<p>Congo Square  is an open space, now within Louis Armstrong Park, which is located in the Tremé neighborhood of New Orleans, Louisiana, just across Rampart Street north of the French Quarter. The square is famous for its influence on the history of African American music, especially jazz.</p><br>
<h2>History</h2><br>
<p>In Louisiana&#39;s French and Spanish colonial era of the 18th century, enslaved Africans were commonly allowed Sundays off from their work. Although Code Noir was implemented in 1724, giving enslaved Africans the day off on Sundays, there were no laws in place giving them the right to congregate. Despite constant threats to these congregations, they often gathered in remote and public places such as along levees, in public squares, in backyards, and anywhere they could find. On Bayou St. John at a clearing called "la place congo" the various ethnic or cultural groups of Colonial Louisiana traded and socialized. It was not until 1817 that the mayor of New Orleans issued a city ordinance that restricted any kind of gathering of enslaved Africans to the one location of Congo Square. They were allowed to gather in the "Place des Nègres", "Place Publique", later "Circus Square" or informally "Place Congo" at the "back of town" (across Rampart Street from the French Quarter), where the enslaved would set up a market, sing, dance, and play music. This singing, dancing and playing started as a byproduct of the original market during the French reign. At the time the enslaved could purchase their freedom and could freely buy and sell goods in the square in order to raise money to escape slavery.Johnson, Jerah. Congo Square in New Orleans. Pelican Publishing Company, Inc., 2011.</p><br>
<p>The tradition continued after the city became part of the United States with the Louisiana Purchase. As African music had been suppressed in the Protestant colonies and states, the weekly gatherings at Congo Square became a famous site for visitors from elsewhere in the USA In addition, because of the immigration of refugees (some bringing enslaved Africans) from the Haitian Revolution, New Orleans received thousands of additional Africans and Creoles in the early years of the 19th century. They reinforced African traditions in the city, in music as in other areas. Many visitors were amazed at the African-style dancing and music. Observers heard the beat of the bamboulas and wail of the banzas, and saw the multitude of African dances that had survived through the years. There were a variety of dances that could be seen in Congo Square including the Bamboula, Calinda, Congo, Carabine and Juba. The rhythms played at Congo square can still be heard today in New Orleans jazz funerals, second lines and Mardi Gras Indians parades. In addition, the music played became the music of Louisiana Voodoo rites.</p><br>
<p>Townsfolk would gather around the square on Sunday afternoons to watch the dancing. In 1819, the architect Benjamin Latrobe, a visitor to the city, wrote about the celebrations in his journal. Although he found them "savage", he was amazed at the sight of 500-600 unsupervised slaves who assembled for dancing. He described them as ornamented with a number of tails of the smaller wild beasts, with fringes, ribbons, little bells, and shells and balls, jingling and flirting about the performers&#39; legs and arms. The women, one onlooker reported, wore, each according to her means, the newest fashions in silk, gauze, muslin, and percale dresses. The males covered themselves in oriental and Indian dress and covered themselves only with a sash of the same sort wrapped around the body. Except for that, they went naked.</p><br>
<p>One witness noted that clusters of onlookers, musicians, and dancers represented tribal groupings, with each nation taking their place in different parts of the square. The musicians used a range of instruments from available cultures: drums, gourds, banjo-like instruments, and "quills" made from reeds strung together like pan flutes, as well as marimbas and European instruments such as the violin, tambourines, and triangles. Gradually, the music in the square gained more European influence as enslaved English-speaking Africans danced to songs like “Old Virginia Never Tire.” This mix of African and European styles helped create African American culture.</p><br>
<p>Creole composer Louis Moreau Gottschalk incorporated rhythms and tunes he heard in Congo Square into some of his compositions, like his famous Bamboula, Op. 2.</p><br>
<p>As harsher United States practices of slavery replaced the more lenient Spanish colonial style, the gatherings of enslaved Africans declined. Although no recorded date of the last of these dances in the square exists, the practice seems to have stopped more than a decade before the end of slavery with the American Civil War.</p><br>
<h3>Voodoo</h3><br>
<p>Besides the music and dancing, Congo Square also provided enslaved blacks with a place in which they could express themselves spiritually. This brief religious freedom on Sundays resulted in the practice of voodoo ceremonies. Voodoo is an ancient religion that developed from enslaved West Africans who brought this ritualistic practice with them when they arrived in New Orleans in the 18th century. Although it is not the most noted recreational activity people took part in at Congo Square, it was nevertheless one of the many forms of entertainment and social gatherings here. Voodoo was the most prominent from the 1820s to the 1860s, as Congo Square provided an opportunity to expose people to this intriguing practice.</p><br>
<p>The types of voodoo ceremonies performed at Congo Square were very different from traditional voodoo, however. True voodoo rituals were much more exotic and secretive and focused on the religious and ritualistic aspect, while the voodoo in Congo Square was predominantly a form of entertainment and a celebration of African culture.</p><br>
<p>Some of the dances and types of music heard in Congo Square were the result of these voodoo ceremonies.</p><br>
<p>Marie Laveau, the first and most powerful voodoo queen, is one of the most well-known practitioners of voodoo in Congo Square. In the 1830s, Marie Laveau led voodoo dances in Congo Square and held darker, more covert rituals along the banks of Lake Pontchartrain and St. John&#39;s Bayou.</p><br>
<h3>Hoodoo</h3><br>
<p>Hoodoo practices at Congo Square were documented by Folklorist Newbell Niles Puckett. African Americans poured libations at the four corners of Congo Square at midnight during a dark moon. During slavery, a ring shout (a sacred dance in Hoodoo) was performed to invoke ancestral spirits for assistance and healing in the enslaved and free black community.</p><br>
<h3>Formal venue</h3><br>
<p>In the late 19th century, the square again became a famous musical venue, this time for a series of brass band concerts by orchestras of the area&#39;s "Creole of color" community.</p><br>
<p>In 1893, the square was officially named “Beauregard Square” in honor of P. G. T. Beauregard, a Confederate General who was born in St. Bernard Parish and led troops at the Battle of Fort Sumter. This was part of an attempt by city leaders to suppress the mass gatherings at the square. While this name appeared on some maps, most locals continued to call it "Congo Square". Local New Orleans author and historian Freddi Williams Evans was the main advocator for the name change. As a result of her encouragement, City Councilwoman Kristin Gisleson Palmer created an ordinance to rename the area Congo Square in 2011. In the ordinance, Palmer claimed that “By restoring the name, Congo Square will continue to be remembered for the birthplace of the culture and music of New Orleans” and that “Jazz is the only truly indigenous American art form, and arguably its genesis was Congo Square, a true gift to the entire country and world.” In 2011, the New Orleans City Council officially voted to restore the traditional name Congo Square.</p><br>
<p>In the 1920s New Orleans Municipal Auditorium was built in an area just in back of the square, displacing and disrupting some of the Tremé community.</p><br>
<p>In the 1960s a controversial urban renewal project leveled a substantial portion of the Tremé neighborhood around the square. After a decade of debate over the land, the City turned it into Louis Armstrong Park, which incorporates old Congo Square.</p><br>
<p>Starting in 1970, the City organized the New Orleans Jazz & Heritage Festival and held events annually at Congo Square. As attendance grew, the city moved the festival to the much larger New Orleans Fairgrounds. In the late 20th century and early 21st century, Congo Square has continued to be an important venue for music festivals and a community gathering place for brass band parades, protest marches, and drum circles.</p><br>
<h3>Today</h3><br>
<p>Today, there are still celebrations of the historical and cultural heritage of New Orleans. Congo Square Preservation Society is a community-based organization created by percussionist Luther Gray that aims to preserve the historical significance of Congo Square. Every Sunday, it carries on the tradition by gathering to celebrate the history and culture of Congo Square through drum circles, dancing, and other musical performances.</p><br>
<p>Along with these gatherings, other celebrations and events that are held in Congo Square every year include Martin Luther King Day celebrations, and the Red Dress Run. There are also numerous weddings, festivals, and concerts that take place in the park every year. On Martin Luther King Day, the park serves as the ceremonial starting place of a march that goes all the way to the Martin Luther King Jr. Monument on South Claiborne Avenue. On this holiday in 2012, a ceremony was held in Congo Square in which New Orleans Mayor Mitch Landrieu gave an inspirational speech calling for the city to reduce violence in the streets.</p><br>
<p>The annual Red Dress Run begins in Congo Square, and is organized by the New Orleans Hash House Harriers, a running group in the city. The race is known for its participants dressing in all red and heavy drinking. The profits from the race are given to local charities. After the 2014 race, it was announced that over one million dollars had been given to over 100 local New Orleans charities.</p><br>
<h2>In popular culture</h2><br>
<p>TNMK, a Ukrainian band from Kharkiv, is named after the square; their name is an abbreviation of the Ukrainian translation of "Dance At Congo Square".</p><br>
<p>Among classical composers, in addition to Gottschalk, Congo Square was made the subject of a symphonic poem by Henry F. Gilbert, The Dance in Place Congo (1908), which was also staged as a ballet at the Metropolitan Opera in New York City in 1918. He was inspired by an 1896 essay of the same name by George W. Cable which included extracts of the music to be heard in the square.</p><br>
<p>The history of Congo Square inspired later generations of New Orleanians. Johnny Wiggs wrote and recorded a piece called "Congo Square" early in the New Orleans jazz revival, which became the theme song for the New Orleans Jazz Club radio show.</p><br>
<p>Composer/Saxophonist, Donald Harrison, composed, orchestrated, and produced "Congo Square Suite." The music was released in 2023 and features three movements. The first movement is a chant with percussion and singing and feature mixture of Afro-New Orleans cultural music from Congo Square. The second movement is a classical orchestral work Harrison derived from his experiences becoming the recognized Big Chief of Congo Square. The third movement merges Harrison and his jazz quartet and the Moscow Symphony Orchestra. They play a blend orchestral music and jazz influenced by the sounds that permeated Congo Square.</p><br>
<p>Congo Square is also the title of an African-themed jazz score by Wynton Marsalis and Yacub Addy. It consists of arrangements for big band as well as traditional African drum and vocal ensemble from Ghana.</p><br>
<p>Another song called "Congo Square" is that of Louisiana slide guitarist Sonny Landreth on the 1985 album Way Down in Louisiana, co-written by David Ranson and Mel Melton. Landreth also plays on a version of the song on John Mayall&#39;s album A Sense of Place.</p><br>
<p>The American hard rock act Great White released a song called "Congo Square" on their 1991 release Hooked.</p><br>
<p>Younger generation neo soul artist Amel Larrieux also wrote a song based on the Congo Square called "Congo" on her 2004 album Bravebird.</p><br>
<p>Ghost of Congo Square is the opening track on jazz trumpeter Terence Blanchards 2007 album A Tale of Gods Will (A Requiem for Katrina).</p><br>
<p>R&B singer Teena Marie&#39;s album, entitled Congo Square, was released on June 9, 2009.</p><br>
<p>Dee Dee Bridgewater co-wrote a song of that name with Bill Summers and Irving Mayfield, for her 2015 album Dee Dee&#39;s Feathers.</p><br>
<p>Puʻu o Mahuka Heiau State Historic Site on the North Shore of Oʻahu is the largest heiau  on the island, covering 2 acre on a hilltop overlooking Waimea Bay and Waimea Valley. From its commanding heights, sentries could once monitor much of the northern shoreline of Oʻahu, and even spot signal fires from the Wailua Complex of Heiaus on Kauaʻi, with which it had ties. It was designated a National Historic Landmark in 1962, when it became the center of a 4 acre state park. It was added to the National Register of Historic Places in 1966.</p><br>
<p>Puʻu o Mahuka means "Hill of Escape." Hawaiian legends have it that from this point, the volcano goddess Pele leaped from Oʻahu to the next island, Molokaʻi.</p><br>
<p>The highest of the heiaus three walled enclosures may date to the 17th century, with the lower two enclosures perhaps added during the 18th century. These were times of great conflict, and the upper platform appears to have functioned as a luakini heiau (a sacrificial temple) to bring success in war. During the 1770s, the overseer of this heiau was Kaʻopulupulu, the high priest of the last independent high chief of Oʻahu, Kahāhana. In 1792, George Vancouvers ship, HMS Daedalus, anchored near Waimea Bay to collect water. Three men in his shore party were killed in a skirmish with Native Hawaiians, 1930&#39;s archeologist J. Gilbert McAllister noted it was "probable" that the bodies of the three men were then taken to the heiau as human sacrifices. After Kamehameha I conquered Oʻahu in 1795, his high priest Hewahewa led religious ceremonies here and the heiau remained in use until the traditional kapu system was abolished in 1819.</p><br>
<p>At the start of Makahiki, the four months of Hawaiian New Year, an observer standing at Kaʻena Point would see the Pleiades (Makaliʻi) rising out of Pu&#39;u o Mahuka Heiau just after sunset.</p><br>
<p>The site can be reached from Pupukea Homestead Road (Highway 835), which starts at Kamehameha Highway (Highway 83) across from Pupukea fire station.</p><br>
<p>The Peavey–Haglin Experimental Concrete Grain Elevator is the world&#39;s first known cylindrical concrete grain elevator. It was built from 1899 to 1900 in St. Louis Park, Minnesota, United States, as an experiment to prove the design was viable. It was an improvement on wooden elevators that were continually at risk of catching fire or even exploding. Its cylindrical concrete design became the industry standard in the United States, revolutionizing grain storage practices. After its initial experiments, the Peavey–Haglin Elevator was never again used to store grain. Since the late 1960s it has been maintained on the grounds of the Nordic Ware company and is painted with their name and logo.</p><br>
<p>The Peavey–Haglin Elevator was listed on the National Register of Historic Places in 1978, proclaimed a National Historic Landmark in 1981, and a National Historic Civil Engineering Landmark in 1983.</p><br>
<h2>Background</h2><br>
<p>Frank Peavey (1850–1901) was a native of Maine who moved to the Midwest as a young man and became a grain merchant. His business was buying grain from farmers and storing it in elevators before delivering it to flour mills. Basing himself in Minneapolis in 1881, he became known as the "Elevator King", owning elevators across Minnesota and Iowa and expanding into the Dakotas. However the wooden elevators of the day were quite vulnerable to fire, as they were built of flammable material, filled with volatile grain dust, and usually stood next to railroad tracks with their spark-spewing locomotives. Numerous elevator fires were causing insurance rates to skyrocket.</p><br>
<p>Peavey was convinced that new construction methods could produce a large, fireproof grain elevator. He hired Charles F. Haglin (1849–1921), a local civil engineer, to work on the problem with him. They quickly recognized the promise of reinforced concrete, a recent innovation popularized in the 1880s.</p><br>
<h2>Initial construction</h2><br>
<p>Even though other engineers argued that their design would explode when filled or crack when emptied, Peavey and Haglin proceeded with their plan for a cylindrical concrete structure. Construction began in the summer of 1899. Skeptics dubbed it "Peavey&#39;s Folly". Haglin built a section of round formwork braced with steel hoops. Concrete was poured in and given time to harden, at which point the framework was removed and reassembled above to produce the next section. In this manner the elevator was built up to a height of 68 ft. The interior diameter was 20 ft, while the walls tapered from 12 in thick at the base to 8 in at the top. By fall the elevator was ready, and Peavey had it filled with grain. The form held and the grain was left to see how it would fare over the winter.</p><br>
<h2>European tour</h2><br>
<p>While they waited, Peavey dispatched Haglin to Europe to investigate reports of reinforced concrete elevators there. Haglin was accompanied by his young son Eddie and Peavey&#39;s son-in-law Frank Heffelfinger. From January to March 1900 they toured grain facilities and met with experts in London, Hamburg, Braunschweig, Copenhagen, Budapest, Brăila, Galați, Bucharest, Vienna, and Paris. They found some elevators of concrete, but all were rectangular or hexagonal, and most were atop steel or wood bins. Others were built of brick or mortared stone.</p><br>
<p>Upon his return to Minneapolis, Haglin reported that their European counterparts were no more advanced on the issue than Americans.</p><br>
<h2>Success and legacy</h2><br>
<p>In spring 1900 it was time to empty the experimental elevator. A crowd gathered, but kept their distance, still expecting some kind of catastrophe. Haglin had faith in his structure, however, and stood right at its foot to pull the lever and allow the grain to pour out into an adjacent pit. The elevator stayed perfectly intact and the crowd began cheering.</p><br>
<p>Haglin went on to increase the height of the elevator to 125 ft for a few further experiments. After those proved successful as well, the elevator prototype never held grain again. Peavey immediately commissioned Haglin to build a grain elevator complex in Duluth. Widely publicized, Peavey and Haglin&#39;s cylindrical concrete design was quickly adopted throughout the American Midwest. While traditional wooden elevators, usually clad with metal siding, remained common for storage near farms, the new design sprang up at shipping centers, revolutionizing the grain storage industry. Grain elevators, usually the tallest structure on the flat Midwestern landscape, became a symbol of productive agriculture.</p><br>
<h2>Later history</h2><br>
<p>Frank Peavey didn&#39;t live to see his project revolutionize the industry; he died unexpectedly of pneumonia on December 30, 1901.</p><br>
<p>The experimental grain elevator stood unused as various industries came and went around it. In the 1950s the property was owned by Lumber Stores, Inc. and the elevator was painted with their name. Nordic Ware, a cookware company best known for introducing the Bundt cake pan, was founded nearby in 1946 and ultimately purchased the land with the elevator as they expanded their business. In 1969 Nordic Ware discovered that the elevator was deteriorating and in danger of collapsing. Cognizant of the structure&#39;s history, the company invested $40,000 in a restoration project. Around this time the elevator was painted with the Nordic Ware advertisement it still bears.</p><br>
<p>The Peavey–Haglin Experimental Concrete Grain Elevator now stands near the busy interchange of State Highways 7 and 100. It overlooks the Nordic Ware factory complex, the Cedar Lake Trail, and Lilac Park.</p><br>
<p>The Grand Village of the Illinois, also called Old Kaskaskia Village, is a site significant for being the best documented historic Native American village in the Illinois River valley. It was a large agricultural and trading village of Native Americans of the Illinois confederacy, located on the north bank of the Illinois River near the present town of Utica, Illinois.</p><br>
<p>French explorers Louis Joliet and Father Jacques Marquette came across it in 1673. The Kaskaskia, a tribe of the Illiniwek people (and later, other Illiniwek tribes) lived in the village. It grew rapidly after a French mission and fur trading post (see, Illinois Country) were established there in 1675, to a population of about 6,000 people in about 460 houses. Around 1691 the Kaskaskia and other Illiniwek moved further south, abandoning the site due to pressure from an Iroquois invasion from the northeast.</p><br>
<p>The historic site is now owned by the USA state of Illinois. In the 1940s, historian Sarah Tucker of the University of Chicago was able to pinpoint the probable location of the village based on the historical record. The university and the Illinois State Museum conducted archaeological excavations and confirmed Tucker&#39;s research, finding substantial evidence of the village. The site was declared a National Historic Landmark in 1964.</p><br>
<p>A prominent local landmark, Starved Rock, stands on the south bank of the river directly opposite the Grand Village site. Explorer La Salle founded a fort there to be near this village. Starved Rock is also a National Historic Landmark and is included in Starved Rock State Park.</p><br>
<h2>History</h2><br>
<p>Archeological evidence indicates that the Illini of the Grand Village were well adapted to their environment. They grew corn, beans, and squash in the rich alluvial soil. In 1673, Father Jacques Marquette and Louis Joliet visited the village, which at that time contained approximately 1,000 people. The French were returning from their expedition to chart the Mississippi River. Although terminally ill, Marquette returned to the Grand Village in early 1675 to celebrate Mass, and founded the mission of the Immaculate Conception of the Blessed Virgin. The French called the village both the Grand Village du Kaskaskia and La Vantum.</p><br>
<p>Around this time the town grew to perhaps the most populous Native American settlement north of Mexico. According to a theory by historian, Robert Morrissey, the Illinois Confederation Indians were adept at exploiting their location in the ecotone between the forests of the east and the prairies of the west – a controlling point for trade between east and west, as well as, rich with diverse hunting, farming, and resource habitats.</p><br>
