<p>The Hale-Byrnes House is a historic home located at 606 Stanton-Christiana Road, Stanton, New Castle County, Delaware. It was built in 1750, and is a two-story, five bay brick dwelling. The house was built by Samuel Hale, who sold it to Daniel Byrnes in 1754. The house gained historic stature after the Battle of Cooch&#39;s Bridge, the only Revolutionary War battle in Delaware. After the skirmish General George Washington held a council at the house on September 6, 1777. The house is also the location of the 300-year-old George Washington Witness Tree of Delaware.</p><br>
<p>The site is listed on the National Register of Historic Places.</p><br>
<p>The house is open to the public on the first Wednesday of each month from 12 to 3 PM, and at other times by appointment. The house is also available for rental.</p><br>
<p>The Missouri Theatre, is a concert and entertainment venue in downtown Columbia, Missouri, occupying most of a city block between 9th street between Locust and Elm Streets. It was designed after the Opéra Garnier by the Boller Brothers, built in 1928, and is on the National Register of Historic Places. It is Columbia&#39;s only surviving pre-Depression movie palace and vaudeville stage. In 2011, the University of Missouri began a three-year lease of the facility. The Missouri Theatre is the resident home of the Missouri Symphony Orchestra, and is also frequently used by University of Missouri and civic groups. As of July 1, 2014, The University of Missouri took over ownership of the Missouri Theatre. It is one of the main performance venues for the University of Missouri School of Music.</p><br>
<h2>History</h2><br>
<p>The theater opened on October 5, 1928. It was built at a cost of over 400,000 dollars which is equivalent to over 4.5 million dollars today. Advertisements in the Columbia Daily Tribune proclaimed the "Formal Opening of your new Missouri Theatre—Friday Evening… A $400,000 Showhouse of Unrivaled Beauty and Extravagant Setting in Central Missouri. The Magnificent Splendor of This Palace of Amusement Will Dazzle and Thrill You." Telegrams were received from The United Artist in Hollywood, as well as from actors such as Charlie Chaplin and Gloria Swanson, congratulating the managers of the theater. On opening night the performers included The Missouri Rockettes (later to become the Radio City Rockettes) and Jack Keith and his Missouri Orchestra. It was rumored that Bob Hope also made an appearance. The Theatre operated much in this fashion as well as a movie palace until 1953.</p><br>
<p>Because of its size and extravagance the Missouri Theatre was difficult to maintain and was leased to Commonwealth Theaters, Inc. in 1953 who operated it as a single-screen movie theater until 1983. In 1979 the building was listed on the National Register of Historic Places. The advent of the multiscreen cinemas in Columbia lead to the eventually purchase of the theatre by the Missouri Symphony Society on January 7, 1988.</p><br>
<p>In 2002, the Missouri Symphony Society began plans to transform the Missouri Theatre into the Missouri Theatre Center for the Arts (MTCA). The Missouri Symphony Society experienced record-breaking success in 2005 with the Hot Summer Nights Music Festival as more than 11,200 music lovers attended concerts featuring Maestro Kirk Trevor, the Missouri Symphony Orchestra, and world-renowned guest artists throughout its eight-week summer season.</p><br>
<p>On July 28, 2007, the restoration of the Missouri Theatre began after the conclusion of the Hot Summer Nights Music Festival. The following summer, the fully restored Missouri Theatre Center for the Arts re-opened with Tony Bennett and the Hot Summer Nights Music Festival. The renovations included a new second floor with administrative offices and a 2,500 sq. ft. rooftop patio.</p><br>
<p>In 2011 Missouri Theatre became home to the University Concert Series, and acts as a recital and performance venue for many University of Missouri School of Music performance groups. The Box Office is operated by Event Production Services a department of Operation Auxiliary and Services in the division of Campus Operations at the University of Missouri.</p><br>
<h2>Architecture</h2><br>
<p>The interior of the building is ornate baroque and rococo style of the Louis XIV and XV periods. It was designed after the Paris Opera House by the Boller Brothers Architects of Kansas City, Missouri. Much original detail still exist, including Belgian marble wainscoting, plaster reliefs, stained glass and, one of the most notable features, an 1800-pound Italian auditorium chandelier featuring crystal prisms and etched panels. At one time, the deep red carpet in the grand lobby had the Great Seal of Missouri and the letter M woven into it.</p><br>
<h2>Missouri Symphony Orchestra</h2><br>
<p>Missouri Theatre is the home of mid-Missouri&#39;s only professional resident symphony orchestra, the Missouri Symphony Orchestra (MSO). Established by the Missouri Symphony Society in 1976, the MSO is composed of musicians from throughout the United States and around the world.</p><br>
<p>Through its annual eight-week season, the Hot Summer Nights Music Festival in June and July, and tours throughout the state and beyond, the Missouri Symphony Orchestra has been heralded by the Kansas City Star as an ensemble that performs with "energy and elan, as well as secure technique." Since 2001, the MSO has been directed by Maestro Kirk Trevor.</p><br>
<h2>Arts Education</h2><br>
<p>In addition to the Missouri Symphony Society&#39;s artistic programming, the Missouri Theatre hosts multiple arts education programs and organizations, including the:</p><br>
<p>MOSS Youth Orchestra</p><br>
<p>MOSS Junior Strings</p><br>
<p>MOSS Children&#39;s Choir</p><br>
<p>University Concert Series</p><br>
<p>University of Missouri School of Music</p><br>
<p>Plowman Chamber Music Competition</p><br>
<p>True/False Film Festival</p><br>
<p>Christ Church, also known as Christ Church New Haven, is an Episcopal parish church at 70 Broadway in New Haven, Connecticut. Christ Church follows an Anglo-Catholic style of worship and has a strong focus on urban ministry. The parish began as an offshoot from New Havens Trinity Church, the central Episcopal church on New Havens town green.</p><br>
<p>The church building was listed on the National Register of Historic Places in 2009.</p><br>
<h2>History</h2><br>
<p>The church building, completed in 1898, was designed by architect Henry Vaughan.</p><br>
<p>It is notable for its very fine Gothic architecture, and its central location near downtown New Haven makes it something of a landmark. Its stone tower is modeled on the tower of Magdalen College, Oxford. Vaughn personally chose the artists who created the beautiful interior. Bavarian-born Johannes Kirchmayer executed the intricate wood carving, notable in particular on the rood screen. The stained glass windows (including a large window at the back of the sanctuary above the baptismal font) were created by the noted firm of C.E. Kempe in London. The high altar also features monmunental stone figures and a carved Caen stone reredos inspired by examples in Winchester Cathedral and St. Alban&#39;s in England.</p><br>
<p>The church&#39;s Solemn High Mass (11:00am Sundays) is locally notable for its fine choral music and beautiful liturgy. Compline, sung at 9:00pm September–May, draws a large crowd of both young and old from the city of New Haven and surrounding communities as well as from nearby Yale University. Christ Church also houses the headquarters of the North American branch of the Society of Catholic Priests, a society of clergy in the mainstream of the Episcopal Church who practice the Anglo-Catholic tradition.</p><br>
<p>The Cuyuna Iron Range Municipally-Owned Elevated Metal Water Tanks are a group of five water towers within the Cuyuna Range in Crow Wing County, Minnesota. The water tanks, built between 1912 and 1918, were listed on the National Register of Historic Places because they represent the historical period of community planning, public works, and engineering that supported the development of the Cuyuna Range. Their construction was made possible by a favorable property tax arrangement on the iron mines that brought significant revenues to the towns of Crosby, Cuyuna, Deerwood, Ironton, and Trommald. The communities began around 1910, when iron mining started on the Range. The peak of mining employment was around 1920, and it started to decline around 1930. By the 1950s, iron mining was well in decline on the Cuyuna Range. As of 2022, it appears only two of the water tanks survive at their original locations.</p><br>
<p>State historian Theodore C. Blegen wrote,</p><br>
<p>A singular aspect of range-town life was the blossoming of schools, community buildings, parks, splendid streets, and other public improvements built generously, not to say lavishly. They set standards far beyond those of most Minnesota cities at the time. These reflected at once a public desire for the best, a concern on the part of citizens for the education of their children, and the availability of taxes to provide the funds without stint for public wants.</p><br>
<p>Even the smaller communities were able to install complete water systems. After the end of iron mining, as the communities lost population, many of the publicly funded improvements such as schools have disappeared, and many of the houses have either been torn down or were left abandoned and dilapidated. Within Trommald and Cuyuna, the water towers are the most visible remains of the mining boom years.</p><br>
<p>The five water towers are each separately listed on the National Register, as:</p><br>
<p>Elevated Metal Water Tank, Crosby (reference number 80002027), apparently no longer extant; formerly located approximately at 46&deg;29&prime;02&Prime;N latitude, 93&deg;57&prime;02&Prime;W longitude,</p><br>
<p>Elevated Metal Water Tank, Cuyuna (80002028), at 46.51914&deg; latitude, -93.92254&deg; longitude,</p><br>
<p>Elevated Metal Water Tank, Deerwood (80002029), formerly located at 46.47562&deg; latitude, -93.89941&deg; longitude,</p><br>
<p>Elevated Metal Water Tank, Ironton (80002030), whose moved location was formerly located approximately at 46&deg;28&prime;28&Prime;N latitude, 93&deg;58&prime;33&Prime;W longitude, Per a Brainerd Dispatch editorial, the Ironton water tower, originally located in north Ironton, was moved to Ironton&#39;s Morningside Park because underground mining of an iron ore vein made the ground unstable. It was moved on a windy day south along Curtis Avenue and was photographed mid-move in front of the Spina Hotel Block. When the editorial was written, demolition of the (moved) tower was planned; the city council was voting to appropriate $6,000 for its demolition.</p><br>
<p>Elevated Metal Water Tank, Trommald (80002038), at 46.50716&deg; latitude, -94.02072&deg; longitude.</p><br>
<p>Aspetuck is a village, which in Connecticut is an unincorporated community, on the Aspetuck River, in Fairfield County, Connecticut, mostly in the town of Easton but extending also into Weston.</p><br>
<p>It is significant for being the location of the Aspectuck Historic District, a well-preserved collection of houses from the 18th and 19th centuries. The area was settled in the 17th century. It was a long-time home of Helen Keller. According to a New York Times real estate section article, "The district gets its name from the Aspetuck Indians, who lived along the river. In 1670, they sold the land to English settlers for cloth, winter wheat and maize valued at $.36." Weston was incorporated in 1787, and Easton was split out and incorporated in 1845.</p><br>
<h2>Aspetuck Historic District</h2><br>
<p>The Aspetuck Historic District is a historic district that preserves part of the historic village. It was listed on the National Register of Historic Places in 1991. Helen Keller, who was blind and deaf, often walked through the neighborhood by herself, using as her guide a fence that extended down to the Aspetuck River.</p><br>
<p>The historic district is defined to "exclude excessive back acreage" and also "the district stops short of the historical extent of the community in order to exclude an area where the majority of buildings would be noncontributing due to alterations or recent origin."</p><br>
<p>The district "is significant because it embodies the distinctive architectural and cultural-landscape characteristics of a farming community from the late colonial and early national periods.... The widely spaced distribution of houses, most accompanied by a barn and all with ample yards that once served as pasture, field or garden recalls the appearance of an inland Connecticut farming community when agriculture was the basis of the local economy. The predominant type of building in the district—the traditional center-chimney, gable-roofed dwelling—is also characteristic of Connecticut farming communities of the late 18th and early 19th centuries...."</p><br>
<p>The district is significant because a house on Redding "was the long-time home of Helen Keller, who lost her hearing and sight at an early age, and whose long struggle to overcome these handicaps has provided inspiration to millions...."</p><br>
<p>Significant structures in the district include:</p><br>
<p>Orando Perry House, 1840, which "displays the impact of Greek Revival architecture house with in its small porch with Doric columns and flush-boarded pediment"</p><br>
<p>Bradley House, 7 Old Redding Road</p><br>
<p>Helen Keller House, 1946, 163 Redding Road, "a true Colonial Revival dwelling, built in the 20th century after late 18th-century precedents, rather than the 20th-century modification of an earlier house" It has a denticular cornice and a "pedimented entry shelter on Tuscan columns", among other details.</p><br>
<p>Peter Williams House, 1810, 65 Redding Road</p><br>
<p>David Bradley House, 1790, 135 Redding Road</p><br>
<p>a bridge (Connecticut Dept. of Transportation Bridge #4933), a reinforced concrete arch bridge with cobblestone-faced spandrels and parapets, from 1941</p><br>
<p>a dam, a rubble-stone dam from mid-19th century at the site of the Orando Perry grist mill</p><br>
<p>The Walker House in Garrard County, Kentucky is a historic house on Kentucky Route 1295 about 7.5 mi north of Lancaster, Kentucky. It was added to the National Register of Historic Places in 1985.</p><br>
<p>It is a two-story, 14-room central hall plan Italianate-style house built in 1824.</p><br>
<p>It was home of the Walker family who developed the "Walker hounds" for fox hunting. It has also been deemed Garrard County&#39;s "best example of a brlck Italianate residence."</p><br>
<p>The Oliver Kelley Farm is a farm museum in Elk River, Minnesota, United States. From 1850 to 1870 it was owned by Oliver Hudson Kelley, one of the founders of the National Grange of the Order of Patrons of Husbandry, the countrys first national agrarian advocacy group. The Oliver Kelley Farm is operated as a historic site by the Minnesota Historical Society. It was declared a National Historic Landmark in 1964 under the name Oliver H. Kelley Homestead—which also places it on the National Register of Historic Places—for its national significance in the themes of agriculture and social history. It was nominated as a representative of the beginnings of agrarian activism in the United States, setting the stage for the Farmers Alliance and the People&#39;s Party of the late 19th century.</p><br>
<h2>History</h2><br>
<p>Oliver Kelley (1826–1913) moved to Minnesota in 1849, the year that Minnesota Territory was formed. Although he knew little about farming, he taught himself using agricultural journals and correspondence with other "scientific-oriented" farmers. He became an expert on farming in Minnesota, and he learned how adverse events such as bad weather, debt, insect pests, and crop failures could devastate a farmers fortunes. In 1864, he became a clerk in the United States Department of Agriculture. After the end of the American Civil War, he toured the agricultural resources of the Southern states. When he returned to Washington, D.C., he was convinced that farmers fortunes could be improved through cooperative associations with other farmers. Along with several other associates, he founded the National Grange of the Order of Patrons of Husbandry in 1867. The following year Kelley returned to this farm, helping organize Minnesota&#39;s state-level Grange and 37 local Granges.</p><br>
<p>Kelley moved back to Washington, D.C., in 1870, suffering from ill health but still active in Grange leadership. The extant farmhouse was built in 1876 on the foundations of the original Kelley family farmhouse. The farm remained in the ownership of the family until 1901. The National Grange bought the farm in 1935 and donated it to the Minnesota Historical Society in 1961. Today, the farm offers tours by guides in period costume, who invite visitors to help out with farm chores such as picking vegetables, churning butter, and making soap.</p><br>
<p>In 2003, state budget shortfalls threatened closure for the historical site. In response, the group Friends of the Kelley Farm was organized to help raise money to close the funding gap. The Friends group also supports the educational goals of the site and works for the site&#39;s preservation.</p><br>
<p>In 2017, the Minnesota Historical Society opened a new visitor center and modern Farm Lab area with a barn, garden and cropland. These new facilities in combination with Kelley&#39;s historic 1860s farmstead allow the historic site to explore agricultural history from the 1860s through modern day.</p><br>
<p>The Old Louisiana State Capitol, also known as the State House, is a historic government building, and now a museum, at 100 North Boulevard in Baton Rouge, Louisiana, USA It housed the Louisiana State Legislature from the mid-19th century until the current capitol tower building was constructed from 1929-32.</p><br>
<p>It was built to both look like and function like a castle and has led some locals to call it the Louisiana Castle, the Castle of Baton Rouge, the Castle on the River, or the Museum of Political History; although most people just call it the old capitol building. The term "Old State Capitol" in Louisiana is used to refer to the building and not to the two towns that were formerly the capital city: New Orleans and Donaldsonville.</p><br>
<p>The building was added to the National Register of Historic Places on January 12, 1973, and was designated a National Historic Landmark on May 30, 1974.</p><br>
<h2>History</h2><br>
<p>In 1846, the state legislature in New Orleans decided to move the seat of government to Baton Rouge. As in many states, representatives from other parts of Louisiana feared a concentration of power in the states largest city. In 1840, New Orleans population was about 102,000, making it the fourth-largest city in the USA The 1840 population of Baton Rouge, on the other hand, was only 2,269.</p><br>
<p>On September 21, 1847, the city of Baton Rouge donated to the state of Louisiana a $20,000 parcel of land for a state capitol building. The land donated by the city for the capitol stands high atop a bluff facing the Mississippi River, a site that some believe was once marked by the red stick, or baton rouge, which French explorers claimed designated a Native American council meeting site.</p><br>
<p>New York architect James H. Dakin (then living in New Orleans) was hired to design the Baton Rouge capitol building, and rather than mimic the national Capitol Building in Washington, as so many other states had done, he conceived a Neo-Gothic medieval-style castle overlooking the Mississippi.</p><br>
<p>In 1859, the statehouse was featured and favorably described in De Bow&#39;s Review, the most prestigious periodical in the antebellum South. Mark Twain, however, as a steamboat pilot in the 1850s, loathed the sight of it, "It is pathetic... that a whitewashed castle, with turrets and things... should ever have been built in this otherwise honorable place."</p><br>
<p>In 1862, during the Civil War, Union Admiral David Farragut captured New Orleans, and the seat of government retreated from Baton Rouge. The Unions occupying troops first used the capitol building &mdash; or "old gray castle," as it was once described &mdash; as a prison, and then to garrison African-American troops under General Culver Grover. While used as a garrison the building caught fire twice. This sequence of events transformed Louisianas capitol into an empty, gutted shell abandoned by the Union Army.</p><br>
<p>By 1882 the statehouse was totally rebuilt by architect and engineer William A. Freret, who is credited with the installation of the spiral staircase and the stained glass dome, which are the interior focal points. The refurbished statehouse remained in use until 1932, when it was abandoned for the new Louisiana State Capitol building. The Old State Capitol has since been used to house Federally-chartered veterans organizations, and as an office of the Works Progress Administration, among other things.</p><br>
<h2>Museum of Political History</h2><br>
<p>Restored in the 1990s, the Old State Capitol is now the Museum of Political History. Most recently, the exterior façade has been refurbished with shades of tan stucco, in noticeable contrast to its former gray stone coloring. Numerous events are held there including an annual ball wherein the participants re-enact dances and traditions of French culture while wearing 18th- and 19th-century dress.</p><br>
<p>The museums location downtown in Baton Rouge is within walking distance of the current capitol tower and of many culturally significant buildings. These include the Old Louisiana Governors Mansion, the Louisiana Arts and Science Museum, St. Joseph Cathedral, and the widely acclaimed Shaw Center.</p><br>
<p>In 2010, the Museum of Political History&#39;s visitor experience opened, designed by award-winning Bob Rogers and the design firm BRC Imagination Arts, with attractions and exhibits showcasing the building as an architectural treasure and highlighting historic artifacts. Included is an interactive gallery featuring past state governors including Huey P. Long.</p><br>
<p>A key attraction, The Ghost of the Castle, is a theatrical production, during which visitors come face to face with the ghost of Sarah Morgan Dawson, a young Baton Rouge resident who loved the castle and wrote about it in her book, Sarah Morgan: The Civil War Diary of a Southern Woman (originally published in 1913 under a different title). In the roughly 12-minute experience, Sarah&#39;s ghost "conjures the building’s remarkable trials and tribulations through history," showing "the determination of everyday Louisianans who have saved the castle time and time again."</p><br>
