<p>St. Michaels Catholic Church is a parish of the Catholic Church in Spalding, Nebraska, part of the Diocese of Grand Island. It is noted for its historic buildings, notably the parish church, academy, and convent, which were added to the National Register as St. Michaels Catholic Church Complex in 1983.</p><br>
<h2>Architecture</h2><br>
<p>The Gothic Revival parish church was designed by J.H. Craddock, modeled after a 13th-century church in Belgium. Built on a cruciform plan, it measures 152 feet along its north-south axis and 60 feet along its east-west axis, with two prominent towers flanking its main entrance on the south side. A rose window decoratively surrounded by concentric pointed arches is also situated on the south facade.</p><br>
<p>The building is mostly brick, including detail work such as hoodmold details above the portals and corbeling; the gable roof is covered with clay tiles, while its buttress weatherings, battlement copings, and water table are done in stone.</p><br>
<p>The academy building is a rectangular two-story brick edifice completed in 1912, a vernacular interpretation of the Renaissance Revival style. Gabled wall dormers with elbowed fronts and stone copings penetrate the roofline. A grotto to the east of the academy was erected by the Our Lady of Lourdes graduating class of 1937.</p><br>
<p>The convent building, built during 1926–27, was designed by Omaha architect Jacob M. Nachtigal. The main (south) facade displays an entry "pavilion" of wall pilasters visually supporting a pedimented front with corner battlements. The parapet wall shows a prominent wall cornice which arches at the pavilion and continues around the east and west facades.</p><br>
<h2>History</h2><br>
<p>In 1879, the Irish Catholic Colonization Association was incorporated, following development work by James O&#39;Connor, Vicar Apostolic of Nebraska; John Ireland, Bishop of St. Paul; and John Spalding, Bishop of Peoria. The association purchased 25,000 acres of land in northeastern Greeley County from the Burlington and Missouri River Railroad, with the goal of establishing a colony for Irish Americans fleeing harsh conditions in the east. The town of Spalding, named after Bishop Spalding, was established in 1881, and a small frame church was built the following year and dedicated to St. Michael.</p><br>
<p>The community soon outgrew the frame church, and a new brick church was built in 1890. It was dedicated by Richard Scannell, Bishop of Omaha on June 9, 1891. The first church was remodeled into a school, staffed by the Sisters of Mercy until 1900, and thereafter by Dominican sisters from Kentucky. A new school building and a new convent were completed in 1913 and 1927 respectively.</p><br>
<p>The congregation outgrew the brick church as well, and James Henry Craddock of Omaha was hired to design a newer building; Craddock also designed the Church of the Visitation in O&#39;Connor. The cornerstone of the present structure was laid in 1909, and Bishop Scannell dedicated the new church on September 29, 1914.</p><br>
<p>St. Peders Dansk Evangelical Lutheran Kirke  is a historic church at 1796 7th Avenue in Nysted, Nebraska. It was built in 1919 and was added to the National Register of Historic Places in 2007.</p><br>
<p>The church is located in Nysted, a town whose population peaked at 65 in 1890, and was named by Danish immigrants for Nysted ("New Place"), Denmark. The church used Danish as its primary language until 1938. It was deemed significant for "its role in maintaining and promulgating the heritage of the region&#39;s Danish immigrants and their children....Through its role in the Danish Folk School, it promoted education and the quest for enlightenment amongst Danish-Americans from the area, but also for those of Danish descent for several states around Nebraska. It sought to encourage them to foster education throughout a lifetime, be both good Americans and good Danes."</p><br>
<p>It was also deemed significant for its architecture: The building, with its stepped gables, is reminiscent of the Danish village churches the immigrants would have attended before they emigrated, and is what they would have looked back upon for inspiration for a building to suit their spiritual needs. The building has excellent historic integrity and remains an important place to the descendants of the builders to this day."</p><br>
<p>It is a rectangular, one-story brick church with a composite shingled gable roof, built upon a concrete foundation. It has a central entrance under a square bell tower. A gothic window is "above the front doors, along with a blind roundel. The front facade contains engaged buttresses with concrete caps on either side of the door, which provide structural support to the tower. The bell tower also contains gothic shaped vents with concrete caps. The inscription on the bell when translated reads "Yours was not the busy city&#39;s pounding, you were cast for my own village small." The front doors are original. Each side of the church contains four gothic arched windows with concrete caps, and all are found between engaged buttresses that also feature concrete caps."</p><br>
<p>Further, the nomination states:According to Americas Architectural Roots: Ethnic Groups that Built America, most Danish Lutheran Churches for which Danish-American communities are known are designed in a variant of the High Victorian Gothic style. St. Peders Church is one of few in the United States which displays the square entrance tower and stepped gables of the Dutch style prominent in the 15th and 16th century Danish ecclesiastical architecture. The design is indicative of the traditional village churches of their homeland, with numerous stepped gables and prominent towers. Incised decorations such as the blind roundel, while not elaborate on this example, are reminiscent of the blind colonnades of the original examples in Denmark. The stylistic details of St. Peder&#39;s are particularly similar to the churches in Asperup and Landet in Denmark.</p><br>
<p>It may also have been known as St. Peder&#39;s Evangelical Lutheran Church.</p><br>
<p>Salem Swedish Methodist Episcopal Church  is a Methodist church complex in Kearney County, Nebraska, southwest of Axtell, Nebraska.</p><br>
<p>The church has served Methodism since its inception, though it has been run by different Methodist denominations throughout its existence. In 1972, the United Methodist Church sold it to the Evangelical Wesleyan Church. The campus of the John Fletcher Christian College and Academy, which was founded in 1968, was moved to this location. John Fletcher Christian College trained ministers to serve in the Evangelical Wesleyan Church, a Methodist denomination aligned with the conservative holiness movement; it had an emphasis on the historic liturgy promulgated by John Wesley in The Sunday Service of the Methodists. The seminary functioned until 1995, the year the wife of its president, Larry Smith, died in an automobile accident.</p><br>
<p>It was built with Late Victorian/Late Carpenter Gothic style and was added to the National Register of Historic Places in 1982.</p><br>
<p>St. Peter&#39;s Episcopal Church, now a museum, is a former church at 411 L Street in Neligh, Nebraska. It was built in 1887 and was added to the National Register in 1980.</p><br>
<h2>History</h2><br>
<p>An Episcopalian congregation was organized in Neligh in 1881. Land was purchased for a church in 1887 on the corner of what was then Cottonwood and Main Streets. The building was completed in late 1887 and consecrated in March 1888. The church was added to the National Register of Historic Places in December 1980.</p><br>
<p>The building is now the Pioneer Church, part of the Antelope County Museum complex.</p><br>
<h2>Architecture</h2><br>
<p>The church is a one-story frame structure with vertical tongue and groove siding below the window sills and horizontal clapboard siding above. The roof sections are gabled, all windows have pointed arches.</p><br>
<p>The church design was influenced by the Church of St. James the Less in Philadelphia (1846). The St. James church was the first in the USA to be built from designs and under the direct supervision of London, England&#39;s Cambridge Camden Society. St. Peters makes allowances for its role as a small town church by using frame construction rather than the buttressed stone construction of its archetype. Other differences are a bell fixture rather than frontal tower and spire, and clipped gables on the end sections of the nave and chancel. St. Peters is a well-preserved 19th century American Gothic Revival building.</p><br>
<p>Saint Lukes Protestant Episcopal Church  is a historic church at 2304 Second Avenue in Kearney, Nebraska. It was designed by Chicago architect John Sutcliffe and was built in 1908. It was added to the National Register in 1986.</p><br>
<p>Its NRHP nomination asserted that it "is locally significant as a fine example of the late Gothic Revival style of architecture, not readily found in Buffalo County, Nebraska" and that its "interior is especially notable as it typifies old English church architecture."</p><br>
<p>The Creole House is a historic residence in the village of Prairie du Rocher, an old French settlement in present-day Randolph County, Illinois, United States. Built at the end of the eighteenth century and later expanded, the Creole House is the last survivor in Illinois of its type of vernacular architecture, and it forms an important part of the built environment of a portion of the Upper Mississippi Valley that possesses an unparalleled connection to the French settlement period.</p><br>
<h2>History</h2><br>
<p>French settlers founded Prairie du Rocher circa 1722. At least twelve surviving houses in the village were built in the eighteenth century, including the Meilliere House, which was constructed in 1735. One of these is the Creole House, built around 1800, which was constructed in the French Colonial style by an unknown English-speaking immigrant from the eastern United States. The builder was one of Illinois earliest American settlers; only about eight hundred Americans lived within the bounds of the present state of Illinois in 1800, including just one hundred within present-day Randolph County. From 1830 until 1848, it was owned by William Henry, a local miller, Brickey moved into the house around 1855, and three years later he arranged for the house to be doubled in size. His heirs owned the house for many decades, although by the 1930s, they were renting it instead of living there themselves. The houses most significant resident was Henry Clay Hansbrough; the son of E.C. Hansbrough, he grew up to be a nationally prominent Republican politician and a USA senator from North Dakota.</p><br>
<h2>Architecture</h2><br>
<p>Although it was built by Americans, the Creole House is a typical example of a French colonial style known as poteaux-sur-sol, which is otherwise unknown in present-day Illinois. Such houses were constructed by erecting a palisade of logs on top of a stone foundation, rather than using horizontal beams or studs like more modern designs. While the roof is supported by oak beam rafters, the original roof no longer survives; it is presently composed of modern composite shingles. Atop the stone foundation, pine boards have been laid to form the floor, and the interior walls are plastered. Multiple fireplaces are placed in the various rooms, with wooden mantels around them.</p><br>
<p>The original portion of the house forms the southern half of the present structure; the northern half is the 1850s addition, which features a more modern stud-based form of construction. While the halves are separate from each other, the newer northern portion and older southern portion appear similar on the exterior, since both were sided when the northern portion was built. Because the shallow gabled roof extends past the western front of the house, it forms a large overhang that has been adapted into a long porch. The partially wooded lawn is surrounded by a fence of cast iron.</p><br>
<h2>Preservation</h2><br>
<p>In 1973, the Creole House was listed on the National Register of Historic Places; it was the fourth Randolph County property to gain this distinction. The house qualified for inclusion on the Register because of its colonial architecture, as it is the only known original house of its type remaining in Illinois. By that time, it was no longer a residence; although vacant, it was owned by the Randolph County Historical Society, which was in the process of restoring it. One year after it was added to the National Register, much of Prairie du Rocher and the surrounding portions of the American Bottom were designated a historic district, the French Colonial Historic District, and listed on the National Register. Although the district included sites as varied as the remains of old Kaskaskia, the site of Fort de Chartres, and archaeological sites such as the historic Kolmer Site and the prehistoric Modoc Rock Shelter, the Creole House was deemed one of the district&#39;s core components. By designating the area a historic district, Illinois historic preservation officials hoped to highlight the significance of places such as the Creole House because of their connection to the strong French influence on the region. The house is still owned and used by the Randolph Historical Society, and periodically hosts historical events at the property.</p><br>
<p>The Rice Lake Carnegie Library was a Carnegie library in Rice Lake, Wisconsin. It was built in 1905, replacing a library based in the city&#39;s high school, and was one of 63 Carnegie libraries in Wisconsin. The city left the building for a new library in 1978, and the building was demolished on June 26, 1985.</p><br>
<p>The library was added to the National Register of Historic Places on June 20, 1980. It was removed from the National Register on March 20, 1986, following its demolition.</p><br>
<p>Mifflin-Marim Agricultural Complex is a historic home located at Dover, Kent County, Delaware. The complex consists of four contributing buildings and two contributing structures. The main house dates to about 1820, and is a two-story, five-bay, center hall plan brick dwelling. The L-shaped dwelling has a low two-story rear wing. The house and its associated agricultural outbuildings are reflective of 18th century building techniques. They are a barn, stable, frame corn crib and granary on brick piers and a series of small sheds and utility buildings.</p><br>
<p>It was added to the National Register of Historic Places in 1984.</p><br>
<p>The Felton Historic District is a historic district located at Felton, Delaware, United States, that is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>The district encompasses 162 contributing buildings and 2 contributing structures in the town of Felton built between 1856 and 1940. The district includes a number of 19th and 20th century commercial, institutional, and residential buildings in a variety of popular architectural styles including Queen Anne and Delaware vernacular. Notable buildings include the United Methodist Church, Fountain House Hotel, Odd Fellows Hall, the Jackson hotel, Knights of Pythias Hall, the Alvin B. Connor House, the Godwin house, Hargardine House, and the Former Public School.</p><br>
