<p>The Kent House, also known as Sydney Kent House or St. James Convent, is a Queen Anne style house located at 2944 South Michigan Avenue in Chicago, Illinois, United States. The house was designed in 1883 by Burnham & Root for Sidney A. Kent. From 1896 to 1906, it was the home of barbed-wire industrialist and robber baron John Warne Gates, better known as "Bet-a-Million" Gates for his gambling excesses.</p><br>
<p>In the early 20th century, it served as the main building for what is today, National-Louis University.</p><br>
<p>It was listed on the National Register of Historic Places in 1977, and it was designated a Chicago Landmark on March 18, 1987.</p><br>
<p>The Lathrop House, also known as the Bryan Lathrop House, is a Georgian style house at 120 E Bellevue Place in the Gold Coast neighborhood of Chicago, Illinois, United States. The house was built in 1892 by McKim, Mead & White for Bryan Lathrop. In 1922 the house was sold to the Fortnightly Club. The club still occupies the building. It was designated a Chicago Landmark on May 9, 1973, and it was listed on the National Register of Historic Places in 1974.</p><br>
<p>The Madlener House, also known as the Albert F. Madlener House, is a 20th-century mansion located in the Gold Coast neighborhood of Chicago, Illinois, USA. It is the work of architect Richard E. Schmidt  and designer Hugh M.G. Garden . Commissioned in 1901 and completed in 1902, the house was built as the residence for Albert Fridolin Madlener, a German-American brewery owner, and his wife, Elsa Seipp Madlener. Since 1963, it has been the headquarters of the Graham Foundation for Advanced Studies in the Fine Arts. In 1970, The Madlener House was placed on the National Register of Historic Places, and in 1973, it came under the protection of a Chicago ordinance protecting the city&#39;s historical and architectural landmarks. The house was fully remodeled and renovated by architect Daniel Brenner  in 1963–64.</p><br>
<h2>History and Creation</h2><br>
<p>Albert Madlener was the son of prominent liquor distiller and merchant Fridolin Madlener, who had come to Chicago from Baden, Germany. After attending the Latin School of Chicago and Yale University and serving a winery apprenticeship in Germany, Albert took over the family liquor business. He married Elsa Seipp, the daughter of another famous Chicago brewer, in January 1898. Three years later, as Elsa was expecting their first child, Albert commissioned his brother-in-law, Richard E. Schmidt to design and construct a new house on west Burton Place in the Gold Coast. Schmidt was only thirty-five years old at the time. The architect and his collaborator, designer Hugh M.G. Garden, accepted the commission, and the home was completed one year later in 1902.</p><br>
<h2>Architecture</h2><br>
<p>Former Graham Foundation director Carter Manny described the Madlener House as "an unusually successful amalgamation of tradition and innovation in architecture, a harmonious reflection of its time and place." This amalgamation refers to the eclectic usages of then-popular architectural styles in the Midwest and abroad, as well as the incorporation of both organic and geometric design elements. The high-ceiling, cubic foundation of the house is an influence of the German Neoclassical work of Karl Friedrich Schinkel and others in Berlin, Germany. However, many of the houses details derive from Chicagos own Prairie School movement, made famous by Louis Sullivan and Frank Lloyd Wright. Past writings have compared the Madlener House to both Villa Shone in Berlin and Frank Lloyds Wrights Winslow House in River Forest, Illinois. Other details of the houses interior reflect the International Arts and Crafts movement, popular at the time of the houses construction at the turn of the twentieth century.</p><br>
<p>In keeping with the Prairie School&#39;s appreciation of local building materials, the exterior of the Madlener House is constructed of Indiana Limestone. The architects gave special attention to the entryway, with an original octagonal ornament designed by Gardner and delicate bronze grill work inspired by the designs of Wright and Sullivan.</p><br>
<p>Circassion walnut from the Black Sea region clads the foyer and grand staircase and is used in a bookmatch treatment. The foyer fireplace is of Indiana limestone. Embedded in this fireplace is the most prominent tribute to the Arts and Crafts movement in the house: Albert Van Den Berghen&#39;s bronze relief, "Spirit of the Waves."</p><br>
<p>The exhibition spaces on the first floor (once the music room, living room, and dining room) are trimmed with bleached mahogany. The wooden inlay of this trim matches the simple yet intricate design found on the doorway grill work. The intricate dining room ceiling is painted cast plaster with a design of juxtaposed geometric and organic patterns. The most dramatic part of the house is the third floor ballroom, where the Madleners established their reputation for gracious and plentiful entertaining.</p><br>
<p>Unusual traits of the house are its lack of chimney-tops and its large but low-placed windows. Russell Sturgis, in a review of the house for Architectural Record, criticized, "A window of ordinary height... has a whole row of panes of glass at a higher level than the highest glass of these large windows in the Chicago house." Thirty-four drawings of the Madlener House are archived with the Architecture and Design Department of the Art Institute of Chicago.</p><br>
<h2>"Spirit of Waves" sculpture</h2><br>
<p>A relief sculpture by the Belgian architect Albert Van Den Berghen was commissioned by the Madlener family and Richard Schmidt some time after the house&#39;s completion. Schmidt, who had met the Belgian sculptor in 1900, stated that "it was his idea that the panel should portray something of the lake, an idea which he carried out by representing waves and two or three mermaids." A plaster maquette of "Spirit of Waves" was exhibited at the Chicago Architectural Club in 1906.</p><br>
<h2>Architectural Fragment Sculpture Garden</h2><br>
<p>The Madlener House also holds a significant collection of late nineteenth and early twentieth century architectural fragments from such architects as Louis Sullivan, Dankmar Adler, H.H. Richardson, Frank Lloyd Wright, John H. Edelmann, Raymond Hood and George Elmslie, retrieved from Chicago buildings that are now primarily demolished. The fragments are gifts from various Chicagoans, architects, and architecture enthusiasts and occupy the courtyard garden and certain walls of the library.</p><br>
<h2>Graham Foundation for Advanced Studies in the Fine Arts</h2><br>
<p>Founded in 1956, the Graham Foundation for Advanced Studies in the Fine Arts makes project-based grants and produces public programs about architecture and its role in the arts, culture, and society. The Foundation was created from a bequest of Chicago architect Ernest R. Graham.</p><br>
<h3>Madlener House and the Graham Foundation</h3><br>
<p>Albert Madlener died in 1947, and his wife, Elsa, in 1962. Title to the house then passed to their son, Albert, Jr., who sold it to a real-estate developer shortly after inheriting the home. After suggestions were proposed from razing the house for high-rise apartment buildings to turning it into the mayor&#39;s residence, the Graham Foundation, then in its infancy, came forward to purchase the house.</p><br>
<p>Since 1963, the Madlener House has been owned and operated by the Graham Foundation for Advanced Studies in the Fine Arts. In its first year of ownership, the Graham Foundation commissioned architect Daniel Brenner to make significant interior alterations to the house, removing many of its partitions and domestic accoutrements in order to better suit the foundation&#39;s philanthropic and educational activities. The mahogany in the new exhibition rooms was bleached, while the walnut foyer remained the same. The kitchen was converted into a library that now houses all of the publications funded by the foundation since it was founded. The ballroom was converted into a lecture hall and performance space, and various rooms on the second and third floors were converted into offices and galleries. In 1964, with the bulk of the renovation underway, the city of Chicago and the Commission on Chicago Architectural Landmarks designated the Madlener House an official city landmark.</p><br>
<h3>Activities</h3><br>
<p>Today, the Madlener House is directed by Sarah Herda the main venue for the Graham Foundation&#39;s various public programs, including exhibitions, talks, performances, and meetings. Admission is free.</p><br>
<h4>Recent exhibitions</h4><br>
<p>Architects and others featured in recent exhibitions include Barbara Kasten, Lina Bo Bardi, Jimenez Lai, Lawrence Halprin and Anna Halprin, Sylvia Lavin, Judy Ledgerwood, Peter Lang, Thomas Demand, Richard Pare, Stanley Tigerman, Jack Stauffacher, Nancy Holt, Anne Tyng, Robert Venturi and Denise Scott Brown, Felipe Dulzaides, Cecil Balmond, Bjarke Ingels Group. Sou Fujimoto</p><br>
<p>The Roloson Houses, also known as the Robert W. Roloson Houses, are a group of four adjacent row houses in the Douglas community area of Chicago, Illinois, United States. The houses were designed in 1894 by architect Frank Lloyd Wright  for client Robert W. Roloson . Construction was begun in 1894 and completed in early 1895.</p><br>
<p>They were listed on the National Register of Historic Places in 1977. They were designated a Chicago Landmark on December 27, 1979.</p><br>
<p>The Wheeler–Kohn House is a Queen Anne and Second Empire Style house in the Near South Side neighborhood of Chicago, Illinois, United States. The house was built in 1870 by Otis L. Wheelock for Calvin Wheeler.</p><br>
<p>It was designated a Chicago Landmark on February 5, 1998, and it was listed on the USA National Register of Historic Places in 1999. The house currently serves as one of Chicago&#39;s few intimate bed and breakfast hotels, operating as the Wheeler Mansion.</p><br>
<p>The Delaware Building is a building in the Chicago Loop built in the massive rebuilding effort after the 1871 Great Chicago Fire. It is significant for being one of the few buildings to maintain its 1870s character, as an Italianate structure, in an area dominated by more modern structures.</p><br>
<p>As built, the building had five floors with a basement. The first two stories were primarily metal and glass to provide storefront windows for displays. In 1889, two additional floors were added, and three bays were removed from the Randolph Avenue façade.</p><br>
<p>The Herman Uihlein Mansion in the Milwaukee suburb of Whitefish Bay, Wisconsin, is a classical Beaux Arts-style house that was built from 1917 to 1919.</p><br>
<h2>History</h2><br>
<p>Uihlein was the son of the president of Joseph Schlitz Brewing Company. He attended Cornell and studied law at Columbia, then from 1911 headed the Lavine Gear Company, which manufactured steering gears for trucks. In 1915 he bought a 3-acre lot on the former site of the Pabst Whitefish Bay Resort, a beer garden resort established in 1888.</p><br>
<p>Uihlein had his house built on the bluff overlooking Lake Michigan—two-stories, with limestone walls, a hip roof and classical details. It was designed by Roger Kirchoff and Thomas Leslie Rose of Milwaukee. Inside, the central hall features a sweeping grand staircase with a rail of wrought iron and an Italian-Renaissance-styled fireplace built of Amherst sandstone. The front drawing room is in French classical style, with a parquet floor and a canvas mural. The front library is in a Jacobean style, with pegged walnut floors and a Tudor-arched fireplace. The ironwork was done by Cyril Colnik of Milwaukee, and it took him three years to complete. The NRHP nomination describes the house more, and sums up: "Distinguished by an academic synthesis of Renaissance Revival and Beaux-Arts motifs, a lavishly ornamented interior, and the work of master craftsmen, the Uihlein house is an imposing suburban villa, palatial in both conception and execution."</p><br>
<p>The house has been listed on the National Register of Historic Places since 1983.</p><br>
<p>Since 2007 it belongs to the CEO, president and director of the REV Group Timothy "Tim" William Sullivan, who bought it for $5 million.</p><br>
<p>Old Alton Bridge, also known as Goatman&#39;s Bridge, is a historic iron truss bridge connecting the Texas cities of Denton and Copper Canyon. Built in 1884 by the King Iron Bridge Manufacturing Company, it originally carried horses and later automobiles over Hickory Creek at a location that once was a popular ford for crossing cattle. The bridge takes its name from the abandoned community of Alton, which between 1850 and 1856 was the seat of Denton County. This bridge is the subject of several ghostlore stories featuring a vengeful ghost.</p><br>
<p>The heavily traveled Old Alton Bridge remained in constant use until 2001 when vehicle traffic was moved to an adjacent concrete-and-steel bridge. Prior to the new bridge, it was necessary for motorists to signal with a car horn before crossing the single-lane span. The new bridge straightened out a sharp curve on both sides of the creek and provided additional travel lanes.</p><br>
<p>With vehicle traffic removed, the bridge became an important link connecting the Elm Fork and Pilot Knoll Hiking and Equestrian Trails. Today, it is a popular location for nature enthusiasts and photographers. Old Alton Bridge was included in the National Register of Historic Places on July 8, 1988.</p><br>
<h2>Ghostlore</h2><br>
<p>Locally, the bridge is known as Goatman&#39;s Bridge, as it is said to be haunted by a half-man half-goat figure called Goatman. The belief is based on the legend of a black goat farmer named Oscar Washburn, who was said to have moved his family to a residence just north of the bridge. A few years later, Washburn, having become known as a dependable and honest businessman and dubbed the "Goatman" by locals, displayed a sign on Alton Bridge reading "This way to the Goatman". But the success of a black man was still unwelcome to many, and, in August 1938, Klansmen in the local government crossed the bridge and kidnapped Washburn from his family. They hung a noose on Old Alton Bridge and, after securing it around his neck, threw him over the side. When they looked down to see if he had died, the noose was empty. In a panic, they returned to his family home and slaughtered his wife and children.</p><br>
<p>Locals warn that if you cross the bridge at night without headlights (as the Klansmen are said to have done), you will be met on the other side by the Goatman. Ghostly figures and strange lights are said to appear in the surrounding woods, as well as reports of visitors being touched, grabbed, and having rocks thrown at them.</p><br>
<p>This legend results in the area around Old Alton Bridge being popular among paranormal investigators, such as the crews from Ghost Adventures and BuzzFeed Unsolved: Supernatural.</p><br>
<p>The American System-Built Homes were modest houses in a series designed by architect Frank Lloyd Wright. They were developed between 1911 and 1917 to fulfill his interest in affordable housing but were sold commercially for just 14 months. The Wright archives include 973 drawings and hundreds of reference materials, the largest collection of any of single Wright project. Wright cancelled the project in July 1917 by successfully suing his partner Arthur Richards for payments due and didn&#39;t speak of the program again. The designs were standardized and modular, so customers could choose from one hundred and twenty nine models on seven floorplans and three roof styles. Milled and marked materials were delivered to the work site for cutting and assembly by a carpenter. Windows, doors and some cabinetry were built at the yard. Frames, shelves, trim and some fixtures were cut and assembled on site. Most wood parts had a part number and corresponding instructions and drawings for joining, fit and finish. Richards&#39; yard also supplied plaster, concrete, paint and hardware. .</p><br>
<p>To minimize materials and job site labor, Wright used twenty-four inch (on center) distances between studs and oversized joists and a commercially-available, pre-milled structural lath called "Byrkit" to bridge unsupported sections. These choices enabled standardized 21 1/2" wide casement windows from 26 to 64 inches high to be hung between studs without need for headers. Oversized 12 by 2 inch floor and ceiling joists and Byrkit lath are key identifying features in the search for Wrights ASBHs lost or forgotten.</p><br>
<p>Many extant homes remain in private hands and an ad hoc homeowners group gathers to share ideas. Six structures are located in a federal historic district in Milwaukee, Wisconsin, and others have been designated Chicago Landmarks in Chicago, Illinois.</p><br>
<h2>Background and History</h2><br>
<p>In 1911, Arthur L. Richards and a partner contracted with Frank Lloyd Wright to design a hotel in Lake Geneva, Wisconsin and Richards learned of Wright&#39;s idea to offer a family of residential housing designs that would share style, parts and pieces.</p><br>
<p>In 1914, the young architect Russell Barr Williamson joined Frank Lloyd Wright&#39;s studio and was tasked as the main draftsperson on the project. Williamson kept a register of models and features and was responsible for creating and issuing the construction drawings required by a contractor to build a house, when one was sold.</p><br>
<p>In 1914-15, Richards purchased four designs and built six buildings in a demonstration neighborhood and investment in Milwaukee, Wisconsin, now called the "Burnham Block", for short. In 1916, Wright and Richards signed a commercial contract giving Richards the exclusive rights to manufacture and distribute the homes and Wright the job of design and specification. Richards sold franchises to market the homes and planned to allow only approved contractors to build them, though some homes were built independently. Richards had offices in Milwaukee, the Chicago area, Champaign, Decatur and Gary. The customer purchased a completed home, sometimes directly from The Richards Company, or alternatively, from speculators to whom Richards had sold plans and materials.</p><br>
<p>In July, 1917, Wright, dissatisfied with Richards, fearing loss of intellectual property, and with World War I as cover, sued for nonpayment of royalties and fees, and the project came to an end, though the court found that home construction started before ruling could be completed.</p><br>
<p>Williamson was let go or left Wright&#39;s studio when the project was cancelled and then teamed with Richards to continue designing and selling Prairie School and more conventionally-designed homes using standardized practices under the short-lived brand "American Renaissance Homes", Richards Real Estate and other companies. Wright, meanwhile, walked away from Prairie Architecture to focus on and finish his Imperial Hotel, Tokyo project and transition his own designs to include Mayan and Asian influences.</p><br>
<p>It is believed that about 25 System-Built Homes were constructed, but only 12 are known to have survived. They can be found in Wisconsin, Illinois, Indiana, and Iowa.</p><br>
<h2>Prototype Burnham Street Historic District, Milwaukee</h2><br>
<p>Six demonstrator homes were built speculatively in the Burnham Park neighborhood of Milwaukee by Arthur Richards in 1915-16 and were added to the National Register of Historic Places in 1985. There are four model 7a duplexes, a model B1 bungalow, and a model C3 bungalow. It is the only grouping of Frank Lloyd Wright-designed homes that includes both duplexes and single-family dwellings. Three of the homes have been purchased by the Frank Lloyd Wright Wisconsin Program. The B1 bungalow was restored in 2010, with one of the duplexes to follow. They are located in the 2700 block of West Burnham Street, at South Layton Boulevard.</p><br>
<p>Richards Burnham Block served as a testing ground for Wrights ideas, informing the formal contract and branding that ramped up starting in 1916. Therefore, details found in the prototype homes and the commercial homes are different. Elements found in the Burnham block but not in commercial homes can be seen as experimental. Elements found only in commercial homes can be seen as refinements of the system.</p><br>
<p>Prototype American System Built Homes in the Burnham Street District:</p><br>
<p>Arthur L. Richards Duplex Apartments - referred to as either "Model 7a Duplexes", "Model C" or "Model F" - 4 units, 3 identical units (2720-2730 West Burnham), the 4th unit (2732-2734 West Burnham) is a mirror image. The second house from the west has been converted to a single family home. Built 1915.</p><br>
<p>Arthur L. Richards Small House - "Model B1" or "Cottage B" located at 2714 West Burnham Street. Built 1915.</p><br>
<p>Richards Bungalow - "Model C3" or "Cottage A" located at 1835 South Layton Boulevard. Built 1915. This house was resurfaced in precast coral stone veneer in 1956.</p><br>
<h2>The Munkwitz Apartments, Milwaukee</h2><br>
<p>The Arthur R Munkwitz Duplex Apartments were pair of four-unit apartment buildings built in 1916. The Munkwitz Duplexes were based on an American System-Built Homes plan and constructed on 1102-1112 N. 27th Street under the supervision of Russell Barr Williamson. They were demolished in 1973 to widen the street.</p><br>
<h2>Commercial American System-Built Homes in Illinois, Wisconsin and Iowa</h2><br>