<p>Admission to the museum is free, and the building is wheelchair-accessible.</p><br>
<p>Old Economy Village is an historic settlement that is located in Ambridge, Beaver County, Pennsylvania, United States. Administered by the Pennsylvania Historical and Museum Commission, it lies on the banks of the Ohio River and is surrounded by downtown Ambridge.</p><br>
<p>The village is the last of three settlements established by the Harmony Society in the United States (another in Pennsylvania and one in Indiana). Founded in 1824, it was designated as a National Historic Landmark District in 1966 under the name of "Old Economy."</p><br>
<h2>Harmony Society</h2><br>
<p>The Harmony Society was a Christian theosophy and pietist society founded in Iptingen, Germany, in 1785. Due to religious persecution by the Lutheran Church and the government in Württemberg, the Harmony Society moved to the United States between 1803 and 1804, initially purchasing 3,000 acres (12 km) of land in Butler County, Pennsylvania. On February 15, 1805, society leaders, together with about 400 followers, formally organized the Harmony Society, placing all of their goods in common.</p><br>
<p>The society was founded and led by Johann Georg Rapp (1757–1847) and his adopted son, Frederick (Reichert) Rapp (1775–1834), and lasted for 100 years – roughly from 1805 until 1905. Members of the society were sometimes called Harmonists, Harmonites, or Rappites.</p><br>
<p>The Harmony Society is best known for its worldly successes, eventually building three successive communities, first at Harmony, Pennsylvania (1804–1814), then New Harmony, Indiana (1814–1824), finally settling in Economy (now Ambridge, Pennsylvania).</p><br>
<h2>Old Economy Village, Pennsylvania</h2><br>
<p>The Harmonites named their last town Economy, after the spiritual notion of the Divine Economy. Here, under the business acumen and efficient management of Frederick Rapp, society members enjoyed such prosperity that, by 1829, they dominated the trade and the markets of Pittsburgh and down the Ohio River. Accused of being a monopoly, the society faced pressure to dissolve. At this time, the community was not neglectful of matters pertaining to art and culture. Frederick Rapp purchased and installed a museum, containing fine paintings and many curios and antiquities; they had a deer park, a floral park, and a maze, or labyrinth; the society also had a good orchestra, were fond of music, and gave much attention to its cultivation.</p><br>
<p>In 1832, the society suffered a serious division. Of 750 members, 250 became alienated through the influence of Bernhard Müller (self-styled Count de Leon), who, with forty followers (also at variance with the authorities in the old country), had come to Economy to affiliate with the society. Rapp and Leon could not agree; a separation and apportionment of the property were therefore effected. This secession of one-third of the society, consisting mostly of the young men and women who did not want to maintain the custom of celibacy, reportedly broke Frederick&#39;s heart. He died within two years.</p><br>
<p>It also resulted in a considerable fracturing of the community. Nevertheless, the society remained prosperous in business investments for many more years to come.</p><br>
<p>After Frederick Rapp&#39;s death, in 1834, the business management passed successively into the hands of George Rapp, who died in 1847 (R. L, Baker and Jacob Henrici, 1847–69; J. Henrici and Jonathan Lenz, 1869–92; J. S. Duss, 1892–1903; Susie C. Duss, 1903–06).</p><br>
<p>The settlements were economically successful, producing many goods in a clothing factory, a sawmill, a tannery, and from their vineyards and distillery. Society members also produced high quality silk for garments.</p><br>
<p>The Harmonites were industrious and utilized the latest technologies of the day in their factories. In Economy, the group aided the construction of the Pittsburgh and Lake Erie Railroad, established the Economy Savings Institution and the Economy Brick Works, and operated the Economy Oil Company, Economy Planing Mill, Economy Lumber Company, and eventually donated some land in Beaver Falls for the construction of Geneva College. The society exerted a major influence on the economic development of Western Pennsylvania. But since the group chose to adopt celibacy and the people in the group kept getting older, more work gradually had to be hired out.</p><br>
<p>The high-water mark of the societys prosperity was at the close of the administration of R. L. Baker in 1868; its wealth at that time being probably $2,000,000. By 1890, however, it was hopelessly in debt, on the verge of bankruptcy, with a depleted membership of aged people. The society was overwhelmed with litigation on the part of would-be heirs. J. S. Duss won the lawsuits and paid the societys indebtedness. The great strain which he had undergone undermining his health, he was forced to resign his trusteeship in 1903. There being but few members left, the remaining land and assets were sold under the leadership of Duss&#39;s wife, and the society was formally dissolved in 1906.</p><br>
<p>In 1916, the Commonwealth of Pennsylvania acquired 6 acres (0.024 km) and 17 buildings of Old Economy, which became the present-day historic site. Other parts of the society&#39;s land were acquired by the American Bridge Company to expand the borough of Ambridge- incorporated in 1905 and named after AMerican BRIDGE. Today, much of Ambridge outside of Old Economy Village is a historic district (the Economy Historic District) listed on the National Register of Historic Places.</p><br>
<h2>George Rapp</h2><br>
<p>Johann Georg Rapp (November 1, 1757 – August 7, 1847) was the founder of the religious sect called Harmonists, Harmonites, Rappites, or the Harmony Society.</p><br>
<p>Born in Iptingen, Duchy of Württemberg, Germany, Rapp became inspired by the philosophies of Jakob Böhme, Philipp Jakob Spener, and Emanuel Swedenborg, among others. In the 1780s, George Rapp began preaching and soon started to gather a group of his own followers. His group officially split with the Lutheran Church in 1785 and was promptly banned from meeting. The persecution that Rapp and his followers experienced caused them to leave Germany and come to the United States in 1803. Rapp was a Pietist, and a number of his beliefs were shared by the Anabaptists, as well as groups such as the Shakers. Rapps religious beliefs and philosophy were the cement that held his community together both in Germany and in America – a Christian community and commune, which in America organized as the Harmony Society. The Harmony Society built three American towns, became rich, famous, and survived for 100 years – roughly from 1805 until 1905. By 1798, Rapp and his group of followers had already begun to distance themselves from mainstream society. In the Lomersheimer Declaration, written in 1798, Rapps followers refused to serve in the military or attend Lutheran schools. In 1803, when the government began to persecute Rapps followers, he decided to move the entire group to the United States. The initial move scattered the followers and reduced Rapps original group of 12,000 to many fewer persons. In 1804, Rapp was able to secure a large tract of land in Pennsylvania and started his first commune. This first commune, Harmonie, (Harmony), Butler County, Pennsylvania, soon grew to a population of about 800, and was highly profitable. At Harmony, the Harmony Society was created and its members contracted to hold all property in common, to submit to spiritual and material leadership by Rapp and associates, and adopted the celibate lifestyle. In 1814, the first town was sold to Mennonites for 10 times the amount originally paid for the land, and the entire commune moved out west to Indiana where their new town was also known as Harmony. Ten years after the move to Indiana the commune moved again, this time it returned to Pennsylvania and named their town Ökonomie, Economy. The Indiana settlement was sold to Robert Owen, at which point it was renamed New Harmony, Indiana. George Rapp lived out his remaining days in the town of Economy, Pennsylvania, until August 7, 1847, when he died at the age of 89. The commune ultimately failed because the policy of celibacy prevented new members from within, and the majority of the outside world had no desire to give up so much to live in a commune. The society was formally dissolved in 1906. Today, many of their remaining buildings are preserved and open to visitors. The entire village was designated as a National Historic Landmark District in 1965.</p><br>
<p>The Alaskan Hotel and Bar, also known as the Northlander Hotel and The Alaskan, is a historic establishment and the oldest operating hotel in Juneau, Alaska. It was opened in 1913. The owners, three miners who struck it rich in the nearby Coast Range, tied the hotel&#39;s keys to a helium balloon and released it, signifying that the hotel would never close. The building was briefly condemned in the 1970s, but was rehabilitated by the new owners.</p><br>
<p>The building was listed on the National Register of Historic Places in 1978</p><br>
<p>In 2003, the Food Network show Food Finds filmed a segment at the establishment. In September 2013, the Travel Channel program Hotel Impossible filmed an episode at the hotel.</p><br>
<p>Washington County Courthouse, built in 1870 in Stillwater, Minnesota, United States, is one of the oldest standing courthouses in the state. It served as the center of Washington County government for more than a century, from the buildings completion in 1870 until 1975. It was listed on the National Register of Historic Places in 1971 for having state-level significance in the themes of architecture and government/politics. It was nominated as Minnesotas oldest functioning courthouse and one of its few surviving examples of monumental public architecture from the mid-19th century.</p><br>
<p>Since construction of a new government center in 1975, the historic courthouse has been restored and adapted for use as a venue for public community and cultural events, and private occasions.</p><br>
<h2>History</h2><br>
<p>The courthouse was designed by Augustus Knight of St. Paul, in the Italianate style. When the courthouse opened in 1870, the county was booming economically due to the lumber industry. The courthouse reflected the countys wealth and overlooked the city from atop Zions Hill. The foundation is built of limestone, and the building has a brick facade and is topped with a prominent dome, cupola, and flagpole. It cost $60,000 to construct.</p><br>
<p>Over time county needs changed and a new courthouse and Washington County Government Center opened in 1975. Efforts began to reuse the historic structure. Restoration has been funded through donations from local businesses and community groups, as well as grants from foundations. The historic courthouse is now operated as a gathering place and as venue for community, cultural, and private events.</p><br>
<p>According to its mission statement, "The purpose of the operation of the Washington County Historic Courthouse is to preserve, re-adapt, restore and interpret this historic landmark for current and future generations, especially those from Washington County." To this end, the county works with local groups to preserve and maintain the courthouse and grounds, conducts tours, and provides historic interpretation of the county&#39;s heritage. The facility is also available for rental, which offsets some of the expenses of maintaining the structure.</p><br>
<p>The Grand 1894 Opera House in Galveston, Texas is currently operated as a not-for-profit performing arts theatre. The Romanesque Revival style Opera House is located at 2020 Post Office Street in Galveston&#39;s Historic Downtown Cultural Arts District. It was named "The Official Opera House of Texas" in 1993 by the 73rd Texas Legislature. It has a seating capacity of 1,040.</p><br>
<h2>History</h2><br>
<p>In 1894, Henry Greenwall closed his Tremont Opera House at 23rd and Market Streets and raised money for the construction of a new opera house on Post Office Street.</p><br>
<p>In 1894, Henry Greenwall (often spelled Greenwald) raised $100,000 for construction of The Grand Opera House and Hotel in Galveston. It opened on January 3, 1895 with a live performance of the play, The Daughters of Eve.</p><br>
<p>The Grand has stood through notable hurricanes, including the Galveston Hurricane of 1900, Galveston Hurricane of 1915, Hurricane Carla, and Hurricane Ike. The Grand began as a major, live performing arts theatre but after passing through a Vaudeville phase, it slowly evolved into a movie house. The movie house closed in 1974 and was purchased the same year by the Galveston County Cultural Arts Council. They transformed the movie house back into a theatre and then renovated and restored it to its former beauty. The restoration included volunteer efforts and support from private foundations. The theatre was listed in the National Register of Historic Places as "1894 Grand Opera House" in 1974. The Galveston County Cultural Arts Council owned the Opera House until 1986, when it became a stand-alone organization known as 1894, Inc. Maureen M. Patton is The Grand&#39;s Executive Director, having served as Director under the Arts Council beginning in 1981. Hurricane Ike hit Galveston Island on September 13, 2008, but The Grand was reopened on January 3, 2009 on its 114th anniversary. All of the damage that the hurricane and the flood had caused was repaired with only 92 days of construction.</p><br>
<h2>Notable Performers</h2><br>
<p>Maude Adams</p><br>
<p>Gracie Allen</p><br>
<p>Paul Anka</p><br>
<p>The Beach Boys</p><br>
<p>Tony Bennett</p><br>
<p>Sarah Bernhardt</p><br>
<p>William Jennings Bryan</p><br>
<p>George Burns</p><br>
<p>Ray Charles</p><br>
<p>George M. Cohan</p><br>
<p>Larry Gatlin and the Gatlin Brothers</p><br>
<p>Eydie Gormé</p><br>
<p>Helen Hayes</p><br>
<p>Lionel Hampton</p><br>
<p>Hal Holbrook</p><br>
<p>Marilyn Horne</p><br>
<p>James Earl Jones</p><br>
<p>Dorothy Kirsten</p><br>
<p>Steve Lawrence</p><br>
<p>Cloris Leachman</p><br>
<p>Lyle Lovett</p><br>
<p>The Marx Brothers</p><br>
<p>Johnny Mathis</p><br>
<p>Maureen McGovern</p><br>
<p>Liza Minnelli</p><br>
<p>Madame Modjeska</p><br>
<p>Willie Nelson</p><br>
<p>The Oak Ridge Boys</p><br>
<p>Ignace Paderewski</p><br>
<p>Anna Pavlova</p><br>
<p>Itzhak Perlman</p><br>
<p>Bernadette Peters</p><br>
<p>Lillian Russell</p><br>
<p>Otis Skinner</p><br>
<p>John Philip Sousa</p><br>
<p>Tommy Tune</p><br>
<p>Vienna Choir Boys</p><br>
<p>The Grand also has been the presenter of several premieres: Red White & Tuna and Tuna Does Vegas, two of four comedic plays written and performed by Greater Tuna creators, Jaston Williams and Joe Sears; and ANN, a one-woman play about the life of Texas Governor Ann Richards, written and performed by Holland Taylor.</p><br>
<p>The music video for the Mötley Crüe song "Without You" was filmed at the Grand on January 15, 1990 after their stop in Houston the previous night.</p><br>
<h2>Architecture</h2><br>
<p>"When it opened in 1895, the 70 x 37 x 69&#39; stage was the largest in the state of Texas and one of the largest in the country... Even today, a stage whisper can be heard without a microphone, and no seat is more than 70 feet from the stage."</p><br>
<p>The Grand has been through natural disasters, such as fires and hurricanes, as well as neglect during its time as a movie house. It has been rebuilt and remodeled more than once, such as during the devastating Galveston Hurricane of 1900, when its rear wall and roof caved in.</p><br>
<p>The front wall of the building is made of red stone, brick, and terra cotta; the large, glass doors are framed by a carved, Romanesque style stone arch. Inside, the glass box office sits in between the two sets of doors. The carpet is a historic pattern of colors found in the decorative curtain and stenciling of roses and scrolls on the ceiling and boxes. The floors are marble tile, and the walls are wainscot. The banisters and railings are of long leaf red-heart pine, like the wainscot. A large, bronze statue of a woman holding a torch stands on the newel post on The Grand staircase. Inside the theater auditorium, red, velvet curtains frame the stage and eight opera boxes. Blue velour lines the chairs. The stage curtain (originally painted by architect Frank Cox) is a replication of the original, depicting “Sappho and Companions”.</p><br>
<p>National American Bank Building is a 23-story 325 ft-tall skyscraper in the Central Business District of New Orleans, Louisiana, It was completed in 1929 and listed on the National Register of Historic Places in 1986. It is topped with a distinctive 6-story octagonal tower with a golden Art Deco finial. Its address is 200 Carondelet Street. Originally a commercial building, it was renovated for use as a residential building after Hurricane Katrina.</p><br>
<h2>Description</h2><br>
<p>The building was constructed from 1928 to 1929, under the direction of Louisiana architect Moise Goldstein; the general contractor was George J. Glover Company. Construction consisted of a steel skeleton, concrete, and hollow tiles. Bricks were used for common walls.</p><br>
<p>In the late 1980s, when the building was assessed for National Register listing, the interior lobby area was marble clad, and the ceiling was described as, "gold and silver leaf pressed metal with a repeating chevron and diamond point pattern". Columns supported the banking hall roof, and bronze was used for elevator doors, panels, and check stations. The banking hall also retained its original chandeliers, and walnut paneling on the walls.</p><br>
<h2>History</h2><br>
<p>During peak occupation of the building in the 20th century, banks utilized the ground floor and mezzanine, while law firms and other businesses occupied the upper floors. By 2000, the building was vacant. In the aftermath of Hurricane Katrina, renovation opportunities arose to replace thousands of rental units lost in the storm. Renovation of the structure was completed in 2008, using public and private investment to convert the building into mixed income residential apartments, under the name "200 Carondelet".</p><br>
<p>It was included as a contributing building in the National Register listing of the New Orleans Lower Central Business District in 1991.</p><br>
<p>The Beloit water tower is a historic octagonal limestone water tower completed in 1889 in Beloit, Wisconsin.</p><br>
<p>In Beloits younger days, the citys fire protection consisted of two volunteer companies with hoses and mobile pumps that drew water from the Rock River Several businesses burned just beyond reach of the hoses and finally in 1884 St. Thomas Catholic and Baptist churches went up in flames. Beyond fire protection, a source of clean drinking water would reduce the risk of diseases like diphtheria and typhoid fever. The rough-edged community debated for years whether a better water supply should be city-owned or a private enterprise.</p><br>
<p>Finally in 1885 a consortium of local businessmen agreed to finance a private water works project. The financiers were: C.H. Morse, W.H. Wheeler, J.B. Peet, E.C. Allen, C.B. Salmon, and C.H. Parker. They hired Fairbanks, Morse Co. of Chicago to design the system, and J.B. Kinley designed the tower. It sits on one of the high points of town, with limestone walls 36 feet tall. The walls are octagonal, 36 feet in diameter at the base with walls eight feet thick. As the walls rise, they taper in four stages with the top stage 30 feet in diameter. Lancet-arched windows let light into the tower. Originally, a tank 20 feet deep sat atop the tower, built of 3-inch cypress and holding 100,000 gallons of water. A pumping station was built just southwest of the tower, powered by steam-operated Smith and Vale pumps. The resulting system could shoot a two-inch stream of water 130 feet high. Seven miles of water mains were laid through the city feeding 72 hydrants. For the fire protection, the city paid a tax to the consortium. The water-works also tried to entice homeowners to give up their private wells and switch to city water, offering free pipe to the curb for the first 100 patrons.</p><br>
<p>In 1914 the cypress tank collapsed. The water-works replaced it with a metal tank of the same size, built by the Eclipse Wind Mill Company, right in Beloit. On top of the tank was a cupola, and a flag pole on top of that.</p><br>
<p>By 1929 the water system served 25,000 customers, but the tower was outdated. A modern (for the time) steel tower was built nearby, with a 200,000 gallon tank. The metal tank was removed from the old tower, the stairs inside were removed, and demolition of the stone walls began, but the walls were well-built, and demolition was deemed too expensive. After demolition was given up, a Beloit Daily News article stated that the tower was "once regarded as the finest piece of masonry in the west". In 1983 it was listed on the National Register of Historic Places.</p><br>
<p>Now, the stone water tower is a visible community landmark offering excellent photo opportunities for camera buffs. The area surrounding the tower has been developed into Water Tower Park with an ADA accessible walkway. The Water Works Pump House has been completely restored and currently houses the City of Beloit Parks and Leisure Services offices and Friends of Riverfront offices. Also, visitors are welcome to stop in during business hours. The Shingle Style pump house at the base of the bluff now acts as the Beloit Visitor Center.</p><br>
<p>The Bardavon 1869 Opera House, in the downtown district of Poughkeepsie, New York, United States, is the oldest continuously operating theater in New York State. Designed by J.A. Wood, it was built in 1869 and served as a venue for various performing arts, community meetings, and celebrations until 1923; it largely resumed this heritage by becoming a general performing-arts facility in 1976. In the interlude period from 1923 to 1975, it served as a cinema, although there were some live performances, especially vaudeville, during this period.</p><br>
<h2>History</h2><br>
<p>The Bardavon was designed by prominent Poughkeepsie architect J. A. Wood and built by James S. Post, the latter notable for designing or erecting architectural structures in the Poughkeepsie central business district and Vassar College. An extensive renovation was undertaken in 1905 and supervised by architect William Beardsley, who also designed the Dutchess County Court House and Attica state prison. The theater was not reopened until January 1, 1923, when it was opened under the new name The Bardavon Theater.</p><br>
