<p>Lyles Consolidated School is a historic school in Lyles Station, Indiana. The third school to be located in Lyles Station, it was opened in 1919 and used until 1958. Abandoned for nearly forty years, it had deteriorated almost to the point of total collapse by 1997. The Lyles Station Historic Preservation Corporation was founded in June 1997, to preserve and promote the history of the Lyles Station community. Its major project was restoration of the schoolhouse, intending to use it as a living history museum to educate others both about Lyles Station&#39;s history and the daily school routine in the early twentieth century. The school was listed on the National Register of Historic Places in 1999. Restoration of the site was completed in 2003.</p><br>
<h2>History</h2><br>
<h3>Community</h3><br>
<p>The community of Lyles Station, which also includes its school, is an unincorporated community in Patoka Township, Gibson County, Indiana. Lyles Station is one of Indiana&#39;s early black rural settlements and the only one remaining. The rural settlement dates from 1849. It was formally named Lyles Station in 1886 to honor Joshua Lyles, a free African American who was one of its early settlers. Lyles migrated with his family from Tennessee to Indiana around 1837.</p><br>
<p>Lyles Station reached its peak in the years between 1880 and 1912, when major structures in the community included a school, railroad depot, a post office, a lumber mill, two general stores, and two churches. By the turn of the twentieth century, Lyles Station had fifty-five homes and a population of more than 800 people; however, the farming community never fully recovered from the Great Flood of 1913, which destroyed much of the town. Most of its residents left to find higher paying jobs and additional education in larger cities. By 1997, approximately fifteen families remained at Lyles Station, nearly all of them descended from the original settlers.</p><br>
<h3>School</h3><br>
<p>In 1864 Joshua Lyles donated the land to build a school in the community.</p><br>
<p>Lyles Consolidated School was Lyles Station&#39;s third school. Although the population of Lyles Station declined after the flood of 1913, a new school building was erected to educate the remaining children of the community; older schools at Lyles Station and nearby Sand Hill and Sugar Bluff were closed as part of a statewide trend towards school consolidation. The school opened in 1919 and was an integrated school until 1922, when it became an all-black public school. (White students were enrolled at Baldwin Heights School in Patoka Township.) In 1928, the parents of 10 children at school, including Vertus Hardiman were approached by county hospital officials. The parents were told that there was a new treatment for dermatophytosis, a fungal infection commonly known as “ringworm.” What the parents didn’t know was that the children were actually part of a human experiment on extreme radiation, probably chosen because they lived in such an isolated location, and probably because they were all Black. The children were exposed to high levels and many were left with disfiguring scalp scars and head trauma. The effects of the experiments were mostly hidden from the townspeople of Lyles Station. Many of the children wore wigs and hats to cover up the results of the experiments</p><br>
<p>Lyles Stations&#39;s school was integrated once again in the 1950s; it closed in 1958 due to declining enrollment.</p><br>
<h2>Description</h2><br>
<p>The restored school building serves as a community center and local history museum.</p><br>
<p>When the National Register nomination form was prepared in 1998, the school had deteriorated but its building materials were original to the construction date. The exterior was described as a two-story brick and wood building in the Prairie School style that featured a low, flat roof. The first floor was covered with red brick; the second was sheathed in clapboard siding. A cupola with a hipped roof project from the center of the roof. A brick chimney extended above the roofline. The facade featured eight, double hung windows. A projecting entrance with concrete steps lead to double entry doors. Three fixed windows were centered above the entrance.</p><br>
<p>The National Register nomination form described the interior as it looked in 1998. Main entry doors opened onto two flights of wooden stairs and a hall. The first floor had a large auditorium space on the south side. Rooms across the hall included a classroom, utility area, and boiler room/coal storage area. A dressing room was located at the far end of the hall. The second floor included classrooms, an office, and a storage room.</p><br>
<h2>Legacy</h2><br>
<p>Although most of Indianas black rural settlements no longer exist as self-contained communities, Lyles Station continues. The restored school building and the Wayman Chapel AME Church are two remaining points of interest in Lyles Station to remind residents and visitor of its heritage as one of Indianas early rural black communities. The community hosts annual reunions and its advocacy group, the Lyles Station Historic Preservation Corporation, preserves its heritage.</p><br>