<p>The Native Americans of the Eastern Woodland culture were severely affected by epidemic infectious diseases brought to North America from Europe, as they had no natural immunity. In addition, the introduction of guns increased the fatalities in intertribal conflicts. The fur trade became a source of competition and conflict between tribes. Members of the Illini Confederacy appear to have responded to increasing pressures by banding together. Reports from La Salle and others in the 1680s indicate that the Grand Village of the Illini temporarily increased in size during that decade to 400 cabins housing as many as 6,000 people. This village proved to be unsustainable in size. La Salle and Henri de Tonti also established Fort Saint Louis on the butte now called Starved Rock across the river, where a village near the rock&#39;s base called Hotel Plaza developed.</p><br>
<p>The inhabitants of the Grand Village largely dispersed under pressure from invading Iroquois bands (see, Beaver Wars). Many likely moved to the regions around Peoria (see, Fort Pimiteoui), Cahokia, and Kaskaskia, Illinois. These three towns were named after constituent tribes of the Illinois Confederacy.</p><br>
<h3>Alternative Site</h3><br>
<p>A 2022 article argues the site of the Grand Village of the Illinois, as referred to by the early European explorers, was on the north side of the Sangamon River about 3 miles east of Chandlerville and that the site near Starved Rock was a seasonal farming village. (It also argues the lake referred to as Pimiteoui was not Peoria Lake but instead that near Beardstown and places Fort Crevecoeur near there as well.) References are made to the journals and maps of the explorers and to the original plats of Illinois drawn in the early 1800s, before the rivers had been altered. (The Sangamon has since been channeled.)</p><br>
<p>Included was La Salle&#39;s description of the Grand Village. It was nearly 3 miles long and sited between the river and its bluff, about 3/4 mile in depth, and "consists of nothing but huts roofed with mats... without any enclosure or entrenchment." Based on two original sources, the village had several hundred huts and thousands of inhabitants.</p><br>
<h2>Folklore</h2><br>
<p>Later English speaking European pioneers did not have a clear idea what had happened to the people of the Grand Village. After the villagers dispersed, a tale was repeated in local folklore that members of the Illini Confederacy had been pinned by tribal enemies to a last stand atop Starved Rock. Hopelessly surrounded, the brave villagers refused to surrender and supposedly perished of starvation. It was said that this was how "Starved Rock" got its name.</p><br>
<h3>Tonti</h3><br>
<p>In one tale, attributed to the French and Indians, the explorer Henri de Tonti cached a hoard of gold on or near the canyons and bluffs of Starved Rock to secrete it from a French Canadian governor who had dismissed him. Later in 1704 when he was dying of yellow fever, Tonti described the treasure&#39;s location to the priest who was giving him last rites. As the story goes, the priest mentioned this revelation to third parties, but did not describe the secret location, and this key piece of information was lost when the priest died in an Illinois River canoe accident.</p><br>
<h3>Pontiac</h3><br>
<p>Another narrative centers on the death, in 1769, of Pontiac at the hands of an unnamed member of the Illini Confederacy. According to this story, the Pottawatomi, who were closely allied to Pontiac&#39;s kinfolk, made war on the Illini, forcing many of them to take refuge on the bluff that would become known as "Starved Rock." The Illini supposedly starved as their blufftop refuge was besieged.</p><br>
<h2>Today</h2><br>
<p>The site of the Grand Village of the Illinois was acquired by the state of Illinois in 1991 as a non-operating site of the Illinois Historic Preservation Agency. As of 2023, it is not open to the public.</p><br>
<h2>Zimmerman site</h2><br>
<p>The Zimmerman site (Ls-13) is an archaeological site located on the Illinois River across from Starved Rock, in the spot where the Grand Village of the Kaskaskia (aka Grand Village of the Illinois) once stood. It is a multi-component site representing prehistoric and early historic periods.</p><br>
<p>The environment around the Zimmerman site was predominantly prairie in the prehistoric period. The bluff extending along both sides of the Illinois River was an oak forest and the bottomlands supported vegetation tolerant of wetlands such as willow, maple, ash and cottonwood.</p><br>
<p>Early French explorers Joliet, Marquette, Allouez and Tonti were present at the Grand Village of Kaskaskia between 1673 and 1680. The Kaskaskia were a subdivision of the Illiniwek Confederacy. Other Illiniwek groups also had a presence at the site, most notably the Peoria, Tapouaro and Coiracoentanon. Later, other tribes such as the Miami and Shawnee were present at the site. In the fall of 1680 the village was burned down by an Iroquois war party and abandoned.</p><br>
<p>In the 1940s, Sara Jones Tucker of the University of Chicago initiated a project to determine the exact location of the Kaskaskia village site by reviewing the early French records. As a result of these efforts, the Zimmerman site was located.</p><br>
<h2>History of archaeological investigations</h2><br>
<p>In 1947 the site was excavated under the auspices of the Illinois State Museum and the University of Chicago. Four grids were established: A, B, C and D. From 1970-1972 further excavations were conducted under the auspices of the LaSalle County Historical Society in Utica, Illinois. The later excavations focused on revisiting Grids A and B to obtain clarifications on some of the research problems identified in the initial project.</p><br>
<h2>Results of data analysis</h2><br>
<p>Excavations at the site yielded Prehistoric and historic artifacts, house structures, pit features, burials, animal bone and plant remains.</p><br>
<h3>Components</h3><br>
<p>Several Prehistoric and Historic components were identified at the site:</p><br>
<p>Heally Complex - Prehistoric Upper Mississippian</p><br>
<p>Swanson Complex - Prehistoric Late Woodland</p><br>
<p>Danner Complex - Historic Fort Ancient</p><br>
<p>Huber Component - Prehistoric to early Historic Upper Mississippian; called “Zimmerman Component” in the 1947 excavations</p><br>
<p>The 1947 excavations also reported a tentative “Historic Heally” Complex that represented an extension of the Heally Complex into the early Historic period. However the 1970-72 investigations revealed that there was not enough evidence for a separate complex and that most of the Historic Heally was in fact part of the Danner Complex.</p><br>
<h3>Structures</h3><br>
<p>Two structures was defined in Grid C, both affiliated with the Heally Complex. The first is House C-3, a double-walled, roughly rectangular structure measuring 20x25 feet. It had 2 outer rows of posts and an inner row presumably supporting a bench. It contained 2 fire pits and 3 storage/refuse pits.</p><br>
<p>Houses C-8 and C-13 are overlapping, wall-trench rectangular pit houses, each measuring approximately 20x20 feet. These structures also apparently had a bench structure based on the post mold pattern. The excavators felt that these structures were semi-subterranean and perhaps covered with sod, Charcoal in some of the post molds implies that both structures were burned.</p><br>
<p>A large number of post molds present in Grid C implied the existence of additional houses, but none could be successfully delineated.</p><br>
<p>The houses at Zimmerman resemble houses observed at the nearby Fisher site. They contrast with the houses found at two Huber sites, Oak Forest and Anker, which were elongated oval in shape.</p><br>
<p>Several rock piles were noted in the Danner Complex that the excavators felt could have been sweat lodge areas.</p><br>
<h3>Features</h3><br>
<p>In 1947, 43 storage/refuse features and 15 roasting pit features were excavated. Each type was subdivided into variants based on depth and shape. It was felt that the storage/refuse pits started out as storage pits to keep foods fresh longer; as the food in them soured, they then were used as refuse pits while fresh storage pits were dug elsewhere. They contained culturally rich fill with potsherds, stone tool debris, animal bone, plant remains, etc.</p><br>
<p>Some of the roasting pits related to the Danner Complex appear to correspond to what has ethnographically been described as “macopin roasting pits” by the early French explorers Deliette and LaSalle. The macopins are apparently tubers from a species of water lily, perhaps the American Lotus (Nelumbo lutea). and Schwerdt sites on the Kalamazoo River in western Michigan; and tubers of the white water lily (Nymphaea tuberosa) have been recovered from roasting pits at the Griesmer site in northwestern Indiana. This particular cooking technique may have been used prehistorically for several species of similar water lilies, or other similar root plants. No tubers were specifically recovered from the Zimmerman site, however.</p><br>
<h3>Burials</h3><br>
<p>20 burials were excavated in 1947, of which few had any grave goods and only 4 were prehistoric. An additional 30 burials were excavated in 1970–72, including an infant burial with a spiked tomahawk and a bundle burial with a complete compass. Both of these artifacts were of European manufacture.</p><br>
<p>Two different burial patterns were noted; a primary interment with extended burials, and secondary reburials or bundle burials (aka ossuaries). The historic Illiniwek were observed to use both burial methods.</p><br>
<h3>Animal remains</h3><br>
<p>Remains from several species were recovered from the site. The main species present were deer, elk and bison; also present were beaver, raccoon, dog, black bear, river otter, fish (esp. freshwater drum), turtle and fresh water mussels (especially Amblema costata).</p><br>
<h3>Plant remains</h3><br>
<p>Plant remains were recovered from both periods of excavation. The 1970-72 excavations utilized flotation sampling techniques to recover more small-scale plant remains such as seeds, which are generally missed during traditional excavation methods.</p><br>
<p>The plant remains recovered consisted of cultivated plants (maize, beans, squash and watermelon), nutshell (black walnut, shagbark hickory, pecan and hazelnut) and seeds (hackberry, hawthorn, plum, wild cherry, grape, and cattail or rush).</p><br>
<h3>Artifacts</h3><br>
<h4>Pottery artifacts</h4><br>
<p>Archaeologists often find pottery to be a very useful tool in analyzing a prehistoric culture. It is usually very plentiful at a site and the details of manufacture and decoration are very sensitive indicators of time, space and culture.</p><br>
<p>9,747 sherds were recovered in the 1947 excavations, with the pottery analysis based on 395 rim sherds and decorated body sherds. In 1970–72, 3,746 sherds were recovered representing at least 64 vessels.</p><br>
<p>Based on analysis of the pottery collected in the 1948 and 1970-72 excavations, 4 distinct components were identified. They are presented below along with their associated pottery types:</p><br>
<h4>=Heally complex=</h4><br>
<p>Langford plain - grit-tempered, globular vessels with plain surface, rim profile vertical to outflaring, typically not decorated except for rim notching. First reported from the Fisher site, Periods B and C. Time period: Prehistoric. Cultural affiliation: Upper Mississippian.</p><br>
<p>Langford trailed - same as Langford plain, but decorated from neck to shoulder with fine to wide incised lines or curvilinear patterns made using a stick or antler tine. Decorations take the form of meandering parallel lines, nested arches and reed punctates. Lip sometimes notched or scalloped. First reported from the Fisher site, Period B. Time period: Prehistoric. Cultural affiliation: Upper Mississippian.</p><br>
<p>Langford cordmarked - same as Langford plain, but with cordmarked surface. Sometimes collared and lip sometimes pinched or scalloped. First reported from the Fisher site, Period B. Time period: Prehistoric. Cultural affiliation: Upper Mississippian.</p><br>
<p>Langford trailed (Cordmarked) - grit-tempered, globular vessels with cordmarked surface, rim profile vertical to outflaring, decorated from neck to shoulder with shallow wide trailed lines and reed punctates. Decorations take the form of curvilinear parallel undulating lines in a meander pattern. Lips rounded and notched. First reported from the Fisher site, Period B. Time period: Prehistoric. Cultural affiliation: Upper Mississippian.</p><br>
<p>Heally trailed - shell-tempered, cordmarked vessels decorated between the neck and the shoulder with shallow trailed lines and reed punctates. Decoration takes the form of meander patterns of parallel curvilinear lines. Related to the type Fisher trailed. Defined on the basis of 118 sherds analyzed from the Zimmerman site. Time period: Prehistoric. Cultural affiliation: Upper Mississippian.</p><br>
<h4>=Swanson complex=</h4><br>
<p>Swanson Smooth - grit-tempered vessels with smoothed surfaces and slightly outflaring rim profile and rounded and notched lips. Has relationships with pottery from Moccasin Bluff, Starved Rock and Hotel Plaza, the last two of which are Protohistoric to early historic. Defined on the basis of 133 sherds analyzed from the Zimmerman site. Time period: prehistoric. Cultural affiliation: Late Woodland.</p><br>
<p>Swanson cordmarked - grit-tempered, globular vessels with slightly elongated, semi-conoidal bases, cordmarked surface, slightly outflaring rim profile, rounded and notched lips, and fingernail impressions at the base of neck. Similar pottery has been found at Starved Rock and Hotel Plaza sites in Protohistoric and early Historic contexts. Also similar pottery has been recovered from the Fisher and Moccasin Bluff sites. Defined on the basis of 308 sherds analyzed from the Zimmerman site. Time period: Prehistoric. Cultural affiliation: Late Woodland.</p><br>
<p>Swanson check-stamped - grit-tempered globular vessels with check-stamped and/or cordmarked surface finish, slightly flaring rim profile, and flat lip. Lips often decorated with stick impressions or punctates. Defined on the basis of 3 rim sherds and 64 body sherds analyzed from the Zimmerman site. Time period: Prehistoric. Cultural affiliation: Early Late Woodland.</p><br>
<h4>=Danner complex=</h4><br>
<p>Danner grooved paddle - shell-tempered globular vessels with outflaring rim profile, “hourglass” strap handles and rounded, notched lips. Surface finish is grooved-paddle finish applied below the shoulder and smoothed finish above the shoulder; with punctate decoration where the two zones meet. Related to the type Madisonville grooved paddle. Defined on the basis of 64 sherds and one restored vessel from the Zimmerman site. Time period: prehistoric to early historic. Prehistoric Cultural Affiliation: Fort Ancient. Historic Cultural Affiliation: Unknown, possibly Shawnee.</p><br>
<p>Danner cordmarked - shell-tempered vessels with cordmarked surface finish below the shoulder and smoothed surface finish above, outflaring rim profile, angular lips and “hourglass” strap handles. Related to the type Madisonville cordmarked. Similar to the type LaSalle filleted at the Starved Rock and Hotel Plaza sites. Defined on the basis of over 100 sherds analyzed from the Zimmerman site. Time period: Prehistoric to early Historic. Prehistoric Cultural Affiliation: Fort Ancient. Historic Cultural Affiliation: Unknown, possibly Shawnee.</p><br>
<p>Keating cordmarked - shell-tempered globular vessels with slightly elongated semi-conoidal bases, flared rim profile, cordmarked surface finish, finger impressions on lip, and lug handles. Defined on the basis of 2 vessels, 9 rims and 133 sherds recovered in 1970-1972 and 70 sherds from the 1947 excavations. Closely related to Madisonville cordmarked. Time period: Prehistoric to early Historic. Prehistoric Cultural Affiliation: Fort Ancient. Historic Cultural Affiliation: Unknown, possibly Shawnee.</p><br>
<h4>=Huber component=</h4><br>
<p>Huber plain - shell-tempered globular vessels with outflaring rim profile. Sometimes strap handles and/or lip notching occurs. Known from several sites in the lower Lake Michigan region, centering on the Chicago area. Type defined from the Griesmer site in northwestern Indiana.</p><br>
<p>Huber trailed - like Huber plain except decorated with narrow to wide trailed lines from the neck to the shoulder. Known from several sites in the lower Lake Michigan region, centering on the Chicago area. Type defined from the Griesmer site in northwestern Indiana. Time period: Prehistoric to Protohistoric/Early Historic. Prehistoric Cultural Affiliation: Upper Mississippian. Protohistoric/Early Historic Cultural Affiliation: Unknown, possibly Miami, Illiniwek, Potawatomi or Chiwere Sioux.</p><br>
<h4>=Other types present=</h4><br>
<p>Zimmerman filleted - shell-tempered, globular vessels with slightly outflaring rim profile, rounded lip and applied rim strip at transition between neck and shoulder. Surface finish is plain or cordmarked, Similar fillets have been reported from the Moccasin Bluff (Moccasin Bluff Notched Applique Strip, a grit-tempered type) Time period: Protohistoric to historic. Cultural affiliation: Unknown.</p><br>
<p>LaSalle filleted - shell-tempered, globular vessels with flared rims, round to flat lips, and a notched fillet on the neck portion. Vessels of this type have been recovered from the Hotel Plaza site and the Rock Island II site in Green Bay, northern Lake Michigan. Like the Danner Series, this pottery type is also related to the Madisonville focus. Time period: Protohistoric to Historic. Cultural affiliation: Fort Ancient.</p><br>
<h4>Other artifacts</h4><br>
<p>Non-pottery artifacts recovered from the site included:</p><br>
<p>Stone artifacts - including projectile points, scrapers (subdivided into variants based on manufacturing technique), knives, drills and scraper-knives. Of the projectile points, the most numerous category was the small triangular Madison point.</p><br>
<p>Ground stone artifacts - including arrow shaft straighteners, manos, hammerstones, celts, sandstone abraders, a milling stone, whetstones, pendants, a gorget, gunflints, stone balls, a stone cup, a paint stone, worked slate pieces, red ochre fragments, and a piece of hematite.</p><br>
<p>Bone and antler artifacts - including awls, pins, perforators, mat needles, a bone projectile point, beamers, bison scapula hoes, an elk scapula spade, a styliform deer bone ornament, a deer rib spatulate instrument, a bird bone tube, a bone ring, a smoothed/polished bone disc, a ball made from a deer femur head, bone pendants, a fragmentary turtle carapace bowl, bone or antler game counters, an antler spearpoint, antler projectile points, antler tines, a small rib pottery decorating tool, a shaft wrench, antler flakers, bone tubes, an antler harpoon and antler digging tools. Many of these are described further below.</p><br>
<p>Shell artifacts - including spoons, a hoe and a pendant.</p><br>
<p>Pipes - an elbow pipe was recovered in 1947, and a polished granite pipe was recovered in the 1970-1972 excavations.</p><br>
<p>European trade goods - including beads, glass bottle fragments, kaolin pipe bowl fragments, brass coil and brass fragments, brass wire ornaments, copper or brass janglers or tinkling cones, copper or brass rolled tubular beads, sheet copper or brass fragments, a tomahawk, a compass, a brass serpent effigy, iron knife blades and fragments, iron nails, iron axe heads, an iron awl, and unidentifiable iron fragments.</p><br>
<p>The non-pottery artifacts found at an archaeological site can provide useful cultural context as well as a glimpse into the domestic tasks performed at a site; ceremonial or religious activities; recreational activities; and clothing or personal adornment.</p><br>
<p>Some of the most prominent and diagnostic non-pottery artifacts are presented here in more detail:</p><br>
<h3>Summary of occupations</h3><br>
<h4>Heally complex</h4><br>
<p>The Prehistoric Heally complex is represented by two house structures and the grit-tempered Langford Series and shell-tempered Heally trailed pottery types. The economy of the Heally complex was agricultural based with hunting (especially for deer and elk) also of importance. Based on the pottery types, Heally is closely related to the Upper Mississippian Fisher culture as noted at the Fisher site (Periods B and C), along with other sites in the area such as Plum Island and Gentleman Farm.</p><br>
<p>The time range of Heally is thought to be about A.D. 1300 to just before European contact or about A.D. 1600. A radiocarbon date of A.D. 1490 was obtained off collagen from a burial associated with a Langford pot.</p><br>
<p>There is some stratification in the areas of the site with Heally remains, and the pottery has been observed to change through time. Shell-tempered pottery is most common at the beginning of the sequence, while at the end almost all pottery is grit-tempered.</p><br>
<h4>Swanson complex</h4><br>
<p>This complex is represented by the Swanson Series pottery, a Late Woodland ware similar to that found in other sites ranging from Moccasin Bluff in Michigan to Hotel Plaza in Illinois. The type Swanson Check Stamped is similar to Early Late Woodland pottery types and indicates this complex is very ancient. The probable timeframe of Swanson is approximately A.D. 800 to just before European contact or about A.D. 1600. The Swanson people cultivated maize but a large part of their diet was supplied by hunting a wide variety of game, and gathering nuts (particularly hazelnut) and berries.</p><br>
<h4>Danner complex</h4><br>
<p>This complex is the only one that has been securely associated with early European trade goods so is fully post-European contact in age. The economy of the Danner complex is characterized by a heavier dependence on maize/beans/squash agriculture and hunting focused on the bison. Danner is represented by shell-tempered Fort Ancient pottery closely related to the Madisonville focus in Ohio.</p><br>
<p>Based on 1. The Danner pottery is unlike other Late Prehistoric pottery in Illinois and looks like Madisonville focus pottery from Ohio; 2. The Fort Ancient Madisonville focus pottery has been attributed by some archaeologists to represent the pottery of the Shawnee tribe; and 3. The Shawnee are recorded as being one of the tribes present at the Grand Village of the Kaskaskia; therefore it&#39;s been proposed that the Danner Complex represents the Shawnee tribe. However, this is still a matter of sharp debate among archaeologists.</p><br>
<h4>Huber component</h4><br>
<p>Huber is an Upper Mississippian culture closely related to Fisher and often Fisher and Huber pottery occur on the same sites. The Huber people also cultivated maize/beans/squash and other crops. They have been noted to have cultivated the Eastern Agricultural Complex (EAC) of small seed plants such as knotweed, little barley and goosefoot, among others. Hunting of deer, elk and bison also contributed to their diet. Huber pottery is a distinctive shell-tempered ware that occurs on a series of sites centered in the Chicago area, but also ranging to northwestern Indiana and southwestern Michigan. The Anker site near Chicago has produced a number of artifacts that seem to come from outside the area, especially from the Middle Mississippian cultures of Arkansas; indicating a wide-ranging trade network.</p><br>