<p>At that time, it was bought by Paramount, and in 1928 a Wurlitzer theatre pipe organ was added. This organ was removed in the mid 1960s and installed in a private residence in Scarsdale, NY until subsequent dismantling by a private collector, and placed in storage. It is most likely the theater where cult film director Edward D. Wood Jr. served as an usher in his youth, although sources do not often specify the Bardavon by name. In 1947, the theater was further modernized and a movie marquee added. The style of the interior after the renovation has been described as neo-classic.</p><br>
<p>The venue continued as a cinema up until 1975, when massive redevelopment of the downtown area threatened it with demolition. Sitting where it does, it was near-adjacent to the site of the new Civic Center and a proposed arterial highway project. There were plans to raze the building and use the site for a parking lot. Concerned citizens banded together to save the theater and were successful in getting it named to the National Register of Historic Places on August 20, 1977 — and renamed The Bardavon 1869 Opera House. Since then, over $5 million has been raised and used to partially renovate the Bardavon, which is now in use again as a venue for a broad range of performing arts including theater, dance, music, opera, and other genres.</p><br>
<p>The original Wurlitzer pipe organ was discovered in 1983 by the New York Theatre Organ Society, www.nytos.org, and a deal was struck for the renovation and re-installation of the instrument with NYTOS as permanent curator holding ownership of the instrument.</p><br>
<p>The Bardavon has been the home of the Hudson Valley Philharmonic for over 40 years. In one notable 1953 performance, former First Lady Eleanor Roosevelt provided the narration for Prokofiev&#39;s Peter and the Wolf.</p><br>
<p>On 30 August 2020, The Bardavon 1869 Opera House offered a free online series entitled "Albums Revisited".</p><br>
<h2>Performances</h2><br>
<h3>Actors and musicians who have performed at the Bardavon and UPAC</h3><br>
<p>Al Pacino</p><br>
<p>Andre Watts</p><br>
<p>Ani DiFranco</p><br>
<p>The Bacon Brothers</p><br>
<p>Barenaked Ladies</p><br>
<p>B.B. King</p><br>
<p>Bela Fleck</p><br>
<p>Bill Cosby</p><br>
<p>Blondie</p><br>
<p>Bob Dylan</p><br>
<p>Bob Weir</p><br>
<p>Bo Diddley</p><br>
<p>Brad Mehldau</p><br>
<p>Bruce Hornsby</p><br>
<p>Buddy Guy</p><br>
<p>Buffalo Bill</p><br>
<p>Burning Spear</p><br>
<p>Butch Miles</p><br>
<p>Capitol Steps</p><br>
<p>Carol Channing</p><br>
<p>Cher</p><br>
<p>Cherish the Ladies</p><br>
<p>Chick Corea</p><br>
<p>Chris Botti</p><br>
<p>Chris Brubeck</p><br>
<p>Chris Cornell</p><br>
<p>Clint Black</p><br>
<p>Cyndi Lauper</p><br>
<p>Dan Zanes and Friends</p><br>
<p>Dark Star Orchestra</p><br>
<p>Dave Brubeck</p><br>
<p>David Bromberg</p><br>
<p>David Byrne</p><br>
<p>David Crosby</p><br>
<p>David Sedaris</p><br>
<p>Derek Trucks</p><br>
<p>Dickey Betts</p><br>
<p>D.L. Hughley</p><br>
<p>Don Mclean</p><br>
<p>Dr. John</p><br>
<p>Duke Robillard</p><br>
<p>Eddie Izzard</p><br>
<p>Eddie Palmieri</p><br>
<p>Edie Brickell</p><br>
<p>Eric Idle</p><br>
<p>Ernest Borgnine</p><br>
<p>The Four Seasons</p><br>
<p>Frankie Valli</p><br>
<p>Frank Sinatra</p><br>
<p>Garrison Keillor</p><br>
<p>Gary Burton</p><br>
<p>George Carlin</p><br>
<p>Gladys Knight</p><br>
<p>Goo Goo Dolls</p><br>
<p>Graham Nash</p><br>
<p>Great Southern</p><br>
<p>Gregg Allman</p><br>
<p>Harry Belafonte</p><br>
<p>Harry Chapin</p><br>
<p>Harry Houdini</p><br>
<p>Henny Youngman</p><br>
<p>Henry Rollins</p><br>
<p>Hot Tuna</p><br>
<p>Ian Anderson</p><br>
<p>Indigo Girls</p><br>
<p>Itzhak Perlman</p><br>
<p>The J. Geils Band</p><br>
<p>Jerry Bergonzi</p><br>
<p>Jimmy Cliff</p><br>
<p>Jimmy Sturr</p><br>
<p>Joan Armatrading</p><br>
<p>Joan Baez</p><br>
<p>Joe Jackson</p><br>
<p>John Hiatt</p><br>
<p>John Philip Sousa</p><br>
<p>Jonny Lang</p><br>
<p>Joshua Bell</p><br>
<p>Kathy Griffin</p><br>
<p>Kathy Mattea</p><br>
<p>Keb Mo</p><br>
<p>Kenny Loggins</p><br>
<p>Keri Noble</p><br>
<p>Ladysmith Black Mambazo</p><br>
<p>Laurie Anderson</p><br>
<p>Les Ballets Africains</p><br>
<p>Lewis Black</p><br>
<p>Linda Eder</p><br>
<p>Liza Minnelli</p><br>
<p>Lonestar</p><br>
<p>Loretta Swit</p><br>
<p>Los Lobos</p><br>
<p>Los Lonely Boys</p><br>
<p>Lou Rawls</p><br>
<p>Lou Reed</p><br>
<p>Lyle Lovett</p><br>
<p>Madeleine Peyroux</p><br>
<p>Mickey Hart</p><br>
<p>Milton Berle</p><br>
<p>Natalie Cole</p><br>
<p>Natalie MacMaster</p><br>
<p>Natalie Merchant</p><br>
<p>North Mississippi Allstars</p><br>
<p>OK Go</p><br>
<p>Pat Benatar</p><br>
<p>Pat Metheny</p><br>
<p>Patti LaBelle</p><br>
<p>Peru Negro</p><br>
<p>Nexus</p><br>
<p>Peter Frampton</p><br>
<p>Pete Seeger</p><br>
<p>Pixies</p><br>
<p>Quartetto Gelato</p><br>
<p>Queen Latifah</p><br>
<p>Ralph Stanley</p><br>
<p>Ramblin&#39; Jack Elliott</p><br>
<p>RatDog</p><br>
<p>Richard Thompson</p><br>
<p>Richie Havens</p><br>
<p>Robert Cray</p><br>
<p>Ron White</p><br>
<p>Roy Hargrove</p><br>
<p>Rufus Wainwright</p><br>
<p>Ryan Adams</p><br>
<p>Sarah McLachlan</p><br>
<p>Sharon Isbin</p><br>
<p>Shawn Colvin</p><br>
<p>Sinéad O&#39;Connor</p><br>
<p>Smokey Robinson</p><br>
<p>Steve Goodman</p><br>
<p>Steve Martin</p><br>
<p>Paul Winter</p><br>
<p>Steven Wright</p><br>
<p>Talking Heads</p><br>
<p>Todd Rundgren</p><br>
<p>Tom Hambridge</p><br>
<p>Tony Bennett</p><br>
<p>Whoopi Goldberg</p><br>
<p>Wynton Marsalis</p><br>
<p>"Weird Al" Yankovic</p><br>
<p>Youssou N&#39;Dour</p><br>
<p>Yo-Yo Ma</p><br>
<p>Zakir Hussain</p><br>
<p>Paul Winter</p><br>
<p>Zappa Plays Zappa</p><br>
<p>Ambika & Priya Kala</p><br>
<p>Mychael Gallagher</p><br>
<p>Bernie Williams (baseball player/guitarist)</p><br>
<h2>Name by dates</h2><br>
<p>Collingwood Opera House: 1869–1921</p><br>
<p>Bardavon Theater: 1923–1975</p><br>
<p>Bardavon 1869 Opera House: 1976–present</p><br>
<p>Mansfield Plantation is a well-preserved antebellum rice plantation, established in 1718 on the banks of the Black River in historic Georgetown County, South Carolina.</p><br>
<h2>History</h2><br>
<p>Spanning nearly 1,000 acre of pine forest, rice fields and cypress swamps, Mansfield Plantation was once one of the largest rice producing plantation in the country. Mansfield, along with adjacent rice plantations up and down the Black River, provided much of Europe with "Carolina Gold" rice during the late 18th and early 19th centuries.</p><br>
<p>Rice growing was made possible by:</p><br>
<p>perfecting irrigation techniques using tidal water and manmade dykes.</p><br>
<p>experimentation with natural fertilizers.</p><br>
<p>most notably, African American slave labor.</p><br>
<p>After the American Civil War, rice production became too expensive and soon the plantations fell into bankruptcy and were sold off to new owners.</p><br>
<h2>Present day</h2><br>
<p>Today, Mansfield Plantation is preserved as an authentic rice plantation, complete with the original plantation home, a schoolhouse, live oak avenue ("oak allée"), chapel, guest house, and grounds. It also has the only remaining winnowing barn in Georgetown County, where rice grains were processed for shipment.</p><br>
<h3>Restoration</h3><br>
<p>In March 2005 a restoration of a slave village of 7 slave cabins and a chapel had begun, completed shortly thereafter.</p><br>
<h3>Media</h3><br>
<p>Mansfield Plantation has been featured in numerous films, documentaries and television shows. It served as the backdrop for scenes from Mel Gibson&#39;s 2000 film, The Patriot. In 2006, the Fox network filmed two segments of their primetime television series Treasure Hunters at Mansfield and the Fine Living Network filmed a documentary at Mansfield Plantation for their television series Windshield America.</p><br>
<p>The "Old Chelmsford" Garrison House  is a historic house in Chelmsford, Massachusetts. It is the oldest house in Chelmsford, and has been preserved by the Garrison House Society as a museum. It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The exact date the building was erected is not known; it is claimed by the Society to have been built before 1691, when it is claimed to be one of the houses listed as a garrison house in Chelmsford, but a 1702 deed transferring land on which it stands does not mention it. Thomas Adams deeded the land to his son, Peletiah Adams, in 1683, and Peletiah deeded the land to his two sons in 1702, who probably built the house. Stylistic analysis of its construction also supports a post-1700 construction date. The same stylistic analysis casts doubt on the belief that the house actually served as a fortified garrison.</p><br>
<p>Before the title passed to the Garrison House Society in 1952, only three families had previously owned it. Very few modifications had been made to it in all that time, making it a relatively accurate historic showpiece. The house now shares its lot with a barn, summer kitchen, a working blacksmith shop, an herb garden, a craft house and the "Hill Jock House," which was saved from destruction and moved in 2004 to the lot shared by the Old Chelmsford Garrison House.</p><br>
<p>McAlmond House is a Gothic Revival farmhouse that built in 1862. The house stands on the bluffs of Dungeness near Sequim, Clallam County, Washington.</p><br>
<p>The house is the only remain of the New Dungeness settlement, founded by New England sailors in the 1850s, and was built by ship&#39;s carpenters for the Captain Elijah H. McAlmond, which served as Justice of the Peace, first county commissioner, sheriff, Deputy United States Marshall, Probate Judge and, in 1863, as a member of the Territorial Legislature. The home remained in the McAlmond family until the mid-1900s, when the last remaining property was put up for sale.</p><br>
<p>Local legends claim that under Capt. McAlmond&#39;s stewardship, the bluffs under the house were used to smuggle Chinese into the United States.</p><br>
<p>The house was added to the National Register of Historic Places in 1976.</p><br>
<p>The Detroit Observatory is located on the corner of Observatory and Ann streets in Ann Arbor, Michigan. It was built in 1854, and was the first scientific research facility at the University of Michigan and one of the oldest observatories of its type in the nation. It was designated a Michigan State Historic Site in 1958 and placed on the National Register of Historic Places in 1973.</p><br>
<h2>Building the Observatory</h2><br>
<p>Henry Philip Tappan was inaugurated as the president of the University of Michigan in December 1852, and in his inaugural speech appealed to the citizens of Michigan to support research and laboratory space at the university. Immediately afterward, Tappan was approached by Detroit businessman (and former Michigan Attorney General) Henry N. Walker, who offered assistance. Tappan suggested raising funds for an observatory, and Walker agreed to spearhead a fundraising drive. Walker soon raised over $7000 from the citizens of Detroit, a figure that increased to a total of $18,760 over the next few years. This included $4000 of Walker&#39;s own money, and contributions from Lewis Cass, Henry Porter Baldwin, Senator Zachariah Chandler and others. Additional funds were supplied by the Board of Regents of the University of Michigan, giving a total of $22,000 for the building and instruments.</p><br>
<p>In 1853, land in Ann Arbor was obtained for the building site, and George Bird of New York was hired to superintend construction of the building. To design the building, Tappan turned to Richard Harrison Bull, a New York University civil engineering professor, amateur astronomer, and former student of Tappan&#39;s. Construction was completed in 1854, and the building was named the Detroit Observatory to recognize the benefactors who funded its construction.</p><br>
<h2>Later editions and modifications to the building</h2><br>
<p>In 1890, the dome rotation mechanisms were revamped. In 1868, a directors residence was added on the west end of the building. The directors residence was demolished in 1954 to make way for the expansion of nearby Couzens Hall; the 1908 addition was demolished in 1976.</p><br>
<p>The function of the Detroit Observatory on campus was gradually taken over by other University of Michigan observatories. The observatories of the University of Michigan include the Detroit Observatory (1854), the Angell Hall Observatory (a student observatory, 1927), the Lamont–Hussey Observatory (South Africa, 1928) and the McMath–Hulbert Observatory (Lake Angelus, Michigan, 1930).</p><br>
<p>The astronomy department moved from the building in 1963, and the Detroit Observatory was used first as a library, then as a storeroom. It soon became derelict, and in the 1970s was threatened with complete demolition. However, the building was placed on the National Register of Historic Places in 1973, and restored in 1997–98. In 2005, the Detroit Observatory became a division of the Bentley Historical Library.</p><br>
<p>In 2009, as part of the Astronomy Theme Semester in honor of the International Year of Astronomy, The Bentley and the Department of Astronomy began hosting regular public events and select classes at the observatory. In 2019, the building closed for construction of the Classroom and Accessibility Addition intended to support expanded programming, reopening in April 2022.</p><br>
<h2>Astronomy and other sciences at the Detroit Observatory</h2><br>
<p>The faculty of the Detroit Observatory made significant contributions to the development of American astronomy in the second half of the 19th century. The observatorys first director, Franz Brünnow, was recruited to the University of Michigan by President Tappan in 1856. Brünnow was an astronomer at the Royal Observatory in Berlin, then under the direction of Johann Franz Encke, when Tappan met him. Brünnow agreed to oversee on Tappans behalf the fabrication of the meridian circle telescope by the German firm Pistor & Martins. When Brünnow expressed admiration for the quality of the instrument, Tappan took the opportunity to invite him to Michigan. Possibly encouraged by Encke and Alexander von Humboldt, Brünnow accepted. He was already well known for his presence at the discovery of Neptune in 1846 and for his textbook Lerhbuch der Sphärischen Astronomie.</p><br>
<p>Brünnow augmented the astronomy curriculum at the University of Michigan, building it around the "German Method," which emphasized rigorous mathematics, close observation, and reduction of observer, observational, and instrumental error by the method of least squares. At the Detroit Observatory, he implemented the most substantial formal course in astronomy offered in the United States up to that point. The two-year course involved extensive mathematics as well as training on the Detroit Observatorys telescopes. Brünnows own analysis of the tolerances of the Pistor & Martins meridian circle was seen for many years as a masterpiece of the method. Brünnow himself carried out a research program on asteroids, comets, and stellar parallax. He launched the journal Astronomical Notices, the first academic journal at the University of Michigan and one of the first in the country; Astronomical Notices published the work of American and European astronomers.</p><br>
<p>The legacy of the program that Brünnow launched was that by the end of the century, by one estimate, about a quarter of the leading astronomers and meteorologists in the United States had trained at the Detroit Observatory. It was, as Cleveland Abbe said, "the place to study astronomy".</p><br>
<p>Brünnow&#39;s student James Craig Watson became the second director of the Observatory in 1863. Watson had served as acting director for one year in 1859–60, during which Brünnow had gone to serve as associate director of the Dudley Observatory in Albany. Watson continued the rigorous program of education and research that Brünnow had started — although he was by many reports an indifferent instructor, except with those in whom he saw significant talent for astronomy. He was less inclined than Brünnow to give students time at the telescopes, which led to student complaints. Finally in 1878, Watson obtained funds from the federal government to erect a small observatory southeast of the Detroit Observatory to observe the transit of Mercury. That observatory was subsequently dedicated to student use and included a three-inch transit telescope and a 3 in transit telescope and a 6 in equatorial refractor. The student observatory was relocated to the west side of the main observatory in 1908 and again relocated in 1926 to the roof of Angell Hall.</p><br>
<p>Watson was renowned for his observational and mathematical skill. He was for many years engaged in an informal competition with C.H.F. Peters of Hamilton College to discover asteroids. During the period 1863 to 1877 Watson discovered a total of 22 asteroids, or nearly a quarter of the asteroids discovered during that period. Among Watson&#39;s most significant accomplishments was the discovery of six asteroids in one year, 1868, an unprecedented achievement for which he was awarded the Lalande Prize by the French Academic of Sciences. Watson also undertook research into comets and became embroiled in controversy over his claim to have discovered the intra-Mercurial planet Vulcan. He worked extensively on mapping the Washington Zones and made other contributions. However, Watson left the University of Michigan in 1879 to oversee construction of the Washburn Observatory at the University of Wisconsin, having failed to convince the Regents of the University of Michigan to fund a larger telescope for the Detroit Observatory. He died unexpectedly shortly after moving to Wisconsin.</p><br>
<h2>Observatory directors and notable students</h2><br>
<p>Tappan recruited Franz Brünnow as the first director of the observatory in 1854. Among Brünnow&#39;s students during his tenure at the Detroit Observatory were Asaph Hall, De Volson Wood, Cleveland Abbe, and James Craig Watson. Brünnow stayed until 1863, when he was succeeded by James Craig Watson. Watson served for 16 years, and among his students were Otto Julius Klotz, Robert Simpson Woodward, George Cary Comstock, Marcus Baker, and John Martin Schaeberle. The full list of directors of the Detroit Observatory is as follows:</p><br>
<h2>Building description</h2><br>
<p>The Detroit Observatory, located on the campus of the University of Michigan, is a two-story hip roof rectangular frame structure, 33 ft on a side, flanked by two one-story wings, each 19 ft by 29 ft. The design is typical of observatories built in the 19th century. The structure is constructed of solid brick clad with stucco originally painted to resemble granite blocks. It is capped with a large revolving dome built of wood and canvas, 21 ft in diameter. A small portico covers the front entrance.</p><br>
<p>Greenwood Cemetery is a cemetery located in downtown Jackson, Mississippi. Still in use, it was established by a federal land grant on November 21, 1821. It was originally known simply as "The Graveyard" and later as "City Cemetery" before the present name was adopted in 1899. It is the final resting place of Confederate generals, former governors of Mississippi, mayors of Jackson, as well as other notable figures, the most recent of whom is internationally acclaimed author Eudora Welty. The graves of over 100 "unknown" Confederate soldiers are also located here. Greenwood Cemetery was listed on the National Register of Historic Places and as a Mississippi Landmark in 1984.</p><br>
<p>The "garden park" type cemetery contains the largest collection of everblooming "own root" (not grafted) antique and modern shrubs roses in the country – several hundred shrubs representing over 40 named cultivars – as well as numerous hardy bulbs and other flowering shrubs and trees.</p><br>
<h2>Notable interments</h2><br>
<h3>Confederate generals</h3><br>
<p>Daniel Weisiger Adams</p><br>
<p>William Wirt Adams</p><br>
<p>William Barksdale</p><br>
<p>Samuel Wragg Ferguson</p><br>
<p>Richard Griffith</p><br>
<p>James Argyle Smith</p><br>
<h3>Mississippi governors</h3><br>
<p>Albert Gallatin Brown</p><br>
<p>John Isaac Guion</p><br>
<p>Charles Lynch</p><br>
<p>Alexander Gallatin McNutt</p><br>
<p>George Poindexter</p><br>
<p>Abram Marshall Scott</p><br>
<p>William Lewis Sharkey</p><br>
<p>William Forrest Winter</p><br>
<h3>Others</h3><br>
<p>Erasmus R. Burt</p><br>
<p>Perry Cohea</p><br>
<p>Wiley P. Harris</p><br>
<p>James D. Lynch</p><br>
<p>Edmund Richardson</p><br>
<p>Eudora Welty</p><br>
<p>Leigh Lake Ranger Patrol Cabin was designed and built by the USA Forest Service in the 1920s. The cabin is located northwest of Leigh Lake in Grand Teton National Park in the USA state of Wyoming. The cabin was built to a standardized design, similar to that used for the Moran Bay Patrol Cabin. The cabin was acquired by the National Park Service upon the designation of Grand Teton National Park on February 26, 1929, and placed on the National Register of Historic Places on April 23, 1990. The cabin is still in use by the National Park Service.</p><br>
<p>The Leigh Lake cabin was listed on the National Register of Historic Places on April 23, 1990.</p><br>
<p>The Cascade Canyon Barn was designed by the National Park Service to standard plans and built by the Civilian Conservation Corps in 1935. The National Park Service rustic style barn is 5 miles  west of Jenny Lake in Grand Teton National Park in the USA state of Wyoming.</p><br>
<p>The rustic log cabin features saddle-notched log corners on a stone foundation. The foundation is buttressed at the corners to support the projecting log ends, a feature typical of Park Service designs of the era. The original wide barn door has been filled in with windows and a personnel door. The interior consists of a large main room with a small tack room in the southwest corner, now used for tool storage. The partition uses vertical poles faced with 4-1/2: wide tongue and groove planks. The room is furnished with built-in cupboards and a wood-burning cookstove. A loft is framed with logs and 8" rough-cut decking, reached by a milled-lumber stairway. The loft deck is covered with 6" wide flooring planks. The roof structure is open to the underside of the roof, with exposed log trusses.</p><br>
<p>Positioned deep in Cascade Canyon, the cabin was originally used as a barn, but after an avalanche destroyed the Cascade Canyon patrol cabin in 1960, the barn was converted to a patrol cabin. It shares a common design and purpose with the Death Canyon Barn to the south in the park, with minor differences attributable to available materials and the preferences of the work crews building the barns. Crews from either CCC Hot Springs camp NP3 or Jenny Lake Camp NP 4 built the barn. On August 18, 1998, the barn was listed on the National Register of Historic Places.</p><br>