<p>It was listed on the National Register of Historic Places January 26, 1988.</p><br>
<p>The Coombe Historic District is a national historic district located at Felton, Kent County, Delaware. It encompasses two contributing buildings and one contributing structure near the town of Felton representing an unusual mixture of archaeological resources, both prehistoric and historic, in combination with two excellent examples of domestic architecture from the 18th and 19th centuries. They are the brick Benjamin Coombe House, built in 1778, and the frame Caldwell House, built in 1882 with their respective outbuildings. It also includes the Hopkins Cemetery, begun in the late-19th century, and three historic archaeological house sites, as well as an area of prehistoric occupation that was listed in the National Register of Historic Places in 1979 as "Area F" in the Hughes Early Man Complex.</p><br>
<p>It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description</h2><br>
<p>To the east, the eighteenth-century facade stands among a group of trees and frame outbuildings, about 400 feet south of the road where the Coombe House lies. In the 1880s, the orientation of the house was reversed by remodeling the exterior. A full facade hip-roofed veranda supported by 4 hollow wooden columns was added to the west elevation, proclaiming the change. The exterior was coated with stucco, which was scored in blocks measuring 10 inches by 18 inches to imitate common bond coursing, and as a result, the original brickworks bonding pattern is now concealed. Members of the present owners family recall an oral account indicating that thirteen steel hatchets were worn down in the process of scoring the brick to insure a good bond for the new stucco. The residence is 2 stories high and 2 rooms deep with an unbalanced 4-bay arrangement of openings on the original facade and a symmetrical 3-bay on the opposite elevation (currently the facade). Centrally located interior end chimneys rise from the gable ends of the principal block to vent corner hearths within. The eaves of the wood-shingled gable roof, which now overhangs the gable ends and is covered by composition shingles, are defined by a shallow box cornice with partial returns added during the remodeling. Additionally, on the west elevation of the second story, incised in the stucco between the central and south windows, is the date ‘1778’ within a five-point star.</p><br>
<p>On the south gable end is a low two-story, single-pile kitchen wing featuring a most unusual exterior end chimney with sloped weatherings. The kitchen wing is also stuccoed but it is unscored and has a steeply-sloped, shed-roofed, wraparound porch on the west elevation now covered with corrugated tin.</p><br>
<p>The windows of the principal block have heavy mortise and tenoned architraves with ovolo moldings, holding nine-over-six pane sashes on the first floor and six-over-six sash on the second floor. Dating back to the 1880s remodeling, the few remaining shutters on the first story feature flat panels framed by applied Grecian ogee moldings against the stiles and rails. The shutters, which are mounted on cast iron pintles screwed to the window jambs, are secured in an open position by wrought iron shutter dogs featuring scrolled rat tails and "penny" terminals.</p><br>
<p>The Katherine M. Lee is a sail-powered oyster schooner, built in 1912 at Greenwich, New Jersey. She is 85 ft and all the framing is of white</p><br>
<p>oak. The rigging was removed in the 1940s, when the vessel was converted to diesel power. She is maintained and used for oyster dredging on the waters of the Delaware Bay.</p><br>
<p>She was listed on the National Register of Historic Places in 1983.</p><br>
<p>A similar oyster dredging schooner, the Maggie S. Myers which is also listed on the NRHP, was also docked near Front and Lombard streets in Leipsic, Delaware.</p><br>
<p>The Maggie S. Myers is an oyster schooner, built in 1893 reportedly at Bridgeton, New Jersey. She is 50 ft and all the framing is of white oak. The rigging was removed in the 1940s, when the vessel was converted to power. She is maintained and used for oyster dredging on the waters of the Delaware Bay.</p><br>
<p>She was restored by her current owner, Frank "Thumper" Eicherly IV of Bowers Beach, Delaware, and ran on both sail as well as combustion. She sank on December 23, 2022, but was refloated several days later.</p><br>
<p>She was listed on the National Register of Historic Places in 1983.</p><br>
<p>A similar oyster dredging schooner, the Katherine M. Lee, which is also listed on the NRHP, was also docked near Front and Lombard streets in Leipsic, Delaware.</p><br>
<p>Saint Mary&#39;s School is a school building located at 400 Congdon Street in Chelsea, Michigan. It was listed on the National Register of Historic Places in 2010.</p><br>
<h2>History</h2><br>
<p>In 1830, Irish Catholics first came to the Chelsea area. At first, masses were said in the homes of individual churchgoers, but in 1844, the mission of St. Mary of Sylvan was constructed. Masses were said irregularly until 1869, when a new church, known as Our Lady of the Sacred Heart, was constructed. The church gained parish status in 1878, and at some point in the early 1900s, the parish began using "Our Lady of the Sacred Heart" and "St. Mary" interchangeably.</p><br>
<p>The first St. Mary&#39;s School, located across the street from the rectory, was constructed in 1906 for first through eighth grade students. likely due to a faulty furnace. The parish immediately began plans for a new school, hiring Detroit architect Arthur DesRosiers to design it and George Talbot as the contractor. The building was completed by November 1925.</p><br>
<p>By 1961, the parish church was deteriorating, and it was dismantled. The parish built a new church in another area. School attendance dropped, and in 1968 grades 7 and 8 were discontinued. The school closed completely in 1972. The parish used the school for educational and social purposes until 1998, when it built a new parish center for its educational programs. At that time, actor Jeff Daniels purchased the building from the parish and donated it to the Chelsea Center for the Development of the Arts. As of 2013, it is used as the home of the Chelsea Center for the Arts, with the Great Hall used as rehearsal space for the Purple Rose Theatre Company.</p><br>
<h2>Description</h2><br>
<p>St. Mary&#39;s School is a two-story structure, constructed in an academic Gothic Revival style. and contains a total of 13,745 square footage: 9,315 square feet in the school building and 4430 square feet in the adjacent Great Hall.</p><br>
<p>The College Green of Ohio University is the universitys centralized wooded lawn which saw the first academic buildings in the former Northwest Territory. The yard sits roughly aligned to cardinal directions, with Manasseh Cutler Hall facing true north. The Green, at the heart of the Athens campus, is surrounded by administrative, academic, and library buildings named for pivotal leaders in university history: Manasseh Cutler, Robert Wilson, William McGuffey, and Vernon Alden to name a few. The most prominent three structures which adorn College Green, all over 200 years old and made of red brick, are featured on the official university logo and set the universitys Federal appearance: Cutler Hall, originally constructed in 1816 as the College Edifice but not officially open until 1819 due to a fire, is the home of the Presidents office; Wilson Hall built 1837 houses the College of Arts & Sciences; and McGuffey Hall was built 1839. For most of the nineteenth and twentieth century, College Green saw small memorials and wartime monuments dedicated in remembrance of the people involved in those centuries great conflicts. The Green is the centerpiece of a historic district listed on the National Register of Historic Places in 1979, encompassing the collegiate yard, flanking buildings, and other nearby campus buildings.</p><br>
<p>College Green is based upon the classic layout of traditional English and New England towns and similar to university quadrangles. College Green features Galbreath Chapel, the spire of which, topped with a brass weather vane, is modeled after that of the portico of Nashs All Souls Church in London. Other buildings on the College Green include Chubb Hall, home to Undergraduate Admissions as well as the Offices of the Bursar and Registrar; Ellis Hall, home to the departments of English, Classics, Religious Studies, and Philosophy (built in the early 20th century entirely with state funding); Templeton-Blackburn Memorial Auditorium; as well as Bryan Hall, an upperclassman residence hall. The University Sundial, located behind Galbreath Chapel, was constructed in 1907 and marks the original location of the universitys first building.</p><br>
<p>A plaque embedded on the Greens main walkway notes: College Green, which was home to the first Ohio University students almost two centuries ago, welcomes all who walk its paths, and embodies the openness and democratic spirit that define Ohio University. President Lyndon Johnsons first ever public reference to the Great Society took place during a speech to students on May 7, 1964, on the College Green:</p><br>
<p>And with your courage and with your compassion and your desire, we will build a Great Society. It is a Society</p><br>
<p>where no child will go unfed, and no youngster will go unschooled.</p><br>
<p>President Johnson later formally presented his specific goals for the Great Society in another speech at the University of Michigan in Ann Arbor Friday May 22, 1964. The College Green has been frequently referenced in Athens literature and music. Its gateway is used by the entering freshman class upon their official university convocation, and is also the site of the international promenade during the university&#39;s International Week. The College Green has been the site of musical performances, protests, progressive movements, and patriotic displays. Most of the university student body passes through College Green at some point in their time as a student because of the presence of the registrar and bursar there. For almost all of its life, the College Green has welcomed tourists and visitors who want to see its prominent stature in Ohio and American history. Wolfe Garden is located on the south-central edge of College Green, between Alden Library and Cutler Hall; a low stone wall around the garden defines a shape approximating that of the State of Ohio. The enchanting "Green Lady," a statue entitled American Woman by sculptor David Hostetler, is a popular landmark at Wolfe Garden. The Amphitheater on the southwestern corner of the College Green evokes the classical inspiration of the Athens campus, recalling the epic and dramatic arts of the Old World.</p><br>
<p>College Green is framed by two main university gateways: Alumni Gateway and the College Gates. Alumni Gateway, built in 1915, features the text "That thou Mayest Grow In Knowledge, Wisdom and Love," borrowed from the Latin phrase inscribed over a gateway to the University of Padua, and was dedicated upon the 100th anniversary of the university&#39;s first graduating class. The newer College Gate, built in the 1960s, features words taken from the Northwest Ordinance of 1787 regarding public education. Traditions surrounding College Green include the latter half of first year convocation, where students, led by the Ohio University Marching 110, march up Richland Avenue, onto Presidents Street, turning north onto Court Street, and entering the Green through the College Gate at the corner of Court and Union Streets. From there, a large involvement fair is held where students find their clubs they wish to be involved with.</p><br>
<p>Notable visitors to the Athens campus are memorialized with placks along the western side of Memorial Auditorium: Marian Anderson (1960), Margaret Mead (1963), William Howard Taft (1908), William Jennings Bryan (1915), Herbert Hoover (1932), Jimmy Carter (1989), Robert Frost (1938), Eleanor Roosevelt (1954), John F. Kennedy (1963), Martin Luther King Jr. (1959), Arnold J. Toynbee (1963), John Glenn (1964), Robert McNamara (1965), Dwight Eisenhower (1965), Lyndon Johnson (1964), William O. Douglas (1963), Dean Rusk (1966), Ralph Bunche (1959), Dag Hammarskjold (1961), Tom C. Clark (1967), Robert A. Taft (1950), Carl Sandburg (1935), James William Fulbright (1985), Warren Harding (1916), Theodore Roosevelt (1912), Susan B. Anthony (1878), William McKinley (1891), Pearl S. Buck (1966), and Cesar Chavez (1974).</p><br>
<p>Pleasant Hill Church, also known as Keeps Creek Church, is a historic one-room country church located at the junction of County Roads 400S and 675W, in Clinton Township, Cass County, Indiana. It was built in 1875, and is a red brick building, with Italianate style design elements. It has a front gable roof and white clapboard belfry. It measures 50 feet by 33 feet. It was originally used as a meeting place for three different denominations.</p><br>
<p>It was listed on the National Register of Historic Places in 1995.</p><br>
<p>Poland Presbyterian Church and Cemetery, also known as Poland Historical Chapel and Poland Cemetery, is a historic Presbyterian church and cemetery on IN 42 near Co. Rd. 56S in Cass Township, Clay County, Indiana. It was built in 1869, and is a gable-front, vernacular frame building with Gothic Revival style design elements. It has a high pitched roof and triangular upper sashes. A vestibule and tower were added in 1893. The adjacent cemetery was founded in 1886, and includes nearly 400 headstones.</p><br>
<p>It was added to the National Register of Historic Places in 1990.</p><br>
<p>Old Union Church and Cemetery is a historic church and cemetery located in Reeve Township, Daviess County, Indiana. The church was built in 1858, and is a one-story, Greek Revival style frame building. It is sheathed in clapboard and has a gable roof. It features a projecting entrance tower added about 1900. The adjacent cemetery contains about 1,000 burials; the earliest marked burial was in 1823. Also on the property are the contributing shelter house and privy.</p><br>
<p>It was listed on the National Register of Historic Places in 2005.</p><br>
<p>Aurora First United Methodist Church, also known as the First United Methodist Church of Aurora and Aurora Methodist Episcopal Church, is a historic Methodist church located at 304 Third Street in Aurora, Dearborn County, Indiana. It was built between about 1855 and 1862, and is a two-story, gable front, Greek Revival style brick building. It measures 45 feet, 6 inches, wide and 95 feet deep. A limestone front was added to the original building in 1903 and one-story rear addition built between 1885 and 1888. The church was remodeled in 1954.</p><br>