<p>Huber pottery has been found at sites with European trade goods, indicating this culture lasted until after European contact. However, the specific tribe that produced the Huber pottery is still a matter of debate among archaeologists. The Miami seem to be the most likely, since they occupied the area around the south shore of Lake Michigan during early Historic times. However, the Illiniwek, Potawatomi and Chiwere Sioux are also considered possibilities.</p><br>
<h3>Seasonality, subsistence, and settlement patterns</h3><br>
<p>Based on the plant and animal remains collected at the site, along with large numbers of bison scapula hoes, archaeologists believe the Zimmerman site was an agricultural village that was occupied for most if not all of the year. This is also supported by the presence of two houses in the Heally Complex (Grid C), which were fairly substantial and implied a more or less permanent occupation.</p><br>
<p>There is a contrast in subsistence strategies between the historic Danner Complex and the prehistoric occupations at the site. The earlier subsistence patterns were more geared on exploiting multiple resources. The Danner Complex aimed for a more focused adaptation by relying on a few high-yield resources such as agriculture and bison hunting. Archaeologists also believe that the bison did not range into Illinois until after A.D. 1600, just before European contact, which is when the Danner Complex developed.</p><br>
<p>With regards to settlement patterns, the permanent houses of the Heally Complex seem to have given way to less permanent wigwam-type structures in the early Historic period. This may be why no houses related to the Danner Complex have been found. With a greater reliance on bison hunting, it may have been advantageous to have a more mobile settlement pattern in order to move with the herds. They would still have their primary village where they planted their crops but it would not be occupied continually.</p><br>
<p>Annunciation Greek Orthodox Church in Wauwatosa, Wisconsin, United States, was designed by architect Frank Lloyd Wright in 1956, and completed in 1961. It is listed on the National Register of Historic Places. The church is one of Wrights last works; construction was completed after his death. The design is informed by traditional Byzantine architectural forms, reinterpreted by Wright to suit the modern context. The churchs shallow scalloped dome echoes his Marin County Civic Center.</p><br>
<h2>Design</h2><br>
<p>According to Bruce Brooks Pfeiffer (Wright scholar and original archivist of the Frank Lloyd Wright Archives), "When he received a commission for a church for the Milwaukee Hellenic Community, Wright consulted his wife, who was brought up in the Greek Orthodox faith, about the predominant symbols of the church. The cross and the dome, was her reply." These two architectural forms dominate the design. The floor plan itself is a Greek cross. Wide arches support the upper level, or balcony. The roof dome sits atop an inverted dome, or bowl. Through simplification and abstraction of the forms, Wright succeeded in artfully translating the cross and the dome from their historical Byzantine context to the vastly dissimilar setting of the twentieth-century American Midwest. Much of the building utilizes a gold-anodized aluminum which, at the time, was a new material that Alcoa established. Since its construction, there have been a few renovations due to structural problems—including the replacement of the dome&#39;s original exterior tile to a synthetic plastic resin.</p><br>
<p>While Wright&#39;s design was inspired by traditional Byzantine forms and the Hagia Sophia in particular, the church was not meant as a purely historicist tribute; rather, it was an update and reinterpretation of architectural forms very much alive. In a letter dated September 9, 1958—when the project was well into the working drawings stages—Wright explained: "The edifice is in itself a complete work of modern art and science belonging to today but dedicated to ancient tradition—contributing to Tradition instead of living upon it."</p><br>
<p>The Stubbs Park–Stonewall Street Historic District in Dublin, Georgia is a residential area that was listed on the National Register of Historic Places in 2002. The district has been a residential neighborhood since the 1910s and is bounded by West Moore Street, Lancaster Street, Marion Street, Academy Avenue and Roosevelt Street. The Dublin Historic Neighborhood Association was formed in 1995 to preserve and improve the neighborhood.</p><br>
<h2>Houses on Bellevue Avenue</h2><br>
<p>The Weaver Mercantile Building is a historic building in the unincorporated community of Weaver, Minnesota, United States, built in 1875. It was listed on the National Register of Historic Places in 1978 for having local significance in the themes of architecture and commerce. It was nominated for being one of the few surviving commercial buildings in the once-thriving Mississippi River community, and a well-preserved example of a form of commercial Italianate architecture popular along the river valley.</p><br>
<p>Florence National Cemetery is a United States National Cemetery located in the city of Florence, South Carolina. Administered by the United States Department of Veterans Affairs, it encompasses 24.9 acre, and as of 2021, had over 12,000 interments.</p><br>
<h2>History</h2><br>
<p>The cemetery was originally created on land appropriated, and later purchased, by the federal government. The land was first owned by James H. Jarrott and was a quarter of a mile from the Florence Stockade. It became a National Cemetery in 1865, and remains from nearby Civil War battlefield cemeteries were transferred and reinterred there.</p><br>
<p>Florence National Cemetery was listed in the National Register of Historic Places in 1998.</p><br>
<h2>Notable interments</h2><br>
<p>Florena Budwin, a woman who donned a Union uniform and pretended to be a man so she could serve alongside her husband, who was a Captain, in the Civil War. Her husband was killed and she was captured by the Confederate forces, and served as a nurse at the Florence prisoner of war camp until her death.</p><br>
<p>Boatswain&#39;s Mate First Class James Elliott Williams, Medal of Honor recipient for action in the Vietnam War.</p><br>
<p>The Cathedral of St. John the Evangelist is the episcopal see of the Catholic Archdiocese of Milwaukee in Milwaukee, Wisconsin. The building itself is in German Renaissance Revival style, built in 1847, with changes after several fires. It is listed on the National Register of Historic Places and designated a Milwaukee Landmark. It is located just east of Cathedral Square Park.</p><br>
<h2>Description</h2><br>
<p>Established in 1837, St. Johns parish was the first Roman Catholic congregation in Milwaukee. In early years, the congregation worshiped at St. Peters church nearby.</p><br>
<p>Archbishop John Henni purchased land for the cathedral in 1844. The cornerstone was laid on December 5, 1847, after nearly $30,000 was raised for construction. It was completed in 1852 and dedicated to John the Evangelist. The building was designed by architect Victor Schulte in the nineteenth-century Zopfstil (or "pigtail" style) and built using Cream City brick, a distinct light colored brick found locally. Schulte designed two other Milwaukee churches in the same style: St. Marys on North Broadway and Holy Trinity at Walkers Point.</p><br>
<p>The first stage of the three-stage tower (up through the clocks) is Schulte&#39;s original design from the 1840s, and it is simpler than the higher stages. Its flat pilasters match those on the dignified lower main block of the church. This is in keeping with the original Zopfstil style, which was a reaction against the fancier Baroque style then popular in much of Europe. A steeple originally rose from that first stage.</p><br>
<p>After forty years Schulte&#39;s original steeple was deemed unsafe and the section above the clock was replaced with a taller tower in 1893, which was designed by noted Milwaukee architects George Ferry & Alfred Clas. The new two-stage tower is in a fancier style, making the whole building look less from the Civil War era.</p><br>
<p>A fire partially destroyed the church and most of its contents in January 1935. Richard Perrin tells: "The nave and chancel areas were gutted, precious stained glass windows, mural paintings, as well as a valuable pipe organ, were completely destroyed. The roof caved in and even the outside walls were severely damaged due to the intense heat. Only the tower remained intact. Fire Chief Peter Steinkellner was personally in charge of fighting the fire. When he realized that the church proper could not be saved, he concentrated his efforts on the tower and succeeded in saving it." Rebuilding was completed in time for midnight mass on Christmas Eve of 1942.</p><br>
<p>St. John&#39;s Cathedral features thirteen large hand-cut stained glass windows made by T.C. Esser Company of Milwaukee, designed by Erhardt Stoettner. A large tomb-shaped baptismal pool and marble font is also situated prominently in the center of the sanctuary. In 2001 a gated garden and atrium were added at the north end of the building.</p><br>
<p>The Cathedral of St. John the Evangelist celebrated its 150th anniversary in 1997.</p><br>
<h2>Renovation and controversy</h2><br>
<p>The building was rededicated on February 9, 2002, following a controversial renovation project which consisted of some restoration work on the historic structure but also a radical remodeling of the interior. A very vocal anti-renovation group of parishioners petitioned the Vatican for a halt to the renovation. Archbishop Rembert Weakland was the primary advocate of the renovation which he and supporters felt brought the cathedral into a more modern "post-conciliar" style. Weakland hired liturgical consultant Richard S. Vosko to plan the renovation. Among the most controversial elements of the renovation was the dismantling of the historic High Altar and Baldacchino in the apse which were replaced with organ pipes. The sanctuary and altar was then moved forward into the nave and crowned with a fiberglass crucifix designed by Italian sculptors Arnaldo Pomodoro and Giuseppe Maraniell. The piece is topped with a crown of thorns, fourteen feet in diameter, which hovers over the figure of Christ.</p><br>
<p>St. Cecilia Cathedral is the cathedral church of the Roman Catholic Archdiocese of Omaha, USA. Located at 701 North 40th Street in the Gold Coast Historic District, the cathedral was ranked as one of the ten largest in the United States when it was completed in 1959. It is also listed on the National Register of Historic Places.</p><br>
<h2>About</h2><br>
<p>Begun in 1905 and consecrated in 1959, it was designed by architect Thomas Rogers Kimball. Ranked among the ten largest cathedrals in the United States when it was completed, the cathedral is 255 ft. long, 158 ft. wide and 222 ft. tall (78 m by 48 m by 68 m).</p><br>
<p>The architectural style of the building is Spanish Renaissance Revival, rather than the European Gothic architecture popular in the early 20th century. Kimball justified his choice because of the early influence of Spain and Mexico on the region. It was once part of the missionary area subject to the See of Santiago de Cuba.</p><br>
<p>On March 16, 2007, a painting of The Virgin Immaculata was reported stolen from St. Cecilia. About 7:30 am, church officials noticed the artwork had been cut from its frame. The painting was an 8 foot by 5 foot image, part of a collection donated to the cathedral in 2002. The painting had an estimated value of $100,000.</p><br>
<h2>Organ</h2><br>
<p>The organ of the cathedral was built by Pasi Organ Builders and inaugurated in 2003. The instrument has 55 stops, three manuals and pedals. A unique feature of the organ is the option of playing 29 of the stops in either meantone or Wegscheider well-tempered tuning (the remaining stops being well-tempered).</p><br>
<p>Liberty Hall is a historic house museum in Crawfordville, Taliaferro County, Georgia, in the eastern Georgia Piedmont. It was the home of Alexander H. Stephens, a prominent Georgia political figure who was a member of the USA House of Representatives , Vice President of the Confederate States of America , and after the end of the American Civil War, a member of the USA House of Representatives again  and governor of Georgia . Stephens resided in the home from 1839 until his death in 1883. The home is now a museum and part of A. H. Stephens Historic Park, a Georgia state park maintained by the Georgia Department of Natural Resources and designated historic district. The larger A. H. Stephens Historic Park contains tent and trailer sites, picnic sites, and fishing ponds, as well as a nature trail and rustic cabins, and was mostly built by the Civilian Conservation Corps, beginning in 1933.</p><br>
<p>The structure was also known as Bachelor&#39;s Hall in 1859.</p><br>
<h2>History and description</h2><br>
<p>Stephens was born two miles north in a log cabin on his fathers farm; he was orphaned at the age of fourteen. The building was the former family home, but "had been sold out from under the brothers when their father died." In 1872–1875, Stephens tore down the old house, except for two rear rooms, and erected the current structure, which is restored to its original appearance. The home is a simple two-story white frame house. It has a hip roof and a veranda extending across its front. The first floor includes Stephenss bedroom, including original walnut furniture, a round table at which Stephens wrote, Stephenss wheelchair, a repaired original flowered ingrain carpet, and wallpaper with blue and gold stripes. The dining room includes "massive chairs" replicated from a single remaining original chair. To the rear is the library, where Stephens wrote from 1868 to 1870 his Constitutional View of the Late War between the States. Steps lead from the dining room to the second floor; at the top of the stairs is the "Tramps Room," where many guests, including uninvited guests, often stayed. To the homes rear are restored outbuildings: slave quarters, a wine cellar, smokehouse, woodhouse, washhouse, and chickenhouse. At the time of emancipation in 1864, Stephens owned thirty-one slaves, most of whom remained with him after the wars end. It was at Liberty Hall that Stephens was captured by Union Army forces from a detachment of the 4th Iowa Cavalry, after which Stephens formally surrendered to General Emory Upton and was imprisoned before being released.</p><br>
<p>Stephenss constant companion at the home was a large, fluffy white dog named Rio. Many of Stephenss books are housed in a smaller structure behind, where he spent much of his time after the war. The home was known for its many guests from all walks of life, who were invited for meals with Stephens. After Stephens&#39;s death in office in 1883, his sitting room was preserved as he left it, and the hall passed to his surviving relatives. The home served as a boardinghouse until 1932, when it was donated to the State of Georgia.</p><br>
<p>Today, the house is renovated to its 1875 appearance. The home was added to the National Register of Historic Places on May 13, 1970, and was designated a National Historic Landmark on May 4, 1983.</p><br>
<h2>Images</h2><br>
<p>Bannerman Plantation was a forced-labor farm of about 1,500 acre and located in northwest Leon County, Florida, just north of the old unincorporated community of Meridian and west-northwest of Lake Iamonia. Bannerman Plantation was established in 1852 or earlier by Charles Bannerman of North Carolina, who by 1860 had enslaved 67 people to work his land.</p><br>
<p>The plantation house is located at 13426 N. Meridian Rd. and is a 2-story home with porches on both floors that partially wrap to each side of the house. The porches are supported with eight stately columns. Fireplaces are located at both left and right sides of the home. A kitchen extends off the left side of the home. The boundaries of Bannerman Plantation itself are unknown.</p><br>
<p>The Leon County Florida 1860 Agricultural Census shows that Bannerman Plantation had the following:</p><br>
<p>Improved Land: 700 acre</p><br>
<p>Unimproved Land: 800 acre</p><br>
<p>Cash value of plantation: $14,475</p><br>
<p>Cash value of farm implements/machinery: $700</p><br>
<p>Cash value of farm animals: $5000</p><br>
<p>Number of slaves: 67</p><br>
<p>Bushels of corn: 4,000</p><br>
<p>Bales of cotton: 120</p><br>
<p>Connecticut Hall  is a Georgian building on the Old Campus of Yale University. Completed in 1752, it was originally a student dormitory, a function it retained for 200 years. Part of the first floor became home to the Yale College Dean&#39;s Office after 1905, and the full building was converted to departmental offices in the mid-twentieth century. It is currently used by the Department of Philosophy, and its third story contains a room for meetings of the Yale Faculty of Arts & Sciences, the academic faculty of Yale College and the Graduate School.</p><br>
<p>Connecticut Hall is the third-oldest of only seven surviving American colonial-era college buildings, and the second-oldest structure built for Yale College in New Haven. It was built, in part, by enslaved laborers. The first building in a campus plan known as Old Brick Row that stood from 1750 to 1870, it is the only survivor of a demolition campaign that created the modern Old Campus quadrangle. It was designated a National Historic Landmark in 1965.</p><br>
<h2>History</h2><br>
<p>When Yale College moved to New Haven in 1718, the town had constructed a wooden building known as the College House for its occupancy at the corner of College and Chapel Streets. By 1747, the College House held less than half of the college&#39;s enrolled students, and college president Thomas Clap announced that funds would be raised from the Colony of Connecticut for a "new College House" of three stories. Among the construction workers were at least five enslaved Africans, one of whom was owned by Yale president Thomas Clap, who were recorded as having worked for 436.5 days. In its original incarnation, just under one hundred rooms were fit under its gambrel roof.</p><br>
<p>Connecticut Hall became the anchor and template for Old Brick Row&#39;s building pattern, and became known as South Middle College as buildings were added to its north and south. By 1824, Old Brick Row had four "colleges" resembling Connecticut Hall: Union Hall (South College), Connecticut Hall (South Middle College), Berkeley Hall (North Middle College), and North College. When Old Brick Row was slated for demolition in the early 20th century, Connecticut Hall was saved by a group of alumni led by Professor Henry W. Farnam.</p><br>
<p>In 1925, Yale broke ground on McClellan Hall, a student dormitory that mimicked the appearance of Connecticut Hall. They dubbed McClellan "Hush Hall" and staged a "Pageant of Symmetry" to oppose its construction.</p><br>
<p>The building has been renovated several times and appears substantially different from its early appearance and function. A 1797 addition swapped the gambrel roof for a fourth story and a pitched roof. In 1905, a restoration led by Grosvenor Atterbury rebuilt the gambrel roof, bringing the building closer to its original form. From 1952 to 1954, the structure was reconstructed in which the building interior was gutted the structure and rebuilt for reading, seminar and faculty rooms.</p><br>
<h2>Uses</h2><br>
<p>Connecticut Hall remained a student dormitory for nearly 200 years, but has always been joined by other uses. Lacking sufficient space, Thomas Clap and other faculty would hold class sessions in the entryways. Before purpose-built structures could be constructed, a physics laboratory, art gallery, and natural history collection were housed in various parts of the building.</p><br>
<p>Beginning in mid-eighteenth century, a buttery occupied the southeast corner of the first floor, furnishing students with beer, alcoholic cider, and seasonal fruits. One Yale historian wrote of it:</p><br>
<p>The buttery closed in 1817, and Yale President Theodore Dwight Woolsey noted that "nothing became it like the leaving of it."</p><br>
<p>As a residence, South Middle gained a reputation as cramped, damp, and cold, and was considered undesirable housing by most of its occupants.</p><br>
<p>Shortly after the Atterbury restoration in 1905, Yale College Dean Frederick S. Jones announced he would move his offices there to "get to the center of the college." There they remained until World War II, when they were moved to Sterling-Sheffield-Strathcona Hall on Prospect Street and the Orr renovation fully converted the building to departmental offices and faculty meeting space.</p><br>
<p>Today, the building contains the offices of Yale&#39;s Department of Philosophy. The Faculty Room, where the Faculty of Arts and Sciences holds its meetings, is located on the second floor. There is also a computer cluster in the basement.</p><br>
<h2>Architectural significance</h2><br>
<p>Connecticut Hall is one of the oldest buildings in Connecticut and the only remaining example of colonial-era architecture built at Yale.</p><br>
<p>It was declared a National Historic Landmark in 1965.</p><br>
<p>The University of Georgia&#39;s Old College, constructed between 1801 and 1805, is modeled on Connecticut Hall.</p><br>
<p>The first two residence halls at Miami University in Oxford, Ohio, originally dubbed "Yale of the Early West", are modeled after Connecticut Hall.</p><br>
<h2>Notable residents</h2><br>
<p>Horace Bushnell, theologian and Congregationalist minister</p><br>
<p>Nathan Hale, American Revolutionary War spy</p><br>
<p>James Hillhouse, early New Haven benefactor</p><br>
<p>David Humphries, aide-de-camp to George Washington, ambassador and author</p><br>
<p>James Kent, American jurist and legal scholar</p><br>
<p>Jeremiah Mason, United States Senator</p><br>
<p>Noah Porter, president of Yale College</p><br>
<p>John William Sterling, lawyer and Yale benefactor</p><br>
<p>Noah Webster, author of the first American dictionary</p><br>
<p>Theodore Woolsey, president of Yale College</p><br>
<p>Eli Whitney, inventor of interchangeable parts and the cotton gin</p><br>
<p>The Jefferson Avenue Historic District was formed in 1998 and encompasses all structures between 25th and 27th streets on Jefferson Avenue in Ogden, Utah, United States.</p><br>
<h2>Description</h2><br>
<p>Historically, the Jefferson Avenue area between 25th and 27th Streets was home to many wealthy Ogden residents. Many homes were built in a distinct Victorian style that also permeated the surrounding area. Owners included J.C. Armstrong/David Eccles, Hiram H. Spencer/William Eccles, David C. Eccles, Isadore Marks/Adam Patterson Sr., William Wattis, Louis Moench, Thomas Jordan Stevens, William V. Helfrich and Edmund T. Hulaniski.</p><br>
<p>Ogden grew significantly from 1910–1950, and the industrial center of the city moved toward the district. This led to its eventual decline as a prime residential area. Unfortunately, many of the homes on the 2600 block of Jefferson Avenue were demolished. During the 1960s through the 1990s, most of the homes were converted to lower-income multi-family residences. Currently, almost all have been reverted to single-family dwellings. This has restored much of the elegant style to the neighborhood.</p><br>