<p>Kaniakapūpū , known formerly as Luakaha , is the ruins of the former summer palace of King Kamehameha III and Queen Kalama on the island of Oahu in Hawaii. Built in the 1840s, and situated in the cool uplands of the Nuʻuanu Valley, it served as the king and queen&#39;s summer retreat after the capital of the Kingdom of Hawaii moved from Lahaina to Honolulu in 1845. It was famous for being the site of a grand luau attended by an estimated ten thousand guests during the 1847 Hawaiian Sovereignty Restoration Day celebration. The palace had fallen into ruins by 1874; no records exist about its condition in the intervening years. Rediscovered in the 1950s, the site was cleared and efforts were made to stabilize the ruins from further damage by the elements and invasive plant growth. The site remains officially off-limits to the public and trespassers are subjected to citations, although the site is not regularly monitored.</p><br>
<h2>Name</h2><br>
<p>Kaniakapūpū is the current and most commonly used name of the site and palace. It means "the singing of the land shells" in the Hawaiian language. The name refers to the kāhuli (Oʻahu tree snails) which were once abundant in the area and, according to Hawaiian folklore, able to vocalize and sing sweet songs at night. Archaeologist Susan A. Lebo and anthropologist James M. Bayman, writing in 2001, claim that the name is a modern misnomer, possibly originating in the early 20th century. Moʻolelo (oral accounts) from this period associate the name with the remnants of a stone structure to the southeast of the house, believed to be a heiau (temple) dedicated to Lono, the Hawaiian god of fertility and healing. Tradition states that the king may have chosen to build his house on the heiau because of the mana (spiritual power) associated with the area. The contemporaneous Hale Aliʻi (ʻIolani Palace) was built on the site of a heiau called Kaʻahaimauli.</p><br>
<p>According to Lebo and Bayman, the actual region of Kaniakapūpū and Kaniakapūpū Heiau (also called Kawaluna Heiau) was located in the Waolani area of Oahu; contemporary records do not mention a heiau onsite or the king building his house on top of one. Kawaluna Heiau was associated with Kūaliʻi, the 16th-century aliʻi nui of Oahu, who asserted his control of the Kona district (the area encompassing much of modern Honolulu) after a ceremony at the temple. One of the earliest references to Kaniakapūpū and its association with Kawaluna Heiau was in the "Legend of Kamaakamahiai", published on August 13, 1870, in the Hawaiian-language newspaper Kuokoa. It stated: "...where the house of our King now stands. Kawaluna was its name in the old days and Kaniakapūpū is its name today".</p><br>
<p>Luakaha ("place of relaxation") was the name of the property during the king&#39;s lifetime, and originates from the name of the traditional ʻili kū (land division) of the ahupuaʻa of Honolulu, which encompassed a third of the forested upper slopes of Nuʻuanu Valley. There are no records of the house itself having any specific name, though when it was in use it was referred to as "the king&#39;s house, cottage, or retreat in Luakaha or Nuʻuanu". Luakaha was one of the many strategic grounds occupied by King Kalanikūpule during King Kamehameha I&#39;s invasion of the island of Oahu in 1795. Traditions state that Kamehameha rested his troops near the site during this campaign, which culminated in the decisive Battle of Nuʻuanu in which many of the defeated Oahu warriors were pushed off the Nuʻuanu Pali to their deaths.</p><br>
<h2>History</h2><br>
<p>In the early 19th century, Honolulu was situated on a dust plain. The aridity and lack of water, save for the Nuʻuanu Stream, prompted many residents to seek reprieve a few miles outside of town in the forested uplands of the Nuʻuanu Valley. In this suburb, American missionaries, white merchants, and the Hawaiian royals built European-style homes to escape the summer heat. The site of Luakaha was located 5 mi outside the city and was reachable by horse and carriage. The claim on the area was relinquished by Charles Kanaʻina during the Great Māhele of 1848, and it became a part of the Crown Lands. Kamehameha III also allocated a nearby piece of land to his advisor and friend Keoni Ana, who built Hānaiakamalama to be near the king.</p><br>
<p>Kaniakapūpū was built prior to the capital of the Kingdom of Hawaii moving to Honolulu from Lahaina in 1845. Along with Hale Aliʻi, the king&#39;s new official residence in the center of town, and a summer retreat in the Nuʻuanu Valley, the new royal residences were built to resemble the spatial-cultural geography of Mokuʻula, the king&#39;s royal residential complex in Lahaina. On July 5, 1842, American missionary Amos Starr Cooke, the teacher of Royal School, wrote in his journal that Governor Kekūanaōʻa was in the process of building a "stone house" for the king in Luakaha.</p><br>
<p>The retreat was completed in 1845 and became a place for entertaining foreign celebrities, chiefs, and commoners. On Hawaiian Sovereignty Restoration Day (Lā Hoʻihoʻi Ea) in 1847, King Kamehameha III and Queen Kalama hosted a grand luau at the palace. The celebration commemorated the fourth anniversary of the restoration of Hawaiian independence and sovereignty by British Rear-Admiral Richard Darton Thomas, following a five-month British occupation of the kingdom during the Paulet Affair of 1843. The luau was attended by an estimated ten thousand guests. The palace may also have been the site of an earlier luau, or great ahaʻaina (feast), which was part of the initial ten-day restoration festivities in 1842. Children from the Royal School, including all of the future Hawaiian monarchs, often visited with their teachers (the Cookes).</p><br>
<p>By 1874, a map of the region labeled the area as the "Old Ruins", implying a dilapidated state. No records exist as to why the site was abandoned.</p><br>
<h3>Contemporary descriptions</h3><br>
<p>Danish explorer Steen Anderson Bille visited Oahu in October 1846 while circumnavigating the globe on the corvette Galathea between 1845 and 1847. Besides having an audience with King Kamehameha III at Hale Aliʻi, and commenting on Honolulu social life, Bille wrote a description of Luakaha:</p><br>
<p>Another account was written in 1908 by Gorham D. Gilman, a New England merchant who resided in Lahaina and Honolulu from 1840 to 1861:</p><br>
<h2>Modern conservation</h2><br>
<p>The area was rediscovered in the 1950s, and the Territorial Commission on Historic Sites cleared and stabilized the ruins onsite. However, the site deteriorated over the next 30 years due to a lack of maintenance. A fund was created by the Historic Hawaii Foundation in 1998 to pay for preservation work on the ruins, which was completed two years later. An archaeological survey was also conducted around this time. Today, the site is managed by the State Historic Preservation Division of Hawaii&#39;s Department of Land and Natural Resources (DLNR) with the help of the Historic Hawaii Foundation and other local preservation organizations, including the Aha Hui Malama O Kaniakapūpū. Kaniakapūpū was added as site 66000293 to the National Register of Historic Places on October 15, 1966.</p><br>
<p>Kaniakapūpū is located at the end of an unmarked trail off the Pali Highway. The property is near the Luakaha Falls, and the surrounding area and trail leading up to the site are covered by a forest of invasive bamboo. Periodic clearing is necessary in order to halt the deteriorating effects of invasive root growth. The trail and ruins, which are located in a protected watershed, are officially off-limits to the public, although state DLNR officials do not regularly monitor the site. Trespassers are subjected to citations if caught.</p><br>
<h3>Vandalism</h3><br>
<p>In 2016, Kaniakapūpū was damaged by vandals who scratched crosses into the historic stone walls. Previously, tourists had etched initials and other markings, while others often leaned, sat, or climbed on the walls for photo shoots. These actions further degraded the ancient structure. State DLNR officials and volunteers denounced these acts as "utter disrespect" for the cultural importance of the site.</p><br>
<p>Social media was blamed for bringing unwanted visitors to the site and not pointing out that the area is off-limits to the public. Following these acts of vandalism, the state of Hawaii asked for the removal of directions to Kaniakapūpū on many social media websites and tourism blogs, and encouraged those who knew the direction to the ruins to come with respect.</p><br>
<h2>Plaque</h2><br>
<p>A plaque was erected at Kaniakapūpū by the Commission on Historical Sites, which reads:</p><br>
<p>The Sculptured House, also known as the Sleeper House, is a distinctive elliptical curved house built in Genesee, Jefferson County, Colorado, on Genesee Mountain in 1963 by the architect Charles Deaton. It features prominently in the 1973 Woody Allen sci-fi comedy Sleeper.</p><br>
<h2>Background</h2><br>
<p>Its architect Charles Deaton described his inspiration: "On Genesee Mountain I found a high point of land where I could stand and feel the great reaches of the Earth. I wanted the shape of it to sing an unencumbered song."</p><br>
<h2>Construction</h2><br>
<p>The house was built in 1963. Delzell Inc., owned and operated by Clifford M. Delzell, was the original contractor, on an experimental permit. Deaton ran out of money before the house was finished, so he never lived in it.</p><br>
<p>The interior went largely unfinished and was vacant for almost three decades. Deaton died in 1996. In 1999, John Huggins, an entrepreneur and the former head of economic development for Denver, purchased the house. He built a large addition designed by Deaton with Nick Antonopoulos. Huggins commissioned Deaton&#39;s daughter Charlee to design the interior, and it was completed in 2003. The house covers over five levels, with five bedrooms and five bathrooms, along with a state of the art kitchen and top level master suite.</p><br>
<p>In 2006, Michael Dunahay, a Denver entrepreneur, purchased the house from Huggins. By late 2010, Dunahay had become delinquent on the nearly $2.8 million outstanding balance of his $3.1 million mortgage, and a foreclosure auction was held on November 10, 2010, where it sold for $1.5 million. The house was sold again in November 2010.</p><br>
<h2>In the media</h2><br>
<p>The 21st Century, episode "At Home, 2001" — hosted by Walter Cronkite (CBS, 1967)</p><br>
<p>Sleeper (Woody Allen film, 1973)</p><br>
<p>Livin&#39; Large (MTV, 2003)</p><br>
<p>American Guns (Discovery, 2011)</p><br>
<p>Extreme Cribs (MTV, 2011)</p><br>
<p>Home Strange Home (HGTV, 2012)</p><br>
<p>Beauport, also known as Sleeper–McCann House, Little Beauport, or Henry Davis Sleeper House, is a historic house in Gloucester, Massachusetts, USA.</p><br>
<h2>Background</h2><br>
<p>Beauport was built starting in 1908 as the summer home of interior decorator and antique collector Henry Davis Sleeper. Situated on the rocks overlooking Gloucester Harbor, Sleeper repeatedly enlarged and modified the structure, and filled it with a large collection of fine art, folk art, architectural artifacts, and other collectible materials. He decorated its rooms, which came to number 56, to evoke different historical and literary themes. Beauport served as his escape, a backdrop for summer parties, and as a showcase for his professional skills.</p><br>
<p>After Sleepers death, Charles and Helena Woolworth McCann acquired the house and its contents. They preserved much of Sleepers designs and decorations, but made some modifications, including adding their porcelain collection to the house. In 1947, their heirs donated the property to the Society for the Protection of New England Antiquities (now Historic New England), which operates the property as a house museum.</p><br>
<p>The house has frequently been written about in books and magazines, with the first major article appearing in House Beautiful in 1916. It has been featured in publications including Architectural Digest, Country Living, and The Boston Globe, and has been showcased on television programs such as America&#39;s Castles.</p><br>
<h2>Preservation</h2><br>
<p>Beauport was declared a National Historic Landmark in 2003, in recognition of its distinctive architecture, its unique collection of artifacts, and for its association for Sleeper, whose design influence extended across the wealthy elite of the eastern United States.</p><br>
<p>In addition to the main house, the property also has a gate house, garage, and toolshed that were built by Sleeper. The gate house has been adapted by Historic New England as a visitor reception area, and the toolshed now houses restrooms.1 The garage is used for storage and as office space. There is a single non-contributing building on the property, a caretaker&#39;s house, which is potentially of local historic interest as an example of a prefabricated post-World War II residential structure.</p><br>
<p>Cogswell&#39;s Grant is a working farm and historic house museum in Essex, Massachusetts. It was the summer home of Bertram K. and Nina Fletcher Little, preeminent collectors of American decorative arts in the mid 20th century. Through her research and innumerable publications, Mrs. Little charted new areas of American folk art , such as decorative painting, floor coverings, boxes, and New England pottery.</p><br>
<p>In 1937, the Littles purchased this farm, including its 18th-century farmhouse with views of the Essex River, as a family retreat and place to entertain. They named it Cogswell&#39;s Grant, after John Cogswell, who was the first English colonial owner of the property, which includes about 165 acre of land. They carefully restored the farmhouse, trying to preserve original 18th-century finishes and carefully documenting their work, and decorated from their extensive collection of artifacts. In more than 50 years of collecting, they sought works of strong, even quirky character, and in particular favored objects with their original finishes and New England histories. They decorated the house for visual delight rather than historical accuracy. The result is rich in atmosphere and crowded with collections of things—primitive paintings, redware, painted furniture, stacked Shaker boxes, weather vanes and decoys—that have since come to define the country look.</p><br>
<p>Bertram Little served for many years as president of the Society for the Preservation of New England Antiquities, now called Historic New England. The Littles bequeathed the property, complete with its contents and associated records, to that organization in 1984. Part of the 19th century barn north of the house has been adapted for use as a visitor center, and the rear ell of the house has been adapted for use as a caretaker&#39;s residence and visitor restrooms.</p><br>
<p>Cogswell&#39;s Grant is open for public tours Wednesday through Sunday, June 1 - October 15.</p><br>
<p>The Weatherford Hotel is a historic hotel in the downtown district of Flagstaff, Arizona. The hotel was established in 1897 by John W. Weatherford, and is located at 23 North Leroux Street, one block north of USA Route 66.</p><br>
<h2>History</h2><br>
<p>Disastrous fires plagued early Flagstaff, like most frontier towns. After a particularly bad series of blazes in 1897, the city passed an ordinance requiring all buildings in the business area to be built of brick, stone or iron. Among the new buildings appearing in the year 1898 was the Weatherford Hotel, built by John W. Weatherford (1859–1934), a native of Weatherford, Texas. Stone work was by contractor Herman Deitzman; G.B. Wilson was carpenter; G.N. Baty was painter. The original structure housed a general store on the first floor, and the Weatherford family upstairs.</p><br>
<p>In March 1899, Weatherford began construction of a brick three-story hotel addition, with a grand opening on New Years Day, 1900. For years, the Weatherford Hotel was the most prominent hotel in Flagstaff, entertaining guests such as artist Thomas Moran, publisher William Randolf Hearst, and writer Zane Grey. Greys famous novel "The Call of the Canyon" was written in the recently renovated Zane Grey Ballroom on the third floor of the hotel.</p><br>
<p>A sunroom occupied part of the top floor and was used for dances and parties, while numerous civic groups engaged the downstairs. A three-sided balcony, visible in the 1905 photograph hanging in the Ballroom was damaged by fire and removed in 1929, along with the original cupola. At various times, the hotel housed a restaurant, theater, and billiard hall and radio station.</p><br>
<p>Henry Taylor purchased the hotel in 1975 in an attempt to keep it from being demolished, at a time when the downtown area was in an acute state of disrepair and decline. Since then, Henry and his wife Pamela (Sam) have renovated the structure, with the goal of restoring the hotel to its original grandeur. The third floor Ballroom was renovated and reopened in 1997 and the first stage of reconstructing the wrap-around porches were finished in February 1999.</p><br>
<p>When transcontinental telephone service first reached Flagstaff about 1910, a small brick building with a three-bay facade of red Coconino sandstone was erected south of the hotel to serve the telephone company, becoming part of the "Weatherford Block." The building served its original purpose until at least the 1930s, when it underwent the first of two modernizations.</p><br>
<p>The sandstone facade was stuccoed over in a modified art-deco style, and in the 1950s aluminum siding was added. It was known for some years as the "Le Brea Cafe", an establishment whose character does not appear to have elicited any significant historic recollection.</p><br>
<p>The cafe facade renovation completed in 1995 restored the appearance of the original 1909 Telephone Exchange. The elegant simplicity and casual ambiance of the "Exchange Pub" is reminiscent of Flagstaff&#39;s at its around the start of the 20th century heyday.</p><br>
<p>The renovation continues today with future expansions to include the development of the basement which was the original Hotel Pub & Restaurant in 1900.</p><br>
<p>The hotel was added to the National Register of Historic Places in 1978.</p><br>
<p>The Connecticut Governor&#39;s Residence serves as the official home of the governor of Connecticut. It is located at 990 Prospect Avenue in Hartford.</p><br>
<p>The Connecticut Governor&#39;s Residence has served as the official residence since 1945. The house was originally built in 1909 for George C. F. Williams, a Hartford physician and industrialist. It was designed in the Georgian Revival style by the Boston-based architectural firm of Andrews, Jaques & Rantoul and built at a cost of $337,000. In 1916, Hartford architects Smith & Bassette designed the north and south wing additions. The three-story home originally stood on 14 acre that included a grass tennis court, a greenhouse and a number of outbuildings. It remained in the Williams family until 1940. The property was acquired by the State of Connecticut in 1943.</p><br>
<p>Today, the 19-room residence sits on 4 acre and has 15,000 ft&sup2; of living space with nine fireplaces, nine bathrooms, a pool and a pergola.</p><br>
<p>The Governor&#39;s Mansion is a contributing building in the Prospect Avenue Historic District, which is listed on the National Register of Historic Places. and</p><br>
<p>The Waybury Inn is an inn at 457 East Main Street in Middlebury, Vermont, United States. The inn was built in 1810, and is one of the oldest operating traveler&#39;s accommodations in the state. It was listed on the National Register of Historic Places in 1983. It is well known for its use in exterior shots of the Newhart television series.</p><br>
<h2>Description</h2><br>
<p>The Waybury Inn is located on the north side of East Main Street (Vermont Route 125), near the eastern end of East Middlebury village. It is set near the westernmost end of one of the major routes across the Green Mountains in central Vermont. It consists of a -story gable-roofed main block, from which a two-story block extends to the rear. A single-story porch, covered by a hip roof, extends across the front and around to one side. The interior is arranged in a central hall plan, with large rooms, extending the full depth of the main block, on either side of the main staircase.</p><br>
<h2>History</h2><br>
<p>The inn was built in 1810 by John Foot (or Foote). The pass to the east had opened as a toll road (turnpike) in 1808, and Foot sought to capitalize on the traffic it would bring. However, the turnpike never brought a high volume of traffic, and efforts to develop a glassworks in the village also cramped growth in the area. Moderate growth in the village by 1850 prompted its second proprietor, Royal Farr, to expand the premises in 1867 by adding the ell to the rear. This included a ballroom, and Farr added other amenities to make the inn a local site for social events. The inn was variously known as the Glen House and Green Mountain House before being given its present name in the 20th century. The only period of time in which the inn was closed was during World War II.</p><br>
<p>The inn maintains a tradition in which, in room 9, there is an antique desk with a secret drawer. Following the lead of a couple who found the drawer in 1987, guests often put notes in the drawer.</p><br>
<p>The Waybury Inn was also used as a location for exterior shots on the Bob Newhart television series, Newhart, from 1982 to 1990. Featured as the Stratford Inn, the Waybury Inn was painted white for the show. After the show went off the air in 1990, the inn was repainted green to match the nearby Green Mountains.</p><br>
<p>The Ada Arts and Heritage Center is a Colonial Revival styled building located at 400 South Rennie Street in Ada, Oklahoma. The building was listed on the National Register of Historic Places as Ada Public Library in 1989. The building was built in 1939 to serve as the public library of Ada. In 1981, having outgrown this original building, the Ada Public Library moved to its</p><br>
<p>current location at 12th and Rennie.</p><br>
<p>Designed by architect Albert S. Ross, it was built by the Chapman Construction Co. during 1938–39. It was funded by a Public Works Administration grant and by a local bond issue.</p><br>
<p>The building was deemed "architecturally significant because its Y-shaped plan is unique in Oklahoma and because its designer, Albert S. Ross, is one of Oklahomas foremost architects....the Ada building is generally considered to be Ross&#39;s finest achievement. The building is virtually pristine, retaining almost one hundred percent of its original materials and also retaining its integrity of workmanship, design, feeling, and association."</p><br>