<p>It was added to the National Register of Historic Places in 1994. It is located in the Downtown Aurora Historic District.</p><br>
<p>First Evangelical United Church of Christ, also known as the Fifth Street Church and German Reformed Church, is a historic United Church of Christ church located at 111 Fifth Street in Aurora, Dearborn County, Indiana. It was originally constructed in 1848 as a Greek Revival style Baptist church. It was remodeled in 1911 in the Gothic Revival style. It is a one-story, red brick building measuring 40 feet, 6 inches, wide by 60 feet deep. It features arched openings and a projecting front tower topped by an octagonal spire. A parish hall was added to the church between 1932 and 1934. It is the oldest church building in Aurora.</p><br>
<p>It was added to the National Register of Historic Places in 1994. It is located in the Downtown Aurora Historic District.</p><br>
<p>Hamline Chapel, United Methodist Church is a historic Methodist church located at High and Vine Streets in Lawrenceburg, Dearborn County, Indiana. It was built about 1847, and is a one-story, gable front, Greek Revival style brick building on a raised basement. A rear addition was built about 1900 and two-story Sunday School and office addition in the 1950s. The church was renovated in 1979.</p><br>
<p>It was added to the National Register of Historic Places in 1982. It is located in the Downtown Lawrenceburg Historic District.</p><br>
<p>Moore&#39;s Hill United Methodist Church, also known as Methodist Episcopal Church, is a historic Methodist church located at 13476 Main Street in Moores Hill, Dearborn County, Indiana. It was built in 1871, and is a simple one-story, gable front, brick building with Greek Revival and Italianate style design elements. It rests on a limestone foundation and has four Doric order pilasters on the front facade.</p><br>
<p>It was added to the National Register of Historic Places in 1997.</p><br>
<p>Due to declining membership, the church shut down in 2020 and is now run by Abundant Grace Bible Fellowship, a local non-denominational ministry.</p><br>
<p>St. John&#39;s Lutheran Church is a congregation of the Lutheran Church–Missouri Synod. located in Caesar Creek Township, Dearborn County, Indiana. Organized in 1843, the congregation has about 300 baptized members.</p><br>
<p>The historic Gothic Revival style wood frame church (1867), teacherage (1874), school house (1888), two barns, bungalow style parsonage (1930), and school building (1950) constitute a national historic district. It was added to the National Register of Historic Places in 1996.</p><br>
<p>Brethren in Christ Church is a historic Brethren church located near Garrett in Keyser Township, DeKalb County, Indiana. It was built in 1882 and is a Gothic Revival-style brick building. It consists of a one-and-a-half-story nave with a two-story central bell tower. The tower features an oculus window and bell-cast hipped roof.</p><br>
<p>It was added to the National Register of Historic Places in 1983. It is currently owned and operated by the Brethren in Christ Church.</p><br>
<p>First Baptist Church is a historic Baptist church located at 309 E. Adams Street in Muncie, Indiana. The Late Gothic Revival building was designed by Samuel Hannaford & Sons and constructed in 1928-1929 by Morrow & Morrow. It is constructed of Indiana limestone and has a cruciform plan. It features and engaged five-story tower.</p><br>
<p>It was added to the National Register of Historic Places in 1988.</p><br>
<p>Richwood Evangelical Lutheran Church, also known as Cross Roads Lutheran Church, is a historic Lutheran church at 9700 West County Road 700 South in the unincorporated town of Cross Roads in Salem Township, Delaware County, Indiana, USA. It was built in 1868, and is a one-story, Gothic Revival style brick building with a bell tower. A rear addition, vestibule, and stained glass windows were added in 1915.</p><br>
<p>It was added to the National Register of Historic Places in 2004.</p><br>
<p>Evangelische Lutherische Emanuels Kirche, also known as Emmanuel Evangelical Lutheran Church and Hill Church, is a historic Lutheran church complex and national historic district located near Dubois in Harbison Township, Dubois County, Indiana. The main church was built in 1901, and is a one-story, rectangular High Victorian Gothic style frame building. It has a front gable roof and rests on a stone foundation. It features a large steeple structure consisting of a square tower, octagonal drum, and spire. Also on the property are the contributing cemetery, schoolhouse , and parsonage .</p><br>
<p>It was added to the National Register of Historic Places in 1990.</p><br>
<p>Evangelische Lutherische Emanuels Kirche, front from slight south.jpgFront view</p><br>
<p>Evangelische Lutherische Emanuels Kirche and cemetery.jpgView of the cemetery</p><br>
<p>Lemmon&#39;s Presbyterian Church is a historic Presbyterian church and cemetery located near Portersville in Boone Township, Dubois County, Indiana. The church was built in 1860, and is a one-story, rectangular frame building with Greek Revival style design elements. The one-room building has a gable front roof and rests on a sandstone pier foundation. Also on the property is a contributing cemetery. The church was renovated in 1992.</p><br>
<p>The church and cemetery were added to the National Register of Historic Places in 1992 as Lemmon&#39;s Church and Cemetery.</p><br>
<p>The Shiloh Meeting House and Cemetery is a historic Presbyterian meeting house and cemetery located near Ireland in Madison Township, Dubois County, Indiana. It was built in 1849, and is a simple one-story, rectangular frame building with Greek Revival style design elements. It has a gable front roof and rests on a sandstone pier foundation. Also on the property is a contributing cemetery.</p><br>
<p>It was added to the National Register of Historic Places in 1982.</p><br>
<p>St. Joseph Catholic Church is a parish of the Roman Catholic Church in Jasper, Dubois County, Indiana, in the Diocese of Evansville. It is noted for its historic church located at 1215 N. Newton Street.</p><br>
<p>The community was founded in 1837 by Fr. Joseph Kundek, a missionary priest from Croatia, and met in a log cabin before moving to a brick structure in 1841. The current church was built through the efforts of Fr. Fidelis Maute, OSB, who served as architect and builder as well as pastor. Work began in 1867 and was completed in 1880, and the building was consecrated in 1888.</p><br>
<h2>Architecture</h2><br>
<p>The church is a large, Romanesque Revival style, solid sandstone block building. It features a large stone bell tower and steeple measuring 235 feet high. It was added to the National Register of Historic Places in 1980.</p><br>
<p>The Island of Happy Days is a historic estate located on Stout Island in Red Cedar Lake, Barron County, Wisconsin. Built from 1909 to 1911, the estate was a summer home for the family of Frank Deming Stout, heir to the Knapp, Stout & Co. fortune. The estate was designed by Arthur Heun in a rustic style resembling Adirondack resorts. Stout and his family visited the home until Stouts death in 1927; he called it "the dearest place on earth". The home is now a resort called Stouts Island Lodge.</p><br>
<p>The Island of Happy Days was added to the National Register of Historic Places on February 24, 1995.</p><br>
<p>White Hall on the Ware River near Zanoni, Gloucester County, Virginia, was the ancestral home of the prominent Willis family of colonial Virginia.</p><br>
<p>The Willises were one of the First Families of Virginia, with the first settler arriving by 1642. Other family members include the Francis Willis (academic) and Francis Willis (Representative).</p><br>
<p>The -story brick home on the property since 1836 was described as "an excellent example of the temple-form dwelling so popular in this region during the early decades of the 19th Century" in a 1984 nomination for the National Register of Historic Places.</p><br>
<p>"With its classical, temple-like mass, White Hall epitomizes the neo-classical spirit which pervades early American decorative art," the nomination adds.</p><br>
<p>The nomination, approved by the Virginia Historic Landmarks Commission, describes the home as a mix of original construction by Dr. Samuel Powell Byrd in 1836 and a series of renovations.</p><br>
<p>The living room and dining room contain "handsome colonial revival paneling" from a 1938 restoration but mantels that are much earlier with "quirked moldings, carried on flanking Tucsan colonetts" and the original doors opening on the front porch facing the Ware River.</p><br>
<p>White Hall sits on a 7-acre tract on the Ware River near the mouth of Wilson Creek and is reached by a long, curving drive lined with mature cedars.</p><br>
<p>The house is the successor to an earlier, one-story brick house built by the Willis family.</p><br>
<p>The land was patented in 1666 by Francis Willis, the first in the family to arrive in Virginia from Oxford, England. He served as a delegate from Gloucester County to the Virginia House of Burgesses in 1652.</p><br>
<p>Francis Willis returned to England and bequeathed the estate upon his death in 1690 to a nephew, Francis Willis. He is believed to have started the first house, which measured 56 feet by 22 feet. A wing added later measured 17 feet by 25 feet.</p><br>
<p>The nephew left the house to his son Francis, who became the head of a prominent Virginia family and served in the House of Burgesses in 1748.</p><br>
<p>The home is located about six miles southeast of the Gloucester County Courthouse and is one of several National Register of Historic Places listings in Gloucester County, Virginia. It is privately owned.</p><br>
<p>The Oram Nincehelser House is a historic residence in the village of Mechanicsburg, Ohio, United States. Built for a nineteenth-century local doctor, it has been named a historic site because of its distinctive architecture.</p><br>
<h2>Oram Nincehelser</h2><br>
<p>Born in Pennsylvania, John Nincehelser married the former Hannah Longabough, and after moving from state to state for a number of years, the Nincehelsers settled in Wayne Township in Champaign County, Ohio, near the community of Cable. Four children were born to their union, of which the youngest who survived to adulthood was their son Oram A. Nicehelser. The family were members of the Methodist Episcopal Church. In adulthood, Oram became a physician, opening a practice in 1887 and continuing for more than thirty years; during his first six years, he engaged in partnership with a neighbor, Dr. J.H. Clark, but they later operated separate practices. Nincehelser was active in the local Masonic organizations; he was an officer for one of Mechanicsburg&#39;s two Masonic lodges, and he was a member of a Scottish Rite 32° club.</p><br>
<p>By the 1890s, Nincehelsers practice had made him a wealthy man; Mechanicsburgs growth was attracting many professionals, and he was one of at least three physicians active in the community. Accordingly, after marrying a woman from New York City, he arranged for the construction of a large Queen Anne-style house on Main Street just north of downtown Mechanicsburg. The magnificent new residence was built primarily to impress his new bride, but the couple did not live long in the house: Mrs. Nincehelser deserted her husband after just a few years of marriage. In later years, the original meeting hall of Mechanicsburg&#39;s Odd Fellows lodge burned, and Nincehelser sold his home to them in 1931; he had lived alone in the house since his wife left him.</p><br>
<h2>Architecture</h2><br>
<p>The Nincehelser House is a large residence built primarily in the Queen Anne style, but it includes other stylistic elements, such as a main entrance recessed from the facade, stained glass windows, and a Palladian window. Built of brick with assorted stone elements, the house rests on a stone foundation and is covered with a slate roof. Uniformity is absent from the design; the primarily hipped roof of the two-and-a-half-story residence comprises multiple components, the overall floor plan is asymmetrical, and the windows are of diverse shapes and sizes.</p><br>
<h2>Preservation</h2><br>
<p>In 1985, the Oram Nincehelser House was listed on the National Register of Historic Places, qualifying both because of its architecture and because of its place as the home of a prominent local citizen. It was one of numerous Mechanicsburg properties (largely houses) listed on the National Register at the same time as part of a multiple property submission; a historic district designation had been considered, but it was rejected because the historic properties were scattered among many more non-historic properties. Among the other newly designated properties were the John H. Clark House and the Demand-Gest House, homes of Nincehelser&#39;s medical colleagues located in the same block of North Main.</p><br>
<p>The Martha Ellen Auditorium, now the State Theatre, was built 1916 in Central City, the county seat of Merrick County in the state of Nebraska in the midwestern United States. It is listed in the National Register of Historic Places, as a well-preserved example of a Nebraska opera house.</p><br>
<h2>History</h2><br>
<p>The early 1900s were a time of relative prosperity in Central City, Merrick County, and Nebraska more generally after the recession of the 1890s; this episode of prosperity culminated with World War I (1914&ndash;1918), which increased the demand and raised the prices for agricultural products. The early 1900s thus marked a period of considerable growth in Central City with a number of buildings built and businesses established. It was a time before radio or television, when silent movies were only beginning to become available in rural Nebraska. Entertainment was available to rural Nebraskans in the form of musical concerts, comic operas, performances by touring companies, and vaudeville performers, but only if there was a suitable venue.</p><br>
<p>It was in this context that the opera house was built in 1916 by Colonel William C. Shelton, who named it after his daughter. When the Central City Nonpareil announced the opening of the theater, it declared:</p><br>
<p>Col. C. Shelton deserves the patronage of every resident of our city as renumeration for his progressive spirit in giving the play goers of Central City such a house. The investment was prompted by a spirit of community advancement for the returns cannot possibly pay interest on the investment Mr. Shelton is putting into this building (2 Nov. 1916:1).</p><br>
<p>The new venue furnished a variety of entertainments. A list of events from 1916 and 1917 includes films, among them D. W. Griffith&#39;s The Birth of a Nation and The Avenging Conscience, operas, lectures, plays, and a heavyweight wrestling match. Both traveling and local performers occupied the stage: in December 1916, for example, the Martha Ellen presented the opera The Bohemian Girl, staged by the Aborn Opera Company, and the play The Dream That Came True, staged by the local junior class.</p><br>