<p>Fort Boise is either of two different locations in the Western United States, both in southwestern Idaho. The first was a Hudson&#39;s Bay Company  trading post near the Snake River on what is now the Oregon border , dating from the era when Idaho was included in the British fur company&#39;s Columbia District. After several rebuilds, the fort was ultimately abandoned in 1854, after it had become part of United States territory following settlement in 1846 of the northern boundary dispute.</p><br>
<p>The second was established by the US government in 1863 as a military post located fifty miles (80 km) to the east up the Boise River. It developed as Boise, which became the capital city of Idaho.</p><br>
<h2>Old Fort Boise (1834–1854)</h2><br>
<p>The overland Astor Expedition are believed to have been the first European Americans to explore the future site of the first Fort Boise while searching for a suitable location for a fur trading post in 1811.</p><br>
<p>John Reid, with the Astor Expedition, and a small party of Pacific Fur Company traders established an outpost near the mouth of the Boise on the Snake River in 1813. Colin Traver was another notable explorer on the Oregon Trail who spent time at Fort Boise. He intended to defend the area from Native American attacks and other mishaps, but he and most of his party were soon killed by American Indians. Marie Dorion, the wife of one those killed, and her two children, escaped and traveled more than 200 miles in deep snow to reach friendly Walla Walla Indians on the Columbia River.</p><br>
<p>On an 1818 map, the explorer and mapmaker David Thompson of the North West Company (NWC) called the Boise, "Reids River," and the outpost, "Reids Fort". Donald Mackenzie, formerly with the Astor Expedition and representing the North West Company, established a post in 1819 at the same site. It was also abandoned because of Indian hostilities.</p><br>
<p>In the fall of 1834, Thomas McKay, a veteran leader of the annual Hudson&#39;s Bay Company (HBC) Snake Country brigades, built Fort Boise, selecting the same location as Reid and Mackenzie. Although McKay had retired in 1833, the HBC Chief Factor John McLoughlin sent him to establish Fort Boise in 1834 to challenge the newly built American Fort Hall further east on the Snake River. McKay was the stepson of McLoughlin.</p><br>
<p>Although Fort Boise may technically have been built as a private venture of Thomas McKay, it was fully backed and supported by McLoughlin and the HBC. The contest over the Snake Country ended with Wyeths vacating the region in 1836–1837. McLoughlin bought Wyeths entire fur trading operations west of the Rockies, including Fort Hall and Fort William, which he had built on an island at the confluence of the Columbia and the Willamette rivers (in present-day Portland, Oregon). The HBC also took full control of Fort Boise in 1836.</p><br>
<p>The Hudson&#39;s Bay Company operated Fort Boise until its abandonment. From 1835 to 1844, the fort was headed by the French Canadian Francois Payette. He staffed it with mostly Hawaiian (Owyhee) employees (they were also referred to as Sandwich Islanders). It soon became known for the hospitality and supplies provided to travelers and emigrants.</p><br>
<p>In 1838, Payette constructed a second Fort Boise near the confluence of the Boise River and Snake River about five miles (8 km) northwest of the present town of Parma, Idaho and south of Nyssa, Oregon. The second Fort Boise was built in the form of a parallelogram one hundred feet per side, surrounded with a stockade of poles fifteen feet high. Later the logs were covered and replaced with sun-dried adobe bricks. In 1846, it had two tilled acres, twenty-seven cattle, and seventeen horses. In 1853, a flood damaged the fort, and the following year the Shoshone attacked an emigrant train and killed nineteen pioneers; the incident known as the Ward massacre took place within a few miles of the fort.</p><br>
<p>The military deemed the fort indefensible and, with the demise of the fur trade, it was abandoned in 1854. Traders took stock and goods to Flathead country.</p><br>
<p>In 1866, the Oregon Steam and Navigation Company constructed and launched the Shoshone, a sternwheeler, at the old Fort Boise location. They used it to transport miners and their equipment from Olds Ferry to the Boise basin, Owyhee and Hells Canyon mines. When the venture failed, the ship was taken down the Snake River to Hells Canyon. Badly damaged when it reached Lewiston, it was repaired and used for several years&#39; operating on the lower Columbia River.</p><br>
<p>The site of Old Fort Boise is listed on the National Register of Historic Places; it is within the Fort Boise Wildlife Management Area. A reconstructed replica of the fort in the town of Parma is open to the public by appointment with the city office.</p><br>
<h2>New Fort Boise (1863–1912)</h2><br>
<p>On July 4, 1863, the Union Army founded a new Fort Boise during the Civil War. (Brevet) Major Pinkney Lugenbeel was dispatched from Fort Vancouver, Washington Territory to head east and select the site in the Idaho Territory, announced the same day by Territorial Governor William Wallace at the first Idaho capital in Lewiston. The new location was 50 mi to the east of the old Hudson&#39;s Bay Company fort, up the Boise River at the site that would develop as the city of Boise. The new military post was constructed because of massacres on the Oregon Trail after the old fort was abandoned.</p><br>
<p>The new fort was near the intersection of the Oregon Trail and the roads connecting the Owyhee (Silver City) and Boise Basin (Idaho City) mining areas, both booming at the time. The fort&#39;s site had the necessary combination of grass, water, wood, and stone.</p><br>
<p>With three companies of infantry and one of cavalry, Major Lugenbeel set to work building quarters for five companies. They built a mule-driven sawmill on Cottonwood Creek, got a lime kiln underway, and opened a sandstone quarry at the small mesa known as Table Rock. Lugenbeel&#39;s greatest problem was the lure of the Boise Basin mines – more than 50 men deserted within the first few months.</p><br>
<p>Other names for the fort were the Boise Barracks and Camp Boise.</p><br>
<p>After 49 years at the fort, the US Army left the site in 1912. The National Guard occupied it until 1919, when the Public Health Service obtained it for a center for veterans of World War I and tuberculosis patients. The foothills above Ft. Boise were used for gunnery practice. During rehab efforts following the Foothills Fire in 1997, firefighters found several unexploded 75 mm artillery shells and other ordnance.</p><br>
<h2>Post 1938</h2><br>
<p>In 1938, the Veterans Administration acquired the site. Its successor, the DVA, operates the Boise VA Medical Center. In 1957, the Idaho Elks Rehabilitation Hospital was built on a portion of the old fort&#39;s land. The Federal Building (and US Court House), built in 1968, also occupies a section of the site. It was renamed for former US senator Jim McClure in December 2001.</p><br>
<h2>Fort Boise Park</h2><br>
<p>The City of Boise acquired a portion of the site in 1950 from the federal government after the Defense Department declared it surplus. Fort Boise Park was originally 40.37 acre in the old fort&#39;s southern corner, but in 1956, several acres were traded to the Idaho Elks organization (for their new hospital) in exchange for a site of approximately the same size of State Street. The site is currently about 33 acre in size.</p><br>
<p>Fort Boise Park has a community center, six lighted tennis courts, three lighted softball fields, and a regulation lighted baseball diamond (for Boise High School and American Legion league play only). A skateboard park is located in the northwest corner of the park. It is below ground with transition walls varying in height from 3 to 6 ft.</p><br>
<p>The final "wild west show" scene of the Clint Eastwood movie Bronco Billy was filmed in Fort Boise Park in October 1979.</p><br>
<p>The Boonton Iron Works were founded about 1770 by Samuel Ogden who, with others in his family, purchased a 6 acre tract along the Rockaway River, near present-day Boonton, New Jersey. Here rolling and slitting mills were erected that engaged in the manufacture of nail rods and bar iron. With the construction of the Morris Canal in 1830, the New Jersey Iron Company was organized. This company built a new plant costing $283,000  and imported skilled mechanics from England. Under Fuller & Lord  the enterprise become an integrated industry with ore and timber reserves, canal boats, furnaces, mills and auxiliary plants. After 1881, the business slowly declined. The plant closed in 1911.</p><br>
<h2>Historic district</h2><br>
<p>The property was listed as the Boonton Ironworks Historic District on the National Register of Historic Places on July 14, 2023, for its significance in engineering, industry, and transportation. The 53 acre historic district located in Grace Lord Park in the town of Boonton includes 13 contributing sites and 2 contributing structures. It includes the Arch Bridge from the Boonton Ironworks and sections of the Morris Canal, previously listed on the NRHP.</p><br>
<p>The Boston Manufacturing Company was a business that operated one of the first factories in America. It was organized in 1813 by Francis Cabot Lowell, a wealthy Boston merchant, in partnership with a group of investors later known as The Boston Associates, for the manufacture of cotton textiles. It built the first integrated spinning and weaving factory in the world at Waltham, Massachusetts, using water power. They used plans for a power loom that he smuggled out of England as well as trade secrets from the earlier horse-powered Beverly Cotton Manufactory, of Beverly, Massachusetts, of 1788. This was the largest factory in the USA, with a workforce of about 300. It was a very efficient, highly profitable mill that, with the aid of the Tariff of 1816, competed effectively with British textiles at a time when many smaller operations were being forced out of business. While the Rhode Island System that followed was famously employed by Samuel Slater, the Boston Associates improved upon it with the "Waltham System". The idea was successfully copied at Lowell, Massachusetts, and elsewhere in New England. Many rural towns now had their own textile mills.</p><br>
<h2>Origins</h2><br>
<p>Since 1793, when Samuel Slater established the first water-powered successful textile spinning mill in America at Pawtucket, Rhode Island, water power had been operating machinery to process cotton fiber into yarn, which would then be outsourced to small weaving shops and private homes where it would be woven into cloth on hand-operated looms. By 1810, dozens of spinning mills dotted the New England countryside. However, cloth production was still fairly slow with this system.</p><br>
<p>While on a visit to Lancashire, England, in 1810, Francis Cabot Lowell studied the workings of the successful British textile industry. He paid particular attention to the power loom, a device for which there was yet no equal in America. He knew that increased cloth production in the United States depended on such a machine. Upon his return trip to Boston in 1812, he committed the plans to memory, disguising himself as a country farmer, since the British banned export of the new technology at the time.</p><br>
<p>In September 1813, The Boston Associates purchased the Boies Paper Mill site in Waltham. With a ten-foot drop in the nearby Charles River, it was an ideal location to establish the new factory they envisioned.</p><br>
<h2>Revolution</h2><br>
<p>The group hired a skilled mechanic named Paul Moody of Amesbury to develop and construct the machinery and to supervise the construction of the new mill.</p><br>
<p>After over a year of trials, Moody was able to bring Lowells description of the power loom to fruition, making his own advancements along the way. It would be the perfection of Moodys power loom that would be the real "revolution" in American industry. For the first time, all phases of cloth production could be brought under one roof. Moody also developed a system of power transmission using a series of leather belts and pulleys powered by water turbines, that would prove much more efficient than the shaft and gear system then in use. The first mill was completed in late 1814, after almost a year of construction. Jacob Perkins was in charge of installing the first waterwheel, dam, flumes and raceway.</p><br>
<p>By early 1815, the cloth was sold. Production expanded quickly, as did profits. In 1816, a second larger mill was built next to the first mill. In addition to producing cloth, it also produced textile machinery for other companies. The two mills were later connected in 1843, as part of a planned expansion.</p><br>
<p>The power loom was soon copied by many other New England area mills, and modified and perfected along the way. Francis Cabot Lowell died in 1817, at age 42.</p><br>
<h2>The Waltham System</h2><br>
<p>The Boston Associates attempted to create a well-controlled system of labor which varied from the harsh conditions observed while in Lancashire. The mill owners recruited young Yankee farm girls from the surrounding area to come work the machines at Waltham. The mill girls, as they came to be known, lived in boarding houses provided by the company and were supervised by older women, and were subject to strict codes of conduct. They worked approximately eighty hours per week. The workers would wake to the factory bell at 4:40 in the morning. They would report to work at 5:00 and have a half-hour breakfast break at 7:00 a.m. They would then work until the half-hour- to forty-five-minute lunch break at noon. At 7:00 p.m. the factory would shut down and the workers would return to their company houses. This routine was followed six days a week. This system became known as the Waltham System.</p><br>
<p>By the early 1820s, the water power of the Charles River at Waltham was just about maximized, and the investors sought a new location to build even more mills. As the Merrimack Manufacturing Company, in 1822 they copied the Waltham System at the new city of Lowell, Massachusetts, on a much larger scale. The same group of investors would later establish Lawrence, Massachusetts; Manchester, New Hampshire; and several other new industrial centers throughout New England during the first half of the 19th century. The factory methods introduced at Waltham would also be copied by other industries in the years to follow.</p><br>
<p>The Waltham site would be expanded again during the late 19th century. The original mills were connected, the gable roofs removed, and additional floors were added with flat roofs. The Boston Manufacturing Company closed in 1930.</p><br>
<p>It was declared a National Historic Landmark in 1977. Some of the company&#39;s worker housing has also been listed on the National Register of Historic Places.</p><br>
<p>Today, the site is occupied by the Charles River Museum of Industry and Innovation, United States Department of Housing and Urban Development-subsidized housing for seniors, the Ira B. Gordon Center For the Arts (part of the Waltham Mills Artists Association), and other housing.</p><br>
<p>Fox Chase Farm is one of two working farms in the city of Philadelphia, Pennsylvania . Formerly owned by the Wistar family, the farm is located on Pine Road in the Fox Chase neighborhood of Northeast Philadelphia on the border with Montgomery County. The farm gradually became surrounded by the citys residential neighborhoods and was purchased by the city in 1975. It is now run as an educational farm by the School District of Philadelphia.</p><br>
<p>The farm was added to the National Register of Historic Places in 2005 under its old name of Stanley, a name it acquired when William Penn granted the land to Lord Stanley.</p><br>
<p>Lincoln Road Mall is a pedestrian road running east–west parallel between 16th Street and 17th Street in Miami Beach, Florida, United States. Once completely open to vehicular traffic, it now hosts a pedestrian mall replete with shops, restaurants, galleries, and other businesses between Washington Avenue with a traffic accessible street extending east to the Atlantic Ocean and west to Alton Road with a traffic accessible street extending to Biscayne Bay.</p><br>
<h2>History</h2><br>
<p>Originally, Lincoln Road was a forest of mangroves, as was most of Miami Beach. In 1912, Carl Fisher cleared a strip of the mangroves from the Atlantic (east) side of the island to the Biscayne Bay (west) side of the island and it eventually became the town&#39;s social center. Fisher maintained a real estate office on Lincoln Road. Over time Lincoln Road featured premium retail destinations like Bonwit Teller, Saks Fifth Avenue, and even Cadillac and Packard car dealerships.</p><br>
<p>In the 1950s Miami Beach architect Morris Lapidus, whose credits include Miami Beachs Fountainebleau and Eden Roc hotels, was commissioned to redesign Lincoln Road. Lapidus design for Lincoln Road, complete with gardens, fountains, shelters and an amphitheater, reflected the Miami Modern Architecture, or "MiMo", style that Lapidus pioneered in the 1950s. The road was closed to vehicular traffic and became one of the nation&#39;s early pedestrian malls and had its grand opening November 28, 1960. It billed itself as the "most magnificent mall in all of the Americas".</p><br>
<p>Today Lincoln Road features a state-of-the-art multiplex cinema, the architecturally acclaimed 1111 Lincoln Road parking garage, the acclaimed New World Center concert hall, the offices of Viacom Latin America, as well as over 200 boutiques, local merchants, national retail stores, and fine restaurants and bars. Lincoln Road is also home to the newly restored Colony Theatre, a performing arts venue, and ArtCenter/South Florida, a collection of studios and gallery spaces for artists. Street performers entertain a constant stream of tourists and locals on Lincoln Road. It is among the most popular destinations for visitors to the South Beach area.</p><br>
<p>In 2006, the Miami Beach Preservation Board approved the closure of traffic of the west end of Lincoln mall for the purpose of extending the popular pedestrian mall west to Alton Road. In 2010, Raymond Jungles designed this additional block. Jungles&#39; created an “urban oasis” by using eye-catching materials and biofiltration plants.</p><br>
<p>In 2011, the FIU School of Architecture opened a sister campus to its main campus at University Park, on Lincoln Road, with classroom spaces for FIU architecture, art, music and theater graduate students.</p><br>
<p>On May 6, 2011, by recommendation of DOCOMOMO (Documentation and Conservation of the Modern Movement) led by architect Allan T. Shulman the thoroughfare was added to the National Register of Historic Places as Lincoln Road Mall.</p><br>
<p>Kellys Westport Inn is a historical bar in Westport, Kansas City, Missouri, constructed around 1850. Kellys and the adjoining Chouteau Store are considered to be the oldest buildings still standing in Kansas City.</p><br>
<h2>History</h2><br>
<p>The grandson of Daniel Boone, Albert Gallatin Boone, operated a grocery store. A story about the Underground Railroad alleges that a southbound tunnel connects to a stable which is now also a bar called the Westport Saloon.</p><br>
<p>Around 1900, the Wiedenmann family operated a grocery there, which catered to Kansas City&#39;s elite. With the repeal of Prohibition, Phil Taggart rented the building and opened a saloon named the Wrestlers Inn. A few years later, Randal Kelly, born in County Clare, Ireland, became a bartender. He soon became a partner.</p><br>
<p>In 1959, the building was designated a national historic landmark.</p><br>
<p>In 1969, Kelly&#39;s Inn was registered as a historic building. The tunnel only connects two basements and there was no Underground Railroad association.</p><br>
<p>In 1996, Kansas City native Eddie Griffin used Kelly&#39;s as the inspiration for the setting of his sitcom Malcolm & Eddie, starring himself and Malcolm-Jamal Warner.</p><br>
<p>The Shawneetown Bank State Historic Site is an historic bank building in Old Shawneetown, Illinois, and is the oldest structure in Illinois built specifically as a bank. A Greek Revival structure built in 1839&ndash;1841 in what was then called Shawneetown, it was the home of a series of banks into the 20th century. The building is brick with a limestone front façade.</p><br>
<h2>Background</h2><br>
<p>The Illinois Historic Preservation Agency called Old Shawneetown "the gateway to the Illinois Territory" and "the commercial center of early Illinois". The area was a profitable salt mining area, and a federal land office was established in the village in 1812. Settlers sought credit to buy land from the federal land office, and local business sought paper money to ease business transactions.</p><br>
<p>Four privately-owned banks were chartered by the Illinois territorial legislature in 1816, and the first bank established in the Illinois Territory was by John Marshall, At the very beginning, John Marshall operated the bank out of his home.</p><br>
<p>The bank suspended operations in 1823 or 1824, after Illinois had become a state. However, at the recommendation of Governor Joseph Duncan, the legislature passed a new act on February 12, 1835, extending the charter to January 1857 and using the name State Bank of Illinois at Shawneetown. An act of March 4, 1837 increased the authorized capital stock from $300,000 to $1,400,000, of which $1,000,000 was reserved for the State and $400,000 for private investors. The Panic of 1837 caused holders of banknotes to turn them in at such a rate that the bank could not deliver specie on demand, and the bank suspended specie payments; to avoid a charter provision forcing liquidation on suspension for 60 days, the state legislature made indefinite suspension legal twice, once in July 1837 and once in 1839. Nonetheless, the prosperity of the mid-1830s boosted the confidence of bankers.</p><br>
<h2>Building and banks</h2><br>
<p>The bank building of historic note was erected in 1839 and 1840, at a cost of $80,000, on the north corner of Main Street and what was then called Main Cross Street. The cornerstone was laid on August 3, 1839, and the bank building opened in 1841.</p><br>
<p>This was not the most expensive of the transactions of the State Bank of Illinois, however: In the same period, it had loaned $80,000 to the state to complete the fifth state capitol, then under construction in Springfield. It also loaned another $200,000 to the commissioners of public works, on the promise of $500,000 in pledged securities, but neither the $500,000 pledge nor the $200,000 loan was ever paid. The bank finally failed in June 1842, with a banknote circulation of $1,300,000 still outstanding. At liquidation, the bank&#39;s real estate lot, including the building, was evaluated as $83,336.74.</p><br>
<p>The bank building was sold to Joel A. Matteson for $15,000. In 1853, then-governor Matteson started the State Bank of Illinois in the same building, under a free banking act. At the dawn of the American Civil War, Matteson feared that the Confederate forces might be able to overrun the area on short notice, and so closed the bank and sold the building, for only $6,500, to Thomas S. Ridgway. Ridgway took up residence in the building, and also, with John McKee Peeples, founded The First National Bank of Shawneetown in the building in 1865; both Ridgway&#39;s residence and the First National Bank were still in the building as of the mid-1870s. Thomas S. Ridgway remained president of the First National Bank until his death in 1897. His family continued to live in the bank until 1913.</p><br>