<p>The building is now known as the Ada Arts and Heritage Center and serves as a museum with changing art displays and a collection of historic photographs.</p><br>
<p>The Wintersmith Park Historic District, known locally as simply Wintersmith Park, is a historic district located at 18th Street and Scenic Drive in Ada, Oklahoma. The park includes a lake, a lodge, bridges, trails, courts and a public amphitheater. The area is listed in the National Register of Historic Places. The park is named for Frances Wintersmith.</p><br>
<h2>Location and activities</h2><br>
<p>Wintersmith Park is located on the southeastern edge of Ada. It is south of 18th Street, east of Scenic Drive and west of Country Club Road. The park contains 150 acre of land, Wintersmith Lake, a public swimming pool and splash park, a lodge, courts for basketball, softball, volleyball and horseshoes, a 1.5 mi lighted trail, eight picnic pavilions, a playground, a dog park, and a Kiwanis amusement park as well as bridges, trails and a public amphitheater.</p><br>
<h2>History</h2><br>
<p>Wintersmith Park was a "New Deal" work program, created during the Great Depression by the Civilian Conservation Corps (CCC) to improve communities and provide wages for unemployed people. Work began on the park in 1933 when the young men of camp number 824 arrived in Ada. The men were paid a monthly wage of $30.</p><br>
<p>The Wintersmith project was unique among New Deal projects as it was the first time the National Park Service (NPS) would be working with the CCC on a project. The NPS usually worked only on the country&#39;s national parks.</p><br>
<p>The combined team would work for more than a year to transform 143 acre on Ada&#39;s eastern edge. They built a lake, a lodge, bridges, trails, and a public amphitheater.</p><br>
<h3>Public Amphitheater</h3><br>
<p>Built into a naturally occurring slope on the parks south edge, the amphitheater consists of natural stone found in the park and stone quarried from nearby Fittstown, Oklahoma. A crew of stonemasons worked for three months to complete the project.</p><br>
<p>When completed in 1934, the amphitheater was arguably one of the most distinctive places in Oklahoma. The amphitheatre served as host for many community events, including plays, musicals, public speaking, beauty pageants, talent shows and community sings.</p><br>
<p>Over the years, however, the amphitheater had slid into disrepair. Frequent use, low level of maintenance and the elements combined to press the amphitheater into a worn out state. The cap stones that serve as seats were often broken, cracked or missing. The risers holding up the seats had suffered significant erosion damage. The barrier walls on the north and sound ends of the amphitheater were compromised or sometimes missing altogether.</p><br>
<p>Dr. Marvin Kroeker, a longtime Ada resident and East Central University history professor emeritus, hoped to save the amphitheater and bring it back to its former glory. In 2000, Dr. Kroeker took Oklahoma State Historic Preservation Office deputy Melvena Heisch on a tour of the park and the amphitheater. He sought to convince Mrs. Heisch to nominate the amphitheater for designation on the National Register of Historic Places. After the tour, Mrs. Heisch determined the entire Wintersmith area, to be known as the Wintersmith historic district, should be nominated for the Register. The park, including the amphitheater, was accepted for the Register in June 2000.</p><br>
<p>Following the designation, Dr. Kroeker saw the opportunity to solicit funding from the Oklahoma Centennial Commission for restoration of the amphitheater. The Ada city council voted to designate the amphitheater Ada&#39;s Oklahoma Centennial project and made the application for funding from the Centennial Commission. The Centennial Commission accepted the amphitheater project application, and the project was funded with $150,000 of commission grants.</p><br>
<p>Restoration of the amphitheater has begun. Student and adult volunteers have cleaned up the amphitheater and took down weeds and undergrowth. Dirt contractors have moved the earth to help protect the area from erosion. Concrete workers have poured the new handicap areas at the top and foot of the amphitheater. New “butternut” cap stones were put into place to replace the broken and missing seating.</p><br>
<p>Upcoming construction plans call for concrete drop off area and parking, concession and ticket buildings, walkways and a stage. Soon after restoration, a special production reintroducing the amphitheater, celebrating Oklahomas centennial and recognizing the 75th anniversary of Americas New Deal is expected.</p><br>
<h3>Jones Chapel Schoolhouse</h3><br>
<p>Jones Chapel Schoolhouse (also known as the "Little Red Schoolhouse") is located in the park off 18th Street. The schoolhouse opened in 1907 west of town. It was moved to the Kerr Lab area in 1976, where it was painted red, and then its current location in Wintersmith Park in 1990. The schoolhouse has many windows, which served both for light and air-conditioning when the building was in use.</p><br>
<h3>Campbell Cabin</h3><br>
<p>The Campbell Cabin, located next to the schoolhouse, is another structure with historic significance to the area. The cabin represents Ada&#39;s early history in homemaking and demonstrates what it would have been like to live as a pioneer in a log cabin. A sign on the cabin reads "Cecil & Nell Campbell 1609 E 18th ST."</p><br>
<p>The Madam C. J. Walker Building, which houses the Madam Walker Legacy Center, was built in 1927 in the city of Indianapolis, in the USA state of Indiana, and as Madam C. J. Walker Manufacturing Company, it was designated a National Historic Landmark in 1991. The four-story, multi-purpose Walker Building was named in honor of Madam C. J. Walker, the African American hair care and beauty products entrepreneur who founded the Madam C. J. Walker Manufacturing Company, and designed by the Indianapolis architectural firm of Rubush & Hunter. The building served as the world headquarters for Walkers company, as well as entertainment, business, and commercial hub along Indiana Avenue for the citys African American community from the 1920s to the 1950s. The historic gathering place and venue for community events and arts and cultural programs were saved from demolition in the 1970s. The restored building, which includes African, Egyptian, and Moorish designs, is one of the few remaining African-Art Deco buildings in the United States. The Walker Building was added to the National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>Madam C.J. (Sarah Breedlove) Walker (1867–1919), an African-American hair care and beauty products entrepreneur around the turn of the century, began development of the Walker Building and its theatre prior to her death in 1919; however, her daughter, ALelia Walker, in collaboration with Freeman B. Ransom, the Madam C. J. Walker Manufacturing Companys attorney, supervised the completion of the project. The building was named in Madam Walker&#39;s honor and opened to the public on December 26, 1927, eight years after her death. The four-story, triangular-shaped building at 617 Indiana Avenue was designed by the Indianapolis architectural firm of Rubush & Hunter and built by W. Jungclaus Company.</p><br>
<p>The Walker Building is located along Indiana Avenue, a center "of entertainment, business and pride" for the citys African American community from the 1920s to the 1950s. The building served as the world headquarters for the Madam C. J. Walker Manufacturing Company, "one of the earliest, and for years the most successful, black business empires in the United States." In 1910, Madam Walker established the headquarters for her hair care and beauty business in Indianapolis, Indiana, where her company at one time employed about 3,000 women workers at its on-site factory. The companys new multi-purpose building opened in 1927. In addition to housing the company&#39;s headquarters and manufacturing facilities, the Walker building included a Walker beauty school/salon, a fourth-floor ballroom called the Grand Casino, an auditorium/movie theater, a drugstore, the Coffee Pot restaurant/coffee shop, and various professional offices.</p><br>
<p>The Walker Theater Company, a separate entity from the Walker Manufacturing Company, leased the theater space from the manufacturing company and operated it as a stage/movie theater until the mid-1930s when the theater suffered from financial difficulties and outside managers took over its operation. The building&#39;s performance spaces were among the many jazz venues lining Indiana Avenue, but the Walker building is only one still standing. During the mid-1950s "the building and its surrounding neighborhood began a gradual decline" as African-American middle-class families began moving to other areas of the city. The theater briefly closed in the 1960s.</p><br>
<h3>Preservation and restoration</h3><br>
<p>"By the late 1970s the Walker Building stood nearly abandoned" and faced demolition, with only Walker Manufacturing Company remaining housed in the building. A "group of Indianapolis citizens recognized the structure&#39;s rich history" and began a project to preserve the aging building. Although the exact date is not known, it is believed that the theater remained closed from 1978 or 1979 until its restoration was completed and it reopened in 1988.</p><br>
<p>The Madam Walker Building Urban Life Center, an incorporated not-for-profit organization that formed in 1979, "purchased the building from the Walker Manufacturing Company and began planning for its restoration" with the intention of reestablishing the facility as a cultural center and encouraging economic enterprise. The site was listed on the Indiana Register of Historic Sites and Structures and added to the National Register of Historic Places in 1980. In 1982 the organization&#39;s articles of incorporation were amended to reflect its new name, the Madam Walker Urban Life Center.</p><br>
<p>The first phase of the restoration, which housed offices and the Grand Casino Ballroom, was completed in 1983. A $2.5 million capital campaign raised funds to restore the Walker Theatre with a present-day seating capacity of 935. The influence of African art forms in ALelia Walkers original design concept is apparent throughout the restored theatre. Financial support for the restoration came from Lilly Endowment and others donors. In October 1988, the Walker Theatre reopened in the fully restored Walker Building under the management of the Madam Walker Urban Life Center. The Urban Life Center also collaborated on two office structures along Indiana Avenue: Walker Plaza, built in 1989, and 500 Place, which was completed in 1992. The building was designated as a National Historic Landmark on July 17, 1991. In 1996 the Madam Walker Urban Life Center was renamed the Madam Walker Theatre Center to better reflect the organization&#39;s purpose.</p><br>
<p>Indiana University and Indiana University – Purdue University Indianapolis announced in early 2018 its partnership with the Madam Walker Theatre Center to preserve and restore the historic building. When the planned renovations are completed in 2019, IU and IUPUI will offer new programming at the site to continue the centers "mission of education, empowerment, entertainment, and the celebration of cultural diversity," as well as serving the local community and assuring the sites economic viability. A grant of more than $15.3 million from the Lilly Endowment will provide the funding for the building&#39;s renovation and its transitional operations. The facility will also be renamed the Madam Walker Legacy Center.</p><br>
<h2>Programming</h2><br>
<p>Since the Walker building opened in 1927 it has been used as a meeting place and venue for community events and arts and cultural programs. In 1987, the Madam Walker Theatre Center launched the Youth-in-Arts program, which targeted more than 150 youth who may not have the resources to experience the arts outside of their typical school setting. The theatres educational program was redesigned in 2007. In more recent years the facilitys program offerings have been more limited due to the deterioration of the building, aging equipment, and consistent leadership challenges.</p><br>
<h3>Performing arts</h3><br>
<p>The Madam Walker Theatre Center&#39;s annual performing arts season opens in early October and continues until early May.</p><br>
<p>Monthly presentations include:</p><br>
<p>Jazz on the Avenue, with jazz artists in concert on the Main Stage or in a cabaret setting and the Indiana Avenue Renaissance Festival. These programs present local and national artists and aim to educate the community in jazz as an indigenous American art form.</p><br>
<p>Steppin&#39; on the Avenue, presenting stepping in African American life, as part of the way in which music, song and dance are interrelated in that culture. The program promotes an art form similar to Salsa.</p><br>
<p>Laughin&#39; on the Avenue, showcasing local and national artists.</p><br>
<p>Main Stage Series: these programs are primarily presented in the Madam Walker Theatre and include theatre, music, and dance. In some cases, international artists presented under the category of Cultural Connections, usually showcased through workshops and classes, as well as part of the Main Stage season.</p><br>
<p>Artists presented are in many cases in residence at the theatre for two or more days, which aims to allow them to develop and participate in community residency, education, and humanities programming.</p><br>
<h2>Educational programs</h2><br>
<p>Project MAPPED, an acronym for Music, Art, Poetry, Performance, Expression, and Dance, is a 12-week interdisciplinary arts curriculum offered 3 days a week in 2-hour intervals targeting grades 3 through 12 and serving students on all performance levels. The program offers chorus & individual voice lessons, string orchestra & individual string lessons, poetry & spoken-word writing, speech lessons, set production & visual arts, and dance (modern, ballet, jazz, tap, and hip hop). Each session culminates with a semiprofessional performance on stage at the Madame Walker Theatre. The sessions are assigned themes dictated by specific historical events or phenomena within American and African-American culture. Students participate in workshops, lecture-demonstrations, and concerts aimed at introducing them to business practices in the music industry, and the creative processes and aesthetics of various genres.</p><br>
<p>Crushing the Conventional is a concert/lecture/master class series for students, educators and parents showcasing traditional and nontraditional art forms within the African and African-American Diaspora. Admission to these matinee performances is set at an affordable rate. The series occurs during the school day and includes master classes and lectures for parents.</p><br>
<p>Beyond the Wings is an Arts Administration introductory training initiative of the Center targeting high school students. The program exposes students to basic arts administrative duties and teaches arts administration, with students collecting community service credits which many are required to obtain on a semester basis.</p><br>
<p>Arts in Education provides arts experiences to Indianapolis Public School students and students in private, suburban and outlying school districts. The program utilizes artists in residence who are participating in humanities or performing arts programs to provide workshops, master classes, lecture-demonstrations and mini-concerts that educate the student to the process, technique and aesthetics of various art forms. The Arts in Education program also includes the Children&#39;s Performing Arts Series, which allows students to attend matinée performances at the Madam Walker Theatre.</p><br>
<p>Madam Walker Academy for Girls provides intermediate-level refinement skills to an underserved segment of the Indianapolis community. Through an ongoing series of workshops, lectures, and activities, participants graduate from the academy with new presentation skills for a variety of settings. The program is open to girls ages 11&ndash;17.</p><br>
<p>Humanities: the Madam Walker Theatre Center&#39;s programming for the humanities is designed to encourage participation at all ages.</p><br>
<p>Writer&#39;s Symposium Series, an ongoing program of the Center designed to familiarize participants with the written word and its place in American culture. The program presents a series of dialogues based in and around the works of local, regional and national authors.</p><br>
<p>Walker Film Series, a series of films designed to bring visibility to national and international film and video with an emphasis on African and African-American and other ethnic minority filmmakers.</p><br>
<p>Tours & Living History: The Heritage Center serves as a display space and repository for information regarding C.J. Walkers life and legacy, as well as the lives of African-Americans who have contributed to American culture. This street-level space offers tours, lectures and small heritage programs presented by local living history theatre Freetown Village.</p><br>
<h3>Other uses</h3><br>
<p>The center also provides facilities for Freetown Village and Iibada Dance Company. It serves as a rental facility for other arts, social, civic and business organizations to host their programs and activities.</p><br>
<p>The theatre is used for pageants, musicals, concerts, lecturers, auditions and rehearsals, motion picture and video screenings, ceremonial awards presentations and other community events.</p><br>
<h2>Description</h2><br>
<p>The building&#39;s ornamentation is loosely based on African motifs, many of which were blended into a "more standard Art Deco geometric ornamentation." Some sources describe the Walker Theatre as one of the few remaining African-Art Deco buildings in the United States.</p><br>
<p>A&#39;Lelia Walker commissioned the local architectural firm of Rubush & Hunter to design the 48,000 square foot Walker Building to honor her mother in 1927. The Wm. P. Jungclaus Company constructed the building on a triangular lot at the intersection of North Street, West Street (Dr. Martin Luther King Boulevard), and Indiana Avenue in Indianapolis at a cost of $350,000. The Walker Company financed its construction with first and second mortgages. The triangular-shaped building included a theater and ballroom in addition to the Walker Company manufacturing facilities and offices, a Walker beauty school/salon, a drugstore, a restaurant/coffee shop, and office rental spaces.</p><br>
<h3>Exterior</h3><br>
<p>The four-story, Art Deco-style building is constructed with reinforced concrete, yellow brick-faced walls, an asphalt roof, and a concrete foundation. The triangular-shaped building has two main facades along Indiana Avenue and West Street (Dr. Martin Luther King Blvd.). The south (Indiana Avenue) facade includes storefronts and an entrance to the Walker Theatre. The West Street facade includes a stage entrance and emergency exits. Another ground-floor entrance is located at the point of the triangular-shaped building at Indiana Avenue and West Street. Terracotta architectural details surround the ground-level openings on the two main facades. The building&#39;s decorative elements contain African, Moorish, and Egyptian motifs and geometric lines.</p><br>
<p>The south facades upper levels are divided into twelve major bays, while the upper levels of the east facade contains nine major bays. Pilasters with terracotta caps and decorative insets define each bay. Second and third-floor levels include sash windows, but the fourth-floor sash windows have been replaced with casement windows. A parapet extends across ten bays of the south facade with smaller parapets on the east facade and central point of the building. The rear facade is constructed of concrete structural members and red brick. It is one-half story taller than the other facades to accommodate the theaters stage equipment. The theater marquee and box office also include Moorish decorative influences. A one-bay facade facing southeast, toward downtown Indianapolis, once served as the entrance to a drugstore and restaurant/coffee shop.</p><br>
<h3>Interior</h3><br>
<p>The interior ornamentation includes bold colors and Egyptian and Moorish motifs with Art Deco details on the buildings stucco walls and ceilings. The theatre, which is the largest section of the building, has a present-day seating capacity of 935. The theatre includes a large stage with a grand drape, pipe organ lofts, an orchestra pit, elaborate decorations, and plush seating, in addition to a small lobby. A wood and lead glass screen separate the lobby area from the theater. The pipe organ lofts also include screens of turned spindles. The stage is flanked with two Egyptian-inspired sphinxes. In addition, the stage walls and ceiling include a variety of designs such as African masks, warrior shields, spears, animals, and other exotic symbols. The theaters decoration also includes brass embellishments. Additional features of the theatre include professional lighting and sound systems, dressing rooms, lobby, box office services, a bar lounge, catering and technical services, and parking spaces.</p><br>
<p>In addition to a theater, the building has additional event venues such as the Grand Casino Ballroom, the Walker Memorial Board Room, and the A&#39;Lelia Bundles Conference Center. The stage and the fourth-floor ballroom have been redecorated over the years.</p><br>
<h2>Legacy</h2><br>
<p>The Walker Building was listed on the Indiana Register of Historic Sites and Structures and added to the National Register of Historic Places in 1980. As the Madam C. J. Walker Manufacturing Company, it was designated a National Historic Landmark in 1991.</p><br>
<p>The historic Walker Building, which remains an anchor site along Indiana Avenue, initially served as the headquarters and factory for the Walker Company and as a center of black female employment. It also functioned as a hub "of entertainment, business and pride" for the citys African American community from the 1920s to the 1950s. The restored building continues to serve the community as a legacy to Madam C.J. Walkers success in the beauty and cosmetology industry, as well as her interest in promoting the arts. It no longer houses the Walker Manufacturing Company, but the building continues to serve as a cultural center for the African American community.</p><br>