<p>The Cathedral of Saint Joseph of Wheeling or Saint Joseph&#39;s Cathedral is the seat of the bishop of the Catholic Diocese of Wheeling–Charleston. In addition to being the seat of the bishop, the cathedral is home to the oldest congregation in the city of Wheeling, West Virginia. The cathedral is a contributing property to the East Wheeling Historic District on the National Register of Historic Places.</p><br>
<p>The current pastor of the cathedral is the bishop of the Diocese of Wheeling-Charleston, the Most Reverend Mark E. Brennan. The current rector is Father Penumaka "Pen" Manikyalarao and the vice-rector is Father John Soplinski.</p><br>
<h2>History</h2><br>
<p>The Cathedral of Saint Joseph is home to Wheelings oldest Catholic parish, dating to 1822 and Mother Church to the citys other parishes. It has been the liturgical heart of the Diocese of Wheeling (originally) since the dioceses erection by Pope Pius IX in 1850 and is an architectural and artistic treasure in both the city and state. The name cathedral derives from the church which houses the bishops cathedra or official seat of teaching and governing authority.</p><br>
<p>In 1847, the cathedral was moved from its former location further south to the corner of Eoff and 13th Street, and the church was titled to Saint James the Apostle. The cathedral rectory still recalls this name in some of its decorations, the St. James&#39; pilgrim shell clearly repeating throughout the first floor of the building. In 1850, St. James became the cathedral of the diocese, with Bishop Richard V. Whelan as the first bishop of Wheeling.</p><br>
<p>In 1872, in response to the rising devotion to Saint Joseph, Husband of Mary throughout the universal Church and the burgeoning labor movement among the Catholics of the coal fields, Bishop Whelan petitioned Rome to change the title of the cathedral to honor Saint Joseph.</p><br>
<p>Bishop Patrick Donahue became Bishop of Wheeling in 1894. Monsignor Thomas Quirk records in his journal, after returning from the Consecration at Wheeling, that there "was much talk about a new Cathedral." However, it seems that planning did not begin in earnest until after the Great War. Bishop Donahue conceived a design and began to interview possible architects, eyeing Edward J. Weber of Pittsburgh, a rising star in Church architecture, as a likely candidate. Bishop Donahue&#39;s death in October 1922, before work had even begun may have scuttled all plans, were it not for a serendipitous fire in 1923 that did significant damage to the cathedral structure.</p><br>
<p>The fire cleared the way for Bishop Swint, the fourth bishop of Wheeling, to begin the construction of the new cathedral, with the help of Weber and a team of artisans. In three short years, the new cathedral was completed and church was dedicated on April 21, 1926. Bishop Swint commented that he had "planned to build not for a few years, for fifty years or a hundred years, but to erect a building that would stand for hundreds of years and be a beautiful legacy which the present congregation would bequeath to future generations" (West Virginia Register 12/30/22).</p><br>
<p>The building was designed by Edward Weber and in the Neo-Romanesque style. It cost about $500,000 to build in 1926.</p><br>
<p>The present building was dedicated by Bishop John Joseph Swint in April 1926. The building is successor to the original cathedral, which was constructed in 1847.</p><br>
<p>In 1973, the church was renovated in order to comply with the post-Vatican II liturgy. In this renovation the altar was moved forward and various other changes were made.</p><br>
<h2>Architecture</h2><br>
<p>The cathedral is a Lombardi Romanesque structure with a modified basilica floor plan that is cruciform in shape. It features a dome that rises 148 ft above the crossing. Two turrets flank a rose window on the main facade and contribute to the fortress-like character of the building.</p><br>
<p>Design inspiration came from several churches in Italy, namely, the church of San Pietro in Toscanella and the cathedral in Prato, near Florence. Bishop Swint wanted the dome to be based on the dome of the cathedral of Santa Maria del Fiore in Florence, Italy. The sculpture in the tympanum of the main doorway, depicting "Christ in Majesty", was carved by Francis Aretz, who also sculpted the Stations of the Cross inside. Carved symbols of the Four Evangelists occupy quadrants around the wheel window, as in the Toscanella church, and a statue of St. Joseph stands above. The exterior pulpit and sounding board, both of stone, on the northeast corner of the facade derive from examples such as the cathedral in Prato, near Florence. A belfry tower at the southeast corner, between transept and apse, is not visible from the street, but can be seen from the courtyard adjacent to the cathedral.</p><br>
