wood tones and Art Deco ornamentation. The exterior of the adjoining correctional facility is composed of similar colored brick as the courthouse, and it has no windows.</p><br>
<p>The building is located on the courthouse square to the south of the central business district, where the previous courthouse was also located. There are three other elements that are contributing properties on the courthouse&#39;s nomination to the National Register of Historic Places. The square itself is a contributing site, what is believed to be the original flagpole is a contributing object, and the two-bay garage is another contributing building</p><br>
<p>The Southern Hotel in Llano, Texas was constructed circa 1881 by stonemasons J. K. Finlay and John Goodman in the Second Empire style for owner J.W. Owen. Originally built as a stagecoach stop between Mason and Burnet, it later served as both a hotel and a boarding house. Initially a two-story building, a third floor was added when Colonel W.A.H. Miller bought the hotel in 1883. It was later renamed the Colonial Inn and ceased operations in the 1950s.</p><br>
<p>The hotel was designated a Recorded Texas Historic Landmark in 1980 (Marker number 9455) and was added to the National Register of Historic Places in Texas on October 10, 1979.</p><br>
<p>The Keokuk County Courthouse located in Sigourney, Iowa, United States, was built in 1911. It was individually listed on the National Register of Historic Places in 1981 as a part of the County Courthouses in Iowa Thematic Resource. In 1999 it was included as a contributing property in the Public Square Historic District. The courthouse is the fourth building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>Keokuk County built its first courthouse in Sigourney in 1845 for $218. The 24 by building, which was constructed of logs, also housed the jail and served as a schoolhouse, public hall, and hotel. Lancaster became the county seat in the late 1840s and a two-story frame courthouse was built there in 1848 for $699. By the mid-1850s the county seat was back in Sigourney. A new courthouse was built in 1858 for $17,200. It was remodeled over the years until the present courthouse was begun in 1909. It was completed two years later at a cost of $150,000.</p><br>
<h2>Architecture</h2><br>
<p>The building was designed in the Classical Revival style by the Des Moines architectural firm Wetherell & Gage, and built by J.L Simmons. The Columbian Exposition of 1893 in Chicago influenced the design of the building. It is capped by a clock tower and cupola. Other historic structures on the courthouse square include a fountain, bandstand, and a Civil War Monument. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Sigourney as the county seat.</p><br>
<p>The Polk County Courthouse located in Des Moines, Iowa, United States, was built in 1906. It was listed on the National Register of Historic Places in 1979 as a part of the County Courthouses in Iowa Thematic Resource. The courthouse is the third building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>Polk County built its first courthouse in 1847 for $2,015. The brick building measured 52 by. After the second courthouse was completed, this first building was sold to a church for $800. It later became the Union Depot serving the Wabash and the Des Moines Union Railroads. The second courthouse was built in 1858 for $94,000. The two-story Italianate structure, designed by J.C. Farrand, featured a dome. The building measured 102 by and the dome rose to a height of 87 ft. This building was enlarged in 1866.</p><br>
<p>The present courthouse was built in 1906 on the same square as the previous courthouse. It was built for $750,000 in the Beaux-Arts style. Measuring 242 by, the rectangular structure was designed by the Des Moines architectural firm of Proudfoot & Bird. It is one of the largest county courthouses in the state, and one of the most architecturally significant.</p><br>
<p>For most of its history, the courthouse hosted both criminal and civil courts. Beginning in 2010, Polk County began a multi-year project to divide court functions between several buildings. A former department store on an adjacent lot was converted into the Polk County Justice Center, which houses the Polk County Attorney as well as juvenile, traffic, and small claims courts. The former county jail (also on a lot adjacent to the courthouse) was partially demolished and rebuilt to host the criminal courts. After this realignment, the historic courthouse hosts only civil court cases.</p><br>
<h2>Architecture</h2><br>
<p>The courthouse is a four-story structure composed of Grey Canyon Sandstone. In the center is a projecting loggia with three arches on the first story and eight Corinthian columns rising from the third floor to the top of the fourth floor. Projecting pavilions are located on each corner. A tall three-stage square clock tower capped with cupola rises from the center of the building. The interior features a large stained glass domed rotunda, marble columns, and murals by Charles A. Cummings and Edward Simmons.</p><br>