<p>The Walker Building is the only extant architectural building of Indiana Avenues once vibrant nightlife. Since it opened in 1927, the building has offered performances, educational programs, and a gathering place for public and private gatherings and celebrations. As of 2012, the building was one of the citys only National Historic Landmark-owned and operated by African Americans. As a tribute to Madam C.J. Walker, the buildings namesake, the facilitys ongoing mission is to promote social justice, provide cultural education, and empower "the next generation of entrepreneurs, business owners, and civic leaders" and serves as a "symbol of African-American pride."</p><br>
<h2>In pop culture</h2><br>
<p>The historic Walker Theatre is referenced in singer/songwriter Leroy Carrs "Naptown Blues" and Mari Evanss poem, "I Am A Black Woman."</p><br>
<p>Graeme Park is an historic site and National Historic Landmark at 859 County Line Road in Horsham, Pennsylvania, United States. It is owned by the Pennsylvania Historical and Museum Commission and operated by the non-profit group, The Friends of Graeme Park. It is the only surviving residence of a colonial-era Pennsylvania governor.</p><br>
<p>Graeme Park was constructed in 1722 by Sir William Keith as a summer residence and alternative to his governor&#39;s mansion at Shippen House on Second and Spruce Streets in Philadelphia. The house, originally known as Fountain Low, has been largely unchanged since its construction except for a restoration by Thomas Graeme in the mid-18th century and a minor restoration by the Pennsylvania Historical and Museum Commission in the 1960s.</p><br>
<h2>Timeline</h2><br>
<h3>1721</h3><br>
<p>Construction of the malthouse begins.</p><br>
<p>A malthouse is a building in which brewers create malt by starting the germination process of barley or other grains. The malt is then used as a key ingredient in the making of beer, ale and malt liquor. This malthouse was one of several attempted commercial ventures undertaken by Sir William Keith during his term as governor of Colonial Pennsylvania. His other businesses included a copper mine located west of the Susquehanna River in disputed territory and a foundry on the Christiana River near New Castle, Delaware. The malthouse was constructed during a time of financial complications between Great Britain and her American colonies. Trade was slowed tremendously and supplies of grain were rotting on the idled ships in the colonial ports in cities like Philadelphia. Keith took advantage of the need to have the grain processed and malting the grain was a good way to preserve it for a time.</p><br>
<h3>1722 or 1723</h3><br>
<p>Construction on the mansion at Graeme Park begins.</p><br>
<p>Graeme Park was originally called "Fountain Low" by Sir William Keith, its builder and first resident. It is also known as the "Keith House" in his honor. Fountain Low was built on 1,700 acre of land that Keith acquired as governor. He received the land for little or no cost as a debt payment given to the Provincial government of Pennsylvania by the estate of Samuel Carpenter, who had died with a considerable debt owed to the colony. Over 90 workmen worked to complete Fountain Low and its surrounding buildings. Keith even got the Provincial government to extend two roads to his property in Horsham. Evidence points to the assumption that Governor Keith rarely occupied Fountain Low, but instead spent the majority of his time at the governor&#39;s mansion in Philadelphia. The interior of the mansion was not painted until Dr. Thomas Graeme took ownership in 1739.</p><br>
<h3>1739</h3><br>
<p>Dr. Thomas Graeme acquires the property at Fountain Low and renames it "Graeme Park".</p><br>
<p>Dr. Graeme was the husband of Ann Diggs who was the stepdaughter of Sir William Keith. Graeme had arrived with Keith from England in 1717 and married Ann in 1719. During his years in Pennsylvania Graeme attained a significant social status in Philadelphia. He served as the Port Physician, was a consulting physician at the Pennsylvania Hospital, was appointed as a naval officer by Governor Keith in 1719, as a Register General and Master of Chancery in 1724. Graeme also served on the Provincial Council and the Supreme Court of Pennsylvania. Governor Keith had left Pennsylvania in 1728 and left trusteeship of his properties to his wife Lady Anne Keith and family. Dr. Thomas Graeme was one of the trustees. The estate was sold in 1738 to Joseph Turner, who then sold Fountain Low to Dr. Graeme in 1739. Graeme originally used the newly named Graeme Park as a summer residence and kept his primary residence in Carpenter&#39;s Mansion in Society Hill, Philadelphia.</p><br>
<h3>1755</h3><br>
<p>Dr. Graeme begins interior renovations at Graeme Park.</p><br>
<p>He installed decorative devices that were common during the Georgian era, including paneling and refinished several of the interior doors. These changes remain today at Graeme Park. Dr. Graeme also commissioned the construction of an outdoor kitchen, laid out a formal garden and began a 300 acre "Deer Park" to make it "a piece of Beauty and Ornament to a dwelling (that any English noble would be proud to have... by his house." (Letter to Thomas Penn, 1755)</p><br>
<h3>1765</h3><br>
<p>Dr. Thomas Graeme retires from medical practice due to deteriorating health and the death of his wife Ann.</p><br>
<p>Following his retirement, Dr. Graeme began to spend a majority of his time at Graeme Park. Graemes daughter Elizabeth assumes the role of hostess for the doctors household. Although Graeme retired from medical work he did not retire from the Philadelphia social scene. Together with Elizabeth they hosted salons or gatherings of Philadelphias most influential statesmen, writers and musicians. Elizabeth, herself, became a poet of some renown. Dr. Graeme also served as the President of St. Andrews Society an organization of gentlemen Scottish immigrants in Philadelphia. He was elected to the American Philosophical Society and the American Medical Society. Dr. Graeme died of a heart attack while walking the grounds of Graeme Park on September 4, 1772. Ownership of the land was transferred to his daughter Elizabeth and her husband Henry Hugh Fergusson.</p><br>
<h3>1778</h3><br>
<p>Graeme Park is confiscated by the Continental Congress due to Henry Fergusson&#39;s loyalist sympathies during the American Revolution.</p><br>
<p>Elizabeth Graeme married Henry Fergusson on April 21, 1772, without her fathers consent. This caused quite a problem for the newlyweds. Henry and Elizabeth had been introduced to each other by Dr. Benjamin Rush, a future founding father of the United States, on December 7, 1771, at one of the salons hosted by Elizabeth and Dr. Graeme. Fergusson was a recent and penniless Scottish Immigrant and he was eleven years younger than Elizabeth. Both of these qualities made him a less than ideal suitor for Elizabeths hand in marriage and Dr. Graeme forbade that they marry. Four months after they met, Henry and Elizabeth married secretly in Old Swedes Church. Only their close friends attended, including Benjamin Rush, Provost William Smith and his wife. Despite her fathers disapproval, Elizabeth had vowed to let her marriage be known. Ironically, the day on which she decided to tell him the news was the day that he suffered his fatal heart attack, with Elizabeth watching him approach Graeme Park through a window of the mansion. Elizabeth was never able to tell of her marriage. She was Dr. Graemes only living heir, she inherited Graeme Park and by right of marriage Henry Fergusson gained title to the property. With his sudden new fortune Henry Fergusson was able to quickly ascend the Philadelphia society ladder. He traveled to England twice, became director of a prominent Philadelphia library and was awarded the title magistrate in Philadelphia. He was the last magistrate of Philadelphia under British colonial rule. He sailed once more for England in late 1775 just as the American Revolution was beginning to gather steam. He returned to Philadelphia by way of New York City as a loyalist with Sir William Howe commander of the British forces in American. With Howe, Fergusson witnessed the Battle of Brandywine and the occupation of Philadelphia during the Philadelphia campaign. Fergusson involved his wife in his activities by sending her as a messenger to General George Washington to ask for his surrender and to present a bribe to a major in the Continental Army. Both of these incidents caused the Patriots of Philadelphia to doubt her loyalty. There was no doubt about where Henry Fergussons loyalties lay. He was found a traitor by the Supreme Executive Council of Pennsylvania and Graeme Park was seized under the Confiscation Act of 1778.</p><br>
<h3>1781–1795</h3><br>
<p>Graeme Park is returned to Elizabeth Graeme Fergusson and she lives there in peace until 1795.</p><br>
<p>Elizabeth Fergusson may have delivered some letters, for her husband&#39;s sake, that called her loyalty into question, but she remained a patriot throughout the Revolution. She regained Graeme Park in 1781 thanks to the support of several close and influential friends. Among these were Dr. William Smith,* first president of the University of Pennsylvania, Robert Morris known as the financier of the Revolution, and Benjamin Rush, a signer of the United States Declaration of Independence and the man who introduced her to Henry Fergusson. Elizabeth was able to live the rest of her life in peace and quiet. She sold Graeme Park to a pharmacist from Bethlehem, Pennsylvania named William Smith. Elizabeth lived with her friends in Horsham until her death in 1801.</p><br>
<h3>1801–1920</h3><br>
<p>The Penroses care for Graeme Park</p><br>
<p>William Smith sold 200 acre of Graeme Park to Samuel Penrose of Richland Township including the original house, Keith Mansion, in April 1801. Samuel and his wife Sarah were members of Horsham Friends Meeting, the local Quaker congregation. They were the parents of 10 children, seven of which survived to adulthood. Their son William was married to Ann Larrett in 1810 and the Penrose built a second farmhouse at Graeme Park for the newlyweds. Samuel bought all of Graeme Park from his father in 1820 and with Sarah began the tradition of keeping Graeme Park in its original state while at the same time having a productive and profitable farm. When Samuel died in 1863 ownership was transferred to his third son, Abel Penrose. Abel and his wife, Sarah Beisel, continued to preserve Graeme Park for future generations. They even began to invite visitors to take tours of the former Governor&#39;s mansion. Morris Penrose was the fourth and final generation of the Penrose family at Graeme Park, beginning in 1893. He continued the tradition of hosting tours for school groups and historical societies. It was noted that 400 visitors walked to Graeme Park from the trolley stop on Easton Road in Horsham.</p><br>
<h3>1920–1958</h3><br>
<p>The Strawbridges care for Graeme Park</p><br>
<p>Morris Penrose sold 191 acre to Welsh Strawbridge on March 20, 1920. Strawbridge was an investment broker with the firm J&W Strawbridge. He was a prominent member of Philadelphia society, serving as Master of the Hounds for the Whitemarsh Hunt Club. Strawbridge married Miss Margaret Ely Marshall in 1922. They lived in the 1810 Penrose farmhouse and continued the Penrose tradition of preserving the Keith House and sharing its history with visitors.</p><br>
<p>In order to ensure the preservation of this historic mansion, the Strawbridges donated the Keith House and the surrounding area to the Pennsylvania Historical and Museum Commission in 1958.</p><br>
<h3>1958–present</h3><br>
<p>Graeme Park as a Pennsylvania Historical Site</p><br>
<p>The PHMC did some minor restorative repairs to Graeme Park in the 1960s. The buildings and the grounds of Graeme Park appear in much the same state today as they did in colonial times. The original floor boards, paneling and paint from Dr. Graeme&#39;s restoration remain. They provide a glimpse into the world of Georgian architecture.</p><br>
<h2>Haunting legends</h2><br>
<p>Since Elizabeth&#39;s death in 1801 it has been rumored by the citizens of Horsham, Pennsylvania that the Keith House and Graeme Park are haunted by her ghost. These local legends have been embraced by The Friends of Graeme Park, who perform annual lantern tours of the Keith House.</p><br>
<p>Lexington was an 18th-century plantation on Mason&#39;s Neck in Fairfax County, Virginia, United States. The estate belonged to several generations of the Mason family, and is now part of Mason Neck State Park.</p><br>
<h2>History</h2><br>
<h3>As a plantation (18th century)</h3><br>
<p>Lexington was originally part of the Gunston Hall plantation land tract, held by various members of the Mason family (one of the First Families of Virginia) for generations, and previously by members of the Doeg band of Native Americans.</p><br>
<p>George Mason IV, an active patriot and mentor of his neighbor General (then President) George Washington subdivided his property when his firstborn son George Mason V (1753-1796) reached legal age in 1774 (a year after his mothers death). The house was actually built beginning circa 1784, a year after that somewhat sickly son returned from a European trip taken for health and business reasons, and shortly before the sons marriage to Elizabeth Barnes Hooe, whose father operated the Barnesfield plantation in nearby King George County. Lexingtons construction of wood rather than brick or stone like Gunston Hall, may indicate the economic constraints imposed by the American Revolutionary War upon the patriot family. Although they had six children (and documents confirm at least three were born at this plantation house), George Mason V would only acquire title to the plantation upon his fathers death in 1792 (when the Fairfax County Circuit Court accepted and transcribed his fathers lengthy and codicil-free will written in 1773 and named him the estates executor) and only survived his father by four years. The name commemorates the Battle of Lexington in Massachusetts.</p><br>
<p>The surrounding plantation was used to grow tobacco (a resource intensive crop which led to soil depletion) and other crops by 1775.</p><br>
<h3>Disrepair and the Mason family (19th century)</h3><br>
<p>It fell into disrepair after the War of 1812, both because of soil depletion, and because George Mason Vs son sold the property to his uncle William Mason of Mattawoman plantation in Maryland in 1818 (a year before his wife died and two years before his own death). William Mason had run the plantation during his elder brother George Mason Vs European trip before the manor houses construction. Non-family managers had operated the Lexington plantation on behalf of the Mason descendants until they came of age, later on behalf of Mason family members who chose to live elsewhere. George Mason Vs will declared that Lexington would become the property of his second son, William Eilbeck Mason (1788-1820), when he came of age, an event which would not occur until 1809, although it also allowed his widow to occupy the property for the rest of her life. In fact, a month after her husbands death, Elizabeth Barnes Mason gave birth to his posthumous third son, Richard Barnes Mason, who would become a career USA Army officer and temporary governor of the California territory before his death in 1850. George Mason Vs eldest daughter Elizabeth Mary Ann Barnes Mason (9 March 1785&ndash;25 March 1827) The following year, the widowed mother remarried, to George Graham, who had been educated alongside George Masons two youngest sons before attending Columbia University in New York and returning to become a Virginia lawyer as well as operate his familys properties after his father died in 1796. Elizabeth Barnes Mason Graham died in May 1814, shortly before her husbands possibly most important military services assisting in the evacuation of Washington D.C. Their son George Mason Graham, born at Lexington, would like his half-brother fight in the Mexican–American War, as well as become rich operating his familys cotton plantation in Louisiana, before helping to found the educational institution which later became Louisiana State University. Meanwhile, after his wifes death and the wars end, George Graham accepted a job with the War Department in Washington D.C., and would later remarry as well as serve as Commissioner of the General Land Office.</p><br>
<p>William Stuart Mason, eldest son of George Mason IV&#39;s son William Mason acquired Lexington plantation circa 1824 and actually lived at Lexington until his death in 1857, but he also experienced financial troubles, so not only did much fall into disrepair, in 1851 a court required land to be sold to his younger brother (yet another) George Mason of Hollin Hall. George Mason of Hollin Hall tried to sell the plantation, but did not do so before his death, so in 1870 it became the property of his son, also named George Mason, on whose watch the wooden structure burned down.</p><br>
<h3>Later existence (1888 – 1968)</h3><br>
<p>When that George Mason (who never had children) died of typhoid fever in Portland, Oregon in 1888, the property, which was becoming overgrown, was inherited by his sister Kora Chase, who sold it in 1903 to James D. Yeomans, a local real estate speculator as well as member of the Interstate Commerce Commission. It then changed hands among various real estate investors and companies until 1967, when Wills & Van Metre, Inc. sold it to the Nature Conservancy, which was interested in the property because of two bald eagle nests discovered in 1965. It consolidated various parcels and in 1968 sold them to the Commonwealth of Virginia to become Mason Neck State Park, which opened in 1985.</p><br>
<h3>As a park (1985 – present)</h3><br>
<p>Archeologists investigated the Lexington site beginning around 2006. It was added to the National Register of Historic Places in 2013, in part because of its landscape design unearthed during those excavations, which resembles that of Gunston Hall, as well as Marlborough, a now defunct Stafford County plantation once the home of John Mercer, George Mason&#39;s relative, guardian during his minority and mentor, and who died in 1768.</p><br>
<p>The Oaks House Museum, also known as The Oaks, located at 823 North Jefferson Street in Jackson, Mississippi, is the former home of Jackson Mayor James H. Boyd  and his wife Eliza Ellis Boyd and their family. Having survived the burning of Jackson during the Civil War, The Oaks is one of the oldest structures in the city. It is listed on the National Register of Historic Places and is a Mississippi Landmark.</p><br>
<p>The structure was built in the Greek Revival style in approximately 1853. The original property was larger than the current one, at one time encompassing 4 acre and extending north to Boyd Street and west to North Street, an urban farmstead with main house, barn, detached kitchen, smokehouse, greenhouse, and other outbuildings. Three generations of the Boyd family lived at The Oaks, from 1853 until 1960. Mrs. Eliza Ellis Boyd outlived her husband by many years and lived in the house until her death in 1902. Daughter Mary and her husband, Richard F. McGill, lived in the house with their two children. In 1960, the grandchildren sold the property to The National Society of the Colonial Dames of America in the State of Mississippi (NSCDA-MS).</p><br>
<p>The home is now a historic house museum administered by the Oaks House Museum Corporation.</p><br>
<p>The Embassy Gulf Service Station is a service station in Washington, D.C., located on P Street near Dupont Circle and at the entrance to the Georgetown neighborhood. Constructed in 1937, it was added to the National Register of Historic Places in 1993.</p><br>
<h2>History</h2><br>
<p>The station was designed in 1936 by Gulf Oil Corporation&#39;s architect P. L. R. Hogner as part of a company drive to create buildings that looked less like gas stations and more like banks and libraries in their details, materials, and massing.</p><br>
<p>The Embassy Gulf Service Station was to be Gulf Oils 61st station within the city of Washington. Because its site was next to Rock Creek Park, the buildings design was reviewed and modified somewhat by the Commission of Fine Arts, the National Park Service, and the National Capital Park and Planning Commission. The final design called for a small building of grey stone similar in color to the church opposite the station; whether or not the two buildings harmonized by design is unknown.</p><br>
<p>The Embassy Gulf Service Station was listed on the National Register of Historic Places on September 30, 1993. It is still used for its original purpose, the building serves as a repair shop and Sunoco station.</p><br>
<p>The David Bradford House is a historic house museum at 175 South Main Street in Washington, Pennsylvania. Completed in 1788, it was the home of David Bradford, a leader of the Whiskey Rebellion. It has both architectural and historic importance, and was designated a National Historic Landmark in 1983. It is open weekly between April and November, or by appointment.</p><br>
<h2>History</h2><br>
<p>The house was built by David Bradford, a successful lawyer and deputy attorney-general for Washington County, Pennsylvania who would later become a leader in the Whiskey Rebellion. It was the first stone house on South Main Street in Washington, Pennsylvania in 1788, which, by frontier standards, ranked as a mansion. The two-story building was built in the Georgian style, with dressed stone four-bay windows. The house has side hall entry with a fanlight transom. The stairway was solid mahogany; the mantel-pieces and other interior furnishings, imported from Philadelphia, were transported across the Alleghenies at considerable expense. While restoring the house a secret underground passage was discovered leading to a nearby ravine. This tunnel was presumably used as an escape route in the event of an attack on the house.</p><br>
<p>Bradford and his family occupied the house only for 6 years, until 1794, when he fled following the Whiskey Rebellion.</p><br>
<p>It was in this home that author Rebecca Harding Davis was born on June 24, 1831.</p><br>
<p>A historical marker honoring her a few blocks away was the first dedicated to a woman in Washington, Pennsylvania.</p><br>
<p>By the 1930s, the building was in such disrepair that Charles Morse Stotz did not include the building in his The Early Architecture of Western Pennsylvania. However, by the book&#39;s 2nd printing in 1966, Stotz himself has led the rehabilitation. Among other extensive modifications, a storefront had added to the house.</p><br>