<p>Commercial ASBHs are homes started under the Wright-Richards contract and built by contractors to Wright&#39;s specification with material supplied by Richards.</p><br>
<p>Single story, single family units:</p><br>
<p>Lewis E. Burleigh House - Wilmette, Illinois (1915)</p><br>
<p>Ida and Grace McElwain House - Lake Bluff, Illinois (1915)</p><br>
<p>The Elizabeth Murphy House (A203) - Shorewood, Wisconsin (1917)</p><br>
<p>Stephen M. B. Hunt House II - Oshkosh, Wisconsin (1917)</p><br>
<p>Two story, single-family units:</p><br>
<p>Wilbur Wynant House - Gary, Indiana (1916)</p><br>
<p>Oscar A. Johnson House - Evanston, Illinois (1917)</p><br>
<p>A.B. Groves House (AA202) - Madison, Wisconsin (1917)</p><br>
<p>Delbert W. Meier House - Monona, Iowa (1917)</p><br>
<p>Charles Heisen House - Villa Park, Illinois (1917)</p><br>
<h2>Chicago Landmark Homes</h2><br>
<h2>Suspected but not verified</h2><br>
<p>In 2008, Wright scholar, William Allin Storrer unveiled his controversial 29 undiscovered Frank Lloyd Wright works. One of these houses was the Thomas E. Sullivan House at 336 Gregory Avenue in Wilmette, Illinois, next door to the Burleigh House at 330 Gregory Ave. In 1989, Storrer had previously identified the 1916 house as the work of John S. Van Bergen even though the residence does not appear in Martin Hackl&#39;s complete catalog, The Works of John S. Van Bergen, Architect. In his 2008 findings, Storrer revised his claim, then stating that the Sullivan House was actually an American System-Built Home with a dining room addition by Van Bergen.</p><br>
<p>Excluding the alleged addition, the main block of the Sullivan House is nearly identical to that of the Wynant House; only the entrance and garage orientation, a missing bedroom above the garage, and differences in trim details distinguish these two residences. Storrer&#39;s assertion is further substantiated by a drawing from the Frank Lloyd Wright Foundation which shows Model D-101 with the Sullivan House entrance and without the Wynant House garage wing.</p><br>
<p>Storrer also identified three potential single-story American System-Built Homes in Berwyn, Illinois. One, the Chester Bragg House (1916), is located at the 6644 34th Street at the corner of Wesley Avenue and has a Model B1 plan.</p><br>
<p>Quinn Chapel AME Church, also known as Quinn Chapel of the A.M.E. Church, houses Chicago&#39;s first African-American congregation, formed by seven individuals as a nondenominational prayer group that met in the house of a member in 1844. In 1847, the group organized as a congregation of the African Methodist Episcopal Church, the first independent black denomination in the United States. They named the church for Bishop William Paul Quinn.</p><br>
<p>In the years leading up to the Civil War, the church played an important role in the city&#39;s abolitionist movement. It was as a stop on the Underground Railroad, serving those escaping slavery from the Southern United States. Then located at the present site of the Monadnock Building in downtown Chicago, the 1871 Great Chicago Fire destroyed the original church. Considered architecturally significant, the church is featured in such books as Chicago Churches: A Photographic Essay by Elizabeth Johnson (Uppercase Books Inc, 1999) as well as Chicago Churches and Synagogues: An Architectural Pilgrimage, by George A. Lane (Loyola Press 1982).</p><br>
<p>In 1992, Quinn Chapel joined with three other nearby churches to found: a non-profit organization devoted to saving the historic Wabash YMCA and fulfilling the needs of the Bronzeville community.</p><br>
<p>Courthouse Place, also known as the former Cook County Criminal Court Building, is a Richardsonian Romanesque-style building at 54 West Hubbard Street in the Near North Side of Chicago. Now a commercial office building, it originally served as a noted courthouse. Designed by architect Otto H. Matz and completed in 1892 The complex included, in addition to the successive courthouses, the cell blocks of the Cook County Jail, and a hanging gallows for prisoners sentenced to death. During the 1920s the attached jail  housed almost twice its intended capacity of 1,200 inmates, and a shortage of court rooms led to a backlog of cases.</p><br>
<p>For its first 35 years, the present Courthouse Place building housed the Cook County Criminal Courts and was the site of many legendary trials, including Adolph Luetgert, Leopold and Loeb, the Black Sox Scandal, and the jazz age trials that formed the basis of the play and musical Chicago. The 1928 play The Front Page was written by newspaper reporters Ben Hecht and Charles MacArthur based on the day-to-day events here. It was added to the National Register of Historic Places (NRHP) on November 13, 1984 with ID 8400028, and was labelled as significant in the areas of law, politics/government, and architecture, in the last quarter of the 1800s and the first quarter of the 1900s, especially 1892. It was designated a Chicago Landmark on June 9, 1993.</p><br>
<p>In 1929, the Criminal Courts left the 54 West Hubbard Street location as did the Cook County Jail, and the building was then occupied by the Chicago Board of Health and other city agencies. After poor alterations and years of neglect, the building was acquired by a private developer, Friedman Properties, Ltd in 1985. The property was restored and refurbished as "Courthouse Place," an office development later expanded to include the restoration of other surrounding historic buildings.</p><br>
<p>North Market Hall was previously erected at the site in 1851.</p><br>
<p>The Lafayette Square Historic District is a National Historic Landmark District in Washington, D.C., encompassing a portion of the original LEnfant Plan for the citys core. It includes the 7 acre Lafayette Square portion of President&#39;s Park, all of the buildings facing it except the White House, and the buildings flanking the White House to the east and west. The district was designated a National Historic Landmark in 1970.</p><br>
<h2>Lafayette Square history</h2><br>
<p>Washington, D.C. was designated as the site for the United States capital in the 1790 Residence Act, with authority given to President George Washington to ready the capital for the government by 1800. Planned by Pierre Charles LEnfant as part of the pleasure grounds surrounding the Executive Mansion, this square was originally called "Presidents Park", which is now the name of the larger National Park Service unit under which it is administered, which also includes the grounds of the White House and The Ellipse. The square was separated from the White House grounds in 1804, when third President Thomas Jefferson had Pennsylvania Avenue cut through east to west. In 1824, it was officially renamed in honor of the Marquis de Lafayette, the Frenchman who fought in the American Revolutionary War (1775-1783).</p><br>
<p>Lafayette Square has been used as a racetrack, a graveyard, a zoo, a slave market, an encampment for soldiers during the War of 1812, and many political protests and celebrations. Andrew Jackson Downing landscaped Lafayette Square in 1851 in the picturesque style.</p><br>
<h2>Surrounding buildings</h2><br>
<p>Lafayette Square is surrounded by buildings dating back to the early 19th century, and are in a variety of styles. Due to their proximity to the nation&#39;s centers of power, many of them have significance of their own, and are independently listed as National Historic Landmarks.</p><br>
<h3>West Side</h3><br>
<p>The west side of Lafayette Square is Jackson Place. It is lined by a series of townhouses that were built in the mid-to-late 19th century. The two at the southern end are part of the Blair House complex for visiting dignitaries; one of these, the Peter Parker House, is a National Historic Landmark. 734 Jackson Place is also known as the American Peace Society house, and 736 Jackson Place was a temporary residence of 26th President Theodore Roosevelt while the White House underwent renovation in 1902. 748 Jackson Place, at the north end of the block, is called the Decatur House; it is a prominent surviving design of Benjamin Henry Latrobe.</p><br>
<p>Flanking the White House on the west side is the Eisenhower Executive Office Building, constructed 1871–1888, as the State, War and Navy Department Building, once the world&#39;s largest office building.</p><br>
<h3>North Side</h3><br>
<p>Lafayette Square is flanked on the north by H Street. From west to east, the buildings lining the street are the USA Chamber of Commerce Building, the Hay–Adams Hotel, St. John&#39;s Episcopal Church, the Ashburton House, and the headquarters of the United States Department of Veterans Affairs.</p><br>
<h3>East Side</h3><br>
<p>Madison Place lines Lafayette Square to the east. Buildings facing it include the Howard T. Markey National Courts Building, the Benjamin Ogle Tayloe House, the Cutts-Madison House, and the Freedman&#39;s Bank Building. Flanking the White House on the east side is the Treasury Building.</p><br>
<h3>Navy Yard Urns</h3><br>
<p>Two urns reside on the south side of the district, between Jackson Place and Madison Place. They each stand at 5 feet tall by 4 feet wide, and are made of bronze with granite bases. The sides of the urns are decorated with classical female figures. The urns were part of the original park plan as designed by Andrew Jackson Downing in 1852. They may have been designed by Downing, or his assistant Calvert Vaux. The urns were cast in a New York foundry at the orders of George M. Robeson, who was Secretary of the United States Navy at the time. The urns were originally placed on granite bases in the center of two small flower beds to the east and west sides of the Andrew Jackson statue. In 1879, they were fitted with metal pans which allowed them to be used as flower pots. The park was redesigned in 1936, and the urns were moved to their current location.</p><br>
<p>Fort DeRussy is a United States military reservation in the Waikiki area of Honolulu, Hawaii, under the jurisdiction of the United States Army. Unfenced and largely open to public traffic, the installation consists mainly of landscaped greenspace. The former Battery Randolph now houses the USA Army Museum of Hawaii, which is open to the public. The Hale Koa Hotel, an Armed Forces Recreation Center, and the Daniel K. Inouye Asia-Pacific Center for Security Studies are also located on Fort DeRussy.</p><br>
<h2>History</h2><br>
<p>The property was once owned by Chinese millionaire merchant Chun Afong, who built a villa on the three acres of landscaped grounds. Chun used this property to host parties and receive royal guests, dignitaries, diplomats, military officers and others. He sold the property in 1904 to the United States Army Corps of Engineers for $28,000; the Army constructed Batteries Randolph and Dudley (no longer extant). High Chiefess Elizabeth Kekaʻaniau Pratt and her husband Franklin Seaver Pratt may have also owned property on the site called Bath Villa.</p><br>
<p>Fort DeRussy in Honolulu is one of five Forts DeRussy in the United States. There is one in Louisiana, one in Kentucky, and one in Washington, D.C.: these four were all built during the American Civil War. This one was named for General René Edward De Russy (1789–1865), who supervised military fort construction and was also Superintendent of West Point during his career. Coming as children with their family to the United States as refugees from Saint-Domingue (now Haiti), both René and his younger brother Louis grew up in Virginia and graduated from the United States Military Academy at West Point. At advanced ages, both served during the American Civil War: René on the Union side and Louis in the Confederate Army, the oldest West Point graduate to serve in it.</p><br>
<p>Located on Waikiki Beach, near Oahu&#39;s historic Royal Hawaiian Hotel and the Moana Hotel, the former Shore Battery Randolph was used as a site for servicemen on Rest and Recuperation (R&R) during the Vietnam War. Fort DeRussy was one of a number of shore batteries on the island of Oahu originally designed to provide coastal defense. Due to the increased effectiveness of air attacks, most of the guns on these sites were retired during the early 1950s. The 14-inch guns of Shore Battery Randolph were fired once in a practice shortly after the Attack on Pearl Harbor. This resulted in shattering many of the windows in the Royal Hawaiian and Moana hotels, and the guns were not fired again.</p><br>
<h2>Active facilities</h2><br>
<p>Official military facilities include the Daniel K. Inouye Asia-Pacific Center for Security Studies, the Fort DeRussy Chapel, and the Hale Koa Hotel, a Morale, Welfare and Recreation facility.</p><br>
<h2>USA Army Museum of Hawaii</h2><br>
<p>The USA Army Museum of Hawaii is housed inside Battery Randolph, a former coastal artillery battery. Battery Randolph was constructed in 1911 to defend Honolulu Harbor on Oahu from attack, and was equipped with two 14-inch guns on disappearing carriages, with a range of about 40,000 yard. It was named for Maj Benjamin H. Randolph (who died 1907).</p><br>
<p>The museum&#39;s collection contains some World War II armor pieces, an AH-1 Cobra helicopter, and small arms indoors, as well as the battery itself. The exhibits cover the history of US Army warfare in the Pacific hemisphere and admission is free.</p><br>
<p>It is located on Kalia Road, coordinates 21&deg;16&prime;44&Prime;N latitude, 157&deg;50&prime;1&Prime;W longitude.</p><br>
<p>Another installation of two 6-inch guns was called Battery Dudley, named for Gen. Edgar S. Dudley (died 1911). The "Artillery District of Honolulu" (state historic site 80-13-1382) was added to the National Register of Historic Places listings in Oahu on June 5, 1984.</p><br>
<h2>Army museums</h2><br>
<p>Merrybrook is the only known remaining home of American Civil War Confederate spy Laura Ratcliffe. The house is located south of Herndon, Virginia, in Fairfax County, Virginia. She lived here from the earliest days of the Civil War until her death in 1923. The interior, out-buildings and grounds still retain the atmosphere of earlier times.</p><br>
<p>In early March 2007, the Virginia Department of Historic Resources approved the current owner&#39;s application and placed Merrybrook on the Virginia Landmarks Register. The application to put Merrybrook on the National Historic Register is currently awaiting approval from the National Park Service. However, urban encroachment continues, the recent widening of Centreville Road was a near miss for Merrybrook which still survives behind the trees.</p><br>
<h2>History</h2><br>
<p>As the great granddaughter of Richard Ratcliffe, the founder of Providence, now called Fairfax, Laura was born there May 28, 1836. When war came she immediately sought to support her family and neighbors. While caring for the wounded she was noticed by Col J. E. B. Stuart for whom she became a valuable spy. There was a large rock near her home where she would conceal money and messages for Col. Mosby. Stuart wrote admiring poems dedicated to her and finally asked her to marry him. Laura, true to her own strong moral convictions, declined. This was near the location of present-day Frying Pan Farm Park.</p><br>
<p>Laura was admired locally for her bravery and her beauty and was acknowledged by Col. Stuart in many ways. He presented her with a gold-embossed brown leather album with the following inscription on the front page: "Presented to Miss Laura Ratcliffe by her soldier-friend as a token of his high appreciation of her patriotism, admiration of her virtues, and pledge of his lasting esteem." The album was signed not only by Stuart but also by many other soldiers who fought with him including Mosby and Brigadier General Fitzhugh Lee. Many of her local friends had also signed the book. She quietly kept this memoir, as well as Stuart&#39;s gold watch chain, among her possessions at Merrybrook. These items were discovered in her effects after her death.</p><br>
<p>Col. John Mosby, the famous Confederate Ranger harassed Union Army positions throughout this area. Incredibly daring, he rode into Fairfax City one night and snatched Union Brigadier General Edwin Stoughton out of his bed behind Union lines and made off with him.</p><br>
<p>February 7, 1863 - Col. Mosby was planning to raid the Union picket lines in Fairfax when he had word of a band of robbers nearby. These men had been stripping citizens homes of valuables, stealing horses and even taking the local doctors medical saddlebags after encountering him on the road. Mosby captured them and sent them to Richmond and returned the stolen property. He proceeded on the next day toward Union picket-post near Frying Pan Church.</p><br>
<p>That night a Union officer, Lt. Palmer of the First Virginia came to Lauras house to ask for some milk. He bragged to Laura that an ambush had been set for Mosby saying, "I know you would give Mosby any information in your possession; but, as you have no horses and the mud is too deep for women folks to walk, you cant tell him; so the next you hear of your pet he will be either dead or our prisoner."</p><br>
<p>He underestimated her. Laura went out on foot across the fields to reach the home of George Coleman to ask him to watch Mosby. As luck would have it, her path crossed Mosby&#39;s and she was able to warn him herself, thus saving him from capture. He acknowledged his great debt to her in his memoirs.</p><br>
<p>Ratcliffes assistance to Mosby, besides saving his life, included providing timely information on Union troop movements, hiding both men and money for him, and occasionally acting as "banker" for the Rangers. Till the end of the War, Laura worked in close cooperation with Mosby. He often used her home as his headquarters, and would meet his men at a large rock outcropping nearby, which was later known as "Mosbys Rock". This was also apparently where Laura successfully hid several thousand dollars entrusted to her after the Rangers had liberated it from a Union train.</p><br>
<p>The Virginia Department of Historic Resources approved a historical highway marker for Mosby&#39;s Rock in 2000 denoting its significance. Former residents, economist David I. Meiselman and poet Winifred Meiselman, worked for decades to preserve the home for future generations.</p><br>
<p>The Church of the Covenant is a historic church at 67 Newbury Street in the Back Bay neighborhood of Boston, Massachusetts. A National Historic Landmark, it was built in 1865-1867 by the Central Congregational Church, and is now affiliated with the Presbyterian Church and the United Church of Christ. The church was designed by Richard M. Upjohn, and its distinctive interior is largely the work of Tiffany & Co.</p><br>
<h2>History</h2><br>
<p>Built of Roxbury puddingstone in Gothic Revival style it was one of the first churches to relocate in the new Back Bay and was built largely with funds donated by Benjamin Bates, an industrialist who founded Bates College. Designed by Richard M. Upjohn, the son and partner of Richard Upjohn, who insisted on "a high gothic edifice... which no ordinary dwelling house would overtop." It has a 240 ft high steeple, that overtops the Bunker Hill Monument. Oliver Wendell Holmes said: "We have one steeple in Boston that to my eyes seems absolutely perfect — that of the Central Church on the corner of Newbury and Berkeley Streets." In the 1890s the sanctuary was redecorated by Tiffany Glass and Decorating Co. with stained-glass windows and mosaics and an electric-light chandelier designed by Tiffanys Jacob Adolphus Holzer for the Worlds Columbian Exhibition, Chicago, 1893.</p><br>
<p>The Church of the Covenant is located at 67 Newbury Street. It was known as the "Central Church" until 1932 when the Central Congregational Church merged with the First Presbyterian Church of Boston creating the Church of the Covenant, which is now affiliated with the Presbyterian Church and the United Church of Christ.</p><br>
<p>In 1966, the was established, protecting any building within its boundaries from exterior changes, including this church building. In October 2012 the church building was designated a National Historic Landmark (as "Central Congregational Church") in recognition of its unique interior decorations.</p><br>
<p>In 1999 The Church of the Covenant was the setting of the opening scene of the movie Boondock Saints. Two deeply Catholic brothers, Connor and Murphy MacManus (played by Sean Patrick Flanery and Norman Reedus respectively) show their devotion in church as the priest rails against the passive indifference to evil. Given the nature of the script, there were problems finding a church liberal enough to permit filming inside. The company finally got permission from the Church of the Covenant. This isn’t actually a Catholic church though and that imposing crucifix was built just for the film.</p><br>
<h2>Gallery of interior views</h2><br>
<p>Ceiling - Church of the Covenant (Boston) - DSC08263.JPGCeiling detail</p><br>
<p>Tiles - Church of the Covenant (Boston) - DSC08247.JPGTile detail</p><br>
<p>Stencilling - Church of the Covenant (Boston) - DSC08252.JPGStencilwork</p><br>
<p>Churchville School, also known as Fischer School, is a former school building located in unincorporated Bensenville, Illinois.</p><br>
<h2>History</h2><br>
<p>Originally part of a schoolhouse for the original settlers of Addison Township, the first known date of use was 1846. Designated into Illinois School District #3, the land that the school was built on was donated by August Fischer. Classes were routinely held in the building until 1931. An Evangelical Lutheran church and a school for German-speaking children were also built on the grounds, but both were destroyed in a 1924 fire.</p><br>