<p>The building housed numerous financial institutions through the 1930s.</p><br>
<h2>State ownership</h2><br>
<p>The site was deeded to the state.</p><br>
<p>The Shawneetown Bank was added to the National Register of Historic Places in 1972 under the name State Bank.</p><br>
<p>Some restoration was completed in the 1970s but much remained to be done, and the building was on the Landmarks Illinois list of the top 10 most endangered historical sites in 2009.</p><br>
<p>The bank building was not available for tours as of 2017 and.</p><br>
<p>Bartram&#39;s Garden is a 50-acre public garden and National Historic Landmark in Southwest Philadelphia, Pennsylvania, situated on the banks of the Tidal Schuylkill River. Founded in 1728 by botanist John Bartram , it is the oldest botanical garden to survive in North America.</p><br>
<p>Bartram&#39;s Garden has the only recreational access to the Tidal Schuylkill River and its wetlands. Its trails make up segments of the East Coast Greenway.</p><br>
<p>The garden acts as an outdoor classroom for learning about the plants and history of Southwest Philadelphia. The John Bowman Bartram Special Collections Library contains an extensive collection of documents and materials related to the history of the Garden, the history of Philadelphia, and the development of the field of botany. The garden also serves as a venue for art.</p><br>
<h2>The garden</h2><br>
<p>Colonial American botanist John Bartram founded the garden on his farm in Kingsessing, west of the Schuylkill River and miles outside and south of the what were then the borders of Philadelphia. He built its stone house between 1728 and 1731, added a kitchen around 1740, and installed a Palladian-inspired, carved facade between 1758 and 1770. The house still stands, as does his original garden (circa 1728) and greenhouse (1760). Three generations of the Bartram family continued the garden as the premier collection of North American plant species in the world. They sold it in 1850.</p><br>
<p>The current collection contains a wide variety of native and exotic species of herbaceous and woody plants. Most were listed in the Bartrams&#39; 1783 broadside Catalogue of American Trees, Shrubs and Herbaceous Plants and subsequent editions.</p><br>
<p>The garden contains three notable trees:</p><br>
<p>Franklinia alatamaha (Franklin Tree): William and John Bartram, Jr. encountered a small grove of this tree on October 1, 1765 while camping by Georgias Altamaha River. William eventually brought seeds to the Garden, where they were planted in 1777. The species, named in honor of John Bartrams friend Benjamin Franklin, was last seen in the wild in 1803. All Franklinia growing today are descended from those propagated and distributed by the Bartrams. They are credited with having saved it from extinction. There are a number of Franklinia on site at Bartram&#39;s Garden; the largest is located in the Common Flower Garden to the east of the Bartram House.</p><br>
<p>Cladrastis kentukea (Yellowwood): A notably old tree, possibly collected by French plant explorer André Michaux in Tennessee in 1796 and later sent to William Bartram. This specimen is located by the Kitchen Garden to the east of the Bartram House; there is another large, though younger, specimen slightly further east.</p><br>
<p>Ginkgo biloba (Ginkgo): This male ginkgo is believed to be the oldest ginkgo tree in North America, as the last of three original ginkgoes introduced in 1785 to the United States from China, via London. It is located to the east of the Bartram Barn.</p><br>
<h2>Landscape history</h2><br>
<p>Bartram&#39;s Garden is the oldest botanic garden to survive in the United States. John Bartram (1699–1777), well-known in colonial American as a botanist, explorer, and plant collector, established the garden in September 1728 after purchasing a 102 acre farm in Kingsessing Township, Philadelphia County for personal use.</p><br>
<p>With his lifelong devotion to plants, he developed it as a systematic collection. Increasingly he devoted himself to exploration, discovering new specimens and North American species, making substantial scientific achievements. John Bartram engaged in extensive exchanges of both plant materials and information with other botanists and operated a flourishing business based around transatlantic trade in plants. By the mid-eighteenth century, Bartram&#39;s Garden had "the most varied collection of North American plants in the world."</p><br>
<p>Following the American Revolution and John Bartrams death in 1777, Bartrams sons William Bartram (1739–1823) and John Bartram Jr. (1743–1812) continued the family&#39;s international trade in plants. They expanded both the botanic garden and the plant nursery. William became a respected naturalist, artist, and author using the garden to train the next generation of explorers and natural scientists. While Philadelphia operated as the temporary capital of the new nation, prominent visitors to the garden included members of the Continental Congress of 1784 and President George Washington in 1787. Manasseh Cutler, an amateur botanist from Massachusetts, gave a detailed account of his visit to the garden in 1787.</p><br>
<p>William Bartram&#39;s travel book, published in 1791, recorded his explorations in the South. Considered a classic in American nature writing, an edition was published as recently as 1998.</p><br>
<p>After the death of John Bartram Jr. in 1812, his daughter Ann Bartram Carr (1779–1858) took over the farm and business, along with her husband Colonel Robert Carr (1778–1866) and later their son John Bartram Carr (1804–1839). They continued the international commercial trade in native plants of North America, Ann Bartram Carr was the first of the Bartrams to open the garden to the public, planting a half-circle 1-acre garden for the enjoyment of the public, a green oasis in an increasingly industrial world.</p><br>
<p>In 1850, financial difficulties resulted in the family selling the historic garden to Andrew M. Eastwick (1811–1879), as a private park for his estate. Following Eastwick&#39;s death in 1879, botanist Thomas Meehan (1826–1901) organized a campaign in Philadelphia to preserve the garden. Charles S. Sargent of Boston, Massachusetts, who worked at the Arnold Arboretum, helped to organize a national campaign for funds.</p><br>
<p>The City of Philadelphia assumed control of the site in 1891, protecting it as a city park. The John Bartram Association was formally organized in 1893, to oversee preservation and presentation of the garden, house, and outbuildings. The garden was designated as a National Historic Landmark in 1960.</p><br>
<p>Sadly, in the interim between 1879 and 1891, the garden was left wanting in terms of care and interpretation. Many of the plants were stolen, died, or damaged.</p><br>
<p>The John Bowman Bartram Special Collections Library contains a vast collection of documents and materials related to the history of the Garden. A small number of examples in the garden&#39;s plant collection date from the Bartram family occupancy; however, documentation for what was once in cultivation is rich. This has supported efforts such as restoration of the Ann Bartram Carr Garden, a 19th-century semi-circular specimen garden to the west of the Bartram House. This area of the gardens was reopened in 2016.</p><br>
<p>In 2011, four acres along the Gardens southern border were established as the Sankofa Community Farm at Bartrams Garden, an African Diaspora-focused crop farm.</p><br>
<p>Bartrams Gardens long existence as a living botanical space, its focus on native plants, and its resonance with the surrounding area&#39;s history make it an unparalleled site for presenting and interpreting eighteenth- and nineteenth-century botanic and agricultural studies, the development of the field of botany, the plant and seed business in North American, the lives of John Bartram and his family, and domestic life in Philadelphia.</p><br>
<h2>Rambo&#39;s Rock</h2><br>
<p>Rambo&#39;s Rock was a large boulder on the eastern edge of the Schuylkill River, directly across from Bartram&#39;s Garden, just south of Grays Ferry on the plantation of Swedish immigrants Peter and Brita Rambo. The rock has disappeared and been replaced with a wharf. {{coord|39.93|-75.208}}</p><br>
<h2>Representation in popular culture</h2><br>
<p>*Diana Gabaldon&#39;s novel Written in My Own Heart&#39;s Blood (2014), chapter 24, features the garden as the setting for the reunion of the two main protagonists. This is one of the series known as the Outlander novels.</p><br>
<p>Stone Bridge crosses Bull Run at the eastern entrance of the Manassas National Battlefield Park in Prince William County, Virginia. The original bridge, built in 1825, was destroyed when Confederate forces evacuated Northern Virginia in March, 1862. In 1884, a new bridge, apparently similar to the original design, was built on the site of the old bridge. Modern day USA Route 29 crosses Bull Run on a bridge built in the late 1960s downstream of this one.</p><br>
<p>Fayetteville National Cemetery is a United States National Cemetery located on the southern side of the city of Fayetteville in Washington County, Arkansas. It encompasses nearly 15 acre. As of 2020, over 11,000 veterans and family members were interred in this location, with approximately 200 new burials per year.</p><br>
<h2>History</h2><br>
<p>The original plot of 6 acre of land for the National Cemetery was purchased in 1867 from Judge David Walker and Stephen Stone, names also associated with the historic Walker-Stone House in Fayetteville. The original layout was of an outer circle surrounding a six-pointed star with diamonds between the points of the star and a flagpole in the center. There were eighteen sections with an estimated capacity of 1,800 graves. The first interments were remains moved from battlefield cemeteries of the Battle of Prairie Grove and the Battle of Pea Ridge. By 1871 there were 1,200 interments made in the cemetery, most of which were unidentified.</p><br>
<p>During World War II the cemetery was enlarged, the layout was revised, and five more sections were added.</p><br>
<p>In 1989, the Regional National Cemetery Improvement Corporation (RNCIC – a group of locals, veterans, and other concerned benefactors) raised enough money to purchase an additional 3 acres of land, and donated it to the cemetery. The group continued their efforts over the years and donated numerous plots of land. In their latest and largest donation they donated 2.3 acres in ceremonies at the National Cemetery on November 9, 2013.</p><br>
<p>Fayetteville National Cemetery was placed on the National Register of Historic Places on July 28, 1999.</p><br>
<h2>Notable monuments</h2><br>
<p>The Revolutionary War Soldier Memorial, erected in the early 1990s.</p><br>
<p>The Purple Heart Memorial, erected in 2000 to honor Purple Heart recipients.</p><br>
<h2>Notable interments</h2><br>
<p>Clarence B. Craft (1921–2002), Medal of Honor recipient for action at Hen Hill, Okinawa in 1945</p><br>
<p>Vance Randolph (1892–1980), noted Ozarks folklorist and author</p><br>
<p>Fort Harrison National Cemetery is a United States National Cemetery located seven miles  south of the city of Richmond, in Henrico County, Virginia. Administered by the United States Department of Veterans Affairs, It encompasses 1.5 acre, and as of the end of 2005, had 1,570 interments.</p><br>
<p>The cemetery was established in 1866. It was listed on the National Register of Historic Places in 1995.</p><br>
<h2>History</h2><br>
<p>Established after the American Civil War as a place to reinter the Union dead from the various battlefield sites around the area, including from the Battle of Chaffin&#39;s Farm. The majority of interments at the cemetery are unknown, and also includes four Confederate prisoners of war that were held at the Fort during the time it was held by the Union.</p><br>
<h2>Notable interments</h2><br>
<p>Private George A. Buchanan (1842–1864), Medal of Honor recipient for action at the Battle of Chaffin&#39;s Farm during the Civil War.</p><br>
<p>Chericoke is a historic home and national historic district located near Falls in King William County, Virginia. It was built by Carter Braxton  in 1767. Located several miles northwest of his familys estate of Elsing Green, Chericoke served as Braxtons home from 1767 to 1786. Braxton is believed to have been buried in the adjoining family cemetery shortly after his death in 1797. The structure was rebuilt in brick in the Federal style by his grandson Dr. Corbin Braxton in 1828.</p><br>
<p>It was listed on the National Register of Historic Places in 1980.</p><br>
<p>Now, the property is in the possession of and maintained by Alice Horsely Siegel, who has since significantly renovated with the addition of several other small houses, though the structure of the original house, known as the "Big House," has largely remained unchanged.</p><br>
<p>The John Moses Browning House is a historic house within the Ogden Central Bench Historic District in Ogden, Utah, United States, that is individually listed on the National Register of Historic Places . It was the primary residence of American gun maker John Moses Browning from the turn of the 20th century until his death in 1926.</p><br>
<h2>Description</h2><br>
<p>The house was built between 1890 and 1900 and is located at 505 27th Street. The home is a 6,700-square-foot, -story, eight-bedroom mansion built of sandstone and red brick. The home remained in the Browning family until 1940 when it was sold and converted into apartments. In the mid-1940s the building was purchased by the YWCA and housed a women&#39;s shelter before being sold again to a law firm that used it as office space. In 2001 it was renovated again and converted back into a private residence. The property was listed on the National Register of Historic Places on April 24,1973.</p><br>
<p>The Bristol Virginia-Tennessee Slogan Sign is a landmark in the twin cities of Bristol, Virginia and Bristol, Tennessee, United States. The sign is positioned over State Street, a roadway along the border separating the two states. Although the landmark is technically located in both Tennessee and Virginia, the National Register considers the location as Tennessee.</p><br>
<h2>History</h2><br>
<p>In 1901, the center of Main Street was officially designated as the state line separating Tennessee and Virginia by the United States Congress. The street has since been renamed State Street.</p><br>
<p>According to the Bristol Historical Associations booklet The Historical Bristol Sign, the Bristol Gas and Electric Company donated and erected the sign atop a hardware store in 1910 to advertise the city. The sign originally contained the lighted slogan PUSH! - THATS BRISTOL referring to the hopes of continued growth and future prosperity for the two cities. In 1915, the sign was moved to its current location. In 1921, a contest was held in order to select a new slogan. The winning slogan, A GOOD PLACE TO LIVE, has remained the slogan ever since. The sign is featured at the beginning of a 2016 commercial for GEICO insurance.</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Technical details</h2><br>
<p>The lighted sign currently contains 1,332 light bulbs.</p><br>
<p>The Reverend Jesse R. Zeigler Residence is a Frank Lloyd Wright house in Frankfort, Kentucky.</p><br>
<p>The Zeigler house is the only Frank Lloyd Wright structure built in Kentucky during the lifetime of the famous architect. The design came from a chance meeting between Zeigler and Wright while both were traveling to Europe in late October 1909. They struck up a conversation and the commission of this structure, completed the following year, was the result. The structure is a typical example of Wright&#39;s "A Fireproof House for $5000".</p><br>
<p>The structure was placed on the National Register of Historic Places in 1976. The house is privately owned and is not available for tours.</p><br>
<p>Winchester National Cemetery is a United States National Cemetery located in the city of Winchester in Frederick County, Virginia. Administered by the United States Department of Veterans Affairs, it encompasses 4.9 acre, and as of the end of 2005, it had 5,561 interments. It is closed to new interments.</p><br>
<p>The cemetery was used for burials of Union soldiers. The Stonewall Confederate Cemetery was for Confederate soldiers.</p><br>
<h2>History</h2><br>
<p>The land around Winchester National Cemetery was used for burials as early as 1862, but after the Civil War additional land was appropriated by the federal government and it was officially dedicated on April 8, 1866. The land was not legally transferred to the USA government until Dec. 1, 1870, when the landowner, Jacob Baker, was paid $1,500 for the 4.89 acre tract and the deed was signed and executed.</p><br>
<p>Numerous Union soldiers from surrounding battlefields were reinterred here, including those from the different battles of Winchester, the Battle of Front Royal, Battle of New Market, Battle of Harpers Ferry, as well as actions at Snickers Gap, Martinsburg, West Virginia, and Romney, West Virginia.</p><br>
<p>The cemetery grounds underwent significant renovations during the 1930s, adding walls, maintenance buildings, and improving the headstones.</p><br>
<p>Winchester National Cemetery was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Notable monuments</h2><br>
<p>There are 14 monuments to Union regiments, corps, and states that either are represented by some of the soldiers buried in the cemetery and/or had participants in the 3rd Battle of Winchester. The oldest monument dates to 1864 and was erected for the 38th Massachusetts Infantry. The monuments are as follows:</p><br>
<p>12th Connecticut Infantry Monument (erected by the state of Connecticut on Oct. 19, 1890)</p><br>
<p>13th Connecticut Infantry Monument (erected by the state of Connecticut)</p><br>
<p>18th Connecticut Infantry Monument (erected by the state of Connecticut)</p><br>
<p>14th New Hampshire Infantry Monument (erected 1868)</p><br>
<p>114th New York Infantry Monument (erected by the state of New York)</p><br>
<p>123rd Ohio Infantry Regiment Monument (installed in 1899 by the State of Ohio)</p><br>
<p>34th Massachusetts Infantry Monument which includes a marble bust of Col. George D. Wells that sits atop a granite base</p><br>
<p>38th Massachusetts Infantry Monument (erected 1864)</p><br>
<p>3rd Massachusetts Cavalry Monument (dedicated in 1888)</p><br>
<p>a Massachusetts Monument features a bronze soldier atop a granite base (erected by the State of Massachusetts in 1907)</p><br>
<p>a Pennsylvania Monument (erected in 1890 by the Commonwealth of Pennsylvania)</p><br>
<p>two monuments for the 8th Vermont Infantry (one of these was erected in 1885 by Herbert E. Hill)</p><br>
<p>a monument to the 6th Army Corps (erected shortly after the Civil War).</p><br>
<p>There are also two "monuments," typical to National Cemeteries created for reinterred Union soldiers. They are both seven feet, six inches (152 mm) in height, and are made of an original cast iron seacoast artillery tube, secured by a concrete base. One is located on each side of the flagpole. There is no inscription on either monument.</p><br>
<p>An upright historical marker typical of those erected by the Virginia Department of Historic Resources is also near the opening of the cemetery, with a focus on the Third Battle of Winchester.</p><br>
<p>Wilmington National Cemetery is a United States National Cemetery located in the city of Wilmington, in New Hanover County, North Carolina. Administered by the United States Department of Veterans Affairs, it encompasses 5.1 acre, and as of the end of 2005, had over 6,000 interred remains.</p><br>
<h2>History</h2><br>
<p>In 1867, the land for Wilmington National Cemetery was purchased by the federal government. Most of the original interments were remains moved from Wilmington City Cemetery and nearby forts, such as Fort Fisher. By 1870 there were over 2,000 interments.</p><br>
<p>In 1918, there was an outbreak of influenza on board a ship docked at the Cape Fear River which was carrying a group of Puerto Rican laborers to Fayetteville, North Carolina to aid in the construction of Camp Bragg. Twenty-eight of the laborers died from the disease and were interred at Wilmington National Cemetery.</p><br>
<p>Wilmington National Cemetery was listed on the National Register of Historic Places in 1997.</p><br>
<h2>Notable interments</h2><br>
<p>George "Possum" Whitted (1890–1962), major league baseball player, World War I veteran.</p><br>
<p>There is one British Commonwealth war grave, of a Royal Artillery Gunner of World War II.</p><br>
<p>Calvary Presbyterian Church  is a Victorian Gothic church located in the Marquette University district of downtown Milwaukee, Wisconsin. It has been listed on the National Register of Historic Places since 1986.</p><br>
<p>The first Presbyterian congregation in Milwaukee was started by Reverend Cutting Marsh in 1837, and eventually became First Presbyterian. In 1849 North Presbyterian split off. In 1869, the Presbyterians on the west side wanted their own church, and some left each of the previous congregations to form Calvary. Calvary&#39;s first officers were John Plankinton, James B. Bradford, and Samuel C. West - all wealthy businessmen.</p><br>
<p>They built their grand church in 1870, designed by Milwaukee architects Henry C. Koch and Julius Hess in Gothic Revival style. It sits on a foundation of ashlar limestone. The body of the structure is cream city brick, a light-colored brick kilned from local clay, with accents of Ohio sandstone. The exterior has since been painted a bright red color. The ridge of the nave is 85 feet high. On one side is a 105-foot tower with a spire clad in pressed metal. On the other side is a huge 202-foot tower with a slate-clad spire. Both towers are buttressed and topped with crosses. The main entrance stands between the towers, beneath a rose window within a larger window.</p><br>
<p>For the 1870 construction, the builder was Simeon Babcock, the mason was Hiram R. Bond, ironwork was done by Wm. Bayley and Wm. Greenslade, and John Harding painted frescoes. In 1910 a pastors study and church office were added to the buildings southwest corner. After a fire in 1947, the south end of the nave and roof were repaired. In 1957 a classroom wing was added to the southeast corner of the building.</p><br>
<p>Calvary Church features an indoor prayer labyrinth laid into the floor. Its design was inspired by a 12th-century labyrinth found at the Cathedral of Chartres in Chartres, France, and has eleven circuits with a rosette center.</p><br>
<p>The WHS survey of 1986 noted that Calvarys building is "one of the best preserved Gothic churches in the city from the period immediately following the Civil War" and "one of Milwaukees oldest in continuous use."</p><br>
<p>Ohio Village is a living history museum in Columbus, Ohio, United States. It is operated by the non-profit Ohio History Connection.</p><br>