<p>In 1953, the Pennsylvania Historical and Museum Commission installed a historical marker noting the historic importance of the building. In 1959, the Pennsylvania Historical and Museum Commission assumed control of the house and supervised restoration of its eighteenth-century design. They installed furnishings of that time in Pennsylvania that they felt reflected Bradford&#39;s place in society. A management agreement was signed in 1982, turning the management of the Bradford House over to the Bradford House Historical Association. The museum is open from early May through mid December, giving group tours and hosting other special events.</p><br>
<p>The home was listed on the National Register of Historic Places in 1973 and was declared a National Historic Landmark in 1983. It is also designated as a historic public landmark by the Washington County History & Landmarks Foundation.</p><br>
<p>The Temple Theatre is an historic performance center in Sanford, Lee County, North Carolina. The Temple Theatre was built in 1925 by Robert Ingram, Sr. , at a time when Sanford had a population of only 3,500. The name "Temple" comes from being located next door to what was once Sanford&#39;s Masonic Lodge. The following quote ran in a 1925 issue of the Sanford Express, "In erecting this modern theater, he has spared no expense to make it an up-to-date playhouse." The two-story, brick building is 50 feet wide and 92 feet deep and is decorated with cut stone details in a blend of Colonial Revival and Art Deco styles.</p><br>
<h2>History</h2><br>
<p>For several decades, the Temple served as Lee County, North Carolina&#39;s principal seat of entertainment. Located half a block from the railroad station, the Temple was a frequent locale for the shows and stars of Vaudeville. Years later, the Temple became a touring house for the road shows of the 1930s (including burlesque), and then a movie theater. During the 1960s, the Sanford Little Theatre and the Footlight Players used the Temple for their community productions. In 1965, the Temple Theatre closed.</p><br>
<p>The rebirth of the Temple Theatre began in 1981 when Mr. Robert Ingram, Jr., the son of the theatre&#39;s original owner, donated the building to the citizens of Lee County. Through the efforts of Sam Bass, the building was listed on the National Register of Historic Places in 1983 and received a large challenge grant from the North Carolina Legislature. It is located in the Downtown Sanford Historic District. Lee County citizens and businesses matched the grant, along with a significant grant from the Z. Smith Reynolds Foundation. The building was gutted and the vandalized shell of Temple Theatre was refurbished with the comfort of both the patron and performer in mind. In 1984, Temple reopened as a community theater under director Kathy DeNobriga. The first show at the newly renovated Temple was Chicago. Ticket prices for an individual show were $3 and $4. A season ticket of four shows was $12. All shows were produced by the Footlight Players, and The Temple paid the bills and sold the tickets. The staff of the Temple at that time was Kathy DeNobriga, director; Trip May, tech director; Sheila Brewer, office manager, Frank Nunally, bookkeeper and Corrina Wicker, box office. In April 1986, Trip May took another position, and Tim Morrissey was hired as technical director. One of the first things he did was enlist the help of Sam Bass, and the two of them built the cover over the orchestra pit, which is removable.</p><br>
<p>In 1986, the first "Temple Theatre Day" was instituted and was held around April 1. It was a community and patron focused fundraiser. Patterned after The United Ways fund-raising organization, the first one was chaired by local businessman Lamar Beach. Funds raised by this scheme were designated for the theatres staff salaries, insurance and utilities throughout the year. It continued to be an annual event although the date was later changed to accommodate the theatres fiscal year change to July 1 to be in line with the States Art Council grant cycle.</p><br>
<p>In the summer of 1987, the Temple embarked on its first professional theatre venture, producing three shows in the summer of 1987 using casts and crews that were all paid. There were no union contracts at that time. In February 1988, DeNobriga moved to Atlanta where she took a position with Alternate Roots, and Morrissey was named Executive/Artistic Producing Director. In the summer of 1988, another professional show was done. In the Spring of 1990, Wally Eastland was hired as the technical director and Frank Nunally retired. Brewer took over the duties of the bookkeeper and office manager. Eastland left in 1993 and was replaced by Bill Freeman. Freeman left in 1996 and was replaced by Ron Smith. Smith left in 2000 and was replaced by Brad Sizemore.</p><br>
<p>In the summer of 1989, another professional show was produced using contracts with Actors Equity. In the spring of 1990, the Temple Board of Directors voted to accept a budget that included salaries for actors during the regular season. This was essentially the end of community&#39; theatre at the Temple, and while various shows continued to use unpaid, local, actors and tech crew, many in those positions were paid union wages. In 1990, David Almond, who had been the musical director (MD) for the community theatre was replaced by Bert Fox. Fox stayed as MD until the summer of 1994, after which musical directors were contracted show by show. In the fall of 1994, Serena Ebhardt became the general manager. She remained in that position until 2000 when she left to pursue other theatre activities. Kathy Stallings replaced Ebhardt, and she left in 2001. Wicker retired in 1996, and the box office was filled with various part-time help.</p><br>
<p>In the fall of 1995, the Temple sponsored a community theatre named "The Community Playhouse". They produced one show a year each September from 1995 – 1998.</p><br>
<p>The roof on the theatre was completely replaced in the summer of 1998. In the spring of 1996, the balcony was reconfigured, removing two rows of seats and converting the tech office into a reception room. The capacity of the theatre was reduced, and with the addition of computerized box office ticketing, the theatre seating could be adjusted to allow only 299 seats to be sold, fulfilling an agreement with Actors&#39; Equity for a special contract.</p><br>
<p>The sound equipment was moved to the balcony in the rear. It was later found to be unsatisfactory, so a special booth was built out over the audience from the balcony.</p><br>
<p>In the fall of 1997, a temporary light truss was added to the down stage for the show The Invisible Man. It was still there in the fall of 2001.</p><br>
<p>For the marquee sign, the copper letters TEMPLE, were constructed by the metal workers at King Roofing in Sanford in 2000. They used an old sign that had been made of galvanized steel. Morrissey found the old sign while rummaging around in the underground part of the theater. The new copper sign was paid for as a donation by Dave and Kelly Kurz.</p><br>
<p>Morrissey left the Temple in Oct 2001, becoming the Executive/Artistic Director at The Highlands Playhouse in Highlands, NC and was replaced by Jerry Sipp. Staff at that time was Sipp, Sizemore, Brewer and part-time help in the box office.</p><br>
<p>The lobbys richly painted walls and wooden trim flank the original multi-colored floor of hexagonal tiles. Above hangs a crystal chandelier accented in gold, while twin staircases sweep up on either side of the lobby leading to the balcony where the restored tin ceiling can be best appreciated. Backstage, the actors enjoy comfortable dressing rooms, a kitchen, and a lounge area – an improvement, considering the original structure had one bathroom for the performers and it was located in the basement. There is a full counterweight fly system backstage, an advanced communication network, and a computer-controlled lighting (last updated in 2010) and sound system (lasted updated in 2014), making the theatre practical and workable. Originally, the Temple seated 500. During the 1980s renovation process, seating was reduced to 334. The Temple also has an orchestra pit, which is utilized by musicians, but can be covered to create a larger stage. Because it was designed for vaudeville, the acoustics are superb – highlighted by an ornate, painted tin ceiling, and audience members have a good view of the stage from every seat. In the spring of 2012, the Temple unveiled a new concession and restroom area. In the fall of 2023, they completed a new VIP area to the left of the main concessions area.</p><br>
<p>The Temple is a cultural center and the top year-round attraction in Lee County. The North Carolina Shakespeare Festival, the Red Clay Ramblers, The Kingston Trio, the Glenn Miller Band, Count Basie, Mark Wills, The Embers, and Nantucket (band) are among the artists who have performed at the Temple Theatre.</p><br>
<h2>Productions</h2><br>
<p>The Temple Theatre Company produces six main stage shows per season ranging from musicals to dramas, with each show running for three weeks. All the actors are paid professionals brought in from across the country. The Temple Theatre is also a Comedy Zone venue and has hosted a number of high-profile stand-up comics in recent years, including Jimmie Walker, Carlos Mencia, Jon Reep, James Gregory (comedian), and Pauly Shore. Special events at the Temple range from pop concerts to dance recitals.</p><br>
<p>The Temple attracts patrons from the Research Triangle, the Piedmont Triad, and the Sandhills areas on a regular basis. Around 40,000 people visit the Temple each year. All funds raised during the annual fund drive go to the maintenance and operation of the facility (utilities, insurance, equipment, security, etc.). Production expenses come from ticket sales, sponsorships, grants, and advertising. The Temple Theatre is a non-profit organization.</p><br>
<p>Along with the six main stage shows, Temple produces six student conservatories. During the summer, Temple offers one musical conservatory for ages 8 to 18, a straight play conservatory for ages 8 to 18. Their intensive musical for ages 13 to 18, and their Shakespeare intensive for ages 13 to 18. In the fall, the conservatory is a straight play, and in the spring a conservatory that is a musical, both are for ages 8 to 18.</p><br>
<h2>Education</h2><br>
<p>Temple has many education opportunities for young performers. During the school year, they have many different classes, such as dance (tap and jazz), acting, auditioning and voice. Taking these classes help the young performers be ready to perform on full-scale productions and also have more of a chance to join the Temple Teen Ensemble.</p><br>
<p>For younger children, Temple also offers a theater opportunity called rising stars. The age range is 4 to 7, and these children work four weeks to put on a show.</p><br>
<p>For teenagers, Temple has a performance ensemble called the Temple Teen Ensemble. The Temple Teen ensemble consists of almost 20 of the best young performers Temple has to offer, ranging in age from 13 to 18. Temple Teens go around the Sanford area to perform songs for whatever holiday it is. They have several sets ranging from Halloween to Christmas to love songs. The main purpose is to promote the main stage productions. When not performing seasonal songs, they perform one song from all of the main stage musicals to draw interest towards the shows on the mainstage.</p><br>
<p>Deer Park Tavern is a historic hotel located at Newark in New Castle County, Delaware. It was built in 1851 on the land where the remains of the burned down St. Patrick&#39;s Inn had resided since 1747. It is a -story "U"-plan building with nine bays at the south front facade. The building is constructed of wood joists with brick and masonry load bearing walls with Greek Revival elements. It was converted from a hotel in the mid-20th century, and enjoys the college atmosphere of the nearby University of Delaware campus.</p><br>
<p>The St. Patricks Inn was said to house famous historical figures such as George Washington and in 1843 Edgar Allan Poe stayed a night here. The Deer Park logo is based on Poes classic poem "The Raven". It is said that Poe fell in some mud, cursed the tavern and its patrons and haunts the building to this day.</p><br>
<p>In the Fall of 1764, Mason and Dixon made their base of operations in Delaware at the St. Patricks Tavern in Newark, where the Deer Park Tavern now stands. Tavern scenes in Thomas Pynchons 1997 novel Mason & Dixon are consistent with at least one contemporary account of their enjoyment of the taproom.</p><br>
<p>The first railroad line built through Newark in 1869 is close to the building, and helped to escalate the hotel&#39;s popularity. At this time, The Deer Park was considered one of the finest hotels on the east coast. Much history surrounds the Deer Park including rumors that the basement was used as part of the Underground Railroad before the Civil War.</p><br>
<p>In 1955, the Amalgamated and Condensed Chemists Club charter at the University of Delawares founding chapter was written in the old dining room of the Deer Park. Founders, "in the good old Boswellian tradition", included Carling, LePera, Jordan, Lafferty, Baldwin, Hoffner, Baird, Skinner, deBrabender and Wilson. Today, the patrons include University of Delaware students and staff, business people and locals. The nightly atmosphere varies with bands, DJs and drink specials that bring a hefty crowd each night of the week.</p><br>
<p>In the 1970s, local bands such as George Thorogood and the Delaware Destroyers played the back room. On October 5, 2010 MSNBC political TV show The Rachel Maddow Show broadcast its show live from the second floor of the Deer Park, which was chosen due to Delaware&#39;s upcoming U.S senatorial election. Maddow remarked on her show: "we live for the intersection of politics and beer".</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<h2>Pop culture</h2><br>
<p>In season six episode 2 of It&#39;s Always Sunny In Philadelphia ("Dennis Gets Divorced") Mac is seen wearing a Deer Park tee shirt.</p><br>
<p>Theatre Jacksonville is a community theater based in Jacksonville, Florida, United States . It is the oldest continuously-operating community theater in the state of Florida, and one of the oldest in the United States. Its building, also known as the Little Theatre, was added to the National Register of Historic Places in 1991.</p><br>
<h2>History</h2><br>
<p>The Little Theatre company was founded at Jacksonville, Florida in 1919 and then changed its name to "Little Theatre of Jacksonville" in 1926. It took until January 4, 1938 for the first premiere to take place, namely Boy meets Girl.</p><br>
<p>On July 12, 1991, the Little Theatre building was added to the USA National Register of Historic Places. The $500,000 Harold K. Smith Playhouse Endowment for facility maintenance was established in June, 1997. In October, 2000 the theater facade renovation was completed and the facility was formally dedicated as the Harold K. Smith Playhouse.</p><br>
<p>The Lapham–Patterson House is a historic site at 626 North Dawson Street in Thomasville, Georgia. The house, built between 1884-85 as a winter cottage for businessman C.W. Lapham of Chicago, is a significant example of Victorian architecture. It has a number of architectural details, such as fishscale shingles, an intricately designed porch, long-leaf pine inlaid floors, and a double-flue chimney. Inside, the house was well-appointed with a gas lighting system, hot and cold running water, indoor plumbing, and modern closets. Its most significant feature is its completely intentional lack of symmetry. None of the windows, doors, or closets are square. The house is a Georgia Historic Site and is also a National Historic Landmark, designated in 1973 for its architecture. It is also a contributing building in the National Register-listed Dawson Street Residential Historic District.</p><br>
<p>The three-story structure has a mellow-yellow exterior with brick-red roof and chimneys. At the core of the house is a hexagonal-shaped room. There are at least 50 exits; Mr. Lapham had been in the Great Chicago Fire and subsequently became paranoid about being trapped in a burning building.</p><br>
<p>The house was deliberately constructed slightly askew to take advantage of sunlight entering the third floor during the Spring and Fall Equinoxes. Within is a gentlemens parlor with a small stage featuring a stained-glass window in the center. In the fretwork outside the room over the balcony are animal and amorphous shapes cut into the wood. In the center is a cutout of what is presumably the head of Mrs. OLeary&#39;s cow.</p><br>
<p>During the Spring and Fall Equinoxes the patterns are projected by sunlight onto the floor through the glass. The total effect is that, in the center of the stained glass windows colorful pattern on the floor, the shadow of the cows head can be seen.</p><br>
<p>Mr. Lapham was a Quaker.</p><br>
<h2>Images</h2><br>
<p>St. Joseph Catholic Church was a parish in the Roman Catholic Archdiocese of Boston, serving the Roxbury neighborhood of Boston, Massachusetts, USA. The parish was established in 1845, and a church was built in the same year. The entire church complex, including the rectory, convent and parish school, was added to the National Register of Historic Places in 1989. The parish was closed by the archdiocese in 2002, after which the property was sold.</p><br>
<h2>Cemetery</h2><br>
<p>As was common in the 19th century, the parish property included space for a cemetery, which was blessed in 1850. However, due to its small size, the cemetery had filled by 1868. There were about 600 people (mostly Irish immigrants from County Donegal) buried in the cemetery. After 1882, the city mapmakers ceased including it and the parish gradually forgot that it existed. As early as 1887, when the parish grammar school was built next to it, there seemed to be no recognition of the cemetery. It was nothing more than a field with no visible gravestones.</p><br>
<p>However, in the 1990s, a construction crew discovered a gravestone while digging a trench. The digging stopped, but no other artifacts were found. Again, in 2006, digging commenced. The parish property had been sold by the archdiocese and the parish needed confirmation that there were no longer human remains on site. When a bone was found, the Massachusetts Historical Commission investigated the site and discovered the forgotten graves. All of the remains that were found at St. Joseph Cemetery were re-interred at Calvary Cemetery in Waltham.</p><br>
<p>The Anna–Dean Farm is a historic farm in Barberton, Ohio, United States. It is listed on the National Register of Historic Places and is the site of several structures independently listed on the Register.</p><br>
<h2>History</h2><br>
<p>The Anna–Dean farm was a concept of American industrialist O.C. Barber who envisioned a superfarm on the outskirts of Barberton, and to that end he began purchasing land for the eventual 3,500 acre farm as early as 1900.</p><br>
<p>Construction of the farm facilities began in 1907 with a concrete poultry building but would not truly begin in earnest until 1909 when Barber undertook a massive construction project that would last until 1913. With an estimated daily construction budget of over $1,000 and an overall cost of some $7 million the farm had swelled to a collection of 35 independent structures. While Barber claims in his own book a total of 102 structures it is likely he included in his tally preexisting structures that had been incorporated into the farm during its expansion.</p><br>
<p>The centerpiece of the farm was the 52 room Beaux Arts style mansion Barber constructed in 1909 to 1910. According to the Barberton Historical Society, it was demolished in 1965.</p><br>
<p>Following Barber&#39;s death in 1920, the majority of the structures on the farm were demolished. Efforts by the Barberton Historical Society have succeeded in preserving and restoring 6 of the original buildings, with 2 others still standing in other private possession.</p><br>
<h2>Historic sites</h2><br>
<p>In addition to the farm itself, the following buildings on the farmstead are individually listed on the National Register of Historic Places:</p><br>
<p>O. C. Barber Barn No. 1</p><br>
<p>O. C. Barber Colt Barn</p><br>
<p>O. C. Barber Creamery</p><br>
<p>O. C. Barber Machine Barn</p><br>
<p>O. C. Barber Piggery</p><br>
<p>2000 Pennsylvania Avenue , formerly known as The Shops at 2000 Penn and Red Lion Row, is a shopping center and eight-story office complex located on Pennsylvania Avenue, NW in Washington, D.C. It forms a busy gateway into the main campus of the George Washington University, which owns the property. As the 2000 Block of Eye Street, NW, the houses were named a DC Landmark and added to the National Register of Historic Places, both in 1977.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<p>The original buildings on the site were thirteen row houses constructed between 1831 and 1896. The homes were located on a block bordered by H, I, 20th, and 21st Streets, NW. The houses were mostly initially owned by merchants, who kept small shops inside. The block originally faced Western Market, founded in 1803; the site of the market is a park today.</p><br>
<p>The largest unit in the block was a corner structure, at 832 20th St. and 2004 I St. Three stories tall, it was constructed with a flat roof and metal cornice; imitation stone covered the facade. The building began life as a pair of independent shops, owned separately, before later being combined. The earliest Washington city directory, published in 1822, lists a grocery store owned by Christian and Matthew Hines on the corner. Grocers have continued to occupy the site into the twentieth century. The corner store was sold in 1837 to Samuel Stott, whose family owned it for decades thereafter. The current building, believed to be his work, was known by the middle of the century as "Stott&#39;s Hall". Its third floor was a public hall. Though the exact date of its construction is uncertain, in 1869 the assessed value of 832 20th St. rocketed from $2500 to $6000, indicating a major remodeling; it is believed that the current building was built at an earlier date and remodeled around that year. The construction date of 2004 I St. is unknown, but it is believed that the house was built at around the same time as its neighbor. This structure was owned by Owen Murray, a grocer, in 1869; he sold it to Stott in 1876. Other occupants of the property included Francis Jarboe, George Fillebrown, and William Brown, the latter running a grocery store on the site beginning in 1872 and continuing past the turn of the century.</p><br>