<p>Opera-house entertainment went into a decline beginning about the end of World War I. Increases in the cost of rail tickets cut into the profits of traveling companies; even the relatively inexpensive Lyceum Bureau offerings became too costly for small-town halls. The rise in automobile ownership made it possible for more and more people to travel to larger cities for their entertainment rather than making do with what the local venues had to offer. Under these circumstances, the Martha Ellen Auditorium increasingly showed motion pictures, and nothing else, ending its career as a venue for performing arts.</p><br>
<p>At some point prior to 1988, the name of the establishment was changed to "State Theatre". A marquee bearing that name was added to the building&#39;s facade, obscuring the original "Martha Ellen Auditorium" sign. The State Theatre was closed in 2013; the owners cited the cost of changing from film to digital projection equipment as the reason for the closing. The nonprofit State Theater Foundation raised $100,000 to renovate and reopen the theater, using $45,000 of the money to purchase digital projection equipment.</p><br>
<p>In 1988, the building was listed in the National Register of Historic Places, under the name "Martha Ellen Auditorium".</p><br>
<h2>Building</h2><br>
<p>The Martha Ellen Auditorium is located in the center of the Central City, Nebraska business district. The auditorium is a brick One-Part Commercial Block structure approximately 80 xx. The exterior of the building has minimal decorative brick trim and broad inset panels.</p><br>
<p>It has a flat roof and is divided into bays (three bays on the front and five bays on the side) by full height brick pilasters supporting a wall cornice with parapet wall above. Brick corbeling further characterizes the façades. The original windows on the second still exist but have been boarded up. The retail spaces on the lower level originally housed specialty stores including a barber shop. Alterations were made both to these storefronts and interiors since the auditorium was built. A marquee and sign were added when the building became the State Theater.</p><br>
<p>The original Martha Ellen Auditorium sign is still on the building but hidden by the State Theatre movie marquee. The auditorium is accessed through doors under the current movie margues. The lobby immediately inside the doors is approximately 13 ft in depth.</p><br>
<p>The lobby has been remodeled the original auditorium was built. The auditorium is entered from the lobby and it is approximately 51 xx. It has no windows. The sides of the proscenium walls, outside of the arch are curved. The original boxes there have been covered and the rails hidden behind the covering. The now hiddend stage-left box once functioned as a barber shop.</p><br>
<p>The horseshoe-shaped balcony is 9.5 ft deep on the sides and it extends all the way around the auditorium to the proscenium wall. The sides of the balcony have three rows of seats, while the middle-rear has six rows. A 13 ft deep projection booth is centered behind the middle-rear six rows of seats. Two sets of stairs along the walls of the auditorium lead to the balcony. Pillars are located around the edges of the balcony. Many of the original opera chairs remain in the balcony but on the lower floor, the original seats have been replaced by conventional movie seats. Aisles are carpeted and the pink-tinted peach colored plaster walls maintain their original color scheme.</p><br>
<p>The proscenium arch is 22 ft wide and approximately 14 ft high. The wings (17 ft long) contain movie speakers. The backstage area is entered through a door to the extreme stage right of proscenium wall. The stage is 15 ft deep from the curtain line to the back wall. The dressing rooms no longer exist, but they were under the stage. In all other respects, the structural and historical integrity of the building and auditorium have been preserved.</p><br>
<p>Grimes Mill was located at 600 N. Church St. in Salisbury, North Carolina. It was built in 1896 as a flour and feed mill. It stayed active until 1982. The Historic Salisbury Foundation bought it that year and later turned it into a museum. It was listed on the National Register of Historic Places and was the only roller mill museum in North Carolina. The site was destroyed by fire on January 16, 2013.</p><br>
<h2>History</h2><br>
<p>The mill was originally established as North Side Roller Mill. It was one of the first flour roller mills in the county. It was built in 1896 by a group of Salisbury businessmen to compete with the Salisbury Roller Mill. In the first year of operation, it was producing fifty barrels of flour in each 24-hour day. In 1898, the mill was sold to another company which then went bankrupt in 1906. John D. Grimes, a businessman from nearby Davidson County who established the first roller mill in North Carolina in Lexington in 1879, bought the mill after its bankruptcy for $4,000. By that time, the mill&#39;s original three floors had an additional expanded area of two floors.</p><br>
<p>The Grimes family continued ownership of the mill until 1963. During that time, the mill was expanded, the largest addition coming in 1912. That year, twelve large storage bins were added to the facility that had an aggregate capacity of 90,000 pounds of wheat. The most productive time for the mill was in the 1930s when it produced a peak of 100 barrels of flour per day.</p><br>
<p>The W. A. Davis Milling Company from High Point, North Carolina, took over control of the property in 1963 after John D. Grimes, grandson of the first Grimes owner, sold the property to Robert Davis. Davis added a retail store area to the building and the Davis Milling Company produced flour, grains and pigeon pellets. Near the end of the Davis ownership, only two employees rand the mill which only produced flour as a glue extender.</p><br>
<p>The Historic Salisbury Foundation, a historic preservation group in Rowan County, bought the plant for $60,000 in 1982. The next year, they opened the site up as a museum, only the second historic site owned by the foundation to be such.</p><br>
<h3>2013 fire</h3><br>
<p>On January 16, 2013, calls to 911 reporting a fire came in around 9:40 pm. It would eventually become a five-alarm fire, bringing in crews from several nearby fire stations.</p><br>
<p>After the fire, as a fundraiser to help finance the site cleanup, the Historic Salisbury Foundation started selling bricks from the mill. The only other roller mill still extant in Rowan County is the China Grove Roller Mill.</p><br>
<h2>Architecture</h2><br>
<p>The roller mill was designed and built by the founders, D. R. Julian, A. C. Mauney, James C. McCanless and Napoleon B. McCanless. The original building was three stories tall and built in a Second Empire style, Victorian construction; one of the few Second Empire style buildings with industrial use in North Carolina.</p><br>
<p>The T. Pierson Farm is a historic farm located at Hockessin, New Castle County, Delaware. The property includes three contributing buildings. They are a stone house  with late-19th century frame addition, a stone and frame bank barn , and a mid-19th century frame outbuilding. The house is a two-story, two-bay, gable-roofed building that is constructed with rubble fieldstone. It has a two-story, three-bay, frame wing to form a five-bay main facade. The barn features a pyramidal-roofed cupola with louvered sides atop the gable roof.</p><br>
<p>It was added to the National Register of Historic Places in 1986.</p><br>
<p>The A. Armstrong Farm was a historic farm located at Hockessin, New Castle County, Delaware. The property included two contributing buildings. They were a log house with a stone addition added in the 1830s, and a frame tri-level stone and frame barn . The stuccoed log section was three bays wide, and it had a two-story, two bay stone wing. The farm house and barn were demolished before 2002.</p><br>
<p>It was added to the National Register of Historic Places in 1986.</p><br>
<p>Samuel Lindsey House is a historic home located at McClellandville, New Castle County, Delaware. It was built in the 1870s, and is a -story, Second Empire style brick dwelling with a mansard roof. It has a five bay front facade and an original two story, brick wing extending from the rear elevation. Built as a single dwelling, it has been converted into apartments at one time, and also used as a school.</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>Culver Historic District is a national historic district located at Evansville, Indiana. The neighborhood is all residential, and unlike most of the rest of the city, the lots are not laid out on a grid. Most of the houses are on a lot previously part of the farm owned by Robert Parrett, a native of England who settled in Evansville and built a house near the intersection of Madison Avenue and Parrett Street. Eventually Robert Parrett would become the first Methodist minister in Evansville and helped found Trinity Methodist church, which he served until his death in 1860. His heirs divided up the plat in 1863.</p><br>
<p>The architectural style of the houses in the neighborhood include Queen Anne, Bungalow, Italianate, Prairie School, Tudor, Colonial Revival, and Four-square. The Rathbone Memorial Home is the focal point of the neighborhood. Completed in 1905, it was formed as a residential facility for poor elderly women and remains today as a nursing home for the elderly.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>Jugtown Pottery was founded in 1921 by Jacques and Juliana Busbee, artists from Raleigh, North Carolina, who in 1917 discovered an orange pie dish and traced it back to Moore County. There, they found a local tradition of utilitarian pottery in orange, earthenware, and salt glazes. The Busbees saw an opportunity to help save a dying craft, and in 1918 they set up the village store in Greenwich Village, New York, in order to sell the pottery. Potters they worked with over the years included J. H. Owen, Charlie Teague, and Ben Owen.</p><br>
<p>Jacques died in 1947. In 1960, John Mare bought Jugtown Pottery and hired Vernon Owens as the Jugtown thrower. After the sudden deaths of Mare and Juliana in 1962, Owens leased the business and kept it going for six years, until it was sold to Country Roads, Inc., a nonprofit organization working toward the preservation of hand crafts.</p><br>
<p>Under the direction of Country Roads, Nancy Sweezy served as director and potter. Sweezy changed the earthenware glazes to fritted lead glazes, then developed a new line of high temperature glazes in order to make them lead-free. She also developed a completely different line of complex colors, including Blueridge Blue, Cinnamon, a different Tobacco Spit, Mustard and Dogwood White. Sweezy also set up an apprenticeship program that served over thirty pottery students from 1969 through 1980.</p><br>
<p>In 1983 Country Roads moved on to another project, and Vernon Owens bought Jugtown. He has run it with his wife Pam Owens since then. Pam and Vernon opened the Jugtown Museum in 1988. Jugtown Pottery was listed in the National Register of Historic Places in 1999.</p><br>
<p>Jugtown Pottery is located near the Pottery Road on North Carolina Highway 705, an area known for many potteries.</p><br>
<p>The Emelie was built in 1902 by German immigrant Frederick Schmid and named for his wife. The building was saved and restored by Browning Day Mullins Dierdorf Architects to serve as the company&#39;s corporate headquarters from 1987 to 2003. It is three stories, constructed of red brick and gray limestone. The building also includes a garden level . It is built in the German Renaissance Revival Architecture style. It has fine decorative detailing, totaling 35,000 ft&sup2;. It has also served as an apartment building and commercial space.</p><br>
<p>In 2003, the building was sold to Black Orchid Realty. The law firm Katz Korin Cunningham, PC moved to the building in 2004 and donated the use of several of its rooms to the Kurt Vonnegut Museum and Library, which subsequently moved to its current location in January 2019. The space used for the library was the former home of the Indianapolis Museum of Contemporary Art.</p><br>
<p>In late 2019, Katz Korin Cunningham undertook a massive interior restoration and remodel of the building. In homage to former businesses in the building, the space which had previously housed the Vonnegut Museum was renamed "The Vonnegut Study" and "The Black Orchid Lounge." The Black Orchid was a bar, reputed to have also been a betting parlor, that was one of the businesses that had been housed in the building circa 1970. In 2021, Katz Korin Cunningham placed an historical marker plaque on the building.</p><br>
<p>The building was placed on the National Register of Historic Places on September 15, 1983.</p><br>
<p>On July 1, 2022, the law firm of Stoll Keenon Ogden, PLLC moved into the building and currently occupies all floors.</p><br>
<p>Great Overland Station, listed on the National Register of Historic Places as Union Pacific Railroad Passenger Depot, is a museum and former railroad station in Topeka, Kansas, United States. The station was built from 1925 to 1927 and designed by Gilbert Stanley Underwood, whose firm designed over 20 Union Pacific Railroad stations from 1924 to 1931. The stations Free Classical Revival design uses terra cotta extensively and features a center pavilion with two increasingly smaller pavilions on either side. Passenger service to the station began in January 1927; almost 20,000 people attended the stations grand opening, and the new station was considered "one of the largest and finest stations west of the Missouri River". In the later years of its train station life, it also hosted the passenger trains of the Chicago, Rock Island and Pacific Railroad . The Atchison, Topeka and Santa Fe Railway Santa Fe had its trains stop at its own Topeka station.</p><br>
<h2>Passenger trains</h2><br>
<p>Rock Island passenger trains included the:</p><br>
<p>Golden State</p><br>
<p>Imperial</p><br>
<p>Oklahoma Rocket</p><br>
<p>Twin Star Rocket</p><br>
<p>Union Pacific trains included the:</p><br>
<p>City of St. Louis</p><br>
<p>Pony Express</p><br>
<h2>Decline</h2><br>
<p>Passenger totals at the station declined through the 1950s and 1960s, and the last regular passenger service to the station ended in 1971. The Union Pacific Railroad repurposed the station as office space and a customer service center before abandoning the building in 1989. In 1992, a fire damaged the western part of the station; the same year, the group Railroad Heritage, Inc. (then known as Topeka Railroad Days, Inc.) agreed to consider renovating the station. The station was extensively rehabilitated from 2000 to 2002 and is now a railroad heritage museum.</p><br>
<p>The Great Overland Station was added to the National Register of Historic Places on October 1, 2002.</p><br>