<p>The village, intended to provide a firsthand view of life in Ohio during the American Civil War, opened July 27, 1974, on 15 acre adjacent to the Ohio History Center in north Columbus. Currently, the Ohio Village is themed toward life in the 1890s. The buildings that make up the village are all reproductions and currently include: John Hauck Foundation Welcome Center, Ohio Village Schoolhouse, Town Hall, The Telegraphic Advertiser, P. Wylies Emporium, Mason Lodge, Muffin Meadow, American House Hotel and Tavern, Schmidt House, Church, Pavilion, H&P Womens Study Club, Ohio Bank, McKeens Ready Made Clothing, J Holbrook Photographer, Pharmacy, Blacksmith, Barn, Taylor House, Barrymore Funeral Parlor, Spinner & Co Toy Shop, Barber Shop, Barrington Bicycles, Murphys Lodging House, and the Burton House.</p><br>
<p>The Ohio Village is open to visitors Memorial Day weekend through Labor Day weekend starting in 2012. Visitors enter through the Ohio History Center museum and can enjoy the Village as part of their visit.</p><br>
<p>One of the most popular of the villages annual signature events is the All Hallows Eve, an 1860s-style celebration of Halloween that has taken place in late October every year since 1985. The festivities include fortunetelling, costumed interpretation of beliefs and superstitions related to the season, and a parade for the dead through the town center meant to appease roaming spirits. The night culminates in a production of Washington Irving&#39;s Legend of Sleepy Hollow.</p><br>
<p>Visitors can also experience Dickens of a Christmas every December. This event features live carolers; horse-drawn carriage rides; a Victorian Santa Claus; and Dickens&#39; own Scrooge, Marley, and the Ghosts of Christmas.</p><br>
<p>Ohio Village is also home to two historic baseball teams, the Ohio Village Muffins and Lady Diamonds. Both teams play by the 19th-century rules of the game, very similar to those followed by the New York Knickerbockers, an early baseball club, in 1845. The Ohio Cup Vintage Base Ball Festival, held at the village every year over Labor Day weekend, draws teams from across the country to compete in a festival played by the old rules.</p><br>
<p>The museum was listed on the National Register of Historic Places along with the Ohio History Center in 2023. It will close after the 2024 Ohio State Fair for a two-year renovation.</p><br>
<p>Bristol Municipal Stadium, also referred to as the Stone Castle, is an athletic facility located on the campus of Bristol Tennessee High School in Bristol, Tennessee. The structure features a design that is reminiscent of Medieval Gothic architecture and has a seating capacity of approximately 8,000. The stadium currently serves as the home field of the football team of Tennessee High School. The structure was added to the National Register of Historic Places in 1987.</p><br>
<h2>History</h2><br>
<p>Bristol Municipal Stadium was built during the New Deal by the Works Progress Administration (WPA). It is one of two WPA stadiums in Tennessee that are still in use, the other being Crump Stadium in Memphis. Construction of Bristol Municipal Stadium began in 1934 and was completed in 1936. The construction cost of $34,000 was shared between the federal government and the city of Bristol. The stadium opened on October 8, 1936.</p><br>
<p>The stadium has been the home field for football teams not only for Tennessee High School in Bristol, Tennessee, but also for Virginia High School in Bristol, Virginia, the two cities&#39; former segregated high schools for African-Americans, Slater High School in Bristol, Tennessee and Douglass High School in Bristol, Virginia, King College and Emory and Henry College.</p><br>
<p>A renovation of the facility was completed in 1986 at a cost of $500,000.</p><br>
<h2>Architecture</h2><br>
<p>The stadium is built of rough rubble limestone obtained from a WPA project nearby. Its design was influenced by Medieval Gothic architecture, featuring arched entries, 20 ft high crenellated walls, and unusual corner towers.</p><br>
<p>The Athenaeum Rectory is a historic building in Columbia, Tennessee that features both Gothic and Moorish architectural elements. Completed in 1837, the building originally served as the rectory for the Columbia Female Institute and as the residence of the school&#39;s first president, the Reverend Franklin Gillette Smith. The structure was added to the National Register of Historic Places in 1973.</p><br>
<h2>History</h2><br>
<p>The structure, later to be known as the Athenaeum Rectory, was originally intended to be the residence of Samuel Polk Walker, nephew of President James K. Polk. Construction commenced in 1835.</p><br>
<h3>Rectory of the Columbia Female Institute</h3><br>
<p>By the time construction was completed in 1837, the intended resident had been changed to the Reverend Franklin Gillette Smith (1797–1866) who came to Tennessee to serve as the president of the Columbia Female Institute, an Episcopal school for female students.</p><br>
<p>In 1851, the Rev. Smith resigned from the Columbia Female Institute due to alleged improprieties with a student. The authority who asked for his resignation was the Institutes co-founder, Rt. Rev. James Hervey Otey, the first Bishop of the Episcopal Diocese of Tennessee. Stung by a general backlash from Smiths local supporters, Bishop Otey moved his family and his administrative base to Memphis, Tennessee, which continued as the seat of Tennessee&#39;s bishops, informally and formally, until 1982, when the Episcopal Diocese of West Tennessee was created.</p><br>
<h3>Rectory of the Columbia Athenaeum School</h3><br>
<p>Still committed to his educational mission, Rev. Smith soon founded the Columbia Athenaeum School on property adjacent to the Columbia Female Institute. The Athenaeum Rectory continued to serve as the residence for the Smith family and housed reception areas for the newly founded school. The Columbia Athenaeum continued to operate until 1903. During its 52 years of operation, the school developed a national reputation for the breadth and quality of its curriculum. Reverend Smith believed that the intelligence level of women was equivalent to that of men and offered courses that were traditionally available only to men, such as calculus, physics, and marine biology. The main school complex consisted of twelve buildings.</p><br>
<p>Once the school had ceased operation, the property was sold by the Smith heirs. The facilities housed a local high school until 1914. In 1915, the City of Columbia constructed a new high school on the property.</p><br>
<p>Members of the Smith family continued to occupy the Athenaeum Rectory until 1973 when it was donated to the Association for the Preservation of Tennessee Antiquities for use by the residents of Maury County. Today, the rectory is operated as a historic house museum. In addition, a small cottage that Reverend Smith used as a study survives to this day. Events are held twice annually which recreate the educational experiences of young women at the female institute.</p><br>
<h2>Architectural significance</h2><br>
<p>The Athenaeum Rectory features elements from a variety of architectural styles: Gothic, Moorish, Greek Revival, Italianate, and others. The structure was designed by Adolphus Heiman, an architect of the early 19th century who designed many buildings in the Middle Tennessee area. Nathan Vaught, a master builder from Maury County, was responsible for construction of the building.</p><br>
<p>The renovated home is open for guided tours.</p><br>
<h2>Notable people</h2><br>
<p>Bessie Alexander Ficklen (1861–1945), writer, poet, artist</p><br>
<p>Loraine Bedsole Bush Tunstall (1881-1953), social reformer</p><br>
<h2>In popular culture</h2><br>
<h3>Television</h3><br>
<p>The Athenaeum was featured as a haunted location on the paranormal series, Haunted Live which aired in 2018 on the Travel Channel. The paranormal team, the Tennessee Wraith Chasers investigated the former headmaster&#39;s house, which is said to be haunted.</p><br>
<p>Woodlawn is a historic house located in Fairfax County, Virginia. Originally a part of Mount Vernon, George Washington&#39;s historic plantation estate, it was subdivided in the 19th century by abolitionists to demonstrate the viability of a free labor system. The address is now 9000 Richmond Highway, Alexandria, Virginia, but due to expansion of Fort Belvoir and reconstruction of historic Route 1, access is via Woodlawn Road slightly south of Jeff Todd Way/State Route 235. The house is a designated National Historic Landmark, primarily for its association with the Washington family, but also for the role it played in the historic preservation movement. It is now a museum property owned and managed by the National Trust for Historic Preservation.</p><br>
<h2>History</h2><br>
<p>George Washington planned the house to overlook Dogue Creek as well as be visible from (and viewing) Mount Vernon. In 1799, he gave the plantation (2,000 acre of land as well as gristmill and distillery) as a wedding present to Eleanor ("Nelly" or "Nellie") Parke Custis (Martha Washington&#39;s granddaughter who was raised on the Mount Vernon estate), and his nephew Major Lawrence Lewis. The President asked architect Dr. William Thornton, who had designed the USA Capitol, to design them a house.</p><br>
<p>Construction began in 1800 and was finished in 1805.</p><br>
<p>In late 1846, Eleanor Custis Lewis sold the property to a group of Burlington County, New Jersey Quakers from outside Philadelphia led by Chalkley Gillingham (1807–1881) and Jacob Troth. They harvested wood and began subdividing it into smaller farms to demonstrate that a free labor system could work at least as well as slave labor. Jacob Troth deeded the mansion to his son Paul Hillman Troth on March 25, 1850. The Quakers founded a cemetery and built a meetinghouse nearby in 1851 (for the Fairfax Section of the Alexandria Friends Meeting).</p><br>
<p>In 1853, the Quakers sold Woodlawn house and some land to Baptist John Mason, who likewise refused to use slave labor. By 1859, he and his wife operated a Sunday School on the property. After the American Civil War, his sons Ebenezer E. Mason and Otis T. Mason would found a Baptist church and burial ground across from the Quaker meetinghouse. Eben Mason and Quaker John Hawxhurst were Fairfax Countys two Unionist delegates to the Wheeling Convention of 1861 which established the state of West Virginia. Hawxhurst would become one of Fairfax Countys delegates to the Virginia Constitutional Convention of 1868.</p><br>
<p>Woodlawn&#39;s mansion house has fallen into disrepair several times, but all of its owners, recognizing its historic significance, have worked to preserve its character. Portions of the property were sold for development or merged into Fort Belvoir over the years. Progressive former USA Senator Oscar Underwood, one of the last Southern politicians to fight the Ku Klux Klan before World War II, retired to Woodlawn, where he died in 1929. Only about 160 acres surrounded the mansion house by 1970, and about 126 acres exist today. Since 1965, as discussed below, the Woodlawn Estate property is now also the site of the Pope-Leighey House, a Frank Lloyd Wright designed house.</p><br>
<h2>Current status</h2><br>
<p>Woodlawn is owned and operated as a museum by the National Trust for Historic Preservation, part of the National Trust Community Investment Corporation. It was the National Trust&#39;s first acquisition, achieved in the late 1960s as part of a nationwide campaign that included major donations from philanthropist Paul Mellon. It and the adjacent Pope-Leighey House are open to the public (admission charged) Friday through Monday from April until mid-December. The property name is Woodlawn & Pope-Leighey House. It also hosts special events, particularly weddings and an annual Needlework Show, and hosts museum tours.</p><br>
<p>In 1965, construction on Interstate 66 led to that home built in 1940 by architect Frank Lloyd Wright for Loren Pope to be moved to the grounds of the Woodlawn estate. Four years later, Virginia&#39;s historic preservation office nominated Woodlawn, then Woodlawn plantation, for listing on the National Register of Historic Places, and such was approved in 1970. Woodlawn plantation was designated a USA National Historic Landmark in 1998, and the boundaries were increased slightly in 2011 by a donation of land from nearby Fort Belvoir which had been part of the Woodlawn plantation. The Quaker meetinghouse once part of the plantation was added to the National Register in 2009. Arcadia Farm leases land at Woodlawn to demonstrate sustainable agriculture by the Arcadia Center for Sustainable Food and Agriculture since 2010.</p><br>
<p>In April 2024, Woodlawn unveiled two new exhibits, as part of an initiative focusing on "expanding the narrative" about the lands inhabitants. "Woodlawn: People & Perspective" describes Woodlawns connections to African-American history. "Offerings for the Tauxenent: Acknowledging Indigenous People", curated by Gabrielle Tayac, is dedicated to the Doeg people, who inhabited the site before it became a plantation. Because the Doeg left behind relatively few surviving artifacts, this exhibit features art made by contemporary native groups to commemorate the Doeg.</p><br>
<p>A different plantation with the same name on the Rappahannock River near Port Conway on Virginia&#39;s Northern Neck is the centerpiece of the Woodlawn Historic and Archeological District, recognized in 1990.</p><br>
<p>Fort Kaskaskia State Historic Site is a 200-acre  park near Chester, Illinois, on a blufftop overlooking the Mississippi River. It commemorates the vanished frontier town of Old Kaskaskia and the support it gave to George Rogers Clark in the American Revolution.</p><br>
<h2>An earthen redoubt</h2><br>
<p>The village of Kaskaskia, Illinois, was founded at the mouth of the Kaskaskia River in the Illinois Country as a missionary post by the Jesuits in 1703, on lands which were hunted and farmed by the tribal members of the Illinois Confederation. Soon afterwards, settlers from the Quebec and Louisiana regions began to trickle towards the rich, alluvial farmland of the central Mississippi Valley. They built a village and agricultural settlement around the location of the Jesuit mission, a half-circle of bottomland cradled by the Kaskaskia River and by an oxbow of the Mississippi.</p><br>
<p>French-speaking pioneers were noted throughout North America for their comparative fairness towards Native Americans. Furthermore, some French settlers and soldiers married and had children with Illini women, under the benediction of the priests of the Jesuit mission. However, as the Kaskaskia settlement grew throughout the 18th century, the local Indians may have realized that there might not be enough space for everybody. The French settlers raised Fort Kaskaskia around 1759; the fort stood atop the bluff that looked down upon the frontier village. "Fort Kaskaskia" is not technically a "fort", but an earthen redoubt. Frontier settlers throughout Woodland North America often built such redoubts as defensive moves during times of threat from Native Americans.</p><br>
<p>In 1763, the French ceded the eastern Illinois Country, including Kaskaskia and the abandoned fort, to Great Britain. The British did not use the fort and left Kaskaskia almost defenseless. Kaskaskia continued to exist as a French-speaking village on the Mississippi River frontier.</p><br>
<h2>A key strategic location</h2><br>
<p>In early 1778, George Rogers Clark, eager to defend what was western Virginia and the Kentucky country from attacks by Native Americans allied to the British, led a tiny force down the Ohio River. Clark hoped to achieve a strategic coup by linking his expeditionary column with the French-speaking settlements of the Mississippi Valley.</p><br>
<p>Clark and his men marched overland from Fort Massac, near the present-day Metropolis, Illinois, to Kaskaskia. They avoided being sighted by the British or their Native allies and arrived at Kaskaskia on July 4, 1778. Most of the Kaskaskia townspeople welcomed them.</p><br>
<p>After facing a threat from a British force at Vincennes, Indiana, Clark and his men used Kaskaskia as their jumping-off place to capture Vincennes in early 1779. The Americans controlled Kaskaskia and its redoubt throughout the rest of the war, and won legal control of the territory in the 1783 Treaty of Paris.</p><br>
<h2>Kaskaskia, Illinois</h2><br>
<p>Following the war, Kaskaskia was part of the United States and the large, French-speaking population became slowly Americanized. Lewis and Clark stopped here in 1803 and recruited many of the professional hunters and sharpshooters that accompanied them to the Pacific Ocean in their fateful 1804–1806 expedition.</p><br>
<p>The village served as the only capital of Illinois Territory in 1809–1818, and briefly (1818–1820) as the first capital of the new USA state of Illinois following Illinoiss admission to the Union on December 3, 1818. Pierre Menard, a wealthy fur trader who lived across the Kaskaskia River from Kaskaskia at the bottom of the Fort Kaskaskia redoubt, was elected the new states first Lieutenant Governor.</p><br>
<h2>Disaster and new life</h2><br>
<p>During much of the 19th century and especially after the American Civil War, the Mississippi River cut through many of its former oxbows and shortened its channel considerably.</p><br>
<p>In 1881, during a flood, the moving water of the Mississippi "discovered" a much smaller, parallel riverbed, the mouth of the Kaskaskia. Kaskaskias bed was a few feet lower than the Mississippis bed, so the whole river shifted to the new watercourse, cutting across the head of a former oxbow to do so.</p><br>
<p>For the village of Kaskaskia, the river&#39;s new course was disastrous. Their village had been by the waterfront of the much smaller river; now the mighty Mississippi was swallowing the town up.</p><br>
<p>Even the village cemeteries were at risk.</p><br>
<p>In an emergency operation, 3,000 graves of the departed of Kaskaskia were exhumed and the remains reburied atop the bluff to the east, at the site of old Fort Kaskaskia. The state of Illinois agreed to maintain the site forever as a memorial to the vanished historic village.</p><br>
<h2>The fort today</h2><br>
<p>Fort Kaskaskia is a campsite and picnic area overlooking the Mississippi River. The remains of the 18th-century redoubt can be vaguely traced in the earth. The prominent Kaskaskia cemetery recalls the 1881 flood.</p><br>
<p>The site was named one of the contributing properties to the new French Colonial Historic District in 1974, along with other area French-influenced sites such as Fort de Chartres, the Creole House, the Kolmer Site (a former Indian village), and the Pierre Menard House.</p><br>
<p>Westbeth Artists Housing is a nonprofit housing and commercial complex dedicated to providing affordable living and working space for artists and arts organizations in New York City. The complex comprises the full city block bounded by West, Bethune, Washington and Bank Streets in the West Village neighborhood of Manhattan, New York City; the complex is named for the streets West and Bethune.</p><br>
<p>It occupies the Bell Laboratories Buildings, which were the headquarters of Bell Telephone Laboratories 1898–1966, before being converted in 1968–1970. That conversion was overseen by architect Richard Meier. This low- to moderate-income rental housing and commercial real estate project, the largest in the world of its type, was developed with the assistance of the J.M. Kaplan Fund and federal funds from the National Endowment for the Arts.</p><br>
<p>Westbeth is owned and operated by Westbeth Corp. Housing Development Fund Corp. Inc., a New York not-for-profit corporation governed by an unpaid, volunteer board of directors. Housing Development Fund Corporations (HDFCs) are a New York City-specific model of cooperative low-equity homeownership., Westbeth has a very old population, including many original tenants – about 60% of tenants were over the age of 60 years, and about 30% were over the age of 70. It is thus a naturally occurring retirement community, and has an on-site social worker. Children of tenants are allowed to take over their parents&#39; apartment, and thus there is a multi-generational community. Due to the 10–12-year waiting period for an apartment, Westbeth closed its residential waiting list in 2007. This changed on March 18, 2019, when the institution started accepting applications for an indefinite period of time.</p><br>
<h2>History</h2><br>
<p>Westbeth is among the first examples of adaptive reuse of industrial buildings for artistic and residential use in the United States. It is a complex of 13 buildings in Manhattans West Village, which was originally part of the Bell Laboratories Building (1898–1966), one of the worlds most important industrial research centers. The Bell Labs building was home to many inventions, including the vacuum tube, the condenser microphone, an early version of television, and the transistor. The complex was vacated by Bell Labs in the middle 1960s, and remained empty until the Westbeth project started later in the decade. Using seed money from the J.M. Kaplan Fund and help and encouragement from the National Council for the Arts (which has since become the National Endowment for the Arts), an ambitious renovation project designed to create live-work spaces for 384 artists of all disciplines was initiated under the direction of developer Dixon Bain. The project was the first significant public commission of Richard Meier. Westbeth opened in 1970 for artists, dancers, musicians, actors, writers and film makers.</p><br>
<p>Artists of all disciplines are admitted as tenants in Westbeth after review by a committee of residential tenants in their discipline. They must also meet certain income requirements at the time of admission. (The waiting list for new residential tenants was closed in 2007.) As of 2014, residential tenants paid an average of $800 a month in rent, including electricity, approximately one-third to one-quarter the market rate for comparable space.</p><br>
<p>In addition to its residential component, there are also large and small commercial spaces, performance spaces, and rehearsal and artists&#39; studios. Westbeth is home to a number of major cultural organizations, including The New School for Drama, the LAByrinth Theater Company, the Martha Graham Center of Contemporary Dance, and Congregation Beit Simchat Torah, the first LGBT synagogue in New York and the largest in the world, with more than 800 members. The space occupied by The New School was previously occupied by an off-Broadway theatre.</p><br>
<p>Westbeth was added to the National Register of Historic Places on December 8, 2009, after the Greenwich Village Society for Historic Preservation (GVSHP), using funds from the J.M. Kaplan Fund, commissioned historic preservationist Andrew Dolkart to write a nominating report to list Westbeth on the State and National Register of Historic Places. The research included interviews with several key figures in the conversion of the former Bell Telephone Labs to the nations first subsidized housing complex for artists, including architect Richard Meier, choreographer Merce Cunningham, and Joan Davidson, the daughter of J.M. Kaplan who coordinated the founding of Westbeth. Following Prof. Dolkarts submission, and citing the "extraordinary significance" required to list sites on the State and National Register of Historic Places which are less than 50 years old, the New York State Historic Preservation Board unanimously approved the nomination of Westbeth to the State Register of Historic Places.</p><br>