<p>According to the architect, the colorful interior of St. Joseph was created in the Mediaeval Byzantine style. The primary dome is filled with a depiction of heaven. The eye-catching mural, “Enthroned Christ and the Communion of the Saints,” which fills the half-dome of the apse, was painted by Felix B. Lieftuchter, and George W. Sotter designed the medieval-style stained glass. The long, broad nave is covered with a barrel vault decorated with colorfully painted trompe l&#39;oeil coffers. A free-standing ciborium, another feature typical of Lombard Romanesque churches, protects the marble high altar on which the tabernacle rests.</p><br>
<p>In 1973, changes were made to the interior in keeping with Vatican II standards, and in 1995–1996, the cathedral was restored and cleaned, including the murals and stained glass. A new pulpit, altar, lectern and font designed by Tracy R. Stephens were added.</p><br>
<p>In 1973, Bishop Joseph Hodges, the fifth Bishop of Wheeling (later, Wheeling-Charleston) oversaw renovations made to the liturgical space according to the norms set by the Second Vatican Council: the main altar was brought forward and centered under the dome, the original ambo (pulpit) and communion rail were removed, and side pews were reoriented to face the central altar.</p><br>
<p>Bishop Bernard W. Schmitt, the seventh Bishop of Wheeling-Charleston, undertook extensive renovations and restorations to repair the building&#39;s interior finishes and adapt the interior to contemporary liturgical needs. This project included: cleaning and conservation of murals and restoration of the painting of the interior; construction of liturgical furnishings to match original woodwork; installation of handicapped accessibility throughout the interior and exterior; new heating, cooling, electrical, lighting, and sound systems; construction of new baptismal fountain; restoration of floor tile and slate on altar platforms, refinishing floor under the pews; and construction of an addition with a kitchen and restrooms, and restoration of courtyard. This period of restoration was completed in 1996.</p><br>
<p>A new period of restoration and renovations began in 2006 under the leadership of Bishop Michael J. Bransfield, with the extensive works being carried out on the churchs roof and external windows, to provide a watertight structure, as well as to the original furnishings of the upper sanctuary, allowing the original cathedra to be restored to liturgical use. A restoration of the stained glass throughout the cathedral has been ongoing for the last seven years in addition to smaller restorations of the side altars and church furnishings. In 2012, important works were carried out in the sanctuary, installing a new marble floor, altar, and ambo designed in a language and materials drawn from the original high altar, designed by Mr. Weber, as well as restoring the pews throughout the church. At the same time, Mr. Webers inscription, in the church&#39;s main portico, was restored.</p><br>
<p>The adjacent rectory is a three-story, five-bay house that was built in the Gothic revival style in 1920. It is a brick structure that is built on a stone foundation and capped with a mansard roof with dormers. Plain brackets are located under the eaves. The wood carved double entrance way is flanked by columns that are capped with decorative stone carvings. The third floor features Gothic-arched tracery windows and a balcony with decorative stonework.</p><br>
<p>In 2011, the diocese initiated a major reorganization project for the campus of the cathedral, where the diocese had outgrown its existing 1950s-era chancery that houses the dioceses administrative offices. The existing campus included numerous buildings serving the areas Catholic community: St. Joseph Cathedral, the chancery, rectory, and archives, as well as a high school and elementary school. Plans for the reorganization included closing the existing elementary school due to low enrollment and renovating the building into a new chancery. This reorganization also involved the construction of landscape elements that would connect the old and new areas of the site and create enduring public spaces. These included the development of a community central courtyard and a garden dedicated to the Virgin Mary, adding to the sense of place and worship. A new fountain in the courtyard adds elements of movement and sound, creating an inviting and serene gathering area.</p><br>
<p>The Belknap Stone House in Newburgh, New York, was built by Abel Belknap in the 1750s.</p><br>
<p>Abel Belknap chaired the local Committee of Safety during the war, and when the Continental Army was encamped in the Newburgh area in 1782–83, the house served as James Clinton&#39;s headquarters in the area. Today it has been restored and operates as Stone Cottage Veterinary Clinic. It was added to the National Register of Historic Places in 2001.</p><br>