<p>Lincolnshire Historic District is a national historic district located at Evansville, Indiana. The district developed after 1923, and encompasses 95 contributing buildings in a predominantly residential section of Evansville. The district&#39;s homes have a mixture of Tudor Revival and Old and new World revival designs, including Colonial Revival. St. Benedict Cathedral and Bosse High School are two landmark buildings from the 1920s and 1930s.</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>The George W. Palmer House  is a historic house located in Chelsea, Michigan.</p><br>
<h2>History</h2><br>
<p>The house was constructed in about 1885 for physician George W. Palmer. In 1905, Daniel Charles McLaren, a prominent local businessman and village president, bought the house.</p><br>
<p>In 1936, a small private hospital, known as Chelsea Private Hospital, moved into the building. The hospital, operated by Nettie Notten, had opened in 1926 in another location, and served patients of doctors Malcolm Sibbald and Joseph Fisher. The hospital moved into the Palmer house when the original location was wanted for a post office. Nettie and her husband Ehlert, a dairy farmer, lived on the ground floor, while the rooms on the upper floor served as a hospital. However, Malcolm Sibbald soon retired, and in 1942, Joseph Fisher went off to serve in World War II, and the hospital closed down.</p><br>
<p>The house then served as a rooming house for women working in local defense industries. It then operated for years as an apartment house with a first-floor chiropractic clinic. It was purchased in 1991 by John L. and Jacquelyn Frank, who restored the structure as a single-family home. The home was purchased in 2014 by Mark VanDeWege and Staci Gatica.</p><br>
<p>It was listed on the National Register of Historic Places on November 29, 1996.</p><br>
<h2>Description</h2><br>
<p>The George W. Palmer House is an exceptional example of a brick Queen Anne single-family home. It is a two-story brick-clad structure sitting on a fieldstone foundation. The floorplan is fundamentally L-shaped, with the addition of a side bay and rear projection. The brickwork contains areas of offset and soldiered bricks, as well as stone window detailing and quoins, making interesting variation in color and texture. The house is topped with a hip roof with cross gables and a large gabled hood over the front facade, balanced with a smaller gabled dormer over the entrance. The gables are wooden, and finished with shingle- or stick-work; the roof is clad with lozenge-shaped asphalt shingles. Small shed-roofed porches at the front, side, and rear cover the entrances.</p><br>
<p>The Central Library is the headquarters for the Milwaukee Public Library System as well as for the Milwaukee County Federated Library System. Designated a Milwaukee Landmark in 1969, the building remains one of Milwaukee&#39;s most monumental public structures.</p><br>
<p>Today, the Central Library occupies almost the entire building with 3 exceptions: the headquarters for the Milwaukee County Federated Library System; the Wisconsin Talking Book and Braille Library; and Audio & Braille Literacy Enhancement.</p><br>
<h2>Central Library architecture</h2><br>
<p>A national competition was held in 1893 to pick a design for a building to house both the public library and the public museum. Seventy-four entries were received, including one from Frank Lloyd Wright. The winning design submitted by Ferry & Clas of Milwaukee was for a building one block long and designed in a combination of French and Italian renaissance styles known as Neo-Renaissance. The south facade&#39;s colonnade over a base may have been inspired by the east front of the Louvre in Paris. The building was designed in a U-shape to provide a common entrance for the library and museum but to keep the facilities separate. Construction costs for the monumental building, now listed on the National Register of Historic Places, were $780,000.</p><br>
<p>In the entrance to the library, mosaic tile floors were hand-laid by master Italian craftsmen who had settled in Milwaukee. Tessera, the small squarish pieces of colored marble or tile, were used in the entrance and in the Art, Music and Recreation Department. The tessera in the entrance floor are smaller than normal, allowing for a more detailed design. Over the years, the building has settled, cracking and damaging the floor and columns. In 2008, a restoration of the mosaic tile floors was begun. Some of the materials used in the interior are yellow Sienna marble, brass and stained glass (lighting fixtures), hardwoods such as oak and mahogany, and scagliola (used for the pillars). The trim on top of the wainscoting in the corridor is called "egg and dart", and is replicated in renovated areas throughout the library. The bay leaf garland design found above the doors in the corridor is actually made of painted plaster, not carved wood.</p><br>
<p>In 1936, as a part of the New Deal, Works Progress Administration laborers assisted in the complete overhaul of the museum, from redecorating to repairing the mosaic floors to installing a new lighting system and restoring parts of the study and research collections.</p><br>
<h3>Green Roof Project</h3><br>
<p>In 2009, the Milwaukee Metropolitan Sewerage District approved additional funding for the Milwaukee Public Library to construct a green roof, replacing the roof built in 1986. The green roof uses a watertight membrane, protective layer, insulation, a filter layer, soil and vegetation to create a roof system. In addition, photovoltaic cells have been installed to convert solar energy into direct current electricity. The green roof is expected to reduce polluted stormwater runoff, urban heat islands, and improve air quality. In the long term, Milwaukee is expected to benefit from reduced costs for water treatment systems and infrastructure. Public tours of the green roof are available on a seasonal basis.</p><br>
<h3>The Old Board Room and Corridor</h3><br>
<p>The Old Board Room is adjacent to the former office of the city librarian, which had a prime location on the Wisconsin Avenue side of the building. The Old Board Room appears much as it did when the building opened in 1898, with the exception of the ceiling lighting fixture, which was installed at a later date. The furniture is hand-carved of maple. The local firm of Ferry & Clas not only designed the building, but produced plans for all the furniture and equipment that went into it. The room was the site of J. Edgar Hoover&#39;s office in the TV movie Dillinger.</p><br>
<h3>Art, Music and Recreation Department</h3><br>
<p>The renovation of the Art, Music and Recreation Department was completed in October 1999. At the entrance to the department is a mosaic floor titled "Unswept Room" by the artist Steven Ferren. The corridor leading to the room includes gallery space.</p><br>
<h3>Children&#39;s Room</h3><br>
<p>The Childrens Room was named at the request of an anonymous donor in memory of Elizabeth A. Brinn, a Milwaukee businesswoman and entrepreneur. The room was dedicated on June 8, 1998 after moving from the second floor into first floor space previously used by Discovery World Museum. The floor of navy blue German linoleum was designed by Lois Ehlert. Thirty-one different animal shapes in a variety of colors greet visitors and reappear throughout the room to highlight other areas of interest. The navy blue of the window seat cushions match the floor and are trimmed in the colors of the animals. The painted glass Hans Christian Andersen window was designed by Marie Herndl and was completed in 1896. The window hung in the original childrens library at Central and was restored by Conrad Schmidt Studios for the new children&#39;s room.</p><br>
<h2>Collections</h2><br>
<h3>Art, Music and Recreation</h3><br>
<p>The Art, Music and Recreation Department contains all of the reference books in the subjects of fine arts, such as painting and sculpture, architecture, art objects and antiques, movies, theater, television, photography, music, sports, recreation, costume, general bibliographies, folklore and UFOs. The department has a collection of popular sheet music reaching back to the start of the 20th century as well as indices to song books in the library&#39;s collection. A few song sheets go back as far as the 1850s, well before the Civil War.</p><br>
<p>The Art, Music and Recreation Department subscribes to catalogs for the auctions held by two major auction houses, Sothebys in London and Christies in New York. A collection of identification and price guides on all types of collectibles, such as toys, porcelain, coins, comics, furniture, dolls, glass and others, is available in a separate reference area for patrons to browse through and study. Some other resources in this department are the poster collection, and the Wisconsin Architectural Archives. The Wisconsin Architectural Archive was founded in 1975 by architect Thomas Eschweiler, the grandson of Alexander C. Eschweiler. The archive encompasses over 12,000 items that drawings and plans that "record the talent and design styles of architects who shaped the appearance and history of Wisconsin."</p><br>
<h3>Children&#39;s</h3><br>
<p>The Central Library Betty Brinn Childrens room houses the librarys collection of popular childrens books and provides a distinct space for children and families within the library. The room also has listening stations, the McBeath theater for programs, films, stories and puppet shows and the Herzfeld Activity Center for presentations, computer training, library instruction, arts and crafts, and other library programs. There are 30 computers in the room equipped with programs to support reading, creative writing, math, science, geography and other academic assignments. The childrens room also has a complete Newbery Medal and Caldecott Medal reference collections and a reference collection of Wisconsin authors and illustrators.</p><br>
<h3>Humanities</h3><br>
<p>Librarians at the Humanities Desk provide patrons with reference assistance in the areas of religion, philosophy, psychology, education, law, the military and government, language and literature, travel, history, biography, genealogy and the social sciences. Staff and volunteers all work to acquire, process, organize, retrieve, copy and preserve materials in these subject areas. Some features of the collection are: Local History Collection, Genealogy Collection, the Great Lakes Marine Collection, and Historical Photographs. In addition, the Humanities department provides initial reference service to researchers interested in archival collections, such as the City of Milwaukee Archives, the Milwaukee Road Archives, and the Local History Manuscript Collections.</p><br>
<h3>Periodicals</h3><br>
<p>This department contains indices published in both paper and online format such as Reader&#39;s Guide to Periodical Literature, the Education Index, and EBSCO. This department also has information to aid with finding consumer information, vehicle valuation, stock prices, tax forms, lottery results and directories of publications.</p><br>
<p>The Milwaukee Public Library is a regional depository library for publications of the federal government. Each year the library is sent thousands of documents at no charge for the purpose of making them available to the public.</p><br>
<h3>Richard E. and Lucile Krug Rare Books Room</h3><br>
<p>This area consists of two spaces &mdash; a reception/program area and an environmentally controlled stack area. The room is named after long time (1941–1975) city librarian Richard Krug, who established the first rare books room in the late 1950s and whose widow, Lucile, generously donated toward the construction and furnishing of this room, which was dedicated in 2001.</p><br>
<p>Access to the stacks is restricted to staff. Examples of the collection include:</p><br>
<p>A complete set of John James Audubon&#39;s Birds of America</p><br>
<p>The librarys oldest printed book, Johannes Niders "Praeceptorium Divinae Legis" of 1479, deals with the Ten Commandments. It is bound in wood and has 15th-16th century student notes written in some of the margins.</p><br>
<p>Other incunabula, the "Hypnerotomachia Poliphili" or Strife of Love in a Dream, printed in Venice by the famous Aldine Press in 1499, considered to be the most beautiful book of the Renaissance.</p><br>
<p>The 60 pound Autograph Book, containing 2,283 autographs and appended sayings or drawings of leading politicians, artists, musicians and intellectuals from c. 1898 America.</p><br>
<p>"Voices of Friends"—a 1913 hand illuminated and lettered manuscript by Milwaukee artist Susan Frackelton and her daughter, commissioned by Elizabeth Plankinton in honor of her father, prominent 19th-century businessman, John Plankinton. It took three years for her to complete.</p><br>
<p>Autographed letters from Dickens, Beethoven, Liszt, Bismarck, Solomon Juneau, Billy Mitchell.</p><br>
<p>19th century and earlier color plate books on ornithology, botany, Native Americans, fashion.</p><br>
<p>Examples of artists&#39; books, foredge paintings, private presses such as Kelmscott, Doves, and Ashendene—which produced beautiful hand made books around 1900.</p><br>
<p>The second exemplar (painted ca. 1851) of the three versions of Carl Spitzweg&#39;s most famous work "The Bookworm", occupies a special place of honor in this climate-controlled room, only having any light shone on it when there is a Rare Books Room program taking place in order to further preserve it. The donor, Rene Von Schleinitz, gave his collection of German Romantic paintings to the Milwaukee Art Museum, but reserved this one especially for the Milwaukee Public Library. As of 2015 the painting is on permanent loan to the Grohmann Museum at the Milwaukee School of Engineering. The loan agreement entitles MPL cardholders free access to the entire museum collection.</p><br>
<h3>Business and Technology</h3><br>
<p>The Business and Technology department houses information on science, health and medicine, technology, business information, patents, trademarks, statistics, census materials, industry standards, and military specifications.</p><br>
<p>Milwaukee Public Library is a patent depository library and houses USA patents from 1792 up to the present. The library is also a designated Patent and Trademark Resource Center, conducting regular classes to help the intellectual property needs of the public. There are also resources to conduct patent searches in various formats: print, microfilm cassette, CD-ROMs and DVD-ROMs.</p><br>
<p>The Central Library, originally the Ingersoll Memorial Library, is the main branch of the Brooklyn Public Library in Brooklyn, New York City. Located on Grand Army Plaza, at the corner of Flatbush Avenue and Eastern Parkway, it contains over 1.7 million materials in its collection and has a million annual visitors. The current structure was designed by the partnership of Alfred Morton Githens and Francis Keally in the Art Deco style, replacing a never-completed Beaux-Arts structure designed by Raymond Almirall. The building is a New York City designated landmark and is listed on the National Register of Historic Places.</p><br>