<p>The building continued to see usage as a meeting place for organizations such as the Boy Scouts of America, and served as a polling station. In order to continue to qualify as a member of District #3, classes were held once annually until 1950, when the ownership of the school reverted to the Fischer family. Renovations occurred over a two-year span starting in 1967, and a local historic society began giving occasional tours of the school. Later, Elmhurst School District #205 began to maintain the building and offered regular tours. In 1999, it was added to the list of the National Register of Historic Places. The ownership of the school was given to the town of Elmhurst in 2001.</p><br>
<h2>Architecture</h2><br>
<p>Churchville School is on the west side of Church Road north of Grand Avenue. It is a rectangular Greek Revival building. The front-gabled roof (facing east) is covered with cedar shingles and features a small brick chimney on the west end. The east end has a square belfry tower with a bell-shaped roof. Wood brackets decorate the soffit of the towers eaves. The belfry was probably added to the building at a later date, probably in the 1850s or 1860s. The vestibule at the front of the building was also probably added at that time. The belfry roof is covered with asphalt shingles. The bell is no longer hanging; it is instead on display at the foot of the belfry. The foundation of the building is limestone, set in irregular courses. The siding of the building is wooden clapboard. A two-step wooden landing leads to the main entrance to the vestibule. A three-panel window decorates the area above the door. The door is a modern six-panel wood door. A simple cornice adorns the soffits on the north and south eaves. Simple pilasters are found at the main buildings corners. A diamond-shaped window is above the vestibule on the main building. The northern and southern elevations have four one-over-one windows with decorative wood cornices and sills. The windows are decorated to appear like twelve-over-twelve windows, a feature that was probably added during renovations in the 1960s.</p><br>
<p>Sandstone Ranch or Sand Stone Ranch, as it was first known, was listed on the United States National Register of Historic Places on April 2, 1976. The ranch is within the boundaries of the Spring Mountain Ranch State Park and Red Rock Canyon National Conservation Area and sits below the Wilson Range.</p><br>
<h2>History</h2><br>
<p>The working cattle ranch was established in 1876 by Sergeant James B. Wilson and George Anderson. Over time it transformed from the working ranch to a retreat. Later owners included; Chester Lauck (1948), Vera Krupp (1955) and Howard Hughes.</p><br>
<p>The Miles Brewton House is a National Historic Landmark residential complex located in Charleston, South Carolina. It is one of the finest examples of a double house  in Charleston, designed on principles articulated by Andrea Palladio. Located on two acres, its extensive collection of dependencies makes it one of the most complete Georgian townhouse complexes in America. The house was built ca. 1765-1769 for Miles Brewton, a wealthy slave trader and planter.</p><br>
<h2>Design</h2><br>
<p>The architect Ezra Waite started construction of this "double house" in 1765 for Miles Brewton and completed it in 1769. Noted for its architectural quality and significance, the well-preserved house was declared a National Historic Landmark in 1960.</p><br>
<p>The Miles Brewton House is set on the west side of King Street near the southern tip of the Charleston peninsula. The 2 acre property is ringed by walls topped with iron fencing. The wall is lower at the front, with an iron gate leading into a courtyard area flanked by brick walls on the north and south, and on the west by the main house. The house is a two-story brick structure, set on a high stone basement, with marble steps flanking a projecting Classical two-story porch on either side. The porch is supported by columns (Doric on the first floor, Ionic on the second), and is topped by a fully pedimented and dentillated gable. The interior is richly finished in wood, plaster, and marble.</p><br>
<p>On the north side of the house is what is referred to locally as a "plantation lane", along which the property&#39;s outbuildings are located. These include period slave quarters, a kitchen, and a pavilion, all joined by an arcade. The large garden space directly behind the house retains its basic 18th-century layout.</p><br>
<h2>History</h2><br>
<h3>Miles Brewton</h3><br>
<p>Miles Brewton (1731-1775) was an elder child of parents who were well-established in Charleston. His father was a goldsmith, and associated with the city&#39;s banking and financial circles in that period. Brewton married Mary Izard, daughter of a wealthy planter family, and acquired some property through her. He became a successful slave trader and merchant, becoming one of the wealthiest men in the province. He soon owned eight trading ships, and more than one plantation. In 1765 he commissioned design and construction of a fine Georgian house in the Palladian style in Charleston; it was completed in 1765. Elected as a delegate to the Second Continental Congress, he was traveling to Philadelphia with his family in late August 1775 when their ship went down and they were all lost at sea.</p><br>
<h3>From the Revolutionary War to the present day</h3><br>
<p>The house was inherited by his sisters Frances (Mrs. Charles Pinckney) and Rebecca (Mrs. Jacob Motte). In 1780, after the British occupied Charleston during the American Revolutionary War, they took over the Brewton house to use as the British headquarters for Henry Clinton.</p><br>
<p>One of Mottes daughters married Capt. William Alston of Marions Brigade. He bought this Charleston house for his town residence, as an alternative to his plantation on the Waccamaw River. Their daughter, Mrs. William Bull Pringle, inherited the house. Since then, the house has been referred to as the Pringle House on King Street.</p><br>
<p>Motte was living in the townhouse when the British took it over for Henry Clinton in 1780 during the War of Independence. Clinton&#39;s profile is still visible where it was scratched on a marble mantelpiece. She moved with her daughters and domestic slaves to Mt. Joseph plantation, which she had also inherited from her brother Miles, about 95 miles outside the city on the Congaree River.</p><br>
<p>The house was taken for use as Union headquarters in 1865 during the federal occupation of Charleston in the Civil War. It was used as the headquarters of US Brigadier General Alexander Schimmelfennig during this period.</p><br>
<p>As of 1979, the house was still owned by a descendant of the Brewton-Motte family.</p><br>
<p>The large, neoclassical Simmons-Edwards House is a Charleston single house built for Francis Simmons, a Johns Island planter, about 1800. The house, located at 14 Legare St., Charleston, South Carolina, is famous for its large brick gates with decorative wrought iron. The gates, which were installed by George Edwards  and which bear his initials, include finials that were carved to resemble Italian pinecones. They are frequently referred to as pineapples by locals, and the house is known popularly as the Pineapple Gates House.</p><br>
<p>It was declared a National Historic Landmark in 1973.</p><br>
<p>The house was occupied by James Adger Smyth, a mayor of Charleston from 1879 until he died on April 25, 1920. In 1951, Dr. L.S. Fuller and Mrs. Josephine Wilson sold the house to Standard Oil executive Bushrod B. Howard and his wife for $50,000. The Howards in turn sold the house for $100,000 (the highest price paid for a house in Charleston at that time) to Nancy Stevenson, the lieutenant governor of South Carolina during part of the Richard Riley administration and wife of Norman Stevenson.</p><br>
<p>In April 1987, Thomas R. Bennett, a Charleston real estate agent, bought the house for $800,000. In May 1989, Bennett sold the house for $2 million to William and Cynthia Gilliam (again the highest price paid for a Charleston house at the time), and the Gilliams sold the house to the notorious artworld figure Andrew Crispo for $2,050,000 in September 1990.</p><br>
<p>In April 1997, an executive with Goldman Sachs, John L. Thornton, purchased the house following a court-ordered auction to help satisfy the debts of its former owner, the scandal besieged art dealer Andrew Crispo. The $3.1 million high bid was the highest price paid for a house in Charleston at the time. The Thorntons are responsible for an extensive, heavily researched restoration of the gardens.</p><br>
<p>According to the South Carolina Department of Archives and History, "In 1816, George Edwards purchased the property and enlarged the premises, creating a garden which was separated from the house yard by a notable fence of wrought iron which had unusual stuccoed columns topped with sandstone balls."</p><br>
<p>The Murray Vocational School is located at 3 Chisolm Street, Charleston, South Carolina. It was named to the National Register of Historic Places in 2002.</p><br>
<p>The school was built by the City of Charleston and opened in 1923 as the Murray Vocational School, named in honor of philanthropist Andrew Buist Murray. Murray, who had grown up in a Charleston orphanage, financed the construction of the school as his way of repaying the city. David Hyer, a former civil engineer at the Charleston Naval yard, designed the three-story, masonry and steel main building in the Neoclassical Revival style. The buildings masonry facade, engaged portico, and fanlighted doorway are all characteristic of the style. The original two-story brick custodians cottage and a circa 1950 three-story gymnasium complete the facility.</p><br>
<p>The school closed in 1970 and the property was used by the Charleston County School District as its offices. The building was abandoned by the school district when it completed new headquarters at 75 Calhoun St.</p><br>
<p>The three buildings were restored and converted into a 27-unit condominium project in the early 2000s. The adaptive reuse was accomplished with only minimal exterior changes. The restoration of the building received a Carolopolis Award from the Preservation Society of Charleston in January 2003.</p><br>
<p>The City Market is a historic market complex in downtown Charleston, South Carolina. Established in the 1790s, the market stretches for four city blocks from the architecturally-significant Market Hall, which faces Meeting Street, through a continuous series of one-story market sheds, the last of which terminates at East Bay Street. The market should not be confused with the Old Slave Mart  where enslaved people were sold, as enslaved people were never sold in the City Market . The City Market Hall has been described as a building of the "highest architectural design quality."</p><br>
<p>Initially known as the Centre Market, Charlestons City Market was developed to replace the citys Beef Market building (on the site of Charlestons City Hall, 100 Broad Street), which burned in 1796. Market Hall, designed by Charleston architect Edward B. White, was added in the early 1840s. Throughout the 19th century, the market provided a convenient place for area farms and plantations to sell beef and produce; it also acted as a place for locals to gather and socialize. Today, the City Markets vendors sell souvenirs and other items ranging from jewelry to Gullah sweetgrass baskets. Since 1899, the City Market has housed Charleston&#39;s Confederate Museum.</p><br>
<h2>Design</h2><br>
<p>Market Hall is a Greek Revival-style building consisting of one raised story resting atop a rusticated open ground-level arcade. The building&#39;s high base and frontal portico were inspired by Greek and Roman temples such as the Temple of Portunus and Temple of Athena Nike.</p><br>
<p>The City Market stretches for 1,240 ft through a continuous series of sheds oriented east–west and flanked by North Market Street on the north side and South Market Street on the south. Market stalls occupy the first story of Market Hall and continue through a one-story shed that stretches from the rear of the hall to Church Street. The second shed stretches from Church to Anson Street, the third from Anson to State Street, and the fourth from State Street to East Bay. The sheds are simple rectangular structures with open stalls and center walkways. Since their completion in the early 19th century, the sheds have been renovated and rebuilt numerous times due to damage from earthquakes, fire, and other disasters.</p><br>
<h2>History</h2><br>
<p>Charlestons first public market was established in 1692 at the corner of Broad and Meeting streets, although a formal brick building wasnt built at the site until 1739. This first "Beef Market" was replaced by a more appealing structure in 1760, and within a short period, new markets for fish and general merchandise were established along Vendue (Queen) and Tradd streets. In 1788, Revolutionary War general Charles Cotesworth Pinckney and other landowners along an existing canal donated a strip of recovered marshland for the establishment of the "Centre Market," which would stretch from the docks of Charleston Harbor to Meeting Street. The donation was subject to three conditions: (1) the City had to use the property to create Market Street and market buildings for that purpose in perpetuity, (2) the City had two years to build the market buildings, and (3) the remaining land of the donors that then would front on Market Street could not be especially taxed for the construction costs. The donor expressly reserved the right to reclaim the land if the property is not used for a market.</p><br>
<p>The first market sheds were erected around 1790 and gradually expanded to occupy most of the strip from the harbor to Meeting Street by 1806.</p><br>
<p>In 1838, a fire destroyed the market&#39;s headhouse, and the city enlisted local architect Edward B. White (1806&ndash;1882) to design the current headhouse, Market Hall, which was completed in 1841. The upper room of the hall initially served as a large assembly room and later as a military recruiting office at the outbreak of the Civil War.</p><br>
<p>While Charleston&#39;s City Hall was undergoing significant repairs in 1881-1882, the mayor worked out of Market Hall.</p><br>
<p>In 1899, the United Daughters of the Confederacy Chapter 4 began using Market Hall to house a Confederate Museum that displayed artifacts and other items from the city&#39;s Confederate period. The museum closed in 1989 after Market Hall suffered substantial damage during Hurricane Hugo (including the partial removal of its roof), and was later reopened after having been temporarily housed in a Charleston kindergarten.</p><br>
<p>On the morning of 29 September 1938, a series of tornadoes swept through Charleston, killing 32, injuring 100, and destroying $2 million in property. One tornado extensively damaged the City Market.</p><br>
<p>On July 30, 1954, a plane spotting tower (complete with telephone) was opened atop one of the Market sheds for use by the Charleston Ground Observers Corps.</p><br>
<p>Following Hurricane Hugo in 1989, the Market Hall building was restored by the City of Charleston and received a Carolopolis Award from the Preservation Society in January 2003. The building was repainted in its original colors, which included strong ochre coloring and bright green ironwork, much to the displeasure of many locals, including the mayor of Charleston. A less colorful color scheme had been in place since 1906 when the main hall was painted "French gray and white with the door and railings a bronze green."</p><br>
<p>Blanchard Hall is a limestone building on the campus of Wheaton College in Wheaton, Illinois. It was built in five phases starting in 1853. The first phase was completed in 1858 and the last in 1927.</p><br>
<h2>History</h2><br>
<p>Blanchard Hall is the main building of Wheaton College in Wheaton, Illinois. Construction of Blanchard Hall began in 1853, and the building was completed in 1927. The building takes its name from Jonathan Blanchard, the founder of the college, and his son Charles A. Blanchard. The elder Blanchard sought to make the building a symbol of the power of Evangelical Protestantism. The building was completed shortly after the younger Blanchard finished his stint as University President.</p><br>
<p>The limestone for the building was quarried form Batavia, Illinois, and the architecture is based on buildings at Oxford University. The Classical Revival is the dominant form of the building, although there are details of Italianate and Romanesque Revival design. The building features a 1,000-pound copper bell with the school&#39;s motto engraved on it.</p><br>
<p>It is currently used by the Humanities and Social Sciences departments, Human Resources, Accounting, and also houses the offices of the President, Provost, and Chief Financial Officer. There have been no major changes since 1927. On November 14, 1979, the building was recognized by the National Park Service with a listing on the National Register of Historic Places.</p><br>
<h2>Architecture</h2><br>
<p>The building was completed in five stages. The first phase was a two-story building that opened in 1858; this section is now in the center, excluding the tower. Its two-story narrow arched windows can still be seen behind the tower. The 80 ft, five-sided tower was added to the middle of the main facade (facing south) in 1871. Two years later, a three-story wing was added to the west. A four-story eastern wing was added in 1890. The building was finally made symmetrical in 1927 with and addition to the east wing. Limestone quoins decorate window bays. The roof is decorated with a stone battlement.</p><br>
<p>The Republican River Pegram Truss is a bridge located near Concordia, Kansas that is listed on the National Register of Historic Places. It is a three-span through truss bridge over the Republican River on route 795, northeast of Concordia. The bridge was built in 1893 by the Edge Moor Bridge Works of Wilmington, Delaware.</p><br>
<p>This bridge, originally erected as a railroad bridge, consists of a Pegram truss span between two triple-intersection Warren (lattice) truss spans. It is the only Pegram truss bridge used to carry automobile traffic in Kansas.</p><br>
<p>Virginia City Historic District is a National Historic Landmark District encompassing the former mining villages of Virginia City and Gold Hill, both in Storey County, as well as Dayton and Silver City, both to the south in adjacent Lyon County, Nevada, United States. Declared a National Historic Landmark in 1961, the district is one of only six in the state of Nevada.</p><br>
<p>Virginia City was the prototype for future frontier mining boom towns, with its industrialization and urbanization. It owed its success to the 1859 discovery of the Comstock Lode. The town is laid out in a grid pattern 1,500 feet below the top of Mount Davidson. Most of the buildings are two to three story brick buildings, with the first floors used for saloons and shops. Virginia City was the first silver rush town, and the first to intensely apply large-scale industrial mining methods.</p><br>
<p>After a year in existence, the boomtown had 42 saloons, 42 stores, 6 restaurants, 3 hotels, and 868 dwellings to house a town residency of 2,345. At its height in 1863, the town had 15,000 residents. From its creation in 1859 to 1875, there were five widespread fires. The 1875 fire, dubbed the Great Fire of 1875, caused $12,000,000 in damages.</p><br>
<p>Virginia City continues to attract over 2 million visitors per year. In 2004, the historic buildings were considered to be in a "threatened" state. An inactive mining pit may subside, causing some of the buildings to slide into the pit. The cemeteries have been, and continue to be, vandalized, while erosion threatens more damage. Continued use of the district for tourism is harming historical buildings that are still in use, while neglect of privately held unused buildings increases the damage to the historic nature of the entire district.</p><br>
<h2>Other NRHP listings within the district</h2><br>
<p>* Piper&#39;s Opera House, 1885</p><br>
<p>* Henry Piper House, 1875</p><br>
<p>* C. J. Prescott House, 1864; 12 Hickey Street</p><br>
<p>* Chollar Mansion, 1862–1864; 565 South D Street</p><br>
<h2>Contributing properties</h2><br>
<p>The National Register of Historic Places inventory nomination form lists 65 contributing properties in the historic district, including:</p><br>
<p>* First Presbyterian Church - 1867; only extant church constructed before the 1875 fire</p><br>
<p>* Fourth Ward School - 1876; a school until 1936; operating as a museum</p><br>
<p>* Knights of Pythias Building - 1876; located on west side of B St., between Union & Sutton St. constructed with cast iron and stuccoed brick</p><br>
<p>* St. Mary&#39;s in the Mountains Catholic Church - 1868 (destroyed by 1875 fire); rebuilt in 1876–77; St. Mary&#39;s is designed as a basilica; still open for services</p><br>
<p>* St. Paul&#39;s Episcopal Church - 1862 (destroyed by 1875 fire); rebuilt in 1876; still open for services</p><br>
<p>* Storey County Courthouse - 1876–77; replaced the first county courthouse that was destroyed by the 1875 fire; the brick building is still in use</p><br>
<p>* Territorial Enterprise building - 1870s; Mark Twain worked as a reporter in the building</p><br>
<p>Fourth Ward School, Virginia City, Nevada LCCN2011631000.jpg|Fourth Ward School, 1876</p><br>