<p>The Samuel J. Tilden House is a historic townhouse pair at 14-15 Gramercy Park South in Manhattan, New York City. Built in 1845, it was the home of Samuel J. Tilden , former governor of New York, a fierce opponent of the Tweed Ring and Tammany Hall, and the losing presidential candidate in the disputed 1876 election. Tilden lived in the brownstone from 1860 until his death in 1886. From 1881 to 1884, which has been described as "the height of Victorian Gothic in residential architecture" with Italian Renaissance style elements. Since 1906 it has been the headquarters of the National Arts Club, a private arts club.</p><br>
<h2>Description and history</h2><br>
<p>The Samuel J. Tilden House is located on the south side of Gramercy Park, facing the park across Gramercy Park South between Irving Place and Gramercy Park West. It is a four-story sandstone structure, its exterior finished mainly in pink sandstone with ashlar finish. Pink marble is used in the entrance surrounds, and shiny stone material studs some of the horizontal stringcourses. The building interior retains many Victorian features dating to the Vaux redesign, including parquet floors and floor-to-ceiling wood paneling. Further carved details have been preserved by the National Arts Club and are displayed in basement spaces.</p><br>
<p>The rowhouses were built in the 1840s, after Gramercy Park was laid out by Samuel B. Ruggles. Tilden acquired first Number 15, and later Number 14, in the 1860s, and lived in the combined units until his death. During these years, Tilden rose to prominence for successful battling the political machine of Tammany Hall in city politics, and became Governor of New York in 1875. He ran for president in 1876, winning the popular vote, but losing the electoral college to Rutherford B. Hayes in a politically controversial process. The election is widely considered to mark the end of Reconstruction after the American Civil War. In those tumultuous times, he had both rolling steel doors and a secret escape tunnel.</p><br>
<p>The house was extensively restyled in the 1880s by Calvert Vaux, transforming it from the Greek Revival to a more Italianate Victorian style. Since 1906, the house has been occupied by the National Arts Club, a private arts club. The building was designated a New York City landmark in 1966, and declared a National Historic Landmark in 1976. It is the only known residence associated with the life of Tilden. It is located in the Gramercy Park Historic District.</p><br>
<p>Lit Brothers was a moderately-priced department store based in Philadelphia. Samuel and Jacob Lit opened the first store at Market and N. 8th streets in 1891. Lits positioned itself well as a more affordable alternate to its upscale competitors Strawbridge and Clothier, John Wanamaker, and Gimbels. The store&#39;s slogan was "A Great Store in A Great City," and it was noted for its millinery department.</p><br>
<p>The Lit Brother Store building was added to the National Register of Historic Places in 1979, and is located in the East Center City Commercial Historic District.</p><br>
<h2>History and architecture</h2><br>
<p>In 1891, Rachel P. Lit (1858-1919, later surnamed Weddel, still later Arnold) opened a women&#39;s clothing shop on the corner of Market and N. 8th Streets. With the administration and innovative advertising techniques of her brothers, Colonel Samuel David Lit (1859-1929) and Jacob David Lit (1872-1950), their small store soon became one of the largest retail stores in Philadelphia.</p><br>
<p>From 1895 to 1907, the store continued to expand, with the company taking over the remaining buildings on the North side of the block on Market between 7th and 8th Streets &ndash; including the J. M. Maris Dry Goods Store, the Bailey Store, and the J. B. Lippincott publishing house &ndash; and adding new buildings on the corners at either end of the block designed to blend in with the existing buildings.</p><br>
<p>With alterations and additions, the Lit Brothers Store became the only full block of Victorian architecture in Philadelphia, composed of 33 buildings constructed between 1859 and 1918, with a common interior. The new buildings and the alterations were designed by Charles M. Autenrieth and Edward Collins.</p><br>
<p>Although the store on Market Street was often called the "cast-iron building", only two of original building&#39;s facades at 719-721 Market and 714-718 Arch Street are cast iron. The other buildings are brick, faced with marble or granite. The two end buildings are brick and terra-cotta, with galvanized iron trim and octagonal towers. The uniformity of the entire Renaissance Revival-style facade is supported by the use of a classical arch window in all of the buildings, which are painted the same color.</p><br>