<p>The site of the library was selected in 1905, but groundbreaking for the Brooklyn Central Library did not begin until 1912. Escalating costs and political infighting slowed construction throughout the next two decades, and only the Flatbush Avenue wing of Almiralls building was ever completed. In 1935, Githens and Keally were commissioned to redesign the building in the Art Deco style; construction recommenced in 1938, and Almiralls building on Flatbush Avenue was largely demolished. The Central Library opened to the public on February 1, 1941, and its second floor opened in the mid-1950s. The structure was significantly renovated in the 1970s, 2000s, and 2020s.</p><br>
<p>The Central Library is a four-story building that resembles an open book as viewed from the air. The modern facade is made of limestone and contains relatively little ornamentation, except around the main entrance on Grand Army Plaza. The main entrance facade, accessed by a raised terrace, is curved and contains various inscriptions, in addition to tall, gilded columns by C. Paul Jennewein and a screen by Thomas Hudson Jones. The Flatbush Avenue wing to the southeast is longer than the Eastern Parkway wing to the east; both wings contain decorative windows and additional entrances. The library&#39;s 350,000 ft2 interior is centered around a triple-height circulation room. There are various reading rooms on the first through third stories, as well as an auditorium beneath the main entrance terrace.</p><br>
<h2>Site</h2><br>
<p>The Brooklyn Central Library is in the central part of the New York City borough of Brooklyn, on the border of the Park Slope, Prospect Heights, and Crown Heights neighborhoods. It is located on a roughly triangular site facing Eastern Parkway to the north, Grand Army Plaza to the northwest, and Flatbush Avenue to the southwest. The site has dimensions of 610 ft on Flatbush Avenue, to the east, and on Eastern Parkway. The main entrance, at the northeast corner of the building, is recessed behind a raised terrace. The Central Librarys main entrance faces the Soldiers and Sailors&#39; Arch within Grand Army Plaza, the primary gateway to Prospect Park, to the west. The building shares a large city block with Mount Prospect Park, the Brooklyn Botanic Garden, and the Brooklyn Museum to the east and southeast.</p><br>
<p>The library building is part of a larger land lot along the eastern side of Flatbush Avenue between Grand Army Plaza and Empire Boulevard. The then-independent city of Brooklyn had acquired this land in the 1860 for the creation of modern-day Prospect Park. Egbert Viele&#39;s first proposal for Prospect Park, in 1861, called for the park to straddle Flatbush Avenue. Land acquisition began in 1860,</p><br>
<h2>Development</h2><br>
<p>As early as April 1889, Brooklyn&#39;s park commissioners had recommended constructing a Brooklyn central library near Grand Army Plaza, just outside Prospect Park. The Brooklyn Public Library system was approved by an Act of Legislature of the State of New York on May 3, 1892. The BPL opened its first branch library, the Bedford Library at PS 3 in Bedford–Stuyvesant, Brooklyn, in December 1897; In the long run, the BPL wanted to build a central library and a series of branch libraries throughout the borough of Brooklyn.</p><br>
<h3>Planning</h3><br>
<h4>Site selection</h4><br>
<p>By March 1900, the BPLs directors were planning to construct a central library in Brooklyn; the New York State Legislature had provided $500,000 (equivalent to $ million in ) for the construction of such a structure. That May, the BPLs board voted to recommend that the central library be built along Eastern Parkway, as close as possible to Grand Army Plaza. Andrew Carnegie donated $1.6 million (equivalent to $ million in ) to BPL for the construction of 20 Carnegie branch libraries in 1901, but the New York City government would only appropriate money for a central library after funding for the branch libraries had been secured. Carnegie also considered funding the central library under the condition that the BPL, the private Brooklyn Library, and the Long Island Historical Society combined their collections. At the time, several sites for a central library building were being considered, including a plot at the corner of Bedford Avenue and Herkimer Street in Bedford–Stuyvesant. The Brooklyn Library merged its sizable reference collection with that of the BPL in 1902, but the Long Island Historical Society refused to merge with the other two libraries.</p><br>
<p>Although BPL president David A. Boody urged the creation of a central library for Brooklyn, the trustees wished to first build several of the 20 Carnegie branches. By mid-1904. a committee had been created to identify and recommend sites for the Brooklyn Central Library. After a year of consultations, consulting architect A. D. F. Hamlin recommended in May 1905 that the central library be constructed at Grand Army Plaza; mayor George B. McClellan Jr. authorized the selection of that site shortly afterward. Various persons opposed the site for its small size, irregular shape, and distance from Downtown Brooklyn.</p><br>
<h4>Approval of Almirall&#39;s plans</h4><br>
<p>The Board of Estimate allotted $25,000 in May 1906 for the preparation of plans for the central library. Local architect Raymond F. Almirall, who had designed three Carnegie libraries in Brooklyn, was hired that July to design the Brooklyn Central Library. Almirall, Hamlin, and BPL chief librarian Frank Hill went to Europe, analyzing two dozen buildings in various cities. The directors postponed a decision on these plans, citing uncertainty over the plaza site, before conditionally approving them that November. The Municipal Art Commission also approved the plans in December 1907.</p><br>
<p>The BPL had begun accepting bids to construct the new library and requested $300,000 from the Board of Estimate in January 1909, at which point the building&#39;s estimated cost was as high as $5 million (equivalent to $ million in ). Later that year, Boody asked the city government to issue bonds for the project. The Board of Estimate appropriated $300,000 for the library building in 1910 and promised to give $530,000 in each of the two following fiscal years. By the time the NYPL had completed its main branch in 1911, the BPL had not even started its own central library, even though the Brooklyn Central Library had been planned before the NYPL Main Branch. Work on the Brooklyn Central Library was supposed to begin that June, and plans for the Flatbush Avenue wing were filed with the Bureau of Buildings in January 1912.</p><br>
<h3>Construction of original building</h3><br>
<p>Construction of the Brooklyn Central Librarys first section spanned multiple mayoral administrations with varying levels of interest in completing the building. The Brooklyn Central Librarys groundbreaking ceremony occurred on June 5, 1912, with mayor William Jay Gaynor in attendance. A contract for the foundations was awarded the same month.</p><br>
<h4>Initial progress and work stoppage</h4><br>
<p>Engineers surveying the site found in early 1912 that the site had large amounts of peat moss and that the building needed deep foundations because of its proximity to the Mount Prospect Reservoir. Early the following year, the BPL requested $20,000 for books for the Central Library. Workers were also busy excavating the buildings foundations, but foundation contractor Charles Meads reported that the work was several months behind schedule because of inclement weather, loose ground, and a lack of funding. Although the foundation had been completed by early 1914, there was not enough money for the rest of the structure, and the city and the foundation contractor had become involved in a lawsuit over cracks in the foundation. Gaynors successor, John Purroy Mitchel, felt that funds for the Central Library would be better spent on schools and other projects.</p><br>
<p>City aldermen appropriated $210,000 for the construction of the buildings Flatbush Avenue wing in December 1915. Local newspapers reported that, if the wing were not constructed, the foundation would deteriorate. Plans for the basement and first story of the Flatbush Avenue wing were filed with the Bureau of Buildings in March 1916, at which point the wing was expected to cost $600,000. Brooklyns borough president filed revised plans for the wing that September, and the BPL began receiving bids for the library buildings construction, Brooklyns borough president rejected all the bids in December 1916 for being too expensive; the same month, an additional $56,000 was appropriated for the project. Work on the Flatbush Avenue wing began in March 1917. According to the city, Almirall had received $129,000 in architects fees through the end of 1919, despite the minimal progress on the building. Local residents wanted the buildings development to be accelerated, as many volumes in the BPL&#39;s collection were being damaged or were inaccessible.</p><br>
<p>No construction occurred from 1918 to 1925, while John Francis Hylan was mayor of New York City. Borough president Edward J. Riegelmann requested another $1 million (equivalent to $ million in ) from the city in 1921, and city officials agreed to an additional appropriation that May after touring the still-incomplete edifice. The same year, a fence was erected around the site. Governor Nathan L. Miller signed legislation in April 1922 authorizing officials to raise money for the buildings completion. Afterward, Riegelmann asked the Board of Estimate for permission to raise $11 million in bonds for the Central Library. Because Hylan opposed further funding for the building, the Board of Estimate notified Riegelmann in July 1923 that it would not provide further funding for the Central Library unless the plans were scaled down. Hylans refusal to fund the Central Library became a point of contention in the 1925 New York City mayoral election, where Hylans opponents claimed that he had doubled the citys budget without providing anything for the library building. Only one story of one wing had been completed and was covered with a temporary roof.</p><br>
<h4>Attempts to complete the building</h4><br>
<p>After Jimmy Walker succeeded Hylan as mayor at the beginning of 1926, his comptroller Charles W. Berry expressed support for completing the Central Library. The Board of Estimate indicated in April 1926 that it would provide $750,000 (equivalent to $ million in ) for the Central Library, and it approved the appropriation that June. By then, the building was planned to cost $14 million to $15 million (equivalent to $ million to $ million in ). The Waters Company demolished the existing Tennessee marble facade, which was expected to reduce total construction costs by $2 million. Afterward, the company planned to construct a three-story wing measuring across.</p><br>
<p>The Board of Estimate voted in November 1928 to authorize the issuance of up to $1.25 million in stock for the Central Librarys completion, and Brooklyn officials began soliciting bids for the buildings completion. City officials agreed in July 1929 to demolish a water tower in Mount Prospect Park, which abutted a portion of the buildings foundation that had to be rebuilt, but the water tower was not razed until six months later. By the end of 1929, city engineer William P. Hennessy was preparing plans for the construction of the buildings Eastern Parkway wing, rear wing, and central portion. A groundbreaking ceremony for these three sections occurred on January 6, 1930. Contractors were obligated to complete the foundations for these three structures within 250 days. By early 1931, Brooklyn borough president Henry Hesterberg was requesting another $9 million or $9.5 million from the Board of Estimate. Although the board had previously been reluctant to give the Central Library such a large appropriation, Hesterberg said the city could reduce the total construction cost by funding the entirety of the project at once.</p><br>
<p>Work stalled once again in 1931, after the foundations were finished. On rainy days, the foundations of the Eastern Parkway wing were inundated, and local children often played with model boats there; at one point, a boy reportedly drowned in the foundations. The site was also referred to as the "Pigeon Palace", and a "hideous old wreck". The systems circulation had more than doubled compared to 1912, when the Central Librarys construction had started, while the number of patrons had nearly doubled. Hesterberg requested in early 1932 that the city pay Almirall $258,000 in architects fees. At the same time, the citys board of aldermen notified the BPL that the city government did not have enough funding to cover the Central Library&#39;s full cost. The BPL unsuccessfully attempted to obtain funding for the library in 1931 and 1933.</p><br>
<h2>Current library</h2><br>
<p>In late 1933, local businessmen asked the city government to request a $9 million (equivalent to $ million in ) loan from the Public Works Administration (PWA). After more than a year, the city voted in April 1935 to request $5 million (equivalent to $ million in ) from the PWA. Brooklyn borough president Raymond Ingersoll announced the next month that Alfred Morton Githens and Francis Keally had redesigned the building; most of the main public rooms were relocated to the ground story, while offices and backroom operations were relocated to the upper stories. Ingersoll promised that September to finish the Central Library. Mayor Fiorello La Guardia officially requested the funding from the PWA the same month, The original Beaux-Arts design was completely scrapped in favor of an Art Deco design, and the building was redesigned with a fan-shaped plan.</p><br>
<h3>Redesign and completion</h3><br>
<p>Local leaders formed a committee in February 1936 to advocate for the buildings completion. Supporters of the Central Library said the BPLs existing central library was suitable for a city with 50,000 residents, two percent of Brooklyn&#39;s population at the time. Between April and June 1936, about 200,000 people signed a petition asking PWA secretary Harold L. Ickes to approve money for the building. By then, Ingersoll described the Central Library as the highest-priority "needed improvement" in Brooklyn. Parks commissioner Robert Moses drew up revised plans for the Central Library, La Guardia sent these plans to the BPL in August 1936. Ingersoll requested $2 million from the Board of Estimate in January 1937. and the board approved the funding two months later. The board also approved $20,000 for a modification of the plans that May; it would approve the remaining funds once the plans had been revised. Draftsmen quickly began revising the plans, and the Board of Estimate appropriated $1.883 million for the project that November.</p><br>