<p>Virginia City-Pipers Opera House-1885.JPG|Piper&#39;s Opera House, 1883–1885</p><br>
<p>Henry Piper House NRHP 11000254 Storey County, NV.jpg|Henry Piper House, 1875</p><br>
<p>C. J. Prescott House NRHP 93000687 Storey County, NV.jpg|C. J. Prescott House, 1864</p><br>
<p>A488, Virginia City, Nevada, USA, Saint Mary&#39;s and Saint Paul&#39;s, 2016.jpg|Saint Mary&#39;s and Saint Paul&#39;s churchs, both 1876</p><br>
<p>A491, Virginia City, Nevada, USA, Storey County Courthouse, 2016.jpg|Storey County Courthouse, 1876–1877</p><br>
<p>Historic American Buildings Survey Robert W. Kerrigan, Photographer March 1937 - Storey County Courthouse, Virginia City, Storey County, NV HABS NEV,15-VIRG,24-1.tif|Storey County Courthouse</p><br>
<p>A487, Virginia City, Nevada, USA, Territorial Enterprise, 2016.jpg|Territorial Enterprise, 1862</p><br>
<p>A483, Virginia City, Nevada, USA, Old Washoe Club, 2016.jpg|Old Washoe Club, 1862</p><br>
<p>HABS-VaCityNV-1875MasonicHall-1937104248pr.jpg|Masonic Hall, 1875</p><br>
<p>HABS-KofP-VaCityNV-104153pr.jpg|Knights of Pythias Hall, 1876</p><br>
<p>A486, Virginia City, Nevada, USA, Miners Union Hall, 2016.jpg|Miners Union Hall, 1876</p><br>
<p>A477, Virginia City, Nevada, USA, Savage Mansion, front facade, 2016.jpg|Savage Mansion, 1876</p><br>
<p>King-McBride Mansion.jpg|King-McBride Mansion, 1876</p><br>
<p>A489, Virginia City, Nevada, USA, Mackay Mansion, 2016.jpg|Mackay Mansion, 1860s</p><br>
<p>A490, Virginia City, Nevada, USA, Chollar Mansion, 2016.jpg|Chollar Mansion, 1862–1864</p><br>
<p>A350, Virginia City, Nevada, USA, Brass Rail Saloon, upper facade, 2011.JPG|Brass Rail Saloon, 1876</p><br>
<p>A484, Virginia City, Nevada, USA, Crystal Bar, 2016.jpg|Crystal Bar, c.1876</p><br>
<p>A485, Virginia City, Nevada, USA, Union Brewery, 2016.jpg|Union Brewery, c.1876</p><br>
<p>A351, Virginia City, Nevada, USA, Silver Dollar Hotel, upper facade, 2011.JPG|Silver Dollar Hotel, c.1876</p><br>
<p>Historic American Buildings Survey Robert W. Kerrigan, Photographer March 1937 - Molinelli&#39;s Hotel, C Street, Virginia City, Storey County, NV HABS NEV,15-VIRG,13-1.tif|Molinelli&#39;s Hotel, c.1876</p><br>
<p>A481, Virginia City, Nevada, USA, post office, 2016.jpg|Post Office, c.1876</p><br>
<p>The Never Really Leave, Virginia City, NV (26014962124).jpg|Cemetery</p><br>
<p>Nichols Farms is a historic area within the town of Trumbull, Connecticut. The Nichols Farms Historic District, which encompasses part of the area, is listed on the National Register of Historic Places.</p><br>
<p>Originally home to the Paugusset people, the Nichols area was colonized by the English during the Great Migration of the 1630s as a part of the coastal settlement of Stratford. The first English settlements followed soon after settlement of the mother-town in 1639.</p><br>
<p>The area was governed by Stratford for eighty six years before a separate village was organized in 1725. Hence, all of Nichols Farms early public records are intermingled with and identified as Stratford records.</p><br>
<p>The early English settlers named Nichols after the family who maintained a large farm in its center. It was first organized as the village of Unity in 1725. The village of Unity (later called North Stratford) continued for seventy-two years before the privileges of a town were granted in 1797.</p><br>
<h2>NRHP listing and buildings</h2><br>
<p>The Nichols Farms Historic District was listed on the National Register of Historic Places on September 20, 1987, with reference number 87001392, and included 104 acre, 81 contributing buildings, one contributing site and one contributing object. The buildings listed on the registry are located close to the green with addresses of Center Road, 1681-1944 Huntington Turnpike, 5-34 Priscilla Place and 30-172 Shelton Road. The 81 buildings are mostly private residences situated on two main roads in a village setting. They represent all of the periods of Connecticut domestic architecture from the early 18th century to the present.</p><br>
<h2>Land use and development</h2><br>
<p>In 1661, the Stratford selectmen voted to allow all inhabitants the liberty of taking up a whole division of land anywhere they could find fit planting ground as long as it was not within two miles (3 km) of the town meeting house, and they were prohibited from making it their dwelling place without consent. Elder Phillip Groves, Captain William Curtiss and Lt. Joseph Judson, early farmers in Nichols Farms, were named to a committee to lay out the land as they saw fit. The common land in Nichols Farms was divided to individuals beginning in 1670 as a part of the three-mile or woods division, and continued up to 1800.</p><br>
<h2>Agriculture</h2><br>
<p>Mischa Hill, located in the geographic center of Nichols Farms, was first called Lt. Joseph Judson&#39;s Farm or Old Farm in the land records. It was the first area within Trumbull to be farmed and settled by English colonists. The first landowners were among the first settlers to arrive at Stratford namely; Richard Booth, Zachariah Bostick, Lt. Paul Brinsmaid, John Curtiss, Benjamin Curtiss, Joseph Curtiss, Captain William Curtiss, Ebenezer Curtiss, Zachariah Curtiss, Joseph Fairchild, Elder Philip Groves, Mr. Joseph Hawley (Captain), Samuel Hawley, Ephraim Hawley, Lt. Joseph Judson, Jeremiah Judson, Isaac Judson, Caleb Nichols, Abraham Nichols, Samuel Uffoot and Reverend Zachariah Walker.</p><br>
<p>Lt. Joseph Judson, Sgt. Jeremiah Judson and Joseph Curtiss established their farms on Mischa Hill before 1658, the year in which they were elected as freemen by the legislature of the Connecticut Colony. To be elected as a freeman at the time, an individual had to own real property in his own name.</p><br>
<h2>Religious rift</h2><br>
<p>In the 1660s, Lt. Joseph Judson disagreed with the majority in town, as he and others tried to introduce the half way covenant. In 1672, Judson obtained permission from then Governor John Winthrop, Jr. to remove with other families and settle the new town of Woodbury. He abandoned his farm in Nichols Farms. In 1688, others like Caleb Nichols removed to Woodbury and in the same year, John Curtiss gifted his farm on Mischa Hill to his son Benjamin and removed there as well. After Judson abandoned his farm, it became commonly called Old Farm.</p><br>
<h2>Abraham Nichols</h2><br>
<p>Abraham Nichols was believed to have made the first permanent settlement within Trumbull around 1690 or 1700, depending on the source, and that others soon followed venturing into the wilderness to establish mills, churches, and schools. Abraham Nichols landholdings were said to total 1,000 acre, with much of it remaining in the Nichols family for more than two centuries. The last of the line was Florence Nichols, who married George Woods in 1903. Soon after their deaths in 1973 and 1972, respectively, the property was deeded to the Nichols Methodist Church.</p><br>
<p>The Town of Trumbull purchased it from the church in 1974. This tract was then known as the Woods Estate and is now the home of the Trumbull Historical Society. Recent research has determined that Nichols holdings totaled around 285 acre of land, of which 55 acre remains as open space today.</p><br>
<p>According to Walter Nicholls, who wrote the History of the Nichols Family in 1909, Abraham did not accompany his father to Woodbury in 1673, but remained in Trumbull to oversee the plantation. However, since Abraham (born 1662) was only eleven at the time, it is more likely that he did go with his parents and family to Woodbury. He returned to Trumbull between 1696 and 1700.</p><br>
<p>Walter Nicholls&#39; description of the Nichols homestead follows:</p><br>
<p>According to Stratford land records, Abraham Nichols purchased several old farms and large parcels of land in 1696. Nichols exchanged his land for 22 acre of Lt. Joseph Judsons old farm which had a barn on it, 54 acre or half the land owned by Jeremiah Judson, and 19 acre of land from Benjamin Curtiss. These transactions are described in the land records as being located at or near the Old farm, Judsons farms or Lt. Joseph Judson farm. In 1699, Lt. Ebenezer Curtiss recorded 15 acre of land from the three-mile division that was bounded west with Lt. Joseph Judsons farm, now belonging to Abraham Nichols. This deed confirms that Nichols purchased Judsons old farm, established in 1658, and was not the first to settle the area.</p><br>
<p>In 1704, Nichols purchased Reverend Zachariah Walker&#39;s entire farm, which was 36 acre in size. In 1708, Nichols bought 5 acre known as Mischa Hill Meadow from Joseph Fairchild, and in 1715 he added 1 acre from Captain John Hawley. These three large farms when combined with Nichols own division land and other parcels, totaled around 285 acre of land. Some of the old farms, about 54 acre, remain as open space today.</p><br>
<h2>Farm Highway</h2><br>
<p>The highway linking Nichols Farms to Stratford, three miles (5 km) to the south, was first called the Farm Highway, and was laid out or completed to the south side of Mischa Hill in December 1696. (In the 21st century, it is called Nichols Avenue or (Route 108). The highway was laid out to the south side of Mischa Hill and at Zachariah Curtiss, his land, and at Captains Farm. Captains Farm was the first farm encountered as travelers entered the village, at Hawley Lane, and was owned by Captain John Hawley at the time. This portion of Route 108 is considered to be the third-oldest documented highway in Connecticut.</p><br>
<h2>Merritt Parkway</h2><br>
<p>The Merritt Parkway was built directly through the original Nichols Farms center in the late 1930s. It displaced the old Nichols Store, which was razed, and the Trinity Church, which was moved. A large 5 by 6 natural stepping stone was the only item saved from the Nichols Store; it was relocated to the front of the Ephraim Hawley House.</p><br>
<h2>Nichols Green</h2><br>
<p>The green in Nichols Farms, known as Nichols Green or N.I.A. Green, is owned and maintained by a private trust called the Nichols Improvement Association, established in 1889 to beautify and improve Nichols Farms.</p><br>
<p>A memorial to those residents who fought in World Wars I and II is located on the south end of the green.</p><br>
<p>An 80 tall pine flagpole brought through the Panama Canal from Washington was erected on the green in 1932. This pine pole replaced an earlier 115 chestnut flagpole erected on July 4, 1892, that carried a 25 by 15 flag and was believed by some to be the highest flag flown in the state at the time.</p><br>
<p>Another well-known landmark near the green is the Bunny Fountain. The fountain was a gift from the Peet family to the citizens of Nichols in 1895. The fountain was moved from its original location at the intersection of Huntington Turnpike and Shelton Road to the intersection of Huntington Turnpike and Unity Road in 1931 after being damaged by a car. It was moved to its present location and restored in the spring of 1971; it was restored again in 1992.</p><br>
<p>An old grinding stone from the 1826 Fairchild (Paper) Mill is placed at the south end of the green. The mill was located at a place commonly called the Falls of the Pequonnock River beginning in 1674. This site is now the town boundary with Bridgeport called Fairchild Park.</p><br>
<p>A piece of the original 1940 Merritt Parkway bridge, which was built over Route 108, is on the green. The concrete ornament is a likeness of the town of Trumbull official seal. The bridge was demolished in 1979 when the interchange was updated.</p><br>
<h2>Properties excluded</h2><br>
<p>State officials excluded 78 buildings from the initial district that were located on Huntington Turnpike, Nichols Avenue and Shelton Road. These buildings were a part of the original district proposed by the Trumbull Historic District Study Committee for Nichols Farms in May 1976. The Ephraim Hawley House, Zachariah Curtiss House and barn, the summer home of American folklorist Will Geer, and a home of helicopter inventor Igor Sikorsky were excluded.</p><br>
<p>A subsequent Historic Building Survey, completed in 2010, has recommended these properties be added to the existing historic district.</p><br>
<p>The Northern Wisconsin Co-op Tobacco Pool Warehouse or Bekkedal Leaf Tobacco Warehouse is located at 504 East Decker Street Viroqua, Vernon County, Wisconsin USA. It was designed by the architects Parkinson & Dockendorff. It was added to the National Register of Historic Places on November 14, 2003.</p><br>
<h2>History</h2><br>
<p>Tobacco farming came to Wisconsin in the 1830s from the eastern United States and was appropriated by immigrant Norwegian farmers. Being a profitable cash crop, pioneers traveling to Vernon County brought the craft with them, farming much of the Coon Valley and Westby. Martin H. Bekkedal immigrated in the 1880s and became the largest tobacco leaf wholesaler in western Wisconsin by 1900. His 1906 brick veneered hybrid post-and-beam warehouse was one of the largest tobacco warehouses in the state.</p><br>
<h2>Building features</h2><br>
<p>The profitability in tobacco is evident in the stylish curved parapets on the north and south walls with tobacco leaf medallion decorations.</p><br>
<p>The building contains offices, a receiving room with a scale to weigh incoming tobacco, sorting and packing rooms in the basement, and "sweating" rooms where the temperature can be raised above 115 degrees to cure the tobacco.</p><br>
<h2>Grower co-op</h2><br>
<p>When prices dropped in 1921, the nation&#39;s first tobacco marketing co-operative was formed, the Northern Wisconsin Tobacco Co-op Pool. The co-op then purchased the building from Bekkedal. By enlisting 75% of the local growers, they shut out wholesalers and were able to better control their livelihood. Their success spawned other farmer co-operatives such as in dairy farming.</p><br>
<p>The warehouse is now privately owned.</p><br>
<p>The Harlem Fire Watchtower, also known as the Mount Morris Fire Watchtower, is a fire lookout tower at Marcus Garvey Park in Harlem, Manhattan, New York City. It is the only survivor of 11 cast-iron watchtowers placed throughout the city starting in the 1850s. Standing 47 ft tall, it was built by Julius H. Kroehl for $2,300 based on a design by James Bogardus.</p><br>
<p>The Mount Morris Park tower went into service in 1857 in response to Harlem residents’ demand. The towers gave volunteers a perch from which to watch for fires that were common in the wooden structures that then made up much of New York City, and the watchers then spread the word via bell ringing. Later, electric telegraphs were installed but the bell provided local alarms. When pull boxes and other technological advances rendered the fire watchtowers obsolete, the system was discontinued and the other towers eventually were destroyed. Harlem&#39;s, protected in the middle of a park, endured.</p><br>
<p>During the New Deal, the area surrounding the watchtower was rebuilt by government employees as part of the Works Project Administration jobs program. This project created a gracious plaza (sometimes called "the Acropolis"), stone retaining wall, and wide steps approaching the summit from several sides for pedestrians. The tower was designated a city landmark in 1967 and was listed on the National Register of Historic Places in 1976. The last work on the watchtower came in 1994, but cracks in the overall structure and in the bell remained. The granite parapet along the top was in need of restoration.</p><br>
<p>Weather, lack of maintenance, and neglect took their toll over the years. Roof damage allowed water into the structure, rusting structural members. The original copper roof deteriorated and fell off, exposing the interior to more damage. Many of the internal steps were missing and park visitors may no longer climb them or get near the structure, which is protected by a fence. In 2013, the Mount Morris Park Community Improvement Association and the Marcus Garvey Park Alliance partnered with the New York City Department of Parks and Recreation to raise $4 million to restore the Harlem Watchtower, led by Valerie Jo Bradley. Starting in late 2014, NYC Parks disassembled the tower to restore the structure and ensure its soundness and stability before reconstruction. The tower reopened to visitors in December 2019.</p><br>
<p>Chimborazo Hospital was a Civil War-era facility built in Richmond, Virginia to service the medical needs of the Confederate Army. It functioned between 1862 and 1865 in what is now Chimborazo Park, treating over 76,000 injured Confederate soldiers. During its existence, the hospital admitted nearly 78,000 patients and between 6,500 and 8,000 of these patients died. This mortality rate of between 8.3 and 10.3 percent is among the lowest such rates of period military hospitals.</p><br>
<p>After the war, the Hospital became a refuge for freed slaves.</p><br>
<h2>Establishment</h2><br>
<p>In the early days of the Civil War, most people did not expect the conflict to last more than a few months, so the Confederate government failed to immediately establish many kinds of necessary military infrastructure, including medical infrastructure. Many soldiers were sent to civilian houses to receive medical care, resulting in both unsatisfactory care and the illness of many caretakers. Most Richmond-area military hospitals were not purpose-built buildings, but rather repurposed existing structures, including warehouses, hotels, homes, and stores. These facilities quickly became overcrowded, and Samuel P. Moore, the new surgeon general of the Confederacy, needed to quickly identify new potential hospital sites.</p><br>
<p>Simultaneously and coincidentally, on an undeveloped plateau on the east end of Richmond called Chimborazo Hill, slaves began building a permanent winter quarters, including soldiers’ barracks, officers’ quarters, three hospitals, and a bake house. Since most Confederate soldiers would be wintering further north, Moore decided to convert the barracks into a hospital, appointing Dr. James B. McCaw, a professor at the Medical College of Virginia, as surgeon-in-chief.</p><br>
<p>The name Chimborazo is said to have been inspired by the volcanic mountain Chimborazo, in Ecuador.</p><br>
<h2>Facilities and operation</h2><br>
<p>Record keeping at Chimborazo Hospital was meticulous. There were ninety hospital wards, which all had shingled roofs, wood-plank floors, and whitewashed walls (interior and exterior). Each side of each building had three doors and ten windows; each window had a white curtain. Each ward was warmed by a wood stove and lit at night by a single candle. Each ward measured eighty by twenty feet and contained approximately forty beds. In addition to hospital wards, there were also bake houses, kitchens, ice houses, a soap house, a stable, a guard house, a chapel, a bathhouse, carpenter, blacksmith and apothecary shops, and five dead houses. Each building was surrounded by wide avenues, as McCaw believed fresh air was a medical necessity for recovery.</p><br>
<p>McCaw established a strict formal organizational structure, including divisional hospitals, surgeons, assistant surgeons, acting assistant surgeons, stewards, ward masters, nurses, druggists, cooks, dentists, and matrons. All surgeons were required to have at least five years of medical experience. Other positions were filled by soldiers, free blacks, slaves, and white women. For most of the war, even when the wounded from the nearby Seven Days Battles required tents to accommodate overflow, food was sufficient and medical care received praise. However, as occurred at all hospitals of the day, available resources were not always sufficient and sometimes organizational structures broke down, leading to insufficient care and an unsanitary environment. Soldiers who died at Chimborazo were buried at Oakwood Cemetery.</p><br>
<h2>After the war</h2><br>
<p>As news arrived of Robert E. Lee&#39;s retreat from the Siege of Petersburg on April 2, 1865, patients began to leave voluntarily or be evacuated. McCaw surrendered the hospital the following day. Some Confederate wounded remained as the Union began to bring their own wounded into the hospital; Union and Confederate soldiers resided in separate wards. By early summer, all patients had been removed.</p><br>
<p>Shortly after the buildings were vacated by the military, freed slaves began to occupy the site. While the 13th Amendment had freed all slaves in the United States, it had not provided work nor land nor housing for them. The Freedmen&#39;s Bureau, formally known as the Bureau of Refugees, Freedmen and Abandoned Lands, had been established to provide such necessities to freed slaves, but the bureau was limited in its successes due to insufficient resources, diverse and complex responsibilities, Presidential obstruction of bills to expand the bureau, and Black Codes restricting black movement, labor, and rights. The refugees remained segregated from society.</p><br>
<p>The Chimborazo refugee camp, referred to as the "Nations poorest of the poor," proved a major logistical challenge for the Richmond city government, particularly because the camps white neighbors often complained about the camp and sometimes incited riots. Chimborazo was just outside of Richmond city limits and thus offered little protection from their neighbors, leading to the formation of a militia (Richmond soon expanded its city limits to encompass Chimborazo). The major violent incidents came in March 1866, which were initially characterized by local media sources depicting the conflicts as "Negros" terrorizing defenseless white people. However, it was later realized that white men had been harassing and threatening the community, leading to several arrests, though all but one were released.</p><br>