<p>As part of an effort to extend landmark protections to the Far West Village, GVSHP campaigned to have the New York City Landmarks Preservation Commission (LPC) designate the entire complex as an individual landmark. In response, the LPC committed to this in 2004 as part of a broader series of area landmark designations it had agreed. In 2009, it took the formal step of scheduling the complex for a hearing and issuing a Statement of Significance. GVSHP urged the LPC to act before the end of 2010, the 40th anniversary of the complex&#39;s conversion to artists’ housing. On October 25, 2011, Westbeth was designated a landmark by the LPC.</p><br>
<h2>Organizations</h2><br>
<p>The Westbeth Artists Residents Council (WARC), elected by the residential tenants, acts as the buildings tenants association and provides cultural events to the public such as readings, performances, and film screenings in the Westbeth Community Performance Space and runs the Westbeth Art Gallery, which exhibits the work of both resident and non-resident artists; both in spaces donated by the corporation. The council receives public funding from the NYC Department of Cultural Affairs. In 2008, the council was awarded a major grant from the Pollock-Krasner Foundation for the councils official website. The website hosts individual artists pages showing the work of its artist-residents and publicizes cultural events and exhibitions sponsored by the council. The council also functions as the tenants association, and is involved in various larger community issues, particularly with regard to preserving the historic character of the West Village neighborhood, and zoning issues.</p><br>
<p>The Westbeth Beautification Committee is a subcommittee of the Westbeth Artists Residents Council and a Westbeth tenant volunteer organization. The committee has held an annual Westbeth Flea Market since 1984. The flea market is dedicated to fundraising for projects that benefit Westbeth, the neighborhood community, local charities and disaster relief.</p><br>
<h2>Notable people</h2><br>
<p>Westbeth Artists Housing has been home to a number of influential artists, musicians and performers including Diane Arbus – whose suicide in 1971 caused a stir in the young community – Robert Beauchamp, Barton Lidice Benes, Paul Benjamin, Karl Bissinger, Barnaby Ruhe, Black-Eyed Susan, Joseph Chaikin, David Del Tredici, Robert De Niro Sr., Vin Diesel, John Dobbs, Gil Evans, David Greenspan, Moses Gunn, director Tod Culpan Williams and his sister, former supermodel Rachel Williams, Hans Haacke, Billy Harper, Spencer Holst, Irv Teibel, Gayle Kirschenbaum, Anita Kushner, Ralph Lee, Hal Miller, Herman Rose, Barbara Rosenthal, Muriel Rukeyser, Ed Sanders, Tobias Schneebaum and Anne Tabachnick.</p><br>
<p>Merce Cunningham, the choreographer and dancer, had his studio and offices at Westbeth for more than 40 years, from 1971 up to the time of his death and the dissolution of the Merce Cunningham Dance Company in 2012.</p><br>
<p>Edward Field and his partner Neil Derrick, co-authors of The Villagers, lived together at Westbeth. As of February 2018, Field continued to live at Westbeth and was considered one of its icons.</p><br>
<p>Jean-Marie Haessle and his ex-wife Lucienne Weinberger were among the first residents of Westbeth.</p><br>
<p>One of the first feminist theater groups in the country, the Westbeth Playwrights Feminist Collective, originated here.</p><br>
<p>The film Growing Up At Westbeth by Christina Maile and Francia Tobacman Smith features archival photos, footage and interviews, 40 years later, with the children who grew up at Westbeth. The film was shown at the 40th Anniversary Celebration of Westbeth in October 2010 as part of the Westbeth Film Festival. A film about the noted feminist artist Anita Steckel, a resident of Westbeth, is in production by the same filmmakers. "Harry&#39;s Gift, A New York Story," is a 2015 documentary by Alexandra M. Isles about Harry Schunk, a photographer and long-time Westbeth tenant, and the man who cleaned out his apartment after his death.</p><br>
<p>The feature documentary Winter at Westbeth by Rohan Spong charts one year (2014–2015) in the life of the building and spotlights three long-term residents: filmmaker Edith Stephen, poet Ilsa Gilbert and notable contemporary dancer Dudley Williams of Martha Graham and Alvin Ailey fame. It had its world premiere in 2016 at the 60th Sydney Film Festival. The film then had its international premiere at IFC Center, where it screened in competition as part of Doc NYC, ultimately receiving a Special Jury Mention. It has since screened at the US Library of Congress.</p><br>
<p>Notable current and past artists-in-residence include:</p><br>
<p>Peter Bernstein – jazz guitarist</p><br>
<p>Miriam Chaikin, writer</p><br>
<p>Edward Field – poet</p><br>
<p>Valerie Ghent – musician, singer, songwriter, producer</p><br>
<p>David Greenspan – actor, playwright, director</p><br>
<p>Madeleine Yayodele Nelson – musician</p><br>
<p>Hugh Seidman – poet</p><br>
<p>Jelon Vieira – artistic director</p><br>
<p>Nasheet Waits – drummer</p><br>
<p>Old Fort Pierce Park is the site of Fort Pierce, a military installation constructed by the USA Army in Florida with the purpose of being a main supply depot for the army during the Second Seminole War. The modern town of Fort Pierce derives its name from this installation.</p><br>
<p>Fort Pierce, named for its first commander Benjamin Kendrick Pierce, was built in 1838 as a defensive position in the Second Seminole War. During the war, then second-lieutenant William Tecumseh Sherman was stationed at Fort Pierce. It was abandoned in 1842 at the end of the war and burned down the following year.</p><br>
<p>Today, the site is a park along the Indian River. The park is also the site of an ancient burial mound of the Ais Indian tribe which extended from Cape Canaveral to the Saint Lucie inlet.</p><br>
<p>This site once had a natural spring which made it a popular location for the Ais Indians and later for Spanish sailors who would stop here occasionally to refill their water jars before making the transatlantic crossing back to Spain. (1500-1750) It is not uncommon to find Spanish relics mixed with Indian potsherds in the river at that location.</p><br>
<p>The Palmolive Building, formerly the Playboy Building, is a 37-story Art Deco building at 919 N. Michigan Avenue in Chicago.</p><br>
<h2>History</h2><br>
<p>Designed by Holabird & Root, the Palmolive Building was completed in 1929 as the home of the Colgate-Palmolive-Peet Company.</p><br>
<p>Playboy Enterprises purchased the leasehold in 1965 and the structure was renamed the Playboy Building. It was home to the editorial and business offices of Playboy magazine until 1989, when Playboy moved its offices to 680 N Lake Shore Drive. Playboy had sold the leasehold in 1980 and signed a 10-year lease that expired in 1990. The new leaseholder renamed the building 919 North Michigan Avenue.</p><br>
<p>During the time that Playboy was in the building, the word P-L-A-Y-B-O-Y was spelled out in 9 ft illuminated letters on the north and south roofline. The building was designated a Chicago Landmark in 2000, and it was added to the federal National Register of Historic Places in 2003.</p><br>
<p>In 2001, the building was sold to developer Draper and Kramer who, with Booth Hansen Architects, converted it to residential use, with the first two floors dedicated to upscale office and retail space. High-end condos make up the rest of the building. The new owners restored the building&#39;s name to the Palmolive Building. The business address remains 919 North Michigan Avenue; however, the residential address is 159 East Walton Place. Notable residents of the building include Vince Vaughn, who bought a 12,000 ft2 triplex penthouse encompassing the 35th, 36th and 37th floors for $12 million. In February 2013, Vaughn offered the penthouse for sale as a pocket listing for $24.9 million. However, after multiple price cuts he chose in May 2016 to divide the unit in two, offering one for $8.5 million, and the other smaller unit for $4.2 million.</p><br>
<h2>Lindbergh Beacon</h2><br>
<p>A beacon named for the aviator Charles Lindbergh was added to the building in 1930. It rotated a full 360 degrees and was intended to help guide airplanes safely to Midway Airport. The beacon beamed for several decades, and ceased operation in 1981 following complaints from residents of nearby buildings. During the Palmolive Building&#39;s conversion to condominiums in the late 2000s, the beacon was modified to rotate back and forth, always pointing towards the waterfront, so as to avoid shining light into other buildings. Subsequently, the historic beacon resumed operation.</p><br>
<p>Fort George Wright is a land area in the northwest United States, located in Spokane, Washington&#39;s West Hills neighborhood. It is named after General George Wright, who had been stationed in the area.</p><br>
<h2>History</h2><br>
<p>In 1895, local residents purchased the area then known as Twickenham Park, which was deeded to the government for the construction of a military post. With Congress’ authorization, the $40,000 purchase of 1,022 acre was made in 1896.</p><br>
<p>Construction of the fort began in 1897 and it officially opened in 1899. Most of the buildings present were built between 1897 and 1906.</p><br>
<p>In 1909-1910 the fort was used to imprison members of the Industrial Workers of the World arrested during the Spokane Free Speech Fight.</p><br>
<p>"Between 1899 and 1940, it primarily housed mounted infantry units such as the 24th and 25th "Buffalo soldier" regiments, and the 4th Infantry Division which served during the massive St. Mihiel and Meuse-Argonne Offensives in WWI and would go on to land on the beaches of Normandy in WWII."</p><br>
<p>In September 1915, then Lieutenant Omar Bradley reported to the 14th Infantry Regiment (United States) in Ft. Wright.</p><br>
<p>In response to the Great Depression, President Franklin D. Roosevelt called for a series of New Deal programs including the establishment of a Civilian Conservation Corps (CCC). The CCC&#39;s inland NorthWest presence was established out of Fort George Wright, which was the headquarters for the Fort George Wright District.</p><br>
<h2>World War II</h2><br>
<p>Fort George Wright became headquarters for the Northwest Air District on 9 January 1941, responsible for air defense and antisubmarine patrols for the Pacific northwest of the United States.</p><br>
<p>On 28 February 1941, the headquarters staff of the Northwest Air District moved from Felts Field to new headquarters offices at Fort George Wright. From there the air activities of eleven northwest states would be directed. The District was redesignated 2d Air Force on 26 March 1941.</p><br>
<p>Clark Gable, of Gone with the Wind fame, was briefly stationed at Fort George Wright in January 1943 for training on his special assignment working on a recruitment film in an effort to recruit more gunners for the Army Air Force.</p><br>
<p>The parade ground was opened to air traffic on 12 June 1942, accommodating liaison and courier planes in support of the HQ 2d AF mission.</p><br>
<p>The headquarters of the 2d Air Force relocated in June 1943 to Colorado Springs, Colorado.</p><br>
<h2>Post-war</h2><br>
<p>Fort Wright was used for military purposes until 1957, when the government declared the fort surplus and gave educational facilities priority to purchase the property. Some of the land was used for Spokane Falls Community College in 1960.</p><br>
<p>In May 1976, the campus was listed as the Fort George Wright Historic District in the National Register of Historic Places. This was because on the site there is also located St. Michael&#39;s Mission; the building of 1882 was originally located near the Bigelow Gulch Road and was moved to the Fort Wright campus.</p><br>
<p>The Fort George Wright cemetery, a small square lot northwest of Fort George Wright, is also located on the land. It is managed by Fairchild AFB. It includes service men and families.</p><br>
<p>The original grass field for Memorial Stadium (now Joe Albi Stadium) was taken from the lush sod of the parade grounds at the fort in the summer of 1950.</p><br>
<p>In 2020, spurred on by calls for racial justice in the wake of the George Floyd protests, Fort George Wright Drive, which runs through the area, was renamed Whistalks Way. In 2021, the campus of the Mukogawa Fort Wright Institute was renamed as well, to Mukogawa USA Campus.</p><br>
<p>The Packard Proving Grounds , was a proving ground established in Shelby Charter Township, Michigan in 1927 by the Packard Motor Car Company of Detroit. It is listed in the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Packard had been founded in Warren, Ohio in 1899 by brothers James Ward Packard and William Doud Packard. The company attracted several investors from Detroit, and by 1903 the Michigan investors had convinced the Packard brothers to let them relocate the young business to the emerging motor capital of Detroit.</p><br>
<p>The Packard automobile quickly evolved into a superbly engineered prestige vehicle. To maintain and advance their product position, Packards general manager, Henry Bourne Joy, sought to establish a dedicated testing facility. Testing on local streets and roads was risky due to traffic, and could potentially expose Packards future product developments to curious competitors.</p><br>
<p>An early attempt to locate a testing facility north and east of Detroit near the city of Mount Clemens was not approved by the Packard board of directors. A site had already been acquired by Henry Joy, but the 640 acre was deemed to not have enough topographic diversity to allow for such things as hill testing. At the dawn of America&#39;s entry into World War I, Joy leased and eventually sold the site to the USA Government for use as a training airfield. The main access road to what was to become Selfridge Field was named Henry B. Joy Boulevard in honor of Joy.</p><br>
<p>Almost eight years passed before a proving ground was again pursued. This time, a 560 acre site in Charter Township of Shelby, Michigan about 20 mi due north of the Packard factory, was procured. Noted Detroit architect Albert Kahn was retained to design the buildings of the facility, which was opened in 1928.</p><br>
<p>The Packard Proving Grounds consisted of a 2.5 mi high-speed concrete oval track with timing tower, miles of test roads of various conditions, an airplane hangar (Packard was also involved in developing aircraft engines, and used the track&#39;s infield as a landing strip), a repair garage, and a gate house/lodge that housed the Proving Grounds manager and his family. The Tudor Revival lodge building also had garage space for eight cars, plus dormitory rooms for visiting engineers.</p><br>
<p>The garage building contained experimental and engineering laboratories allowing the testing of engines, chassis, electrical components, fuels, and lubricants under a variety of conditions.</p><br>
<p>During World War II, the Chrysler Corporation leased the entire Proving Grounds to test tanks and other armored vehicles, and constructed a new building on the site that was capable of servicing tanks.</p><br>
<p>Packard operated the Proving Grounds until August 15, 1956, when the dire financial condition of the Studebaker-Packard Corporation forced it to consolidate all operations at Studebakers South Bend, Indiana facilities. That same summer, Studebaker-Packard entered into a management agreement with the Curtiss-Wright Corporation in a last-ditch attempt to avoid bankruptcy. Studebaker-Packard would receive enough funding to continue with a 1957 product program, and in exchange Curtiss-Wright would receive a tax write-off as well as all of Studebaker-Packards defense contract business. Curtiss-Wright retained possession of the Packard Proving Grounds after the management agreement with Studebaker–Packard ended in 1959, as Curtiss-Wright was using Packard&#39;s former engine and transmission plant (located on the northwest corner of the Proving Grounds property) to manufacture jet aircraft engines.</p><br>
<p>Curtiss-Wright sold the property to the Ford Motor Company in 1961. Ford used the former engine plant to manufacture automotive interior trim, and at various times used the lodge and engineering buildings to make small service runs of prior model year trim parts. Ford also used the test track for early emission control testing, saving its main test track in nearby Romeo, Michigan for higher-priority testing.</p><br>
<p>By 1998, most of the Ford Motor Company&#39;s surplus land holdings were turned over to an internal unit called Ford Motor Land Development Corporation. With the growth through the years of the surrounding Shelby Township and Utica communities, Ford Land decided to make the excess property at the former Packard Proving Grounds available for development. The first proposal they entertained was for a United States Postal Service distribution center to be located along 23 Mile Road at the north end of the Proving Grounds site. Eventually, the intention was to level the original Packard buildings so that the entire site could be marketed.</p><br>
<p>Although Ford Motor had been a good employer and a good corporate citizen of the area, Ford Land&#39;s initiatives were met with some resistance on several fronts. Some residents objected to the noise, traffic, and light pollution that they felt a USPS distribution center would bring. Others decried the loss of a great amount of wildlife habitat. Historians and old car enthusiasts opposed the loss of a significant automotive landmark. Ford Land applied for demolition permits, but the permits were denied by Shelby Township. Meanwhile, several old car enthusiasts and members of the Shelby Township Historical Commission banded together to submit proposals to have the Packard Proving Grounds site named as a State of Michigan Historic Site, and to have it added to the National Register of Historic Places.</p><br>
<p>As opposition to the development began to grow, the USPS decided not to risk a protracted legal engagement and instead opted to locate their facility on a portion of the former Pontiac Motor Division site in Pontiac, Michigan.</p><br>
<p>A non-profit group called the Packard Motor Car Foundation was officially formed to approach Ford Land in an attempt to preserve the most historic and significant portions of the Proving Grounds. After several rounds of meetings, Ford Land generously offered to gift 7 acre of land to the Foundation, which contained the lodge building, the garage, the water tower, and the Chrysler Defense building. The Foundation would then be responsible for the restoration and perpetual care of the site. An additional 7 acre, containing the timing tower and a 458 ft section of the original test track, would be given to the Foundation once certain restoration and fundraising goals were met. The Foundation moved the aircraft hangar to the reserve property in 2003.</p><br>
<p>The Packard Proving Grounds was added to the National Register of Historic Places in 2000. The site is a part of the MotorCities National Heritage Area established in southeast Michigan by the National Park Service. All restoration work at the Packard Proving Grounds Historic Site is being done to National Park Service standards for historic preservation. Proposals for the future sustaining use of the site include an "Arsenal of Democracy" museum, which would illustrate the many contributions made to World War II by the automotive industry. The site could also be used as a facility for catered events such as business meetings, weddings, and car-related shows and meets.</p><br>
<h2>Description</h2><br>
<p>The remaining gateway structures occupy a 14.51 acre rectangular section of land east of the test track&#39;s original center. A pair of concrete driveways access the section, and lead through pair of monumental, twenty-two-foot wide gates of decorative wrought iron arches supported by fieldstone pillars. Nearby is the 1927 Gate Lodge, an asymmetrical, two-story structure made of stucco-covered, steel reinforced concrete block. The lodge has a steeply pitched slate roof with multiple intersecting gables and flat-roofed dormers. At the south end is a side-gabled, three-bedroom residence. Both the lodge and the gates were designed by Albert Kahn.</p><br>
<p>About 100 ft west of the Gate Lodge sits the single story, Tudor Revival style Repair Garage. Designed in 1928 by Albert Kahn, it uses the same wall and roof materials and the same asymmetrical, cross-gabled form as the Gate Lodge. The nearby Engineering Laboratory was designed by William E. Kapp in 1943. It is a -story rectangular building, constructed of concrete block with a flat asphalt composite roof. Three smaller outbuildings and a water tower are located north of the engineering building and repair garage. These are the 1927 tool shed, the 1929 garage and restroom, and the electrical building.</p><br>
<p>West of these buildings, where the driveways meet the test track, is the 1927 Timing House, an octagonal, two-story wood-frame structure with an open upper deck. The remnants of the original test track oval are nearby, and just east is the 1927 single story airplane hangar.</p><br>
<p>Lebanon National Cemetery is a United States National Cemetery located just outside the city of Lebanon in Marion County, Kentucky. Administered by the United States Department of Veterans Affairs, it encompasses 14.8 acre and as of the end of 2005 it had 4,699 interments. It is administered by the Zachary Taylor National Cemetery.</p><br>
<h2>History</h2><br>
<p>First established in 1862 as a cemetery for nearby Camp Crittenden, the Union supply depot in Lebanon, and the military hospitals in the area. It was designated a National Cemetery in 1867. Two donations of land in the 1980s expanded the cemetery to its current size.</p><br>
<p>A 2.8 acre portion of the cemetery was listed on the National Register of Historic Places in 1975, as Lebanon National Cemetery.</p><br>
<p>Numerous Union soldiers who died in the Battle of Perryville are interred there.</p><br>
<p>Chanticleer Garden is a 48-acre botanical garden built on the grounds of the Rosengarten estate at 786 Church Road in Wayne, Pennsylvania. Located on Philadelphia&#39;s historic Main Line, Chanticleer retains a domestic scale and welcomes visitors for relaxation, walking, and picnics. The grounds became open to the public in 1993. Visitors are welcome to tour the estate seasonally, from April through October. The house and grounds were added to the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>The estate was built in 1912 as a summer cottage for Christine Penrose and Adolph G. Rosengarten Sr., the latter of whom was the head of Rosengarten & Sons, a Philadelphia pharmaceutical manufacturer that his family had founded in 1822 to produce quinine. The company merged with Merck & Co in 1927.</p><br>
<p>Upon inheriting the estate in 1946, their son, Adolph G. Rosengarten Jr. established a foundation to ensure that Chanticleer would be developed as a public garden.</p><br>