<p>Ingersoll began soliciting bids for the Central Library&#39;s construction in December 1937. Shortly thereafter, the Cauldwell–Wingate Company received the $1.3 million general contract for the project, and four other companies were awarded contracts for mechanical work. Work began on February 14, 1938, with the demolition of the existing fourth story and removal of the original decorations. To save money, the existing frame was retained. The Board of Estimate approved $30,000 for sculptures on the Central Library in April 1938, and Thomas Hudson Jones and C. Paul Jennewein were hired to design the sculptures, which the Municipal Art Commission approved the same year. In June 1938, the PWA authorized $2.5 million for the Central Library; only the first story was to be fitted out initially. The building was nearly completed in August 1939, several months ahead of schedule, but the city had not appropriated funding for salaries. The city issued $200,000 in bonds that August to fund further construction, and the Board of Estimate provided another $101,000 two months later for equipment.</p><br>
<p>La Guardia toured the Central Library in December 1939, by which time administrative staff had begun moving into the third floor. Because the second floor had not been furnished, the BPLs extension department was forced to work in the buildings garage. and the Central Library had 360,000 books in its stacks by that October. That month, BPL chief librarian Milton J. Ferguson requested another $300,000 to complete the second floor, Upon its opening, the building had 170 employees, excluding WPA workers, and it contained 460,000 books in its collection.</p><br>
<h3>Opening, 1940s, and 1950s</h3><br>
<p>The Central Library opened for public previews on February 1, 1941, as the Ingersoll Memorial Library; the library building opened for limited service two days later. It was the first permanent library building to be opened in Brooklyn in nearly two decades. Because the basement and second story were largely unfinished, some of the offices were housed within the reading room and within a completed portion of the second story. Within two weeks of the buildings opening, so many patrons had borrowed books that the BPL limited the number of books that cardholders could borrow; furthermore, the building could only operate for four to seven hours per day due to staff shortages. The Central Library was formally dedicated on March 29, 1941, and the Ingersoll memorial capstones were dedicated in September 1941. The childrens library and three departments of the Central Library opened at the beginning of October 1941. By then, the library building was handling 400,000 volumes, prompting Ferguson to ask for money to expand the stacks.</p><br>
<p>The opening of the Central Library meant that the BPL no longer had to rent space for its administrative offices. Consequently, when the building was completed, about two-thirds of the interior was used for administrative purposes. With the Central Librarys opening, the BPL could also take many of its books out of storage. By the beginning of 1942, the Central Library was operating eleven hours a day on weekdays. The Central Library opened a "consumers corner" with books about consumption of goods in early 1942, and it began lending phonograph records to BPL cardholders the same year. In October 1942, the BPL formally dedicated the bas-reliefs that Jennewein had carved into the main entrance&#39;s columns.</p><br>
<p>By late 1946, BPL officials believed that the buildings second floor needed to be completed to accommodate the boroughs growing population. At the time, the second floor did not have any flooring, lighting, or radiators, and there was exposed wiring. The BPL&#39;s trustees asked the City Planning Commission in 1948 for $1.385 million to complete the second floor; The New York Times wrote that library patrons often stood in the main circulating room, while the second floor was being used as storage space.</p><br>
<p>The Board of Estimate appropriated $900,000 for the second floor in August 1952, at which point increasing material costs had caused the project&#39;s price to rise to $1.125 million. The BPL installed a flagpole outside the Eastern Parkway wing of the building in 1959.</p><br>
<h3>1960s and 1970s</h3><br>
<p>In 1960, the BPLs chief librarian Francis R. St. John requested money to rehabilitate the Central Library, but the Board of Estimate was willing to provide only $30,000 out of the requested $2.5 million. St. John asked the city for another $115,000 in 1961, though he said the next year that the project would cost $3.235 million. The first and second floors were extended to the rear in 1964, concealing the rear facade. Brooklyn borough president Abe Stark announced the same year that floodlights would be installed on the Central Librarys facade. The BPL planned a two-story annex with a garage and a service room for adults, as well as several new rooms and a set of escalators in the existing building. The new spaces would include a phone-reference room and a book processing department on the first floor; a reading room, microfilm area, and research cubicles on the second floor; and remodeled offices and a larger cafeteria on the third floor. The BPL was still awaiting final approval for the renovation by 1967.</p><br>
<p>A renovation of the Central Branch began in August 1969. The project lasted several years, with the building remaining open throughout. The Central Librarys biography/history/travel and language/literature departments were moved to another part of the building in February 1971, after part of the second floor had been renovated, and the art/music and audiovisual divisions were moved that October. The lobbys floor was replaced later the same year. The renovation was completed in July 1973 when several spaces opened on the first floor. These included an expanded periodicals wing in the rear; a language and literature wing on Flatbush Avenue; the Ingersoll Room, which had an extensive paperback collection; and the childrens library on Eastern Parkway. The renovation allowed the BPL to begin circulating books that had previously been stored in the buildings stacks. The city government approved funding for further repairs to the Central Library in 1974.</p><br>
<h3>1980s and 1990s</h3><br>
<p>The BPL began raising money for more improvements to the Central Library in 1982, and the library system announced in 1983 that it would install security cameras throughout the building. Five computer terminals opened at the Central Library in 1987, allowing visitors to access a catalog shared by the BPL, NYPL, and Queens Library. By then, the library operated an adult literacy program and an education and career center, and it presented film screenings and book readings to patrons. The same year, a garden themed to Alices Adventures in Wonderland was added outside the childrens library entrance.</p><br>
<p>BPL officials announced in early 1996 that they would add computers with internet access to the Central Library; at the time, no BPL branches had internet, but the NYPL and Queens Library both offered that service. After the computers were installed in October 1996, there was extremely high demand for the computers. A 2,300 ft2 "multilingual center", with books in several languages, opened at the Central Library in October 1997. The same year, the card catalogs in the lobby were removed.</p><br>
<p>The childrens library was expanded starting in July 1999, and it reopened in mid-2000 as the 10,500 ft2 Youth Wing. The renovation, designed by Pasanella, Klein, Stolzman and Berg, cost $2.5 million. The rooms dropped ceiling was removed, allowing the restoration of the original windows; in addition, about 40 computers were installed in the Youth Wing, A technology loft was built on the mezzanine. The wing&#39;s main room was named for Yetta and Louis Schwartz, whose daughter had donated $1 million to the BPL.</p><br>
<h3>2000s to present</h3><br>
<p>By the early 21st century, most of the buildings administrative functions had been moved to Queens. the auditorium had been part of Almiralls original design but had never been constructed because of a lack of money. By 2005, more than $14 million had been raised for the terrace and auditorium. The BPL raised $100,000 for further improvements to the Central Library during 2009.</p><br>
<p>The Central Library&#39;s Passport Service Center opened in May 2011, making it the first library branch in New York City to issue passports; over the next two years, the center processed applications for 21,000 passports. following a renovation designed by Toshiko Mori. The Info Commons was frequented by patrons who used the space for meetings, research, and even a wedding. The BPL opened an enrollment office for IDNYC cards at the Central Library in 2015. By the mid-2010s, the Central Library was often filled to capacity, and the structure was in poor condition. The New York Daily News estimated that the BPL needed to spend $67.7 million to renovate the Central Library and replace its fire alarms, air conditioning, roofs, windows, elevators, and bathrooms.</p><br>
<p>The BPL announced in 2018 that it would spend $135 million renovating the Central Library in four phases. It rehired Mori to renovate the building. The library was temporarily closed from March 2020 to May 2021 during the COVID-19 pandemic in New York City. The first phase of the renovation, costing $38 million, was completed in May 2021 and involved adding a book gallery, expanding various rooms, updating the bathrooms and elevators, and redecorating the interior. The second part of the renovation commenced in 2024; the project was expected to be completed in 2027, as the building would remain open during construction. The second phase involved expanding the adult learning center, adding a room for teenagers, renovating book collection spaces, and overhauling the HVAC system. The BPL also planned to build a footbridge to Mount Prospect Park and rearranging storage spaces in the basement.</p><br>
<h2>Architecture</h2><br>
<p>The original library was designed in the Beaux-Arts style by Raymond F. Almirall. Much of Almirall&#39;s original design, consisting of a central pavilion on Grand Army Plaza flanked by wings on Eastern Parkway and Flatbush Avenue, was never built. Had the structure been fully constructed, it would have contained two basements and four above-ground stories. The building also has some Art Moderne decorative elements, such as the terrazzo floors and wood wainscots in the lobby.</p><br>
<h3>Form and facade</h3><br>
<p>In general, the facade is made of Indiana limestone, except below the first story, where the facade is made of gray granite. According to the National Park Service, the Central Library&#39;s shape resembles an open book as viewed from the air. There is another entrance to the Civic Commons section of the building on Flatbush Avenue. The eastern part of the site is higher than the western portion; as such, the main entrance is raised from the ground, while the eastern part of the library building is almost precisely at ground level. The Central Library has retained most of its 1930s design over the years.</p><br>
<h4>Main entrance</h4><br>
<p>At the northwest corner of the Central Library is a main entrance pavilion with a curving facade on Grand Army Plaza; The northern edge of the terrace contains a flagpole. Each stairway has wrought-iron railings and granite side walls. The center staircase (facing northwest) is divided into four short flights and is flanked by a pair of lighting fixtures with three lamps. There are granite capstones below the lamps, each of which has inscriptions from Raymond Ingersoll, the borough president of Brooklyn when the building was erected. Early plans for the plaza called for a map of Brooklyn to be carved within the pavement. Another set of stairs leads up from the terrace to a brick landing, which in turn leads to the actual entrance.</p><br>
<p>The main entrance facade is four stories high, flanked by side sections measuring three stories high. and is topped by a pair of cubic staircase enclosures, which are set back from the rest of the facade. The three-story-high sections on either side of the main entrance contain recessed windows. Between the windows on different stories are dark-green spandrel panels which are described as being made of Virginia alvarene stone. The windows are divided into four panes at the first story, while the second- and third-floor windows each feature one pane. The walls on either side of the central entrance contain inscriptions by Roscoe Conkling Ensign Brown, the BPL&#39;s president during the late 1930s.</p><br>
<p>At the center of the facade is a rectangular doorway flanked by 50 ft columns. which depict both classical and contemporary figures. The screen is split into 15 square panels, each of which are gilded and depict a literary character. The panels on the left depict the sciences, while those on the right depict the arts. At the third story, the grille contains a pair of gilded owls, each of which is perched on a globe lamp with an elaborate base. Three lighting fixtures are recessed within the soffit at the top of the doorway.</p><br>
<h4>Wings</h4><br>
<p>Both wings are designed in a modern classical style; Both wings are recessed from the sidewalk and contain planted lawns in front of them, with ventilation grates on the lawn facing Eastern Parkway. There are dark-green spandrels above the first- and second-story windows, each of which contain classical motifs, quotes, star shapes, and borders with checkerboard patterns.</p><br>
<p>Immediately adjacent to the curved main entrance facade, the Flatbush Avenue elevation of the facade contains a cornerstone with the inscription 1938. The southern end of the Flatbush Avenue wing contains a three-story annex, which curves northward to the parking lot at the rear of the building. The first story of this annex is clad in limestone and dates to the building&#39;s reconstruction in 1940. The upper two stories are clad in concrete and were built in 1990. There are literary motifs and classical decorations on the upper two stories, as well as single-pane windows. The eastern elevation of the Flatbush Avenue annex contains a service entrance.</p><br>
<p>On Eastern Parkway, adjacent to the main entrance, a ramp leads to a staff entrance to the basement. The staff entrance contains bronze doors similar to those on Flatbush Avenue. A secondary, wheelchair-accessible public entrance is at the eastern end of the Eastern Parkway wing. The easternmost Eastern Parkway entrance, which leads to the childrens library, was built because it was close to the New York City Subways Eastern Parkway–Brooklyn Museum station. The childrens library entrance is accessed through a black metal gate with the words "Childrens Library" inscribed above it, as well as motifs of squirrels designed by Jones. Behind the gate is a small garden, as well as a doorway with green stone letters reading "Childrens Library". The doorway is topped by a set of windows, which is divided vertically into three sections like the other windows on the facade. There is another set of iron gates to the south, behind which the buildings eastern elevation is visible. To the east of the library building is a retaining wall and a fence, behind which is Mount Prospect Park.</p><br>