<p>In response to the riots, the Freedmen&#39;s Bureau ordered that all able-bodied men vacate the camp by April 1, 1866. It was expected that roughly 150 individuals would remain of the 1,000 present on the site. However, by 1870, voter registration data shows that 651 black voters were present in the Marshall Ward which includes Chimborazo and Church Hill. Considering women and children would not be counted in this data, the number is likely significantly higher.</p><br>
<p>The City of Richmond gradually began buying up the land of Chimborazo, gradually removing all of the structures and beginning work on Chimborazo Park.</p><br>
<p>Today, the land of Chimborazo Park is owned by both the City of Richmond (27.9 acres) and the federal government (5.6 acres).The park contains several monuments, including a smaller version of the Statue of Liberty and one commemorating the relationship of Powhatan and John Smith, and a museum and visitor center, the headquarters of Richmond National Battlefield Park, which is primarily focused on Civil War-era battlefield medicine. The surrounding neighborhood has been nationally designated as Oakwood-Chimborazo Historic District.</p><br>
<p>El Rancho de las Golondrinas , a historic rancho and now a living history museum, is strategically located on what was once the Camino Real, the Royal Road that extended from Mexico City to Santa Fe. The ranch provided goods for trade and was a place where the caravans that plied the road would stop on their journey coming from or going to Santa Fe. It was a paraje, an official rest stop for travelers, and was even mentioned by the colonial military leader and governor, Don Juan Bautista de Anza, when he stopped here with his expeditionary force in 1780.</p><br>
<p>El Rancho de las Golondrinas, located on 500 acres in the rural farming valley of La Ciénega just south of Santa Fe, New Mexico, strives to maintain examples of life during the period when Spain ruled in the southwestern portion of the North and most of the Central American continent. The museum opened in 1972 and is dedicated to the history, heritage and culture of 18th and 19th century New Mexico. Guides are dressed in period clothing and demonstrate weaving, hide tanning, milling, blacksmithing and the planting of crops. In addition to normal hours of operation there are ten annual festivals at El Rancho de las Golondrinas. The ranch and its acequia system (irrigation ditch complex) are listed on the National Register of Historic Places and the New Mexico State Register of Cultural Properties.</p><br>
<h2>History</h2><br>
<p>In 1932, Leonora Frances Curtin (later Paloheimo) and her mother purchased the ranch property. Leonora is known for the founding of Santa Fes Native Market in an effort to save and reestablish traditional craft forms and techniques, and to provide local artisans with a source of income during the Great Depression. After their marriage in 1946, Leonora and her Finnish husband, Yrjö Alfred (Y.A.) Paloheimo, saw the potential in the old ranch as a site for a living history museum. Both Leonora and Y.A. devoted themselves to transforming the property into a place where visitors could physically engage with the rich culture of the region and become immersed in the history of New Mexico. Existing historic buildings were restored, period structures were erected and historic buildings were brought in from other sites around New Mexico. The museum officially opened its doors in the spring of 1972 and over time has grown into New Mexicos premier living history museum. Today the museum promotes and preserves the Hispano heritage of Northern New Mexico, while at the same time building a better understanding of the lasting influence of Hispanos in the Southwest and the rest of the country.</p><br>
<h2>Filmography</h2><br>
<p>El Rancho de las Golondrinas has been seen in numerous Western films. Some movies filmed here include Butch and Sundance: The Early Days (1979), Wild Times (1980) the CBS miniseries Comanche Moon (2008), and the Better Call Saul episodes "The Guy for This" and "Dedicado a Max".</p><br>
<p>The Blake Tenements were built between 1760 and 1772 by Daniel Blake, a planter from Newington Plantation on the Ashley River. The building was named to the National Register of Historic Places in 1970. The building was renovated for use as an annex to a nearby county office building in 1969.</p><br>
<h2>Architecture</h2><br>
<p>The double tenement is three and one-half stories of brick on a high brick basement. The brickwork is laid in Flemish bond on the facade with English bond on the sides. The building was acquired by Charleston County in 1967 and used for county offices.</p><br>
<p>The building is located on Lot 313 of the original plan of the City of Charleston, land which was granted in 1698 to Gov. Joseph Blake, the great-grandfather of the builder. Today, the lot is known as 6 & 8 Courthouse Square.</p><br>
<p>After Hurricane Hugo, the building was closed and later restored along with the next door historic Charleston County Courthouse.</p><br>
<p>Amboy station is a former rail station in the city of Amboy, Lee County, Illinois, United States. The building was constructed as a headquarters building for the Illinois Central Railroad as well as a public train station for the fledgling city of Amboy in 1876. It was designed by railroad staff architect James Nocquet after a fire destroyed the original Illinois Central offices on the site. The building was added to the USA National Register of Historic Places in 1992 as the Amboy Illinois Central Depot.</p><br>
<p>The rectangular, Italianate building operated as Illinois Central Railroad&#39;s Northern Division headquarters until 1894. After 1894 the rail line through Amboy was downgraded in importance by the railroad and the division headquarters moved elsewhere. Today the depot is operated as a public museum. The museum grounds include the depot, which houses artifacts and exhibits and several outbuildings. Also on the property is a steam locomotive which, in 1976, was the last steam engine in the United States to be commissioned for regular freight service. The locomotive was obtained from the now defunct Northwestern Steel and Wire company and is maintained as a static display.</p><br>
<h2>History</h2><br>
<p>The Amboy Illinois Central Depot was constructed in 1876 within the right-of-way for the Illinois Central Railroad. When the Illinois Central was authorized by a Stephen A. Douglas-sponsored act of Congress on September 20, 1854, it was to be the largest railroad company on earth. The act authorized a mainline from Dunleith (later East Dubuque) to Cairo and branch lines from Centralia to Chicago. Based upon the length of the divisions, Illinois Central&#39;s division headquarters was to be built in Lee County.</p><br>
<p>The railroad purchased land in the present-day city of Amboy and set up division headquarters operations as well as shop and maintenance operations. The city of Amboy was founded around Illinois Centrals activity in the area. Over the next twenty years operations for the railroads northern division were still led from the original division headquarters even as railroad activity continued to increase. The original building was enlarged in 1863, though accounts still portrayed the structure as too small for the needs of the railroad at the time. On November 15, 1875, the division headquarters building and the adjacent hotel/depot were destroyed by fire.</p><br>
<p>After the fire the railroad decided to raze the remains of the old structure and construct a new combined depot and division headquarters, leaving hotel functions to other private entrepreneurs. The burned out site was cleared and in 1876 the current Amboy Illinois Central Depot was built. Railroad management was carried out by designating divisions which had autonomous control over hundreds of miles of track, the building in Amboy was one such division headquarters. By the time the Amboy Illinois Central Depot was completed in 1876 the entire 345 mi stretch of track from Centralia to East Dubuque was consolidated within the Illinois Central Northern Division, operated out of the Amboy building. The Amboy division headquarters had authority of 53 individual train stations.</p><br>
<p>Operations at the Amboy headquarters and depot continued in this manner until 1894. That year, Illinois Central completed an assessment of the effects of the completion of a new east-west rail line from Iowa to Chicago. Completion of the east-west line had shifted rail traffic from the north-south route through Amboy. The result was fewer scheduled passenger trains and less cargo rolling through Amboy and the railroad decided to downgrade the section of track from Freeport to Centralia (including Amboy) to a sub-division. The headquarters in Amboy were closed and the locomotive repair and maintenance facilities were mostly abandoned and relocated to Freeport, Illinois, and Clinton, Illinois.</p><br>
<p>After the division headquarters moved, the depot still carried out railroad functions; the building still served as a crew change location as well as the depot for the village of Amboy. Operations were once again moved about the building. The northwest half of the first floor was transformed into a storage area and the second floor renovated into apartments for the station agent and employees of the nearby Green River Ordnance Plant. The station remained the transfer point for all ammunition made at the hastily constructed ammunition plant throughout World War II and the Korean War.</p><br>
<p>The mid-1980s brought the end of the Amboy Illinois Central Depot&#39;s days as an active rail building. On June 10, 1984, the Illinois Commerce Commission authorized the Illinois Central Railroad to decommission the rail line through Amboy. The railroad announced it intended to demolish the old station. The building, which is owned by a committee from the Village of Amboy, was saved by a citizens group and converted into a museum.</p><br>
<h2>Architecture</h2><br>
<p>The Amboy Illinois Central Depot was designed by railroad staff architect James Nocquet in the Italianate style of architecture. Before Nocquet was employed by Illinois Central he worked in a Chicago architectural firm, Meriam and Nocquet. In 1871 he took his position with the railroad and remained in their employ through the 1870s, including during the time he designed the Amboy depot. The building was designed to be a spacious and modern division headquarters while doubling as a depot for the citizens of Amboy; the southeastern half of the first floor was designed for such use. The depot section consists of waiting rooms and ticketing counters typical of their era while the headquarters portion of the building is well illuminated through ample fenestration.</p><br>
<p>The rectangular-shaped building measures 32 ft by 88 ft and its exterior architecture demonstrates its importance to the Illinois Central Railroad. Constructed of red brick with extensive limestone detailing, the depot&#39;s size, height, and ornate brick/stone detailing combine to give it an imposing and elegant character.</p><br>
<h2>Amboy Depot Museum</h2><br>
<p>The Amboy Depot Museum has operated on the site since 2003. The museum encompasses much of the former rail yard that Illinois Central maintained at Amboy&#39;s Northern Division Headquarters for its Cairo to East Dubuque line. When the line was completed in 1855 it was the longest rail line in the world. The museum consists of three buildings with the Amboy Illinois Central Depot being its primary structure. Inside are exhibits and artifacts relating to the history of Amboy and Illinois Central Railroad. Palmer School is a restored one-room schoolhouse that was relocated to museum property during the 1990s from its original location west of Amboy. The other structure is the Amboy Illinois Central Freight House which was relocated to museum property in 2003 to prevent its planned demolition.</p><br>
<p>Amboy Illinois Central Depot has a static steam locomotive display on its property, the locomotive sits on unconnected railroad tracks adjacent the Depot. The locomotive is an 0-8-0 steam engine built in 1929 by Baldwin Locomotive Works as a switcher bearing the number 8376. It was originally operated by the Grand Trunk Western Railroad. Switcher #8376 (8376) was retired from service near Detroit, Michigan, in 1958 and sold as scrap. The now-defunct Northwestern Steel and Wire company, in Sterling, Illinois, ended up with 8376 and other steam locomotives, and instead of melting them down the company renovated them. The company then used them to replace their aging internal locomotives, used within the steel mill grounds. Thus, 8376 was brought out of storage and recommissioned in 1976 as NS&W #76. When it was christened, NS&W #76 (76) was the last steam locomotive engine to be commissioned for regular freight service in the United States. 76 operated in daily service until the mill owner&#39;s death in 1980, it was retired shortly after and obtained by the Amboy Depot Commission.</p><br>
<h2>Significance</h2><br>
<p>The Amboy Illinois Central Depot is a locally significant structure because of its affiliation with the Illinois Central Railroad. Most of the building&#39;s architectural elements, interior and exterior, have maintained their integrity and are well preserved.</p><br>
<p>The William Enston Home, located at 900 King St., Charleston, South Carolina, is a complex of many buildings all constructed in Romanesque Revival architecture, a rare style in Charleston. Twenty-four cottages were constructed beginning in 1887 along with a memorial chapel at the center with a campanile style tower, and it was reserved for white residents. An infirmary was added in 1931 and later converted into a superintendent&#39;s home.</p><br>
<p>In 2006, construction was undertaken on a series of additional cottages which were meant to complete the plan for the community. These cottages, located at the southern edge of the property, are reminiscent of the original design but lack the architectural detail of the originals. Today the complex is owned by the Housing Authority of Charleston and the restored cottages are home to persons of low to moderate income.</p><br>
<h2>History</h2><br>
<p>William Enston was a prosperous furniture maker, merchant, and steamship magnate who left his fortune for the creation of a home for the white elderly. He was born on May 5, 1808, in Canterbury, England, and immigrated to Philadelphia, Pennsylvania with his father in 1825. In 1832, he moved to Charleston, South Carolina and later married Hannah Shuttleworth of Colsterworth, England. He began a small store on King Street. (later building the large structure still standing at 187-191 King St.) He eventually amassed a fortune through real estate and commercial shipping. He died on March 23, 1860, leaving a fortune valued at $1 million, but the Civil War reduced its value to half that amount.</p><br>
<p>Site work began in 1884, but construction of the housing units did not begin for a few more years. The City of Charleston received the proceeds of the estate in 1886 following the death of Enstons widow. In 1887, twenty-seven years after the death of Enston, W.B.W. Howe Jr. designed the complex of two-story brick cottages according to Enstons instructions. The Home was to be modeled on similar British institutions, specifically one Enston was familiar with in his native Canterbury. Enston specified that the complex be composed of neat and convenient two-story brick cottages with at least eight acres of land. He also stipulated that potential residents be the old and sick, from 45 to 75 years old, of "good honest character," and not suffering from "lunacy."</p><br>
<p>Original streets in the development reflect people and places from Enstons life including Shutterworth (his wifes maiden name), Canterbury (his hometown), and Colsterworth (his wife&#39;s hometown).</p><br>
<p>The original nineteen cottages were completed in 1888 as duplexes. City Council voted to erect on memorial hall to Mr. Enston in the center of the village, costing up to $7500. City Council hired Colin McK. Grant as the contractor for the memorial hall. The Enston Memorial Hall in the center of the community was opened on February 22, 1889. A bust of Enston, sculpted by Virginian sculptor Valentine, and then cast in bronze in New York was order by City Council for the Memorial Hall. In 2013, it was estimated that it would cost almost $1.7 million to restore the Memorial Hall which at the time was being used to store equipment. That year, the Preservation Society of Charleston listed the hall as one of the seven most endangered sites of significance in the city.</p><br>
<p>Five new units were added at a cost of $9500 each in 1927. The new units were designed as quadraplexes and were built by Cheeves-Oliver Construction Co. They became Units 6, 7, 8, 9, and 10.</p><br>
<p>In 1991, the Charleston Housing Authority contracted to buy the property from the Enston Foundation for $625,000. The deal was cancelled in December 1991, however, when the Housing Authority realized the extent of repair work needed (estimated at $1.7 million). After more negotiations, the Housing Authority signed a contract to acquire the 12-acre site with 24 houses for $400,000. A distant relative of William Enston objected to the sale on the basis that the homes had to be used for the elderly, not low-income, residents; eventually the dispute was settled, and the sale proceeded. The authority had 13 new units built in 2006, designed in a contemporary style by Judy Stephens. In 2020, a local nonprofit Green Heart, broke ground on a half-acre urban farm which is located in the middle of the complex.</p><br>
<h2>Sources</h2><br>
<p>Robert P. Stockton, Information for Guides of Historic Charleston, South Carolina 312-13 (1985).</p><br>
<p>The William Blacklock House is a historic house at 18 Bull Street in Charleston, South Carolina. A National Historic Landmark, this brick house, built in 1800 for a wealthy merchant, is one of the nation&#39;s finest examples of Adamesque architecture. It is now owned by the College of Charleston, housing its Office of the foundation.</p><br>
<h2>Description and history</h2><br>
<p>The Blacklock House is set on the southern edge of the College of Charleston campus in central Charleston, on the north side of Bull Street. The house is a two-story brick house, set on a high brick basement. Its roof is hipped, with a gable above the center entrance. The entrance is reached by a double flight of stairs with iron railings, and is flanked by sidelight windows, with a fanlight window above. The windows in the bays on either side of the entrance have round-arch tops, while the remaining windows have flat lintels with keystones. The window above the door is a larger window with sidelights, and the gable above has a large fanlight lunette in it. The property includes two outbuildings, each of which have Gothic Revival features.</p><br>
<p>The house was built by William Blacklock who, on September 24, 1794, purchased two lots in the newly laid out Harleston Village. Although likely built in 1800, Blacklock was first listed as living in the house in 1802 according to a city directory (based on the prior years information). The houses design has similarities to the work of Gabriel Manigault, but no attribution has ever been confirmed. Blacklock was a member of the committee responsible for the construction of a bank (now City Hall) which was designed by Manigault in the same year. Other design elements of 18 Bull St. are similar to those uses in other Manigault designs.</p><br>
<p>The house underwent a major restoration in 1937, and was acquired by the College of Charleston in 1974. It was declared a National Historic Landmark in 1973.</p><br>
<p>The William Gibbes House is a historic house at 64 South Battery in Charleston, South Carolina. Built about 1772, it is one of the nation&#39;s finest examples of classical Georgian architecture. It was declared a National Historic Landmark in 1970.</p><br>
<h2>Description and history</h2><br>
<p>The Gibbes House is set on the north side of South Battery, at the southern end of the historic Charleston peninsula. It is a two-story wood-frame structure, set on a high stone foundation. It is covered by a hip roof with a front-facing gable, and is sheathed in wooden clapboard siding. The main facade is five bays wide, with a central main entrance that is accessed by stairs descending from the landing on either side, and a service entrance in the basement level between the stairs, set in a segmented-arch opening. The main entrance is set under a broad modillioned pediment, which is supported by four pilasters, with wide sidelight windows between the outer pairs. First-floor windows are framed by pedimented lintels and bracketed sills, while the second-floor windows have flatter cornices. The main roof line is modillioned, as is the gable above, which has a round window at its center.</p><br>
<p>The interior follows a plan known in Charleston as a "double house". It has four rooms on each floor, two on each side of a central hall, which is an elaborately decorated space with a columned arch and a staircase with a Civil War-era wrought iron railing. Most of its interior stylings are not Georgian but Adamesque, the result of a 1794 restyling. The south parlor spaces are fully paneled. On the second floor is a ballroom with a cove ceiling adorned with plaster medallions and corner fans.</p><br>