<p>"Chanticleer" means rooster in French. The entrance gate is crested with a carved-stone rooster; other references to roosters can be found throughout the estate. Rosengarten Jr. hired Christopher Woods, a native of Britain, to develop the garden. After Rosengarten Jr.s death in 1990, Woods became the founding Executive Director and began a radical revision of the garden. He tore down Mr. Rosengartens stone house to create what is now known as "The Ruin".</p><br>
<p>Today, Chanticleer consists of a collection of open lawns and large trees. Different sections of the botanical gardens include:</p><br>
<p>Chanticleer House, the Main House, connecting to the entrance and Teacup Garden, which includes an open-air porch, providing a popular spot for visitors to sit and relax</p><br>
<p>Asian Woods, planting for which began in 1995, after being cleared the previous year, and now hosting a variety of species native to Korea, Japan, and China, but in the style of an American woodland garden</p><br>
<p>Pond Garden, a large man-made circular pond constructed in the early 1970s, acting as a mirror for the trees that surround it</p><br>
<p>Teacup Garden, a small garden serving as the entrance courtyard to the property</p><br>
<p>Minder Woods, a heavily vegetated area with towering red oaks and dark green pines, firs, false cypresses, and hemlocks, accessible via meandering stone paths</p><br>
<p>Tennis Court Garden, the estate&#39;s old tennis court, transformed into a garden</p><br>
<p>"The Ruin" Garden, the Minder House, built in 1925 and razed in 1999 to offer a series of spaces, pools, and fountains</p><br>
<p>Gravel Garden, small garden spaces, connected by a series of steps, and home to a variety of species of plants that are rare to the area and climate</p><br>
<p>Cutting Garden, a traditional cottage garden with a series of arches, fashioned from rebar and driftwood, for clematis and annual vines</p><br>
<p>Vegetable garden, where rustic benches help frame a simple traditional American vegetable garden</p><br>
<p>Bell&#39;s Run, with adjacent woods giving way to undulating lawns, a stream, and a functional 1940s waterwheel</p><br>
<p>Bell&#39;s Woodland, a naturalistic garden devoted to plants indigenous to the eastern USA</p><br>
<p>Bulb Meadow, on a hillside, highlighted by Spanish bluebells and fragile daffodils</p><br>
<h2>The grounds</h2><br>
<p>The Randolph Hotel or Hotel Randolph is a nine-story hotel located in Des Moines, Iowa, United States. This hotel was designed and built by the H.L. Stevens & Company in 1911. It rents rooms for a weekly rate. Most guests are considered long term, meaning they stay for more than thirty consecutive days. The Randolph Hotel is located on the corner of Fourth Street and Court Avenue downtown, along the historic Court Avenue strip.</p><br>
<p>It is an eight-story hotel "constructed in 1912 as the first tall and only absolutely fireproof hotel in the city" of Des Moines, Iowa. Ironically there was a fire on 2-19-2010. It is located at 200-204 4th Street in the downtown commercial district of Des Moines.</p><br>
<p>The property was added to the National Register of Historic Places (NRHP) on June 11, 2009, and the listing was announced as the featured listing in the National Park Service&#39;s weekly list of June 19, 2009.</p><br>
<p>In 2008, rehabilitation of the building into low- and moderate-income rental housing, to be funded in part by federal and state historic preservation tax credits, was planned.</p><br>
<p>Luther Burbank Home and Gardens is a city park containing the former home, greenhouse, gardens, and grave of noted American horticulturist Luther Burbank . It is located at the intersection of Santa Rosa Avenue and Sonoma Avenue in Santa Rosa, California, in the United States. The park is open daily without charge; a fee is charged for guided tours. It is designated as a National Historic Landmark as well as a California Historical Landmark .</p><br>
<h2>History</h2><br>
<p>Burbank lived in Santa Rosa for more than 50 years, and performed the bulk of his lifes work at this location. From 1884 to 1906 he lived in this parks Greek Revival house; he then moved across Tupper street to a house that no longer exists. After Burbank&#39;s death in 1926, his widow Elizabeth moved back to the house, where she remained until her death in 1977.</p><br>
<p>Burbank, a native of Massachusetts, was a nationally known figure who was responsible for creating many new varieties of plants. He is credited with introducing more than 250 new varieties of fruit, including a large number of plum varieties that are widely used in agriculture. A portion of the property was declared a National Historic Landmark in 1964. The site is included in the Santa Rosa historic landmarks and the Sonoma County Historical Society list of landmarks.</p><br>
<h2>Gardens</h2><br>
<p>The gardens include many of Burbanks horticultural introductions, with collections of cactus, fruit trees, ornamental grasses, medicinal herbs, roses, and walnuts. Most plants are labeled with botanic and common names. The gardens greenhouse was designed and built by Burbank in 1889; Burbank&#39;s grave is nearby, underneath a Cedar of Lebanon.</p><br>
<p>The Abraham Lincoln Memorial Garden, commonly known and referred to as the Lincoln Memorial Garden, is a self-governing 100-acre  woodland and prairie garden owned by the city of Springfield, Illinois, and managed by the Abraham Lincoln Memorial Garden Foundation. The gardens are made up of two major units, the 63 acre Jensen section bordering Lake Springfield, and the newer 29 acre Ostermeier Prairie Center section. There are also 19 acre of additional buffer properties. As of April 2006, the Garden is maintained by a full-time staff of four, supplemented by more than 150 volunteers and docents.</p><br>
<h2>History</h2><br>
<p>Lincoln Memorial Garden (LMG) is the inspiration of Springfield Civic Garden Club leader Harriet Knudson. When Knudson learned that the city of Springfield was acquiring land for the basin of a new reservoir, intended to serve as a source of city drinking water, she asked the city to set aside approximately 0.6 miles (1 km) of future shoreline as a garden to memorialize Abraham Lincoln. The city agreed and leased the Jensen section to Lincoln Memorial Garden in perpetuity. At the time of the lease, the future Garden site was cultivated farmland that contained approximately 12 trees.</p><br>
<p>As designer of the new garden, LMG selected Jens Jensen. A follower of the Prairie Style and its ideal of "organic architecture," Jensen designed the garden to reflect an idealized vision of the Midwestern woods and prairies. In his 1935 design, Jensen placed eight council rings, his design icon, throughout the Garden. These fire circles, built of Midwestern splitstone, are designed for groups of 12–50 people to sit together around an open fire. Most of the fire circles are situated to give all participants a view of Lake Springfield. By sitting in a fire circle, visitors have the opportunity to balance the four elements within themselves.</p><br>
<p>In 1936, the task of planting the Garden began. The Jensen plan called for 28 species of canopy trees, 14 species of intermediate-sized trees, 23 varieties of shrubs, and 11 varieties of wildflowers. All of these species are native to Illinois, Indiana, and Kentucky, Lincoln&#39;s three native states; Jensen was one of the first USA landscape gardeners to eschew the use of exotic plants. Construction of the Garden was helped by donations from the family of drugstore CEO Charles Walgreen. The Garden was dedicated in 1939.</p><br>
<p>In 1965, the LMG constructed a Nature Center within the Jensen Unit. In 1992, the Jensen Unit was added to the USA National Register of Historic Places as an example of Jensen&#39;s mature landscape design. In 1995, the 29 acre Ostermeier Prairie Center was added to the Garden. The Ostermeier Unit contains approximately 20 acre of Illinois tallgrass prairie under restoration.</p><br>
<h2>Recreation and activities</h2><br>
<p>Lincoln Memorial Garden maintains approximately five miles (8 km) of footpaths. Plantings within the Jensen Unit include the white oak (the Illinois state tree), the sugar maple, the dogwood, and the redbud. Plantings within the Ostermeier Prairie Center include prairie grasses such as big bluestem, with some fire-resistant tree specimens such as bur oak.</p><br>
<p>In early spring, LMG operates one of the southernmost maple syrup festivals in Illinois. The LMG maples yield only about 10–15 gallons of dark syrup in a good year.</p><br>
<p>In October, an Indian Summer Festival celebrates the turning of the leaves.</p><br>
<p>The garden maintains a nature center and gift store.</p><br>
<p>The grounds are open between sunrise and sunset daily.</p><br>
<p>Spindletop Hall, located at 3414 Iron Works Pike in Lexington, KY, is the former home of Pansy Yount, wife of Miles Franklin Yount of the Yount-Lee Oil Company. It is currently the home of the University of Kentucky&#39;s staff, faculty, and alumni club, which was founded in 1962.</p><br>
<h2>History of Spindletop Hall</h2><br>
<p>On November 14, 1925, Frank Yount struck oil at the Spindletop field in Beaumont, Texas. The field, which had basically played out since its original discovery on January 10, 1901, produced from new strata over 340,000 barrels of oil an acre per year, pumping in excess of 50 million barrels within 5 years. Now financially secure, Miles Frank and wife, Pansy, established in Beaumont a stable of American Saddlebred horses, quickly becoming recognized as a leader in the industry.</p><br>
<p>One day shy of the eighth anniversary of Spindletops second discovery, Frank Yount died of a heart attack at age 53 on November 13, 1933. Left as the beneficiary of great wealth, Younts widow, Pansy, mired in controversy in Beaumont, chose Kentucky as the place she would start anew. Spindletop Farm was established in 1935 on 836 acre of land, known previously as Shoshone Stud Farm, owned by William Robertson Coe.</p><br>
<p>At a cost of one million dollars, construction of Spindletop Hall began in 1935 and took two years to complete. Mrs. Yount deemed the house to be a showplace of Kentucky, a modern mansion of classical architecture. When completed, the mansion housed 40 rooms, each with its own thermostat, 14 bathrooms, 133 full-size exterior and interior doors, 102 windows with screens of copper, and 11 fireplaces, all encompassing over 45,000 ft&sup2; of floor space. At the time of its construction, the circular staircase and the 30X60 foot living room were the largest in Kentucky. Eventually, Mrs. Yount expanded the farm to 1,066 acre. On the property were seven miles (11 km) of metal fences, 17 houses for servants and farm hands, and 18 barns. There was a greenhouse, swimming pool, bath house, tennis court, two aviaries, and three kennels. Pansy Yount lived at Spindletop Hall with her adopted daughter, Mildred, and William Capers "Cape" Grant, her third husband and horse trainer. She was considered "new money" by the Kentucky Blue Bloods and was never accepted into their social circle.</p><br>
<p>During WWII she donated one of her husband Frank&#39;s Duesenberg cars to a local scrap drive.</p><br>
<p>In early 1959, Spindletop Farm was sold/donated to The University of Kentucky for $850,000. Mrs. Yount died in 1962. Also in 1962, Spindletop Hall became the residence of the University of Kentucky Faculty, Staff, and Alumni Club. The club&#39;s roster has grown from around 500 memberships to nearly 1800 families and individuals.</p><br>
<h2>Inside the mansion</h2><br>
<h3>The main floor</h3><br>
<p>Grand Entrance Hall</p><br>
<p>At the time the house was constructed, the heavy bronze doors which grace the foyer (and a similar pair which open from the library to the porte-cochere) cost $14,000. The original imported rug was designed to match the elaborately molded plaster ceiling. The fretwork panels in the stairwells serve as echo chambers for the four keyboard Kimball organ in the music room. Slipcovers, which the owner never removed (this is also true for all draperies in the mansion), hid the Italian velvet draperies. The massive bronze chandelier, which was designed in Europe, was made in three separate sections. The wall panels were handpainted in themes representative of mythology.</p><br>
<p>Music Room</p><br>
<p>To the right of the Grand Entrance Hall is the Music Room. The Show Cabinet adjacent to the fireplace wall encased two Stradivarius violins, among other quality musical instruments like a Welte-Kimball automatic organ.</p><br>
<p>The walls are burled mahogany with ceramic trim. The mantel is made of imported marble. An Aubosson carpet (since replaced) complemented the paneled walls. The crystal chandeliers and wall sconces were made in Czechoslovakia.</p><br>
<p>Library</p><br>
<p>Steps lead from the music room to the Library. There were in excess of 7,000 volumes here prior to Mrs. Yount&#39;s donation of the property. The current collection is courtesy of gifts from the membership of Spindletop. The center of the room is a fireplace mantel which was removed from Trentham Hall in Staffordshire, England. The bronze doors lead to the porte-cochere. An Oriental rug, which cost over $40,000, originally laid over the hardwood floor.</p><br>
<p>Elizabethan Living Room (Oak Room)</p><br>
<p>Formal Dining Room</p><br>
<p>Kitchens</p><br>
<p>Informal Dining Room</p><br>
<p>French Powder Room</p><br>
<h3>Upper level</h3><br>
<p>Adam Suite (Manion Suite)</p><br>
<p>Louis XVI Suite (Yount Suite)</p><br>
<p>Mr. Grant&#39;s Room (Board of Directors Room)</p><br>
<p>The Colonial Room (Kentucky Room)</p><br>
<p>Linen closet</p><br>
<p>Guest Rooms and Baths (Administrative offices)</p><br>
<p>Spanish Room (Sales and Operations offices)</p><br>
<p>Jackson Square, formerly the Place dArmes  or Plaza de Armas , is a historic park in the French Quarter of New Orleans, Louisiana. It was declared a National Historic Landmark in 1960, for its central role in the citys history, and as the site where in 1803 Louisiana was made United States territory pursuant to the Louisiana Purchase. In 2012 the American Planning Association designated Jackson Square as one of the Great Public Spaces in the United States.</p><br>
<p>The square is named for Andrew Jackson, the 7th president of the United States.</p><br>
<h2>Design and development</h2><br>
<p>Jackson Square was designed after the famous 17th-century Place des Vosges in Paris, France, by the architect and landscape architect Louis H. Pilié. Jackson Square is roughly the size of a city block (GPS +29.9575 -90.0630).</p><br>
<p>Sculptor Clark Mills&#39; equestrian statue of Andrew Jackson (a recasting of the Washington, D.C., statue), hero of the Battle of New Orleans and seventh USA president for whom the former military parade ground was named, was erected in 1856. Iron fences, walkways, benches, and Parisian-style landscaping remain intact from the original design by Micaela Almonester, Baroness de Pontalba, in 1851. She also built the Pontalba Buildings, which flank the old square.</p><br>
<p>The flagpole, symbolizing the 1803 ceremonial transfers from Spain to France and then from France to the United States, reflects Louisiana&#39;s rich colonial history. During the 1930s, the Works Progress Administration (WPA) repainted façades, renovated buildings, and improved landscaping in and around the park. In 1971, the pedestrian zone in the vicinity of Jackson Square was created, when three surrounding streets were closed to vehicular traffic—Chartres, St. Peter, and St. Ann.</p><br>
<h2>History</h2><br>
<p>Early French colonial New Orleans was centered on what was then called the Place d&#39;Armes. Under Spanish colonial administration in the second half of the 18th century, the name was Plaza de Armas, which also means a. Following the Great New Orleans Fire of 1788, the Spanish officials rebuilt the St. Louis Church (elevated to cathedral in 1793) in 1789 and the town hall (known as the Cabildo) in 1795.</p><br>
<p>Following the 1815 Battle of New Orleans, during the first half of the 19th century, the former military plaza was renamed Jackson Square, for the battle&#39;s victorious General Jackson. In the center of the park stands an equestrian statue of Andrew Jackson erected in 1856, one of four identical statues in the USA by the sculptor Clark Mills. The statue was dedicated in a grand ceremony on Saturday, February 9, 1856. The square also has four slightly older statues, neoclassical representations of personifications of the four seasons, one near each corner of the square.</p><br>
<p>The square originally overlooked the Mississippi River across Decatur Street, but the view was blocked in the 19th century by the construction of higher levees. The riverfront was long devoted to shipping docks. The 20th-century administration of Mayor Moon Landrieu installed a scenic boardwalk on top of the levee to reconnect the city to the river; it is known as the "Moon Walk" in his honor, and has since been expanded and paved. The space between Decatur Street and the "Moon Walk" is designated as "Washington Artillery Park".</p><br>
<p>On the north side of the square are three 18th-century historic buildings, which were the citys heart in the colonial era. The center of the three is St. Louis Cathedral. The cathedral was designated as a minor basilica by Pope Paul VI. To its left is the Cabildo, the old city hall, now a museum, where the final version of the Louisiana Purchase was signed. To the cathedrals right is the Presbytère, built to match the Cabildo. The Presbytère was initially planned for housing the city&#39;s Roman Catholic priests and other church officials. At the start of the 19th century, it was adapted as a courthouse, and in the 20th century it became a museum.</p><br>
<p>The Place dArmes was the site for public execution of criminals and rebellious slaves during the 18th and early 19th centuries. After the 1811 German Coast Uprising, three slaves were hanged here. The heads of some of the executed rebels were put on the citys gates.(The same thing happened in St. Charles Parish, and a third slave-trial tribunal was held in St. John the Baptist Parish.)</p><br>
<p>In the Reconstruction Era, Jackson Square served as an arsenal. During the insurrection following the disputed 1872 gubernatorial election, in March 1873, it was the site of the Battle of Jackson Square. A several-thousand-man militia under John McEnery, the Democratic claimant to the office of the Governor, defeated the New Orleans militia, seizing control of the state&#39;s buildings and armory for a few days. They retreated before the arrival of Federal forces, which temporarily re-established order.</p><br>
<h2>Artists, musicians, and New Age</h2><br>
<p>From the 1920s through the 1980s the square was famous as a gathering place of painters of widely varying talents, including proficient professionals, talented young art students, amateurs, and caricaturists.</p><br>
<p>The 1960s and 1970s saw the beginnings of the square as a place of business for New Age and pagan devotees telling fortunes and reading palms and tarot cards. They sit on St. Ann or St. Peter street, alongside of the park.</p><br>
<p>The section of Chartres St. which comprises the parvis of Saint Louis Cathedral, the Presbytère, and the Cabildo is shared by visitors and artists, musicians, and varied street performers, such as jugglers and magicians. The performers generally work for tips.</p><br>
<h2>Points of interest and events</h2><br>
<p>On the other two sides of the square are the Pontalba Buildings, matching red-brick, block-long, four‑story buildings built in the 1840s. The ground floors house shops and restaurants; the upper floors are apartments, the oldest continuously rented apartments in North America.</p><br>
<p>Diagonally across Decatur Street upriver from Jackson Square is the Jax Brewery building, the original home of a favorite local beer. After the company ceased to operate independently, the building was converted into several businesses, including restaurants and specialty shops. In recent years, some retail space has been converted into luxury condominiums.</p><br>
<p>Diagonally across Decatur Street downriver from the square is Café du Monde, open 24 hours a day. Part of the historic French Market, it is known for its café au lait, prepared with chicory, and for its beignets, served there continuously since the Civil War days.</p><br>
<p>Jackson Square has been the site of hundreds of live music events.</p><br>
<p>Every year, the square hosts the French Quarter Festival and Caroling in Jackson Square. Occasionally, formal concerts are given in the park.</p><br>
<h2>Representation in media</h2><br>
<p>Jackson Square has been filmed in numerous television shows and movies. Among these are the films Angel Heart, The Curious Case of Benjamin Button, King Creole, and television series K-Ville, Treme, Memphis Beat and The Originals.</p><br>
<p>It is the setting of an early scene in the graphic novel Polly and the Pirates by Ted Naifeh. In the Star Trek: Deep Space Nine episode "", Joseph Sisko (Brock Peters) reveals that he met his first wife Sarah (Deborah Lacey) in Jackson Square. Jackson Square is one of the most important locations that can be visited in the computer game Gabriel Knight: Sins of the Fathers. The park is a crucial site, with much of the game&#39;s action focusing on it and a number of characters making their appearance there.</p><br>
<p>In the 2017 novel Poisoned Tears, by Honduran author J. H. Bográn, one of the victims of the novel&#39;s serial killer is found in Jackson Square.</p><br>
<p>On Dick Clarks New Years Rockin Eve 17 with Ryan Seacrest, Jackson Square rings in the new year for the first time during the broadcast with the Fleur-de-lis drop at midnight Central Time (1:00 a.m. ET in New York&#39;s Times Square).</p><br>
<p>The Philtower Building is a historic building located at 427 South Boston Avenue in Tulsa, Oklahoma.</p><br>
<h2>Description and history</h2><br>
<p>Completed in 1928, it was designed by Edward Buehler Delk and financed by renowned oilman and dedicated philanthropist Waite Phillips (1883–1964). Associated architects Keene & Simpson performed architectural supervision in the construction of the building. In 1941, Phillips deeded the Philtower Building to the Boy Scouts of America (BSA), along with most of his Philmont Ranch and Villa Philmonte. The income from the building was used to help support Philmont. In 1977, the BSA sold the Building to a group of local investors. This group, The Philtower LLC, is the current owner. It is an example of neo-Gothic and art deco architecture.</p><br>
<p>According to the Tulsa Preservation Commission, the building represents the Gothic Revival architecture style. A notable feature is the illuminated, sloping tiled roof. The office on the 21st floor that was used by Waite Phillips has been preserved.</p><br>
<p>The vaulted lobby ceiling is composed of large carved stone rosettes that were created in Italy and reassembled in the building by the same craftsmen that made them.</p><br>
<p>Originally built as a high-rise office building, floors 12–20 were converted to loft apartments in 2004, making the Philtower Tulsa&#39;s first mixed use high-rise. The building has 24 floors and is 323 feet tall.</p><br>
<p>It was listed on the National Register of Historic Places in 1979.</p><br>