<p>The company was purchased in 1928 by Albert M. Greenfields Bankers Securities Corporation and was eventually merged into its City Stores Company &ndash; now CSS Industries, Inc. &ndash; a retail holding company consisting of stores located in urban centers throughout the south and east, such as the W & J Sloane furniture store, and the Washington, D.C.–based department store chain Lansburghs. In 1962, they purchased the suburban locations of Snellenburg&#39;s, another Philadelphia department store chain owned by Bankers Securities Corporation, which was closed in 1963. The Lit Brothers chain closed in 1977.</p><br>
<h3>Enchanted Colonial Village</h3><br>
<p>Lits joined its fellow Center City department stores in presenting a Christmas season exhibit when, in 1962, it opened the Enchanted Colonial Village. The Village, designed by Philadelphia display designer Thomas Comerford, cost approximately $1 million (equivalent to $ million in ). It was built by German toy manufacturer Christian Hofmann of Bad Rodach, West Germany. This room-by-room display of a colonial-era Christmas ran each year from Thanksgiving to New Year&#39;s Eve, and remained until the final Christmas season in 1976.</p><br>
<p>The exhibit itself was bought from liquidators for $35,000 by the Sun Oil Company, who later donated it to the Atwater Kent Museum. It has since been restored, and since 2001 sections are displayed around the holiday season at the Please Touch Museum. The Please Touch Museum donated the entire Lit Brothers Enchanted Colonial Village to the American Treasure Tour Museum in Oaks, Pennsylvania. As of December 2019, the American Treasure Tour Museum is in the process of rebuilding the entire display and featuring it as a permanent part of their collection.</p><br>
<h3>Growth and competition</h3><br>
<p>Lits saw the growing demand for suburban locations, and started building stores in mall locations around the greater Philadelphia market, including southern New Jersey. Lits also operated a store in nearby downtown Camden, and Lits was the only one of Philadelphias department stores to maintain a branch along the New Jersey Shore, when it acquired the Blatt Department Store in downtown Atlantic City, and re-branded this location as Lits. Additional suburban locations were added with the acquisition of Snellenburgs in 1962.</p><br>
<p>Faced with growing competition in a changing retail landscape, Lit Brothers closed its doors in April 1977.</p><br>
<h2>Suburban branch stores</h2><br>
<p>Prominent suburban branch stores in the Philadelphia area included Bensalem, Pennsylvania, Plymouth Meeting, Pennsylvania, Willow Grove, Pennsylvania, Wyomissing, Pennsylvania, and Voorhees Township, New Jersey.</p><br>
<h2>Repurposing of flagship store</h2><br>
<p>After the chain closed in 1977, the full-block flagship store was vacant until the late 1980s. In November 1985, Mellon Bank committed to a 25-year lease for half of the building&#39;s space. The building was redeveloped as office and commercial space by Growth Properties. The project was designed by Burt Hill Kosar Rittelmann Associates and John Milner Associates. The building reopened in 1987 as Mellon Independence Center, named after its principal occupant, the regional headquarters for Mellon Bank, and featured retail stores on the street level, and a food court on the lower level.</p><br>
<p>The historic 720,000 ft&sup2; building was put on the market in 2007, with an asking price of $70 million (~$ in ). The main entrance, addressed as 701 Market Street, carried the name Market Place East, but was renamed the Lits Building in June 2013. Five Below moved their headquarters to the Lits Building in 2018.</p><br>
<p>As of 2020, a Lit Brothers neon sign labels the main entrance. The sign reading "Hats Trimmed Free of Charge" can still be seen today on the façade of the redeveloped flagship building.</p><br>
<p>The Simon Theatre is a theater in Brenham, Texas. It was built by James Simon, designed by Houston architect Alfred C. Finn, and constructed in 1925. For many decades the Simon Theatre provided the community with a setting for theatrical performances, vaudeville acts, ballroom dances, special events and movies.</p><br>
<h2>Recognition</h2><br>
<p>The Simon Theatre is recognized by The League of Historic American Theatres as a Texas Historic Theatre, and the Architecture Division of the Texas Historical Commission has listed it as an Endangered Historic Property. The Brenham Main Street Historical Preservation, an historical preservation project, is creating a downtown visitor center within the building. The Simon Theatre is part of the Brenham Downtown Historic District, an historical landmark on the National Register of Historic Places.</p><br>
<h2>Simon Center</h2><br>
<p>The Simon Theatre is currently under renovations and will be renamed the Simon Center. "Save our Simon" is an organization dedicated to the preservation of the Simon Theatre. On September 28, 2007, the organization raised $1.2 million for the renovation of the Simon Theatre. On February 22, 2007, the chairman of the Texas Historical Commission, John Nau, stated that the Simon Center in downtown Brenham would restore a historic building and be, "a tremendous economic development investment for the community." The plans include refurbishing the 83-year-old theater and ballroom so that it may be used as a convention center and visitors center. The "Save Our Simon reached the $2 million mark at the end of 2008 and has raised $2.3 million so far."</p><br>