<p>The house lot was purchased by William Gibbes in 1772, and would at that time have included waterfront access. The house was probably built soon afterward, and was certainly completed by 1779. The Smith family purchased the house in 1794, and remodeled portions Adamesque style, including the marble steps in front. The wrought iron balustrade and lantern standards in front are considered among the best ironwork of the Adamesque period in Charleston. After the Civil War, the house was acquired by the widow of Washington Roebling, builder of the Brooklyn Bridge; she extended the building to the north in 1928.</p><br>
<p>When the house sold for $6.1 million in January 2006, it became the most expensive property to sell on the peninsula to that time. The previous highest sale was for the Col. John Ashe House at 32 South Battery which had sold for $5.1 million in September 2003. The house remained the highest priced house to sell in Charleston until the sale of the Patrick O&#39;Donnell House for $7.2 million.</p><br>
<p>The Branford-Horry House is located at 59 Meeting Street, Charleston, South Carolina. It was named to the National Register of Historic Places in 1970. The house is unusual for its piazza, which extends over the public sidewalk.</p><br>
<p>The three-story house of stuccoed brick has Georgian interiors. The front piazza, built over the sidewalk, was added by Branford&#39;s grandson, Elias Horry, in about 1830. In 1988, a speeding car crashed into the house, knocking out two of the columns and sending one into the front door of the house. The house was built after 1751, when William Branford married Elizabeth Savage, who had inherited the corner parcel from her uncle Benjamin Savage. Upon her death in 1801, the home was inherited by Ann Branford and her husband Thomas Horry.</p><br>
<p>The Fireproof Building, also known as the County Records Building, is located at 100 Meeting Street, at the northwest corner of Washington Square, in Charleston, South Carolina. Completed in 1827, it was the most fire-resistant building in America at the time, and is believed to be the oldest fire-resistant building in America today.</p><br>
<p>After an extensive renovation, the building reopened in 2018 as the South Carolina Historical Society Museum.</p><br>
<h2>Description and history</h2><br>
<p>The Fireproof Building is a two-story masonry structure, set on a tall stone basement with an arcade of round-arch openings and built out brick that has been stuccoed to resemble stone. The building is in the Greek Revival style, with Doric porticoes north and south, and achieves a sophisticated appearance with clean and crisp lines, and relatively little ornamentation. Inside, the building has an oval stair hall lit by a cupola. The stone stairs are cantilevered through three stories.</p><br>
<p>The building was built to house the office and records of Charleston County. The contractor, John G. Spidle, built it in 1827 to the design of Robert Mills, the nation&#39;s first domestically-trained architect and an early advocate of fire-resistant buildings. The Fireproof Building was listed on the National Register of Historic Places in 1969,</p><br>
<p>The building is currently the home of the South Carolina Historical Society. In 2016-17 the society completed a major renovation intended to modernize all systems, to provide a secure, climate controlled environment for the storage of historic documents, and to provide both an events venue and modern museum space. In the summer of 2018 the society reopened the building as a museum dedicated to the history of South Carolina and to the history of the Fireproof Building itself.</p><br>
<p>Presquile, or Presquiile, , the French term for "peninsula", was an appropriate name for the house built in Hampstead Village at 2 Amherst St., Charleston, South Carolina between 1802 and 1808 because, at the time, the house stood on a finger of high ground that projected into the marshes of the Cooper River. The builder, Jacob Belser, was a planter, attorney, and state senator .</p><br>
<p>It has been speculated that the house was designed by Gabriel Manigault. The interior has fine Adamesque decorations of carved wood and a spiral staircase. Originally, there was a single room on the first and second floors and two on the third floor with the stairs set in a semicircular bay on the rear of the house. A square, three-story rear wing in the Greek Revival style was added by Henry Grimke, a planter who acquired the house in 1840.</p><br>
<p>Subsequent owners of the home have included Theodore S. Marion, Joshua T. Ward, Maj. Samuel Porcher (the likely builder of Numertia Plantation), Henry Grimke, Joseph Leary, C.F. Klenke, the Baptist Association, the Historic Charleston Foundation, Arthur Ravenel, Jr. & Co., Jean Ravenel, J. Randolph Pelzer, SPD Investments Company, LLC, Presqu’ile House, LLC, and Presqu’ile, LLC. The home is presently used as a law office by Clawson Fargnoli, LLC.</p><br>
<p>Presqu’ile received Carolopolis Awards in 1967 and 1978 from the Preservation Society of Charleston and was listed on the National Register of Historic Places in 1978. The house has been under an interior and exterior historic easement with the Historic Charleston Foundation since 1973.</p><br>
<p>Princeton Downtown Commercial District is a historic district in downtown Princeton, Kentucky centered on the 1940s art deco courthouse. The district includes 44 contributing resources: 42 buildings, Big Spring Park, and the Confederate Soldier Monument. Most resources are located along East and West Main Street, East and West Court Square Street, and the adjacent buildings on West Market Street, South Harrison, West Washington, and South Jefferson. Most of the buildings are one or two-story brick structures built from the 1870s to the 1930s.</p><br>
<p>The downtown district was added to the National Register of Historic Places in 1988 because of the historic architecture and historical significance to the area.</p><br>
<p>These resources are also individually listed on the National Register of Historic Places:</p><br>
<p>Confederate Soldier Monument in the courthouse square</p><br>
<p>Champion-Shepherdson Building at 115 East Main Street, the oldest building in Princeton</p><br>
<h2>Photographs</h2><br>
<p>St. Stephens Church is a historic church in the North End of Boston, Massachusetts. It was built in 1802–1804 as the New North Church or New North Meeting House and was designed by the noted architect Charles Bulfinch. It is the only one of the five churches he designed in Boston to remain extant. The church replaced one which had been built on the site in 1714 and enlarged in 1730. The Congregationalist church became Unitarian in 1813, and the church was sold to the Roman Catholic Diocese in 1862, and renamed St. Stephens. It was restored and renovated in 1964-65 by Chester F. Wright, and was added to the National Register of Historic Places in 1975.</p><br>
<h2>Design and construction</h2><br>
<p>The church, made of red brick with white pilasters on the façade and topped by a clock tower and a belfry, was originally designed as the second edifice of the New North Religious Society, a Congregationalist group. Its cornerstone was laid on September 23, 1802, and the building dedicated on May 2, 1804. Three days later the Columbian Centinel wrote:</p><br>
<p>Bulfinchs specifications show that the church was designed nearly square, with inside dimensions of 70 (length) × 72&#39;. A transverse section exhibits roof framing similar to that of Holy Cross Church. Some of the timber of the old church (built 1714, rebuilt 1730) was used, and when the Bulfinch building was restored in 1964–65, the underpinning was found to be entirely sound. However, the roof was less skillfully constructed, and severe leakage was arrested only after the pitch was sharpened and the whole covered with imported slate a few years after dedication.</p><br>
<p>The church cost $26,570, nearly all of which was raised by the sale of pews. Charles Shaw judged it "a commodious brick building," while William Bentley, who thought it took too long to build, nevertheless commended its "good style."</p><br>
<h2>Transitions</h2><br>
<h3>Unitarian</h3><br>
<p>Like many Boston congregations of the time, New North went over to Unitarianism, and from 1813 to 1849, Rev. Dr. Francis Parkman (1788–1852), an eloquent preacher and father of historian Francis Parkman, was its minister. By 1822 the church was complaining that “the young gentlemen who have married wives in other parts of the town have found it difficult to persuade them to become so ungenteel as to attend worship in the North End”; Parkman himself preferred to live in the vicinity of Bowdoin Square.</p><br>
<p>In 1849 Rev. Joshua Young was ordained as its pastor.</p><br>
<h3>Catholic</h3><br>
<p>In 1862, with the North Ends composition greatly changed by an influx of Irish Catholics, the church was sold to Bishop Fitzpatrick of the Roman Catholic Diocese of Boston and renamed St. Stephens. In the conversion the weathervane was removed, a peak built over the original domed cupola in the manner of Holy Cross Church, and a cross and clock added. Either at this time or after the fire of 1897, the arched windows in the altar were blocked up and other changes made in the interior. When Hanover Street was widened in 1870 the edifice was moved back 16 feet and raised more than 6 feet above the original foundation.</p><br>
<p>The Church is now the home church for the Missionary Society of St. James the Apostle. In 1992 it became part of St. Leonard&#39;s Parish.</p><br>
<h2>Restoration</h2><br>
<p>In 1964 Cardinal Richard James Cushing authorized the restoration of the church, including the lowering of the building upon its original foundation and the reconstruction of the Bulfinch cupola. Chester F. Wright was architect for the rebuilding and the work was done by Isaac Blair & Co., the same firm that had raised and moved the church almost a century earlier. During the restoration a careful search was made for evidence of the original work, and in the process the old copper-covered dome was found beneath the false cap and the side entrance doors, complete with hardware, were discovered bricked up in the porch. George E. Ryan wrote of the restoration work:</p><br>
<p>The interior is not entirely faithful to the Bulfinch design, although the pulpit and pews are copied from originals long held in a Billerica, Massachusetts church. The brownstone pilasters in the façade were meant to be painted white to simulate marble, as in a number of surviving houses on Beacon Hill.</p><br>
<h2>Kennedy connections</h2><br>
<p>At one time, Mayor John "Honey Fitz" Fitzgerald was a parishioner of St. Stephen&#39;s; his daughter Rose Fitzgerald Kennedy was baptized here in 1890, and her funeral was held here in 1995.</p><br>
<p>The Santa Barbara County Courthouse  is a well-known example of Spanish Colonial Revival architecture and is located in Santa Barbara, Santa Barbara County, California. Started in 1926 and completed in 1929, the Courthouse originally served as Santa Barbara County’s  superior courthouse, jail, and administrative office. The Courthouse was included on the National Register of Historic Places in 1981, was made a City of Santa Barbara Historic Landmark in 1982, a California Historical Landmark in 2004, and a National Historic Landmark in 2005. Over the years, most County administrative offices were relocated to other County buildings. The current Courthouse houses six County Superior Court rooms, the Mural Room , the County Hall of Records, the County Public Defenders Office, offices of the County General Services Department, and the McMahon Law Library. The Courthouse is open to the public and is a popular site for community gatherings and weddings. Architect Charles Willard Moore called it the "grandest Spanish Colonial Revival structure ever built," and the prime example of Santa Barbaras adoption of Spanish Colonial as its civic style.</p><br>
<h2>Early courthouse history</h2><br>
<p>Santa Barbara County was one of the 27 original counties of California and was formed in 1850 when California became the 31st state. The County in 1855 purchased the original Courthouse site on which stood a mercantile store called Kays Adobe. Kays Adobe served the County as a courthouse and administrative building until it was replaced around the perimeter of the same block in 1872 with a Greek Revival style building. of work space) was completed in March 1929 and dedicated on August 14, 1929. The Courthouse included two courtrooms, the County Board of Supervisors Assembly Room, jury assembly rooms, offices for the County Auditor, the Office of the County Treasury/Tax Collector, the Superintendent of Schools, a Sheriff&#39;s Department Office, the County jail, the County Hall of Records and other administrative offices.</p><br>
<h2>Courthouse Building</h2><br>
<h3>Courtrooms</h3><br>
<p>When built in 1929, the courthouse contained two courtrooms and various county administrative offices. Over the years, as the county’s administration needs grew, county offices relocated to other nearby county buildings. In 1960, the Santa Barbara County Board of Supervisors Assembly Room was relocated and the courthouse was remodeled to add additional courtrooms. The courthouse now holds six courtrooms.</p><br>
<h3>Jail</h3><br>
<p>The 1929 jail was originally built to house 140 prisoners. The top floor contains two solitary confinement cells. The fourth floor housed male prisoners. The third floor housed female prisoners. The second floor served as an apartment for the County’s jailers and their families. The first floor housed offices of the Santa Barbara County Sheriff. The jail cells include tool proof bars and are constructed similar to the Alcatraz Federal Penitentiary in San Francisco, California. The County built new jail facilities in Santa Barbara in 1971 and the County’s prisoners were relocated. The Courthouse jail is unrestored and houses a few County administrative offices.</p><br>
<h3>Hall of Records</h3><br>
<p>The County Hall of Records houses the County Clerk-Recorder’s office and sits at the north-west corner of the Courthouse building. It is the repository for County real estate, marriage and related records. Its architectural features include a 13’ double door featuring repousse copper plates depicting allegorical scenes of California history. The Hall of Records also includes an atrium and a 45’ skylight.</p><br>
<h3>Geothermal Field</h3><br>
<p>Beneath the lawn on the North-Western corner of the Courthouse lies a geothermal field. Constructed in 2003, the geothermal field provides a sustainable source of energy, powering the buildings heating and cooling systems. The lawn was drilled with 32 holes, 5 and 1/4 inches in diameter, 18 feet apart bored to a depth of 400 feet where the earth has a constant temperature of 69 to 70 degrees. Circulating water in pipes is heated or cooled to that constant temperature. While unseen, this geothermal field is vital to the Courthouses operation, showcasing innovation and environmental responsibility within a historical landmark.</p><br>
<h3>Santa Barbara County Public Defender</h3><br>
<p>The courthouse is the home to the County Public Defender’s Office. The County Public Defender&#39;s Office is a government agency that provides legal representation to adults and juveniles who are accused of crimes in the County and cannot afford an attorney.</p><br>
<h3>Restoration</h3><br>
<p>The Santa Barbara County Courthouse has undergone several restoration projects including the 2022 restoration effort on the buildings roof and exterior.</p><br>
<h2>Architecture</h2><br>
<p>The Panama–California Exposition of 1915 in San Diego introduced Spanish Colonial Revival architecture to the United States. In 1925, the County’s Board of Supervisors hired the William Mooser Company of San Francisco to design and build the Courthouse in a Spanish-Andalusian castle style. With its red tiled roofs, white stucco walls and various balconies, the Courthouse could be a castle in Andalusia. Examples of the Courthouse’s Andalusian castle motif are found in the main staircase. The first example is the presence of a small balcony called a “Hoard”, which would have been used for defensive purposes. Castle defenders would have stood on the Hoard and used the attendant “Lancet” windows to direct weapons fire down upon potential enemies. A third example of Andelusian castle architecture is found in the Courthouse’s rotunda staircase. The staircase is designed as a defensive element, providing for the ascension and descension of the stairs by castle defenders in a manner that facilitates a defensive resistance to ascending enemies.</p><br>
<h2>Interior</h2><br>
<p>The courthouse’s interior features numerous Spanish Colonial Revival architectural elements. The floors feature TerraCotta tiles manufactured in Lincoln, California by Gladding, McBean and Company and the wall tiles were created by renowned Tunisian ceramic artist Jacob Chemla. The Courthouse includes a number of lamps varying in size and chandeliers custom made in the United States. Prominent Courthouse art includes “Landing of Cabrillo” by Dan Sayer Groesbeck and a series of paintings by Theodore Van Cina including “The Burial of Governor Jose Figueroa” and “The Fandango”.</p><br>
<h3>Mural Room</h3><br>
<p>The courthouse’s most prominent feature is the former Supervisor’s Assembly Room, now referred to as the Mural Room. The Mural Room walls were painted by book illustrator and Hollywood set and costume designer Dan Sayer Groesbeck. At over 4,200 square feet in size, the Mural Room took Groesbeck and his team months to complete. The mural features prominent scenes from Santa Barbara’s history including the landing of Portuguese explorer Juan Rodriguez Cabrillo in 1542 and the construction of the Mission Santa Barbara. The Mural Room’s ceiling, as well as a majority of the Courthouse’s ceilings, were painted by Italian artist Giovanni Smeraldi.</p><br>
<h3>Relief Map</h3><br>
<p>The courthouse’s first floor features a 10 x 12 foot relief map of Santa Barbara County. Created as a Works Progress Administration project in 1934, it depicts the Los Padres National Forest lands within six counties, and was based on US Forest Service and US Geological Survey maps of the area and was intended to be used in support of fighting forest fires. Modeling was done by the Civilian Conservation Corps and it was built by USA Forest Service engineers. First displayed at the California Pacific International Exhibition in San Diego in 1935, the map was installed in the Santa Barbara County Courthouse in 1936.</p><br>
<h2>Exterior</h2><br>
<p>The exterior features red tile roofs and white stucco walls consistent with the Spanish Colonial Revival style. The building’s main entrance areas, as well as side entrances and the entrance to the County Hall of Records, feature dramatic stone facades with sandstone quarried from Santa Barbara County’s Refugio Canyon. Giovanni Antolini was the master stonecutter and mason who oversaw the stonework. The exterior also demonstrates the lancet windows, barred windows and balconies so familiar in Spanish Colonial Revival architecture. The rear exit of the Courthouse on the old jail side includes a dramatic 21 foot tall castle iron lattice gate (or yett). The gate is decorative and not used for Courthouse security and includes a “wicket” door. The jail also features a turret located high on the Courthouse’s North-East side. The turret is inaccessible and an entirely decorative architectural element.</p><br>
<h3>Great Arch and the Spirit of the Ocean</h3><br>
<p>The courthouse great arch is a triumphal arch and is the Courthouse main entrance. The arch is 39 feet tall. It is topped by a pediment that features relief sculptures including the Scales of Justice. The arch is flanked by two towers, each of which is topped by a copper cupola. The arch is made of sandstone and is decorated with sculptures of cherubs and other figures. The Spirit of the Ocean is a fountain located in front of the Courthouse to the left of the arch and is a 12-foot-tall depiction of a woman and man emerging from the ocean. The fountain is surrounded by a decorative pool of water. The Great Arch and sculpture was created by Italian artist Ettore Cadorin. The Spirit of the Ocean was restored in 2010 and the Great Arch was restored in 2023.</p><br>
<h3>Courthouse Grounds/Sunken Gardens</h3><br>
<p>The courthouse grounds feature the Sunken Garden, a prominent Santa Barbara park used year round for special events, Old Spanish Days performances and weddings. The garden is approximately 1.5 acres in size and is home to over 200 species of plants, including palm trees, citrus trees, and succulents. It features stone elements that roughly approximate the foundation of the Greek Revival courthouse that stood in this location up until 1925.</p><br>
<p>The courthouse is a popular location for weddings of all sizes. California Attorney General, Senator and United States Vice President Kamala Harris married Doug Emhoff at the Courthouse in 2014. Khloe Kardasian and Blink-182 drummer Travis Barker were married at the Courthouse in 2022.</p><br>
<h3>Clock Tower and Bisno Schall Clock Gallery</h3><br>