<p>The Muscatine County Courthouse in Muscatine, Iowa, United States, was built in 1909. It was listed on the National Register of Historic Places in 1981 as a part of the County Courthouses in Iowa Thematic Resource. The courthouse is the third building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>Muscatine County was established in 1837 and Bloomington, as Muscatine was then called, was named the county seat. Land for a courthouse was secured in town for $1.25 per acre in 1838. The first courthouse was built there in 1840. It was a brick structure with a stone foundation and it was constructed for $15,000. The building was destroyed by fire on December 17, 1864. A second courthouse was built three years later for $29,000. The two-story brick building featured a portico held up by six columns, a dome, and a statue of the Goddess of Justice. High winds took off her arm in which the hand held the scales. The statue was removed from its pedestal several years later after continued deterioration.</p><br>
<p>The present courthouse was built beginning in 1907 in the same location as the previous courthouse. Before the foundation could be dug, the portico columns from the old building had to be removed. It was designed by Detroit architect J.E. Mills in the Beaux Arts style, and built by J.W. McAlpine of Dixon, Illinois.</p><br>
<h2>Architecture</h2><br>
<p>Located on a large landscaped square near the central business district, the three-story structure is composed of stone and concrete. The main facade features a central portico that is supported by four Corinthian columns that rise from the second floor terminating at the pediment with a round window at the roofline. Pavilions at the ends of the building project from the main structure. A two-stage bell and clock tower with open sides is capped with a dome. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Muscatine as the county seat.</p><br>
<p>The Robinson Center is a performance, convention, and exhibition space at Statehouse Plaza in downtown Little Rock, Arkansas.</p><br>
<p>The most notable architectural feature of the complex is the south façade of the Robinson Center Music Hall, a building constructed in 1939 to a design by architects Eugene J. Stern and Wittenberg & Delony. It is adorned with columns that echo the Greek Revival style also found in the centerpiece of the plaza, the Old State House Museum. The music hall was added to the National Register of Historic Places in 2007, as the Joseph Taylor Robinson Municipal Auditorium. Additional meeting space complementing Robinson Center&#39;s offerings are located to the east of the Old State House, inside the Statehouse Convention Center.</p><br>
<p>The center is named for Joseph Taylor Robinson, a powerful former USA Senator and Congressman and Arkansas governor, and is one of several locations and facilities that bear his name.</p><br>
<p>The Robinson Center Music Hall and Conference Center is the primary performance space for the Arkansas Symphony Orchestra, traveling productions of popular Broadway plays and musicals, and various concerts throughout the year. It seats 2,222.</p><br>
<p>The new conference center on the north-facing side of the building overlooks the Arkansas River. It features multiple meetings spaces, ballrooms and a terrace capable of hosting weddings, conferences and conventions for a wide variety of organizations.</p><br>
<p>Robinson Center is administered by the Little Rock Convention & Visitors Bureau, a city government division which maintains its primary offices inside the Cromwell Building across the plaza from the hall.</p><br>
<p>The White House of the Chickasaws in Milburn, Oklahoma was built in 1895. It was designed by Dallas architect W.A. Waltham when the building was listed on the National Register of Historic Places. At the time of its construction, the house was on the north edge of the community of Emet, Oklahoma, where Johnston operated a store, but its formal street address is now 6379 E. Mansion Dr., Milburn, Oklahoma</p><br>
<p>On July 21, 1902, Johnston Murray, the son of Oklahoma Governor William H. Murray, was born at the mansion.</p><br>
<p>The house is now a historic house museum owned by the Chickasaw Nation and has been restored to a 1900 appearance. It was listed on the National Register of Historic Places on August 5, 1971, under Criteria A and C. At that time, the house was still owned by descendants of the Governor.</p><br>
<h2>Construction</h2><br>
<p>The house design was a gingerbread style, commonly used in Victorian architecture during the late 19th century.</p><br>
<p>The center section of the house had four rooms. From south to north these were:</p><br>
<p>Parlor room (aka music room)</p><br>
<p>Sitting room (aka library)</p><br>
<p>State dining room</p><br>
<p>Kitchen.</p><br>
<p>Two-room wings flanked the center. The one on the west was separated from the sitting room by an open breezeway. This wing comprised Governor Johnston"s bedroom and office.</p><br>
<p>General construction lumber was obtained locally, but most of the finishing lumber was transported by wagon from Denison, Texas. The two ornate fireplaces inside the house had mantles and facings made of cherry mahogany, which were brought from Chattanooga, Tennessee. The porch that originally encircled the house used imported walnut for the ornamental woodwork.</p><br>
<p>The house is well-preserved. Only a few changes have been made to the original design. Around 1903 or 1904, the breezeway was removed and replaced with a stairway that led to the attic area, where a bedroom and bathroom had been added. Indoor bathrooms were added later, and lighting changed from the original coal-oil lamps (both hanging and standing).</p><br>
<p>The Bank of Nolensville is a two-story brick building in Nolensville, Tennessee, United States, that was listed on the National Register of Historic Places in 1988. The bank that it once housed was opened in 1906 and operated until October 1932, when it was forced to close during the Great Depression.</p><br>