<p>"Dallas architecture ArchiTexas is overseeing the design of the theater. The company has done restorations of courthouses and other old theaters in Texas." Donna Cummins - Save Our Simon administrator stated.</p><br>
<p>A. E. Burckhardt House is a registered historic building in Cincinnati, Ohio, United States, that was listed in the National Register on March 3, 1980. It was designed by Samuel Hannaford.</p><br>
<p>It was home of Bavarian-born furrier Adam Edward Burkhardt, who established his company in Cincinnati in 1866.</p><br>
<p>The Burkhardt House was demolished in October 2022 after a period of vacancy.</p><br>
<p>Samuel Burdsal House is a registered historic building in Cincinnati, Ohio, USA, listed in the National Register on June 10, 1982.</p><br>
<h2>Historic uses</h2><br>
<p>The home was built by Samuel Burdsal in 1834 as a dwelling for his family following his marriage to Mary Ann Turner of Boston, Massachusetts. Located in the historic Pendleton district, the home is on the National Register of Historic Places. Known as the "Samuel Burdsal House" the structure was added to the National Register in 1982, number: 82003577. The home is also known as the "Mushkat-Burrow House", and is located at 1342 Broadway St., Cincinnati, Ohio.</p><br>
<p>The Cincinnati Gazette dated 29 June 1888 discusses Samuel Burdsal and states:</p><br>
<p>"Samuel Burdsal, seventy-seven years of age, the oldest druggist in Cincinnati, died at fifteen minutes past eleven yesterday morning. He was born in Newtown, January 9, 1812. When a young man of twenty he came to Cincinnati and entered into the drug house of Ashton, Cleveland and Co., on the south-west corner of Fifth and Main streets. Mr. Cleveland, who was a member of the firm, was the uncle of Grover Cleveland, the President, and came from that good old Democrat County of Clermont. When he became of age, Mr. Burdsal went into business for himself and was for a time on Main Street. Afterward he moved to No. 409 Main Street, opposite the Court House, and for fifty two years has occupied these premises consecutively. Five years ago he celebrated his golden wedding at which time Mr. Dunlap, now of Cedarville, who was one of his groomsmen, was present. In the early days of the Volunteer Fire Department Mr. Burdsal was an enthusiastic member and was for many years the Treasurer of the Sevens."</p><br>
<p>Samuel Burdsal was the son of Joshia Burdsal (Trenton, New Jersey) and Hannah Williamson of Pennsylvania. The couple had two daughters and three sons.</p><br>
<p>An unusual article titled, "Noted Loungers who used to delight to spit on Burdsal&#39;s stove" lists men such as Gen William H. Harrison (President of the US); various judges and noted lawyers, many additional generals and various governors, as well as Samuel Clemens.</p><br>
<p>The C.H. Burroughs House is a historic former house in Cincinnati, Ohio, United States. Constructed at the end of the nineteenth century by one of the city&#39;s most prominent architects, the house has been converted into a social club, but it retains enough of its integrity to qualify for designation as a historic site.</p><br>
<h2>History</h2><br>
<p>C.H. Burroughs arranged for the construction of the present house in 1888, using land that had formerly been owned by the nearby Lane Theological Seminary. Its design was produced by Samuel Hannaford, a prominent Cincinnati architect. The Burroughs House is one of many surviving Hannaford houses that were built in some of Cincinnatis most prestigious neighborhoods, including Walnut Hills, Clifton, and Avondale. Many of Hannafords designs were constructed in such neighborhoods because of the architects reputation: he was known for insisting on the highest quality materials and workmanship and for his willingness to design structures in many popular architectural styles. As a result, his designs gained great favor among many of the great men of politics and business in Gilded Age Cincinnati. Located in Walnut Hills, the house is owned by the Cincinnati Federation of Colored Womens Clubs, a group of social clubs for black women. The organization purchased the property in 1925 in order to have space in which they could meet without fear of race-based exclusion; they took more than twenty years to pay the mortgage in full, but the house quickly became a subject of pride for the members. Members use the house to host community functions, including charitable events to mentor children and to bring elderly adults together with older children.</p><br>
<h2>Architecture</h2><br>