<p>The courthouse prominently features a four-story clock tower next to the Great Arch which includes a rare, fully-operational four sided Seth Thomas clock. The clock tower&#39;s top floor includes an observation deck affording guests a 360-degree view of downtown Santa Barbara, the surrounding mountains, and the Pacific Ocean. The third floor features the Seth Thomas clock. The interior of the tower houses the Bisno Schall Clock Gallery. The Clock Gallery includes the clock mechanism, a mural depicting highlights from the history of timekeeping, and modern electronics used to monitor the clock. The restoration of the clock and the clock tower gallery was completed in 2012. Visitors may take elevators to the summit of the 85 ft "El Mirador" clock tower, which has labeled photographs that show what the viewer is looking at in all directions.</p><br>
<h2>Santa Barbara County Courthouse Docent Council</h2><br>
<p>The Santa Barbara County Courthouse Docent Council is a volunteer organization that offers daily tours and hosts an information booth located on the Courthouse’s first floor. Courthouse Docents receive extensive training in the Courthouse history and lore. In addition to offering tours, the Courthouse Docents also offer private tours to community groups, businesses, schools and other groups such as cruise ship patrons.</p><br>
<p>The Courthouse Docents began offering Courthouse tours on May 1, 1974. In 1981, the Santa Barbara County Board of Supervisors designated the Docent Council as the official building host. On May 1, 2024, the Courthouse Docents celebrated their 50th anniversary with a public ceremony held in the Courthouse&#39;s Mural Room.</p><br>
<h2>Courthouse Legacy Foundation</h2><br>
<p>The Santa Barbara County Courthouse Legacy Foundation is a non-profit organization founded in 1989 to preserve and restore the Courthouse. The foundation raises funds to support Courthouse maintenance and restoration, and it also offers educational programs about the Courthouse and its history. In recent years, the foundation has completed several projects to restore the Courthouse, including the conservation and restoration of the Great Arch.</p><br>
<p>The Farrar Distillery is a former 19th-century distillery in Noah, Tennessee, about 11 miles  north of Manchester. It is located on a family farm that dates to 1869, when Alexander Farrar purchased a tract of 103 acre. He expanded the farm in 1875 with the acquisition of an additional 30 acre. In addition to producing wheat, corn, small grains, and livestock on the farm, Farrar established the distillery and produced and sold corn whiskey along with and apple and peach brandies. The distillery operated until 1902, when it was closed after being damaged by flooding.</p><br>
<p>The Farrar Distillery was listed on the National Register of Historic Places in 1984. The farm property, now known as the Thomas Farm, is owned by Wanda Lou Hannah and Jack Nolan Thomas, descendants of the Farrar family. It is recognized as a Tennessee century farm. A barn built on the property by Alexander Farrar during the 19th century is also intact and is used for storage.</p><br>
<p>The Wheelwright Museum of the American Indian is a museum devoted to Native American arts. It is located in Santa Fe, New Mexico and was founded in 1937 by Mary Cabot Wheelwright, who came from Boston, and Hastiin Klah, a Navajo singer and medicine man.</p><br>
<h2>History</h2><br>
<p>Wheelwright and Klah were introduced in 1921 and quickly became close friends. It was not long before they determined to create a permanent record of Klah&#39;s and other singers’ ritual knowledge. Klah dictated and Wheelwright recorded the Navajo Creation Story and other great narratives that form the basis of Navajo religion. While Wheelwright concentrated on the spoken word in Navajo ritual, Frances (“Franc”) Newcomb focused on the sandpaintings that are created and destroyed during healing ceremonies, recreating versions of them in tempera on paper. Klah participated in yet another way: he was a weaver, and his huge tapestries were also permanent records of sandpaintings.</p><br>
<p>By the early 1930s, it was clear to Wheelwright and Klah that a museum would be necessary to realize their goals. It could not be simply a repository for the sound recordings, manuscripts, paintings, and sandpainting tapestries. It had to offer the public an opportunity to sense the beauty, dignity, and profound logic of Navajo religion. Their chosen architect, William Penhallow Henderson, based his design on the hooghan (the hogan), the traditional Navajo home and the setting for Navajo ceremonies. Klah blessed the ground on which the museum is built but died a few months before it was completed. A traditional Navajo house blessing was conducted by the singer Big Man in November 1937, and many of Klahs relatives attended. The museums earliest names were the Navajo House of Prayer and the House of Navajo Religion, but, soon after it opened to the public, its name officially became the Museum of Navajo Ceremonial Art.</p><br>
<p>In the 1960s and 1970s, the Navajo Nation exerted its independence through a number of sweeping changes, including the establishment of its own community college system. Also at that time Navajo singers founded the Navajo Medicine Men&#39;s Association. The teachings of traditional Navajo religion enjoyed a revival, and its practitioners began to express their concerns about the teaching of Navajo religion by anyone other than Navajos. In 1977 the museum therefore repatriated several Navajo medicine bundles and other items to the Navajo people.</p><br>
<p>With the repatriation of 1977, the museum changed its name to the Wheelwright Museum of the American Indian. Although it is no longer actively involved in the study of Navajo religion, it maintains growing, world-renowned collections that document Navajo art and culture from 1850 to the present. It also presents changing exhibitions on traditional and contemporary Navajo and other Native American arts.</p><br>
<p>The Palmer House  is the historic residence of Oregon pioneer Joel Palmer , who co-founded Dayton, Oregon, United States.</p><br>
<p>The house, located at 600 Ferry Street in Dayton, is one of Oregon&#39;s finest historic homes. It has been on the National Register of Historic Places since March 16, 1987,</p><br>
<p>and is on the Oregon Historic Register. It was the first of 48 Dayton properties to be listed and is the town&#39;s oldest standing structure.</p><br>
<h2>History</h2><br>
<p>Shortly after arriving in the Oregon Country in 1845, Palmer filed a donation land claim for himself in the Corvallis area, and one for his brother-in-law in the Dayton area. Palmer returned to Indiana for his family and came to Oregon again in 1847, to find that his land claim had been jumped. His brother-in-law decided not to return to Oregon, so Palmer settled that claim instead, located about 6 mi south of Dayton.</p><br>
<p>Palmer was called away around December 15, 1847, to be Commissary General of the Military Forces of Oregon Territory to handle the Cayuse War at the Whitman Mission, and afterward left for the California Gold Rush. During his absence, his daughter Sarah married Andrew Smith and settled on Smith&#39;s land claim at the mouth of the Yam Hill River.</p><br>
<p>When Palmer returned in February 1850, he purchased part of Smiths land and merged it with his brother-in-laws, Palmers sons and daughter-in-law&#39;s to form a 465 acre tract which he platted to be Dayton.</p><br>
<p>The first building and Palmers home was a hotel in the center of the newly platted area. He kept it for a few years, but then built Palmer House near the towns outskirts in 1852 or 1857. The house has survived several floods and at least one major fire.</p><br>
<p>The house is located near the mouth of the Yamhill River at the Willamette River, and near Palmer Creek (previously known as Smith Creek), which was of early interest for powering machinery. Palmer operated a sawmill, a hotel, and several other enterprises.</p><br>
<p>Since 1996, the house has functioned as an upscale restaurant featuring creative local cuisine.</p><br>
<p>Stepping Stones is the historic home of Alcoholics Anonymous co-founder Bill Wilson  and his wife, co-founder of Al-Anon/Alateen Lois Wilson , in Bedford Hills, New York. The historic site features their house ; Bill W.s writing studio, nicknamed "Wits End&quot approximately 15,000 objects  left by the Wilsons; a water pump house; the original one-car garage; a two-car garage and Welcome Center with an orientation display highlighting some of the 100,000 items in the Stepping Stones Archives; a flower garden; a community vegetable garden; and more. Lois left the property to The Stepping Stones Foundation - the nonprofit, tax-exempt organization that she founded in 1979. Since Mrs. Wilson&#39;s death in 1988 the Stepping Stones Foundation has maintained and preserved the site with the help of friends, and has offered on-site tours by reservation and off-site educational programs.</p><br>
<p>The house at 62 Oak Road, Katonah, New York is on the state and National Register of Historic Places listings in Westchester County, New York.</p><br>
<p>The New York Times quoted a former executive director of the site:</p><br>
<p>In 2012 it was designated a National Historic Landmark.</p><br>
<h2>History</h2><br>
<p>The Wilsons bought the house on 1.7 acres in 1941 more than five years after Bill W. took his last drink in December 1934. Lois Wilson later co-founded Al-Anon there.</p><br>
<p>The desk on which Bill wrote much of the book Alcoholics Anonymous ("The Big Book", the principal text of A.A.) resides at "Wit&#39;s End," the office retreat he built out of cinder block with a friend on the property. Bill, after moving to Stepping Stones, wrote correspondence, Grapevine magazine articles, speeches, and three more books at the desk: The 12 Steps and 12 Traditions, As Bill Sees It, and AA Comes of Age.</p><br>
<p>The kitchen table Bill mentions in several of his accounts of his meeting with Ebby Thacher at Bill&#39;s former home in 182 Clinton Street, Brooklyn is also on view. The memorabilia display created in the mid-1900s by Lois herself includes a letter from Carl Jung to Bill Wilson, and a photograph of President Richard Nixon, receiving the millionth copy of the Big Book.</p><br>
<p>Bill died in 1971 and Lois died in 1988. The Wilsons did not have children. Their property was turned over to the Stepping Stones Foundation which maintains it and conducts the tours and presentations. In 2007, New York State Office of Parks, Recreation and Historic Preservation, added Stepping Stones to its new Women&#39;s Heritage Trail, in recognition of Lois. Every June (on the first Saturday), as per a tradition started by the Wilsons in 1952, hundreds of A.A. and Al-Anon members arrive for the Annual Stepping Stones Lois Family Groups Picnic, which is still a free event but requires tickets.</p><br>
<p>The Briggs Hardware Building is a four-story historic building in downtown Raleigh, Wake County, North Carolina. It was built in 1874 by Thomas Briggs to house his family-owned hardware store. The building was listed on the National Register of Historic Places in 1973.</p><br>
<p>Currently the building is home to the City of Raleigh Museum, and is owned by a joint group of non-governmental organizations.</p><br>
<h2>Briggs Hardware</h2><br>
<p>In the 1850s Thomas H. Briggs opened his hardware store on Fayetteville Street with partner James Dodd. The partnership with Dodd ended in 1868 and the store became Thomas H. Briggs & Sons. Business was good and in 1874 Briggs was able to construct a new building for the family business. The new building stood at four stories and was called Raleigh&#39;s first "skyscraper". It would remain the tallest building in Raleigh for the next 33 years.</p><br>
<p>Briggs Hardware would continue to serve the city from this location until 1995 when the store finally moved to a new location outside of downtown. The hardware store is still owned and operated by the family to this day.</p><br>
<h2>The legend</h2><br>
<p>Soon after the building was completed, a legend circulated about how Thomas Briggs was able to afford to build such a large and elaborate building following the Civil War. The legend claimed that sometime prior to the Union occupation of Raleigh in 1865, Briggs converted all of his Confederate money into gold and silver coins. He then took the coins, stuffed them into pipes, found a distinctive grove of trees, and buried the money to prevent Union soldiers from stealing the money. When the soldiers arrived in Raleigh they set up camp near the grove of trees and cut them down. After the troops left, Briggs allegedly spent the next few years searching for his money. When he finally found the coins, he used the money to build his new hardware store.</p><br>
<h2>Additional uses</h2><br>
<p>While the lower floors were used for hardware sales, the buildings upper levels saw a variety of uses over the years. In the 1890s, the Oak City Guard rented space for drill practice. Later, the citys first YMCA was housed here, as well as a Lutheran church congregation, the Raleigh Little Theater and offices of a number of attorneys and insurance companies.</p><br>
<h2>Building description</h2><br>
<p>Thanks to the Briggs family and preservation efforts the building looks today much as it did when it was first built.</p><br>
<p>The front facade of the building displays an example of the lively architectural taste of the mid-to-late 19th century. The contrast of red brick with light accents was a favorite of the high Victorian Gothic style. The hoods and drip molds over the windows are medieval in style, while the tall, bracketed cornice shows the influence of the Italianate style.</p><br>
<p>The building is four stories tall with a basement running below wooden floors. The original wood floors remain in the building.</p><br>
<p>The building runs the entire length of one city block (between Fayetteville & Salisbury Streets) and is surrounded on either side by two similarly long buildings. The result is a long narrow interior with no side windows. In the center of the building is an opening going up to windows on the roof-top that serves as a skylight for all four above-ground floors. The absence of windows along the side of the building made this skylight opening a necessity in 1874 when there was no electricity.</p><br>
<h2>Sources</h2><br>
<p></revision></p><br>
<p><coord>35.777378,-78.639797</coord></p><br>
<p>The Federal Reserve Bank of New York Building, also known as 33 Liberty Street, is a building in the Financial District of Lower Manhattan in New York City, which serves as the headquarters of the Federal Reserve Bank of New York. The building occupies the full block between Liberty, William, and Nassau Streets and Maiden Lane; it narrows at its east end, following the footprint of the block.</p><br>
<p>The Federal Reserve Building has fourteen above-ground stories and five basement levels, designed by York and Sawyer with decorative ironwork by Samuel Yellin of Philadelphia. Its facade is separated horizontally into three sections: a base, midsection, and top section. The stone exterior is reminiscent of early Italian Renaissance palaces such as Florences Palazzo Strozzi and Palazzo Vecchio. The horizontal and vertical joints of the facades stones are deeply rusticated. The Federal Reserve Buildings gold vault rests on Manhattans bedrock, 80 ft below street level and 50 ft below sea level. The vault contains the largest known monetary-gold reserve in the world, with about 6,190 ST in storage.</p><br>
<p>The building was erected from 1919 to 1924, with an eastward extension built in 1935. The Federal Reserve Building&#39;s design and scale was largely praised upon its completion. The building was designated a city landmark by the New York City Landmarks Preservation Commission in 1966 and was added to the National Register of Historic Places (NRHP) in 1980. It is a contributing property to the Wall Street Historic District, an NRHP district created in 2007.</p><br>
<h2>Site</h2><br>
<p>The Federal Reserve Bank of New York Building is in the Financial District of Manhattan in New York City. It occupies the entire block bounded by Nassau Street to the west, Liberty Street to the south, William Street to the east, and Maiden Lane to the north. The Federal Reserve Building is surrounded by numerous other structures, including the John Street Methodist Church, Home Insurance Plaza, and 63 Nassau Street to the north; 28 Liberty Street to the south; 140 Broadway to the southwest; and the Liberty Tower and the Chamber of Commerce Building to the west.</p><br>
<p>The buildings land lot has a total area of 49,440 ft2. The site slopes downward from southwest to northeast. There is also a steeper slope downward along Nassau Street from Liberty Street northward to Maiden Lane. Much of the Maiden Lane side faces the buildings raised basement.</p><br>
<p>The Federal Reserve Building&#39;s lot has a frontage of 408.08 ft on Liberty Street and extends 164.75 ft deep.</p><br>
<h3>33 Maiden Lane</h3><br>
<p>In addition to the main building, the Federal Reserve Bank of New York occupies a neighboring structure immediately to the north at 33 Maiden Lane, also known as 2 Federal Plaza. The New York Fed had acquired the site, at Maiden Lane and Nassau Street, in the 1960s, with plans to build an annex designed by Kevin Roche John Dinkeloo and Associates, but canceled the plans in 1976.</p><br>
<p>The building at 33 Maiden Lane, designed by Philip Johnson and John Burgee, From 1988 to 1992, the building held a branch of the Whitney Museum of American Art, designed by Tod Williams Billie Tsien Architects. The New York Fed purchased 33 Maiden Lane for $208 million in 2012.</p><br>
<h2>Architecture</h2><br>
<p>The Federal Reserve Building is where the monetary policy of the United States is executed by trading United States dollars and United States Treasury securities. The original 1924 building and its 1935 annex were both designed for the Federal Reserve Bank of New York by York and Sawyer in the neo-Renaissance style.</p><br>
<p>The building has fourteen above-ground stories and five basement levels. Because the design was intended to accommodate up to 4,000 employees, the placement of elevators and entrances was a main consideration. The facade and interior contain ironwork manufactured by Samuel Yellin of Philadelphia.</p><br>
<p>The design is reminiscent of early Italian Renaissance palaces such as Florences Palazzo Strozzi and Palazzo Vecchio, which was deliberately intended to inspire trust and confidence in the institution within. The buildings Italian Renaissance-style motifs were also designed to fit the building to its irregular land lot. Further enhancing the building&#39;s sense of scale was the fact that, prior to the construction of 28 Liberty Street to the south, the Federal Reserve Building could only be viewed at an irregular angle due to the presence of other nearby buildings. Upon its completion in 1924, the Federal Reserve Building was one of the largest bank buildings in the world.</p><br>
<h3>Facade</h3><br>
<p>The facade is made of limestone and sandstone, which serve as cladding for the steel interior superstructure. It is separated horizontally into three sections: a two-story base, seven-story midsection, and five-story top section. The far eastern end of the building is topped by a round tower.</p><br>
<p>The lowest two stories of the facade comprise the building&#39;s base and are deeply rusticated. The main entrance is through a double-height arch on the Liberty Street elevation, flanked by wrought-iron lanterns. This entrance, about 100 ft east of Nassau Street,</p><br>
<p>The third story is surrounded by a balcony with a stone balustrade. At the third through ninth stories, each vertical bay generally contains two windows per story, with round-arched window openings at the third story and rectangular windows on the other stories. Near the extreme ends of each side are vertical bays that contain one rectangular window per story.</p><br>
<p>The tenth story contains smaller arched windows set between the corbels of a cornice that runs atop that story. The upper floors are above the cornice. The eleventh floor contains a single rectangular window corresponding to each of the vertical bays on the lower stories. The twelfth and thirteenth floors are contained within an arched loggia that runs around the exterior. These stories are slightly set back behind a 14 ft balcony running around the building. The roof is clad in quarry tile.</p><br>
<h3>Interior</h3><br>
<p>The main entrance arch on Liberty Street leads to a large entrance hall with a vaulted ceiling as well as walls clad with stone. These doorways are made of ironwork and are closed to the public. The vaulted ceilings were made in Guastavino tile. By the 21st century, the interior contained a security checkpoint, and the ground floor also had an exhibition space that displayed numismatic artifacts.</p><br>
<p>Most of the remaining interior was described as being of "standard office building construction", according to The Wall Street Journal. The structure was designed with just over 462,000 ft2 of office space. Numerous corridors were built on the second floor, connecting to the offices there, and a conference room originally occupied one side of the second floor. The third through twelfth floors contained loft working spaces that could accommodate several thousand employees. Each of these stories originally contained 32,000 ft2. The tenth floor contained the officers quarters. Recreational facilities for employees were placed on the top floors. The thirteenth and fourteenth floors contained cafeterias, which were originally separate facilities for women, men, and bank officers. There was also an employees hospital and a gymnasium.</p><br>