<p>2006 I St. was constructed in the Greek Revival style around 1846, and has been remodeled several times since then. It is distinguished by its cornice, deep and with wooden dentil blocks. The original owners of the house were the Murray family, who were probably its builders as well. Owen Murray operated his grocery elsewhere on the block between 1843 and 1853; later, at 2006, one Patrick Murray is listed in 1863 as owning a restaurant in the space. Beginning in 1869 John Leamy appears in the city directory as a restaurateur in the same place, continuing until 1871; in 1876 John Ohl is listed as proprietor of a restaurant and saloon. He purchased the building from the Murrays; he continued to own it past 1888, when its occupant, John Werner, kept a saloon on the site. The building has continued to serve in various commercial capacities, including again as a restaurant recently.</p><br>
<p>2018 I St. was constructed in 1886. Its builder was carpenter Richard Fowler, member of the firm F.A. Conrad & Co. and resident in the neighborhood. The house, in Victorian style, has a corbeled brick cornice; its pressed brick facade, unaltered since it was built, is broken by a variety of arched windows, in different sizes. The house is three stories tall, with four bays and a flat roof. A combined residential and commercial space, the house was built for the Eikers, a family of merchants – Isaac Eiker and his sons, who sold butter, had moved to the site in 1876, and family members ether ran stalls in several area markets or were the proprietors of grocery stores. They owned the building well into the 20th century; more recently, it has served as office space.</p><br>
<p>2022 and 2024 I St. were constructed by former DC territorial governor Alexander Robey Shepherd between 1874 and 1875. They were the central two units in a row of four, and were built as mirror images of each other, under a mansard roof. Not long after the buildings were completed, Shepherd sold 2022 I St., to Isaac Filbert, a contractor; Arthur W. Fairfax, a grocer, was listed as the building&#39;s tenant in 2022. His family continued to own it until it was purchased by the Foley Company in 1960. Shepherd continued to own the house at 2024 I. St., likely renting it out until his flight from the city, whereupon it was handed over to his creditors.</p><br>
<p>2040 I St. and 825 21st St. were completed in 1879 by Robert Earl, along with a third unit (2038 I St.), now demolished. Earl is listed in records as having lived in the neighborhood, on H St. between 20th and 21st, as early as 1830; for over forty years he ran a livery stable nearby. His son, Charles, took over in 1874, moving the business a short distance to 19th St. 2040 I St. is not owned by George Washington University, the only structure on the block which is under different ownership.</p><br>
<h3>Later uses</h3><br>
<p>By the time George Washington University took possession of the houses, some were vacant, and the block was generally in poor condition.</p><br>
<p>Battles to preserve the row of houses began in October 1976, when the developer who owned several of them began demolishing the house at 2022 I St. Dont Tear It Down (forerunner to the DC Preservation League), a group of historical preservationists organized in 1971 to save the Old Post Office building from destruction, convinced a judge to order a temporary restraining order stopping destruction, as a request to declare the entire block a historic landmark was pending at the time. The developer then attempted, in November, to demolish the house at 2030 I St. this structure was already listed on the National Register of Historic Places, however, and the state historic preservation officer invoked a delay of 180 days. Discussions with the community did not begin until the 179th day, and a thirty-day extension to the stay was granted. When this expired, the developer began demolition of the house; preservationists managed to get a restraining order in time to preserve the front half of the structure. Citing the requirement for "meaningful discussion" as laid out in a previous historic preservation case, Dont Tear It Down argued that they had not been able to adequately present their case; while the presiding judge stated that "meaningful discussion" was "beyond the court’s comprehension", he nevertheless issued an injunction preventing further demolition before the case could be heard by the DC Court of Appeals. In the event, historic preservation legislation was passed in 1978 before final adjudication, saving the buildings from destruction. The current design of the property is the result of discussions with local preservation groups.</p><br>
<p>Construction of the office building, between 1982 and 1983, involved demolishing the backs of the houses while retaining their facades; it was the first time the practice of partial demolition was used in Washington, DC. The thirteen buildings were joined during construction of the shops and office building; some of their original materials were retained for the finished product. Work began on the complex on December 28, 1982; it was named on October 19, 1983. In addition to office space, the complex contained restaurants and other commercial establishments, including a Bertucci&#39;s and a CVS Pharmacy.</p><br>
<p>The office building has sometimes been called the Cruise Ship Building due to its appearance. The block as a whole is sometimes called Red Lion Row, a name taken from Lindy&#39;s Red Lion pub which was situated at its corner until late 2018.</p><br>
<p>The 2000 Penn complex was renovated to include more vendors, additional entrances, and various other modernizations with a layout similar to Eastern Market. The renovated space is called Western Market.</p><br>
<p>The Adams Memorial is a grave marker for Marian Hooper Adams and Henry Adams</p><br>
<p>located in Section E of Rock Creek Cemetery, Washington, D.C. The memorial features a cast bronze allegorical sculpture by Augustus Saint-Gaudens (which he called The Mystery of the Hereafter and The Peace of God that Passeth Understanding, but which was often called in the newspapers "Grief"). Saint-Gaudens&#39; shrouded-figure statue is seated against a granite block which takes up one side of a hexagonal plaza, designed by architect Stanford White. Across from the statue is a stone bench for visitors. The whole is sheltered by a close screen of dense conifers.</p><br>
<h2>History</h2><br>
<p>Erected in 1891, the monument was commissioned by author/historian Henry Adams (a member of the Adams political family) as a memorial to his wife, Marian "Clover" Hooper Adams. Marian, known as Clover since childhood, was born into an affluent, patrician, liberal Boston family. Suffering from depression, she had killed herself by ingesting potassium cyanide, a chemical used to develop photographs. She was known to be witty, and was a widely traveled photographer and linguist; her translations and research were invaluable to her more celebrated husband, Henry. Adams advised Saint-Gaudens to contemplate iconic images from Buddhist devotional art. One such subject, Kannon (also known as Guan Yin, the Bodhisattva of compassion), is frequently depicted as a seated figure draped in cloth. In particular, a painting of Kannon by Kanō Motonobu, in the collection of the Museum of Fine Arts, Boston, and shown to Saint-Gaudens by John LaFarge, is said to have played a major role in influencing the conception and design of this sculpture. The malachite-green figure sits on a mottled red granite platform, a remarkable exception in a sea of earlier memorials cut from monochromatic stone.</p><br>
<p>Henry Adams, who traveled to Japan with John LaFarge ostensibly to find inspiration for this memorial, particularly wanted elements of serenely immovable Buddhist human figures to be contrasted with the waterfall-like robe associated with Kannon. They had met while La Farge was engaged in creating the interiors for Bostons Trinity Church (1873–77), a milestone American building by Henry Hobson Richardson, who also designed Adamss Washington home. La Farge expanded Adamss knowledge of Eastern art and philosophy, which was in vogue in elegant circles at that time. In addition to the still and flowing elements, the monuments dualism includes male-female fusion in the figure itself and blends Asian and European ideals of figure. These checks to the standard heroic figure combine to make a "countermonument" for a woman who disliked monuments, generally. Saint-Gaudens may also have been influenced by Parisian funerary art from his stay in France. He appears to have struggled over several years with various sculptural possibilities under the guidance of La Farge, who acted as an intermediary between sculptor and client.</p><br>
<p>Saint-Gaudens&#39;s name for the bronze figure is The Mystery of the Hereafter and The Peace of God that Passeth Understanding, but the public commonly called it Grief – an appellation that Henry Adams apparently disliked. In a letter addressed to Homer Saint-Gaudens, on January 24, 1908, Adams instructed him:</p><br>
<p>"Do not allow the world to tag my figure with a name! Every magazine writer wants to label it as some American patent medicine for popular consumption – Grief, Despair, Pears Soap, or Macys Men&#39;s Suits Made to Measure. Your father meant it to ask a question, not to give an answer; and the man who answers will be damned to eternity like the men who answered the Sphinx."</p><br>
<p>In his The Education... Henry Adams reflects on the statue and its interpreters: "His first step, on returning to Washington, took him out to the cemetery known as Rock Creek, to see the bronze figure which St. Gaudens had made for him in his absence.... in all that it had to say, he never once thought of questioning what it meant. He supposed its meaning to be the one commonplace about it – the oldest idea known to human thought.... As Adams sat there, numbers of people came, for the figure seemed to have become a tourist fashion, and all wanted to know its meaning.... Like all great artists, St. Gaudens held up the mirror and no more."</p><br>
<p>At the time of Saint-Gaudens&#39;s death, the statue was well known as an important work of American sculpture. Its popularity inspired at least one prominent copy, the Black Aggie, which was sold to General Felix Agnus for his gravesite.</p><br>
<p>On March 16, 1972, the Adams Memorial was listed on the National Register of Historic Places.</p><br>
<p>Tombstone Courthouse State Historic Park is a state park of Arizona in the United States. Located in Tombstone, the park preserves the original Cochise County courthouse. The two-story building, constructed in 1882 in the Victorian style, is laid out in the shape of a cross and once contained various county offices, including those of the sheriff, recorder, treasurer, and the Board of Supervisors as well as courtrooms and a jail. Inside, the courthouse contains a museum with numerous artifacts from the town&#39;s history while outside, a replica gallows has been constructed in the courtyard to mark the spot where seven men were hanged for various crimes. The park was one of the first to be designated as a state park and in 1959 was the first to open following the 1957 establishment of the Arizona State Parks Board.</p><br>
<h2>History</h2><br>
<p>Following the 1877 discovery of silver ore by prospector Ed Schieffelin in southeastern Arizona, the town of Tombstone was founded and grew rapidly as miners flooded the area in the hope of finding their fortunes. The town of Tombstone was incorporated in 1879. By 1881 the town had grown to more than 7,000 population; stage robberies were no longer novel events. But more important than the lawlessness, Tombstone miners and merchants had to travel 150 dusty roundtrip miles to Tucson to record mining claims, deeds, contracts, etc. at the Pima County Courthouse. At the time, the area was part of Pima County with the county seat Tucson being a rugged two-day, 70-mile journey away. In 1881, as a result of these incentives, and aided by a shrewd agreement with the Prescott delegation to the Territorial Legislature, the residents of the thriving boomtown voted to separate from Pima County and the territorial legislature subsequently formed a new county, Cochise County. Cochise county was formed in 1881 from the eastern part of Pima County, and Tombstone became its seat (The Territorial Capital stayed at Prescott rather than moving to Tucson).</p><br>
<p>A new courthouse was built the following year and housed all of the county&#39;s offices. The Sheriff of Cochise County had his office on the ground floor, first door to the right, when the new courthouse was built in 1882. Sheriff John Behan and his successors gradually instilled the idea that the proper arena for conflict was the courtroom upstairs rather than the street. Except for the Earp–Clanton feud, which gave Tombstone an extremely bad press from which it has no interest in recovering, citizens gladly accepted the proffered alternative. The Tombstone courthouse represents a practical solution to the problem of securing lives and property in unorganized or poorly governed territory. It was put into effect quickly, without fumbling by men practiced in the process through their experience in Colorado, Utah, Nevada, where mining rushes had carried them in the past.</p><br>
<p>Tombstone remained the county seat until 1929, when outvoted by a growing Bisbee, and the county seat was moved there. The last county office left the courthouse in 1931. Except for an ill-fated attempt to convert the courthouse into a hotel during the 1940s, the building stood vacant until 1955. When the Tombstone Restoration Commission acquired it, they began the courthouse rehabilitation and the development as a historical museum that has continued to operate as a state park since 1959. It features exhibits and thousands of artifacts which tell of Tombstone&#39;s colorful past.</p><br>
<h2>Architecture</h2><br>
<p>The courthouse in Tombstone is an elegant example of Territorial Victorian. The building is a well-integrated, stylish, yet sober and restrained culmination of that tradition When Maricopa County built its courthouse a few years later, they cribbed liberally from Tombstone&#39;s example. The Tombstone courthouse is the oldest courthouse still standing in Arizona, At the time it was built it was one of the largest buildings in Arizona Territory.</p><br>
<p>The building measures 76 feet in total width; the "shaft" of the cruciform structure measures 40 feet wide; the east and west wings project nineteen feet from the main structure and are 30 feet long. The first segment to be built is 88 feet long overall. The addition to the jail and courtroom brought the total to 116 feet in length. The building is a two-story red brick structure built with five courses of runners and one of headers. Exterior angles are quoined with white stone and/white stone "dripstone course" separates the lower and upper half of the building. A one-story cupola or observation tower with a mansard roof wears a lacy gingerbread cresting that creates a kind of "widows walk" atop all. Fenestration is symmetrical. The double-hung eight-pane windows, are set in heavy frames topped by a bracketed, heavy "territorial" cornice that echoes the strongly accented pediments atop each end wall of the building. The eave-line is deeply recessed and strongly accented with simple dentils as are the pediments of the gable ends. This theme is repeated on a smaller scale on the cupola pediments. Elegantly slim chimneys once served every room but are now reduced to two. An iron spiral stair ascends the southeast corner to the courtroom. Formerly another arose from the jail below the courtroom directly to the prisoners table. It replaced an elevator which proved unsatisfactory. The front entrance porch is carried by four square pillars, two free and two attached, all have a large groove on each face. It is topped by a balustrade. The porch cornice is dentated.</p><br>
<p>The main portion of the Tombstone Courthouse was built in 1882 at a cost of $50,000. An addition to the rear was built in 1904. The building served as Cochise County courthouse until 1929 when the county seat was moved to Bisbee. The courthouse was listed on the National Register of Historic Places in 1972.</p><br>
<p>The William Hickman House located at 31 West Hickman Street, is a brick house in Winchester, the county seat of Clark County, Kentucky. It was listed on the National Register of Historic Places in 1982.</p><br>
<p>Its brick on the west facade is laid in Flemish bond; it is common bond elsewhere.</p><br>
<p>Built by John Couchman in 1814, it was originally intended to be a tavern, but before he opened it, it was bought by local cabinet maker William Hickman. Six generations of Hickmans lived in the house, which remained a residence until it was bought by the Clark County Bank in 1982. In 1990 it was bought by Dykeman & Rosenthal, a law firm in Winchester.</p><br>
<p>The McFaddin–Ward House is a historic home in Beaumont, Texas, United States built in 1905 1906 in the Beaux-Arts Colonial Revival style. The 12,800 ft&sup2; house and furnishings reflect the lifestyle of the prominent family who lived in the house for seventy-five years. The house was added to the National Register of Historic Places in 1971.</p><br>
<p>Di Vernon Averill commissioned architect Henry Conrad Mauer to build the house, which was sold the next year to Di&#39;s brother, William P.H. McFaddin. McFaddin and his wife Ida Caldwell McFaddin, from Huntington, West Virginia, moved into the house in 1907 with their three children: Mamie, age 11, Perry Jr., age 9, and James Caldwell, age 6.</p><br>
<p>A substantial carriage house was added in the same year. The carriage house had a stable, hayloft, garage, gymnasium and servants quarters. When the McFaddins daughter Mamie married Carroll Ward in 1919, the newlyweds moved in with the McFaddins and lived their entire married lives there.</p><br>
<p>Before Mamie McFaddin Ward died in 1982, she created a foundation to preserve the house as a museum which opened to the public in 1986. Guests ages 8 and older are welcome for tours of the home led by volunteer docents Tuesday through Saturday. The museum strongly encourages reservations as tours run approximately one to one and a half hours long. Self-guided tours of the first floor are available on Sundays. The carriage house and grounds are open to all ages during museum hours. Outside the three-floor home are spacious lawns, flower beds and rose gardens. Inside, a substantial permanent collection of antique furniture and household items are in view. The McFaddin–Ward House is one of the few house museums in which the home&#39;s original furnishings are intact and on display. It is also one of the few Beaux-Arts Colonial homes still open to the public.</p><br>
<p>Educational programs focus on history and are geared toward children and adults. The museum hosts lectures, special celebrations, summer camps, and open houses. New exhibits and displays are changed often, giving fresh interpretations of the home. Christmas time is especially celebrated with special events and an open house when the public is invited to enjoy eggnog and McFaddin family recipes before touring the first floor of the house.</p><br>
<p>In addition, it was named a Texas State Historic Landmark in 1976. The home has been featured various TVs Arts & Entertainments America&#39;s Castles as a Lone Star Estate (only 3 Texas homes were featured), and the house has been included in several important architectural books.</p><br>
<p>The William Sydney Porter House or O. Henry House is a historic structure in Downtown Austin, Texas. William Sydney Porter, better known as the author O. Henry, lived there between 1893 and 1895. The Porter house was added to the National Register of Historic Places on June 18, 1973. The house is known today as the O. Henry Museum. The collection is curated by Melissa Parr, Site Coordinator.</p><br>
<h2>History</h2><br>
<p>The cottage is a simplified version of the Eastlake Style of architecture. The house was built in 1886 and rented between 1893 and 1895 by William Sidney Porter, better known as the author O. Henry. Porter lived in the house with his wife, Athol, and daughter, Margaret, before they moved to Houston, where Porter began writing full-time for the Houston Post. Though primarily associated with his home state of North Carolina, O. Henry set 42 of his stories in Texas.</p><br>
<p>The residence remained a rental property until 1930 when it was to be demolished to construct a warehouse. In January 1934, a committee representing the Colonial Dames, the Daughters of the American Revolution, the Daughters of 1812, the Daughters of the Republic of Texas, and the Daughters of the Confederacy submitted a proposal to the Austin City Council, that if the city would accept the house as a donation from the Austin Rotary Club and relocate the house, the womens organizations would work to restore the house and open it as a "shrine." The City of Austin had the house moved from its original location at 307 East 4th Street to its current location around the block at Brush Square, 409 East 5th Street. The house was restored and opened as a museum in 1934. The many period pieces on display include some of the Porters furniture and personal belongings. The structure underwent further restoration in 1994–95 with a renewed roof and the replacement of four brick chimneys lost in 1934.</p><br>
<p>It is the site of the annual O. Henry Pun-Off, a spoken pun competition. The event is traditionally held the first weekend in May.</p><br>
<p>The Theodore Wirth House is a house in Minneapolis, Minnesota, that was home to Theodore Wirth, an architect of the Minneapolis park system, and also served as the administration building for the park system. Wirth was superintendent of the Minneapolis Park and Recreation Board from 1906 through 1935, when he retired, and he continued to serve as superintendent emeritus until his death in 1949. The house was listed on the National Register of Historic Places in 2002. The house was recognized for Wirth&#39;s status as an international figure in the field of park design, for its role in bringing Wirth to Minneapolis, and for the work he did in the offices where he designed or redesigned the Minneapolis parks.</p><br>
<p>When Charles Loring originally approached Wirth to come to Minneapolis in 1905, Wirth was reluctant to accept the offer. His employer at the time, the city of Hartford, Connecticut, provided Wirth and his family a mansion in Elizabeth Park. Minneapolis did not have a home to provide, and as a civil servant, Wirth was unable to replace that benefit. During the process of negotiations, Loring agreed that the park board would build a home for Wirth. The home was to be located in Lyndale Farmstead Park. Wirth agreed to these terms and moved to Minneapolis in 1906. The house was designed by local architect Lowell Lamoreaux.</p><br>