<p>Sherwood G. Jenkins (1843-1915) was a promoter of the Bank of Nolensville and was president at his death in 1915.</p><br>
<p>The Lee County Courthouse is located in Fort Madison, Iowa, United States. The courthouse serves the court functions and county administration for the northern part of Lee County, and it is the county&#39;s first courthouse. It was listed on the National Register of Historic Places in 1976 as a part of the County Courthouses in Iowa Thematic Resource. Southern Lee County is served from a courthouse in Keokuk in the former Federal Courthouse building.</p><br>
<h2>History</h2><br>
<p>Construction began on the courthouse in 1841. The courthouse and the jail were completed the following year for about $12,000. The basement walls are constructed of stone and the upper walls are faced in brick. Four large Tuscan columns hold up the porch roof on the Greek Revival style building. After it was completed the seat of county government moved to West Point. From 1843 to 1845 the Fort Madison courthouse was rented out. County voters chose Fort Madison as the county seat in an election in 1845, and the courthouse has been used for county business since that time. The Iowa General Assembly established Keokuk as the second county seat in 1848, making Lee County the only Iowa county that has more than one courthouse. The Sullivan Line was used to divide the county into northern and southern sections. The Fort Madison courthouse was extensively remodeled in 1876 and included the construction of a cupola that was part of the building&#39;s original designs. It was lost in a fire in 1911, and not replaced when the building was renovated. Two additions were built onto the rear of the courthouse, probably during the above-mentioned renovations.</p><br>
<p>The Louisa County Courthouse in Wapello, Iowa, United States, was built in 1928. It was listed on the National Register of Historic Places in 1981 as a part of the County Courthouses in Iowa Thematic Resource. The courthouse is the fourth building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>The legislature of the Wisconsin Territory chose Middle Wapello as the county seat to the exclusion of Upper and Lower Wapello. The county commissioners accepted the decision and the three communities later merged into a single town. The county&#39;s first courthouse was a privately owned structure built of logs. A brick courthouse was built by the county in 1840. It was a 40 by structure was also used as a school house. The county lacked the money to pay for it so they agreed to pay the builder 20% interest on the $1,300 that was due them. A new courthouse was built in Wapello in 1854 for $9,577.69. Columbus Junction desired to be the county seat and they raised $25,000 and built a two-story brick building for a courthouse. When they failed to become the county seat the building became a school. The present courthouse was built on the same site as the 1854 building for around $100,000.</p><br>
<h2>Architecture</h2><br>
<p>The two-story building was designed in a simplified version of the Art Deco style by the Des Moines architectural firm of Keiffer, Jones and Thomas, and built by Zohbon and Lewis of Des Moines. It is constructed of tan colored bricks and trimmed in stone. The courthouses features a symmetrical facade with end pavilions that slightly project forward. Bas reliefs of eagles carved in stone in the center of the pavilions. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Wapello as the county seat.</p><br>
<p>The Linn County Courthouse is located on Mays Island in the middle of the Cedar River in Cedar Rapids, Iowa, United States. It, along with the Veterans Memorial Building and two other buildings, is a contributing property to the Mays Island Historic District that was listed on the National Register of Historic Places in 1978. The courthouse is the third building the county has used for court functions and county administration.</p><br>
<h2>History</h2><br>
<p>The county&#39;s first courthouse was built for $40,000 in 1842 in Marion. The building was two stories tall and constructed of brick. As Cedar Rapids vied for Marion to be the county seat a second courthouse was built in Marion in 1855. Cedar Rapids deeded a plot of land to the county for a courthouse in 1919. Even though voters failed to support a $1.3 million bond referendum to build the courthouse the board of supervisors continued to plan for a new building. In 1922 voters passed a smaller bond referendum.</p><br>
<p>The present courthouse was designed by Urbana, Illinois architect Joseph Royer in the Beaux-Arts style. It was completed in 1925 for just under $500,000. Royer also designed the former county jail that sat behind the courthouse.</p><br>
<p>The building sustained significant damage from a flood in 2008. Renovations of the building were completed in 2014.</p><br>
<h2>Architecture</h2><br>
<p>The Linn County Courthouse is a three-story Bedford stone structure built on a granite foundation. The building consists of a main block flanked by two short wings. Classical elements are found in the full entablature and the protruding, nine-bay entrance porch. Ten fluted columns in the Ionic order support the entablature and parapet. Decorative stone panels separate two floors of windows. A stone balustrade surrounds the terrace, and balconies on the first floor windows flank the entrance pavilion. The side elevations and the rear of the building provide a simpler appearance, but the cornice surrounds most of the building. The interior walls were built of travertine and marble covers the floors.</p><br>