<p>In the basement are six vaults that store money and securities. The gold vault and two other vaults are guarded by 230 ST doors and frames, while the remaining vaults are guarded by smaller 185 ST doors and frames. Also in the basement were the building&#39;s mechanical equipment, which included electric generators and ventilation systems. The vaults are also protected by armed security forces, who have their own firing range in the building.</p><br>
<h4>Gold vault</h4><br>
<p>The Federal Reserve Buildings three-story gold vault is toward the western end of the site, adjoining Nassau Street. The Fed serves as a guardian for the gold and does not own it outright. Nearly 98 percent of the buildings gold is owned by the central banks of 36 foreign nations. The remaining two percent is owned by the United States and international organizations such as the IMF., the buildings vault holds 13.4 e6ozt of gold bullion and $3 million (book value) in gold coins for the United States, just over 5 percent of the United States total gold reserve.</p><br>
<p>The vault is 30 ft below and 100 ft away from the nearest New York City Subway tunnels. The vault walls consist of steel layers reinforced with concrete., there has never been a successful break-in attempt, though a fictional robbery of the vault was depicted in the 1995 film Die Hard with a Vengeance.</p><br>
<p>Inside the vault are 122 gold compartments, each containing the deposits of one account holder, as well as various shelves for smaller account holders. The account holders are identified by numbers for anonymity. Gold bars are weighed and tested for purity whenever they are deposited.</p><br>
<p>The Fed charges $1.75 to move each bar of gold. Gold bars are moved between the compartments whenever one account holder pays another. Staff wear steel-toe footwear to protect their feet in case they drop one of the gold bars, each of which weighs 28 lb. Every time the compartments are opened or gold is moved, three Fed staff members are required to oversee the transaction. Each compartment is further locked behind a padlock, two combination locks, and the seal of the Fed&#39;s auditor. The Fed does not publicly record whenever gold bars are moved in and out of the vault, and no one except account holders or auditors is allowed to look at the bars. While the Fed does conduct public tours of the vault, visitors are only allowed to see a display sample of gold.</p><br>
<h2>History</h2><br>
<p>In 1913 the United States Congress passed the Federal Reserve Act, thereby creating the Federal Reserve System. The act established twelve regional Federal Reserve Banks, including the Federal Reserve Bank of New York, which was originally led by Benjamin Strong Jr. Originally, the Federal Reserve Bank of New York was housed at a small office on 62 Cedar Street. By the late 1910s, the Feds employees were working in several locations, including 50 Wall Street and part of the Equitable Building. Much of the space leased by the Fed was poorly lit or ventilated and did not include enough space for employees. Furthermore, the Federal Reserve Board was constructing buildings for the other Federal Reserve banks and branches at the time, and the Fed wanted each banks design to be architecturally appropriate to each branch&#39;s needs.</p><br>
<h3>Planning</h3><br>
<p>The New York Fed&#39;s directors passed a resolution on October 24, 1917, providing for the construction of a new headquarters building. The site had been fully acquired by June 1919 at a total cost of close to $5 million. Several lots were also acquired on nearby Gold Street for a storage facility.</p><br>
<p>Six architectural firms were invited to take part in an architectural design competition in August 1919. Alexander Trowbridge, the Federal Reserve Boards consulting architect, was the adviser for the design competition. The plans for a 14-story structure ran contrary to the expectations of observers who thought the site would be developed with a low-rise building. Marc Eidlitz & Son was hired as the buildings general contractor, while Samuel Yellin successfully submitted a bid to install ornamental ironwork.</p><br>
<p>Former Currency controller John Skelton Williams objected to the buildings projected $25 million cost, including land expenses, and claimed the architects and engineers fees alone were to cost $1.1 million. In response, Federal Reserve chairman William P. G. Harding said that the original estimated cost was only about $18 million, and that the new buildings cost was justified by the size of the New York Feds staff. The Fed was able to reduce the construction cost by $5 million by early 1924. This was largely because of reduced construction costs after adjusting for inflation. Ultimately, the building cost $13.865 million excluding land acquisition, or $18.715 million in total.</p><br>
<h3>Construction and early years</h3><br>
<p>The structures on the building site were torn down starting in May 1921 and the site was cleared by that September.</p><br>
<p>Marc Eidlitz & Son started constructing the Federal Reserve Buildings structural system after the excavations had finished. The steel framework was in place by the end of 1922, followed by the facade in mid-1923. Some of the 2,600 employees of the New York Fed started occupying their new offices in June 1924. That September, three billion dollars in cash and securities were moved to the vault. The relocation, requiring one hundred round trips, represented the largest ever such movement of money at any one time. Employees had moved into the new structure by the next month. The new buildings vault replaced what was formerly eleven separate vaults in five buildings throughout the Financial District. By 1927, ten percent of the official gold reserves worldwide were stored in the vault.</p><br>
<p>By January 1934, the Fed purchased the Montauk Building for less than $400,000,</p><br>
<h3>Mid- and late 20th century</h3><br>
<p>Much of the building&#39;s gold arrived during and after World War II as countries sought to store their gold in a safe location. By the end of World War II, the reserves of gold inside the vault were valued at $4 billion (equivalent to $ billion in ). At its peak in 1973, the vault contained over 12,000 ST of gold. The reserves declined in subsequent years because, in 1971, the direct international convertibility of the United States dollar to gold had been canceled in what was called the Nixon shock.</p><br>
<p>Between December 1973 and May 1974, a replica of the Diana statue by Augustus Saint-Gaudens was exhibited in the buildings lobby. Meanwhile, the exterior of the Federal Reserve Building deteriorated over the years. Because the sandstone was more porous compared to the limestone, dirt particles accumulated in the sandstone blocks, giving the facade a checkerboard appearance. and became that buildings primary occupant in 1998. The New York Fed also leased space at 3 World Financial Center, but the original 33 Liberty Street structure remained its primary building.</p><br>
<h3>21st century</h3><br>
<p>Following the September 11 attacks in 2001, which resulted in the collapse of the World Trade Center nearby, the New York Fed continued to operate. The building was temporarily evacuated after the attacks because of fears the nearby One Liberty Plaza would collapse. For several weeks after the attacks, the Federal Reserve used its building to provide assistance to first responders working at the World Trade Center site. The building was not damaged during the attacks, though dust from the collapse of the World Trade Center settled onto the facade. The Federal Reserve Building was renovated between 2007 and 2008, and the Federal Reserve Bank of New York Buffalo Branch was closed. The New York Fed purchased the neighboring 33 Maiden Lane in 2012.</p><br>
<p>An audit of the New York Fed&#39;s gold was conducted in 2012 after politicians and investors expressed concern that the New York Fed was not accurately stating how much gold was in the vault. The vast majority of the bars audited were found to be of sufficient purity. Also in 2012, a 21-year-old man was arrested while attempting to detonate a bomb outside the Federal Reserve Building. The device was actually a decoy given by undercover law enforcement, and he was sentenced to 30 years in federal prison.</p><br>
<h2>Impact</h2><br>
<h3>Critical reception</h3><br>
<p>The Federal Reserve Building was largely praised upon its completion, especially for its large scale. Margaret Law, writing for Architecture magazine in 1927, stated that the building carried "a quality which, for lack of a better word, I can best describe as epic". The New York City Landmarks Preservation Commission (LPC) stated that the visual impact of the structure derives from its "vast size, fortress-like appearance, fine proportions and in the superb quality of construction". The 1939 WPA Guide to New York City characterized the building&#39;s Florentine design and iron grilles as completing "the picture of a building ready for a siege". The Federal Reserve Building was larger than even the buildings in Italy from which its design was inspired. John Brooks wrote of the Federal Reserve Building in The New Yorker, "In fact, it is a bigger Florentine palace than has ever stood in Florence", while the Architectural Record wrote, "There is no building in Italy which remotely resembles this design."</p><br>
<p>At the time of the Federal Reserve Buildings construction, many bank buildings in the United States had been built in the neoclassical style. The Architectural Record praised the Federal Reserve Buildings design as being distinctive "without resorting to the usual orders of architecture", namely neoclassical designs. The design of the Federal Reserve Building inspired that of other subsequent bank buildings. Architectural writer Robert A. M. Stern stated that the building&#39;s "innovative" Florentine design had inspired other banks to be built in a similar style. Stern wrote that the structure "demonstrate how a bank could achieve strong visual identity even if located within an office building".</p><br>
<h3>Landmark designations</h3><br>
<p>The building was designated a landmark by the LPC on December 21, 1965. It was one of the first landmarks to be designated by the LPC in Manhattan. It is also a contributing property to the Wall Street Historic District, an NRHP district created in 2007.</p><br>
<p>The Illinois Central Stone Arch Railroad Bridges are a trio of limestone railroad bridges in the city of Dixon, Illinois, United States. The bridges were constructed between 1852 and 1855 as the Illinois Central Railroad laid its first rail lines across the state of Illinois. They were designed by Robert F. Laing for Laing and Douglas Construction Company, a railroad company contractor during the 1850s. Though each limestone bridge is similar in design, they each have different clearances ranging between 12 and. The bridges remained in use by the railroad until 1985, and the three bridges were added to the USA National Register of Historic Places in 1987.</p><br>
<h2>History</h2><br>
<p>The three bridges were built between 1852 and 1855 from locally quarried limestone as the Illinois Central Railroad (ICRR) built the first railroad lines crossing the state. In the summer of 1851 the Illinois Central began laying its first section of track, from Mendota to Amboy. On March 6, 1852, the route the ICRR would take through Dixon was announced. Amboy&#39;s depot would eventually become the Northern Division Headquarters for the Illinois Central Railroad.</p><br>
<p>The section of railroad that came through Dixon was constructed from 1852 to 1855 partially on a 15 ft embankment that would cradle the trio of bridges when the project was completed. The bridges were constructed of Galena faced limestone quarried just upstream the Rock River from Dixon at Dement&#39;s Quarry. The first train passed over the trio of bridges along West First, Second and Third Streets on February 1, 1855. The arrival of the train prompted the local media to quip of the train, "like a huge chariot of fire on a monstrous beast, it bellowed along -- high above the dwellings."</p><br>
<h2>Design</h2><br>
<p>The trio of bridges are all similar in design, but they do have differing clearances, which were based upon the topography of the area. The bridges were designed by Robert Finley Laing of Laing and Douglas Construction Company; the company contracted for the ICRR from 1852 to 1853. In addition to designing the three bridges over the city streets in Dixon, Laing also designed the bridge with stone piers that the ICRR took over the Rock River on its way to Freeport. The three stone bridges are set into a 15 ft embankment which stretches from West Seventh Street to the Rock River, the span includes the three stone arch bridges.</p><br>
<p>The yellowed limestone was cut to fit and is held together using no bond. Instead there are stone "keys" cut and notched into the rock which prevents the stones from slipping. The stone is of a plain ashlar masonry type and either cut or dimension stone. The stone&#39;s facing varies depending upon its location within the structure of the bridges. The arch stones are finished with a chiseled face while the wingwall and arch bases are finished with a rock face. There have been almost no alterations of the original structures besides a limited attempt at tuckpointing between 1912 and 1915.</p><br>
<p>Each bridge is of a different height. The bridge spanning First Street has 14 ft of clearance, the Second Street bridge, also the tallest, has 15 ft clearance and the Third Street Bridge has a clearance of 12 ft. Because of its short height the Third Street Bridge is sometimes referred to as "Little Sister." All three bridges have the same arch span, 28 ft, but each has a differing depth. The longest of the three bridges is the Little Sister Bridge which has a 38 ft depth. The bridge at First has a 28 ft depth and the bridge at Second Street a 34 ft depth. The wingwalls on each bridge extends 33 ft at their bases.</p><br>
<h2>Significance</h2><br>
<p>The three bridges are the only ones of their type still extant in Lee County, Illinois. They are also significant for their association with the Illinois Central Railroad and its beginnings. With the arrival of the Illinois Central Railroad to Dixon, business and industry followed allowing Dixon to grow and prosper. The increase in population in the Dixon area over many years was a direct result of the arrival of the ICRR. There was an attempt by the city government to tear down the arches but the local citizens protested and the bridges were saved. The three bridges were listed on the USA National Register of Historic Places, as part of the same listing, on December 2, 1987.</p><br>
<p>Bishops House is a historic building in downtown, Portland, Oregon. It is in the citys Yamhill Historic District.</p><br>
<p>When the seat of the Roman Catholic Archdiocese was moved to Portland from Oregon City. Archbishop William Hickley Gross constructed the Bishops House as his official residence. Part of the property the cathedral was built upon was donated by Benjamin Stark. Seventeen years later, in 1879, the Bishops House, the official residence of Archbishop William Hickley Gross, was constructed next door. Both the cathedral and the Bishops House were built in the neo-Gothic style. The granite foundation of Bishops House was quarried in Northern Montana and transported down the Columbia River.</p><br>
<p>By 1878, noting the size limitations of the then-existing cathedral and the expanding population into the area, "the need for a new, more elegant cathedral became apparent." Dedication of the new pro-cathedral site, situated at 15th & Davis, occurred in 1885.</p><br>
<p>Plans and construction, however, were already underway to construct a new episcopal residence next-door to the existing cathedral. The Bishop&#39;s House was completed in 1879. It did not, however, become the official episcopal residence until 1893 and then for only two years.Catholic Sentinel, Feb. 7, 1975, p. 17.</p><br>
<p>By then, the new pro-cathedral construction was completed and the cathedral next door was demolished in February 1895. The episcopal residence was moved to near the new pro-cathedral the same month.</p><br>
<p>A major renovation took place in 1965, and Bishop&#39;s House was placed on the National Register of Historic Places in 1974. As of 2001, the building was occupied by offices, a Lebanese restaurant, and a startup named in its honor, Bishop House, LLC.</p><br>
<p>El Rancho Hotel, Gallup, New Mexico, is a historic hotel built by R.E. “Griff” Griffith, the brother of film director D.W. Griffith. The pair encouraged early film production in the surrounding area. It is located on old USA Route 66 and became the temporary home for many Hollywood movie stars.The rambling, three-story hotel building has a large portico with a central balcony reminiscent of the Southern Plantation style. The National Park Service describes it as having a “rusticated fantasy appearance.” Materials include brick, random ashlar stone, and roughewn wood with a wood shake roof and brick and stone chimneys. The lobby features a spectacular walk-in fireplace made of brick and random ashlar stone surrounded by twin stairways made of split logs that lead to the second floor guest rooms. The slogan “Charm of Yesterday, Convenience of Tomorrow” is rendered in neon above the main entrance.</p><br>
<p>It is on the Trails of the Ancients Byway, one of the designated New Mexico Scenic Byways.</p><br>
<h2>History</h2><br>
<p>It opened in 1937 as a base for movie productions. Employees were trained by the Fred Harvey Company.</p><br>
<p>With the opening of Interstate 40, the property fell into decline.</p><br>
<p>Armand Ortega bought the hotel at a bankruptcy auction and restored the property. The Ortega family has a long history dealing in Native American jewelry and artwork in Santa Fe, New Mexico and has operated concessions for the National Park Service at Carlsbad Caverns National Park, White Sands National Park, Death Valley National Park, Hawaiʻi Volcanoes National Park, Muir Woods National Monument, and others.</p><br>
<h2>Famous guests</h2><br>
<p>Source:</p><br>
<p>Alan Ladd</p><br>
<p>Barbara Peyton</p><br>
<p>Betty Grable</p><br>
<p>Betty Hutton</p><br>
<p>Bob Hutton</p><br>
<p>Broderick Crawford</p><br>
<p>Bruce Cabot</p><br>
<p>Burt Lancaster</p><br>
<p>Carl Kempton</p><br>
<p>Claude Akins</p><br>
<p>Dale Robertson</p><br>
<p>Dana Andrews</p><br>
<p>Dean Jagger</p><br>
<p>Dennis Morgan</p><br>
<p>Doris Day</p><br>
<p>Dorothy Malone</p><br>
<p>Elizabeth Scott</p><br>
<p>Errol Flynn</p><br>
<p>Forrest Tucker</p><br>
<p>Fred Mac Murray</p><br>
<p>Gene Autry</p><br>
<p>Gregory Peck</p><br>
<p>Howard Newsom</p><br>
<p>Humphrey Bogart</p><br>
<p>Ida Lupino</p><br>
<p>Irene Manning</p><br>
<p>Jack Benny</p><br>
<p>Jack Carson</p><br>
<p>Jack Oakie</p><br>
<p>Jackie Cooper</p><br>
<p>James Cagney</p><br>
<p>Jan Sterling</p><br>
<p>Jane Fonda</p><br>
<p>Jane Wyman</p><br>
<p>Jean Harlow</p><br>
<p>Jean Parker</p><br>
<p>Jeanne Kelly</p><br>
<p>Jimmy Stewart</p><br>
<p>Joan Crawford</p><br>
<p>Joel McCrea</p><br>
<p>John Forsyth</p><br>
<p>John Hodiak</p><br>
<p>John Wayne</p><br>
<p>Jose Ferrer</p><br>
<p>Joseph Cotton</p><br>
<p>Katharine Hepburn</p><br>
<p>Kirk Douglas</p><br>
<p>Lee Marvin</p><br>
<p>Lee Remick</p><br>
<p>Lorraine Day</p><br>
<p>Lucille Ball</p><br>
<p>Mae West</p><br>
<p>Maria Montez</p><br>
<p>Marilyn Maxwell</p><br>
<p>Marx Brothers</p><br>
<p>Mona Freeman</p><br>
<p>Pat Wymore</p><br>
<p>Paulette Goddard</p><br>
<p>Peter Graves</p><br>
<p>Richard Boone</p><br>
<p>Rita Hayworth</p><br>
<p>Robert Mitchum</p><br>
<p>Robert Taylor</p><br>
<p>Ronald Reagan</p><br>
<p>Rosalind Russell</p><br>
<p>Ruth Hussey</p><br>
<p>Sidney Greenstreet</p><br>
<p>Spencer Tracy</p><br>
<p>Susan Hayward</p><br>
<p>Susan Pleshette</p><br>
<p>Tom Mix</p><br>
<p>Troy Donahue</p><br>
<p>Tyrone Power</p><br>
<p>Virginia Mayo</p><br>
<p>W.C. Fields</p><br>
<p>Wallace Berry</p><br>
<p>William Bendix</p><br>
<p>William Bennett</p><br>
<p>William Holden</p><br>
<p>Xander Escamilla</p><br>
<p>Zachary Scott</p><br>
<p>Zak Bagans</p><br>
<h2>Headquarters for films</h2><br>
<p>The Bad Man 1940</p><br>
<p>Sundown 1941</p><br>
<p>The Desert Song 1942</p><br>
<p>Song of the Nile 1944</p><br>
<p>Four Faces West & Colorado Territory 1947-1948</p><br>
<p>Streets of Laredo 1948</p><br>
<p>Rocky Mountain 1950</p><br>
<p>Ace in the Hole (1951 film) 1951 (AKA The Big Carnival)</p><br>
<p>New Mexico 1950</p><br>
<p>Fort Defiance 1950</p><br>
<p>Raton Pass 1951</p><br>
<p>Fort Massacre 1957</p><br>
<p>A Distant Trumpet 1963</p><br>
<p>The Hallelujah Trail 1964</p><br>
<p>Bottom of the World 2017</p><br>
<p>170–176 John Street is a commercial building erected in 1840 facing Burling Slip  on John Street along the East River in the Financial District of Lower Manhattan. It is one of a small number  of granite-faced Greek Revival buildings to have survived in New York City.</p><br>
<p>It was originally known as the Hickson W. Field building; later, it was used as a ship chandlery and known as the Baker, Carver & Morrell Building. It was listed on the National Register of Historic Places in 1971.</p><br>
<p>In 1982, the real estate developer Daniel W. Gerrity converted the building to residential use, adding a sixth story. The architects for the project were Buttrick White & Burtis.</p><br>