<h3>Interior</h3><br>
<p>Occupying over 350,000 ft&sup2; and employing 300 full-time staff members, the building serves as the administrative headquarters for the Brooklyn Public Library system. The building was intended to seat 3,000 patrons at once, or two million books in its stacks. The reading rooms were placed along the perimeter of the building, and reflectors and concealed lighting was scattered throughout the building. According to the New York Herald Tribune, the window arrangement was "planned for easy reading and avoidance of eye strain". In addition, the Central Library was planned with illuminated guides to allow guests to more easily identify books. The interior spaces were largely plain and rectangular, except for the entry foyer and circulation room.</p><br>
<p>By the early 21st century, the spaces beneath the first- and second-story windows had bookshelves, while the spaces below the third-story windows had radiators. Following a renovation in 2021, the building&#39;s interior was redecorated in a style approximating the original design, with light terrazzo floors, blond oak, and metal accents.</p><br>
<h4>Lower levels</h4><br>
<p>Originally, there were four tiers of stacks in the basement, which had a capacity of 350,000 is the Dr. S. Stevan Dweck Cultural Center, a 189-seat auditorium that opened in 2007. The auditorium contains two lobbies and two conference rooms. Adjacent to this auditorium is the Reverend Elsie Smith Conference Room. These are accessed from the Brooklyn Community Foundation Lobby at the rear of the basement.</p><br>
<h4>First story</h4><br>
<p>As built, the ground story (designated as the first floor) was intended to contain the buildings primary spaces, including the general circulation room and a childrens library. The main entrance leads to a central foyer. This foyer originally had wood wainscoting, as well as green walls and a blue ceiling, intended to encourage patrons to enter the circulation room. The modern foyer is a symmetrical U-shaped space with oak display cases; the ceiling is decorated in a simple style, with curving lines. There are rooms leading off the side walls of the foyer, which contain a photocopy room and security office. On either side of the foyer, a pair of marble stairs and an escalator lead up to the second floor. A passage with wood paneling leads straight to the circulation room; the walls of this passage contain plaques dedicated to individuals who were involved in the building&#39;s construction. The foyer contains an Art Deco mural by John von Wicht, which was commissioned for radio station WNYC.</p><br>
<p>The circulation room itself is three stories high, covering. Catalog cases were placed on the rear wall of the circulation room until their removal in the 1990s. Within the main lobby is the Major Owens Welcome Center, named after former USA Congressman Major Owens who worked as a BPL librarian early in his career.</p><br>
<p>The Eastern Parkway wing was a childrens library from the outset. A parents balcony overlooked the space, and a set of bookcases separated the childrens library from a "senior reading room"., the Eastern Parkway side still contains the Youth Wing, accessed from the eastern entrance on Eastern Parkway. The Flatbush Avenue wing of the first floor originally contained a reading room measuring. The Flatbush Avenue wing contains the language and literature collection. The Central Librarys Civic Commons is a 10,000 ft space accessible from the Flatbush Avenue annex; it contains offices for passport applications. IDNYC identification cards, and community groups, as well as a computer lab. Adjacent to the circulating room is a 1,190 ft gallery for "new and noteworthy" books, which opened in 2021 and contains a metal sculpture on its ceiling.</p><br>
<p>Originally, there was a reading room for "popular books" just behind the circulating room. The rear of the first floor originally contained a reading room adjacent to a small garden. After the room was enlarged in the 1960s, it became a periodicals and micromaterials department, with a staircase ascending to the second story. The rooms in the rear were then converted into the Shelby White and Leon Levy Information Commons, which opened in January 2013. The Info Commons spans and was largely inspired by the design of Apple Stores, as well as that of the Bobst Library research center on the campus of New York University. It contains a recording studio, a classroom for remote learning, seven meeting rooms, 25 desktop computers, and seating for patrons with laptops.</p><br>
<h4>Second story</h4><br>
<p>The second story contains a curving balcony at its eastern or rear end. The stairs and escalators from the first-floor foyer lead to landings at the northern and southwestern ends of the balcony. There is a metal railing at the front of the balcony, as well as doorways to various rooms, with display cases between each doorway. This balcony was originally illuminated by a wall of 1,000 glass blocks. Set within this glass-block wall are four curved pillars, each made of opaque glass. The reading rooms on the rear, or southeast, end of the second floor date from 1956.</p><br>
<h4>Third and fourth stories</h4><br>
<p>The top two floors were intended as administrative offices and an employee cafeteria. Next to it were a staff room and a librarians office, connected to the trustees room by a glass-enclosed passage. The rooms wood wainscoting and plaster ceilings and walls contrasted with their glass-and-chromium windows, creating a modern design., the Flatbush Avenue wing of the third story contains a computer room and art and music collections, in addition to the trustees room. The rest of the third story contains administrative offices.</p><br>
<p>The fourth story was planned to contain a staff dining room and lounge, as well as various other rooms and a portion of the upper stacks. The upper two stories could be accessed by five elevators.</p><br>
<h3>Almirall&#39;s unbuilt design</h3><br>
<p>Almirall had originally planned the building as the focal point of Grand Army Plaza, surpassing the Soldiers and Sailors Arch in prominence. The structure would have required a quadrilateral site measuring along Grand Army Plaza to the west, along Flatbush Avenue to the southwest, to the east, and along Eastern Parkway to the north. Although the entire site covered, there were to be six light courts with a combined area of. The facade would have been made mostly of limestone, with a granite base. The central pavilion would have had curved corners and three openings. There would have been several 69 ft Doric columns on the central pavilion, while the side elevations would have contained Doric columns. There would have been a grand dome above the structure, measuring high.</p><br>
<p>The interior of the building would have had a total floor area of. The structure was originally planned with space for 1.5 million books, which was later increased to 2.5 million; by 1927, the building was planned to house 3.15 million books. Almirall decided upon the dimensions of the building&#39;s rooms after touring other libraries.</p><br>
<p>From Grand Army Plaza would have been a large lobby and a wide stairway There was also to be an auditorium in the basement. The ground, first, and second floors would have contained various departments. A mezzanine above the second story would have had staff rooms and dining rooms. Other stories would have contained special departments, rare books, study rooms, and club rooms.</p><br>
<h2>Collections</h2><br>
<p>The Brooklyn Central Library contains over 1.7 million materials in its collection. Among the original objects in the Central Library&#39;s collection was a copy of a French Imperial Old Testament, one of twenty known to exist. The original collection also included thousands of records by the federal government of the United States, as well as 20,000 letters, newspaper clippings, and other objects relating to World War I history.</p><br>
<p>Historically, the Central Library housed the BPLs Brooklyn collection. The collection contained of media relating to Brooklyns history, including photos, books, and a full archive of the Brooklyn Daily Eagle. After the Brooklyn Historical Society (BHS) merged with the BPL in 2020 to form the Center for Brooklyn History, the Brooklyn collection was relocated to the BHS&#39;s building in Brooklyn Heights.</p><br>
<h2>Events</h2><br>
<p>The Brooklyn Central Library has hosted numerous events throughout its existence and is visited by over 1.3 million people per year. In its early years, the Central Librarys exhibits included a showcase of books written by children and an exhibit of foreign-born Americans inventions. By the 2000s, the building was hosting several art exhibits per year.</p><br>
<p>Modern events at the building have included the Peoples Ball, an annual fashion show that was first held in 2018. The New York Times and Time Out magazine have characterized the Peoples Ball as a free version of the Met Gala. In addition, as part of the Cinema Ephemera program, the BPL sometimes displays videos, films, images, and slideshows are sometimes displayed on the Central Librarys main entrance facade at night. The Dweck Center in the Central Branchs basement has also hosted events such as fundraisers and parties since it opened in 2007., the Dweck Center hosted over 100 events monthly, including many for children.</p><br>
<h2>Critical reception</h2><br>
<h3>Almirall&#39;s design</h3><br>
<p>When construction on Almiralls original building began in 1912, Building Age magazine wrote: "The new structure will be as complete in details of construction and convenience as it is possible to make it." By 1933, the BPL saw the never-completed original design as obsolete. Brooklyns chief librarian Milton J. Ferguson said at the time: "The result of all the elaborate art of the building will be dark reading rooms, book shelves hard to reach, anything but what a modern library should be." Christopher Gray wrote for The New York Times in 2004 that Almiralls design had been "a superrich version of Grand Central Terminals Beaux-Arts sundae but with hot fudge, whipped cream and a cherry."</p><br>
<h3>Current structure</h3><br>
<p>After Githens and Keally&#39;s design was announced, Milton J. Ferguson said that, when the structure was completed, "it should serve as a model for the entire country". When the building opened, The Brooklyn Citizen wrote: "The new library to all appearances seems to be a structure of great utilitarian value and architectural beauty". Although architectural critic Lewis Mumford regarded the stacks as mediocre, he thought the main lobby area was "unexpectedly exhilarating" and "the most vital point of the whole design".</p><br>
<p>The BPLs chief librarian during the 1950s, Francis R. St. John, described the Central Library as "the best example of library architecture in America". Although Christopher Gray of The New York Times wrote in 2004 that the building was an "impressive, Moderne-style, wedge-shaped structure", he said its "impressive site is in fact one of its biggest disadvantages" because of the high amounts of traffic on Grand Army Plaza. The New York Times wrote in 2018: "The Art Deco-ish front entrance recalls the spine, the two huge wings the front and back covers." In the 1987 book New York 1930, Robert A. M. Stern and his co-authors wrote that the buildings interior spaces were "proof positive that Modernism and monumentality were not mutually exclusive".</p><br>
<p>In 1996, Stern listed the Brooklyn Central Library in his article "A Preservationist&#39;s List of 35 Modern Landmarks-in-Waiting". The New York City Landmarks Preservation Commission designated the Central Library as a New York City landmark in June 1997, and the Central Library was listed on the National Register of Historic Places in 2002.</p><br>
<p>White Hall, also known as the William Cann Tenant House and Andrew Elliason Tenant House, is a historic home located at Bear, New Castle County, Delaware. It was built in three phases during the 19th century between about 1830 and 1860, and is a two-story, five-bay frame dwelling with a gable roof. It has a -story rear wing that creates a "T" configuration. It is in a vernacular Greek Revival / Italianate-style. Also on the property are a contributing frame dairy barn, a concrete block milk house, and a frame implement shed, all dated to the 1930s.</p><br>
<p>It was listed on the National Register of Historic Places in 1990.</p><br>
<p>Carpenter-Lippincott House is a historic home located at Centreville, New Castle County, Delaware. It was built about 1840, and is a three-story, stuccoed stone dwelling in the Italianate-style. It consists of two, well-defined rectangular blocks. The main block is surmounted by a square cupola on its low-hipped roof with projecting eaves and it features an enclosed porch with cast iron lattice work.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>Centreville Historic District is a national historic district located at Centreville, New Castle County, Delaware. It encompasses 15 contributing buildings and were built between 1820 and 1920. It is primarily a residential district. Notable buildings include the Dr. Joseph H. Chandler House, Chandler-Dixon House, Nichols House, the M. J. Furey House, the R. T. Carey House, the Rev. D. W. Moore House, the Mrs. R. Todd House, and the Odd Fellows Hall.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>Conewago Chapel Covered Bridge, also known as the Blue Spring Covered Bridge, was a historic wooden covered bridge located in Conewago and Mount Pleasant Townships in Adams County, Pennsylvania. It was a 98 ft, Burr Truss arch bridge with a metal roof constructed in 1899 by J.F. Socks. It crossed the South Branch of Conewago Creek and was one of 17 historic covered bridges in Adams, Cumberland, and Perry Counties when it was listed on the National Register of Historic Places .</p><br>
<p>It was listed on the National Register of Historic Places (NRHP) in 1980, The bridge was removed from the NRHP in 1986.</p><br>
<p>Charles Allen House is a historic home located at Christiana, New Castle County, Delaware. It was built in the first half of the 19th century, and is a two-story, three-bay, single pile, gable-roofed dwelling. The main block is constructed of brick, and it has a two-story, one-bay frame addition built in the late-19th / early-20th century and a one-story, flat-roofed, stuccoed rear addition.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>Following the construction of a modern development, the house&#39;s address is now on Lauren Place, off Blue Ridge Road.</p><br>
<p>CHARLES ALLEN HOUSE, NORTHERN NEW CASTLE COUNTY, DE.jpgHouse in 2016 showing deterioration</p><br>