<p>Built of brick, the C.H. Burroughs House rests on a stone foundation and is covered by a slate roof. Two and a half stories tall, its design mixes elements of the Queen Anne and Romanesque Revival architectural styles. The houses general floor plan is irregular, lacking symmetry, due partly to the presence of a prominent gable on one side of the facade and a round turret on another side. Including these two segments, the facade is divided into three bays, with a portico at the base of the middle bay, surrounding the main entrance. Even the front gable displays irregularity by the presence of a bay window solely in the first story. On all sides of the exterior, lintels of ashlar form belt courses, while lugsills combine to produce string courses. Most of the house is covered by a hip roof, although the turrets roof rises to a conical peak. The interior is divided into seventeen rooms, decorated with elements such as carven wood, brass chandeliers, multiple fireplaces with ornamental mantels, and crown molding.</p><br>
<h2>Preservation</h2><br>
<p>In early 1980, the Burroughs House was listed on the National Register of Historic Places, qualifying because of its distinctive historic architecture. Dozens of other properties in Cincinnati were added to the Register at the same time as part of a multiple property submission of buildings designed by Samuel Hannaford. The house was renovated in 1998 after the Cincinnati city government gave the club $230,000 for structural improvements.</p><br>
<p>The Wesley Butler Archeological District (designated 33HA249</p><br>
<p>In the late 1950s, an archaeological field survey visited the site repeatedly. Comparatively few artifacts were found: only scrapers, an axe, and tiny projectile points were found, all in tiny numbers, although numerous pieces of chert were discovered with evidence that humans had worked them. The survey found absolutely no pottery whatsoever, confusing the surveyors and leading them to suggest that the mounds and the village site had been the result of separate occupations of the same location.</p><br>
<p>The western portion of Hamilton County contains many archaeological sites, due primarily to its favorable terrain. The area is well watered by the Ohio and Miami Rivers; consequently, prior to white settlement of the region, there were large amounts of game, and edible plants could be found in large numbers. For this reason, the Wesley Butler site has been inhabited for at least six thousand years. In recognition of the district&#39;s archaeological value, it was listed on the National Register of Historic Places in 1976.</p><br>
<p>The William L. Gregg House is a historic Victorian building in the Second Empire style located in Westmont, Illinois.</p><br>
<h2>History</h2><br>
<p>Following the completion of the Chicago, Burlington and Quincy Railroad in 1864, shares of the land that was to become Westmont were sold to Phipps Industrial Land Trust. Following the Great Chicago Fire in late 1871, this land was again sold to several brick manufacturers to accelerate the regrowth of the city.</p><br>
<p>William L. Gregg owned the highest point of land near the railroad, allowing for easy export of brick by steam locomotive. Gregg constructed a house atop the hill to showcase the product of the Excelsior Brick Company. After the population of Chicago re-stabilized in the early 20th century, demand for brick was reduced and the house was rented and re-purposed for a variety of functions. The dilapidated house was considered for demolition in the 1970s, but a historical group restored the house. It was added to the National Register of Historic Places in 1980; The following year, it became the Westmont Historical Society museum.</p><br>
<p>It is currently located on the grounds of Lou Cimera Field in Veterans Memorial Park and is open to the public twice a week.</p><br>
<h2>Architecture</h2><br>
<p>The two-story William L. Gregg House is rectangular brick house. The mansard roof is steep with overhanging gable dormers. Double-hung windows are decorated with arch brick heads, except for the two flanking the main entrance. The side of the house now has a frame sun-porch, which was added in the 1920s. An addition was also made to the rear of the house at this time. Although the floor plan of the interior is intact, little of its original design remains. The house was moved a short distance and placed on a new foundation in 1977.</p><br>
<p>Old Main, constructed in 1907–1908, is a historic building at Dakota College at Bottineau , a two-year college in Bottineau, North Dakota. The building previously housed the North Dakota School of Forestry. The building is listed in the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>In 1889, the North Dakota legislature desired to build a forestry school. Bottineau was chosen as the location in 1894. The state legislative assembly raised $25,000 in 1907, then commissioned architect Joseph Shannon for the building, completed in 1908. The school was constructed in the Romanesque Revival style. The school&#39;s campus expanded over the years, but the original building kept its nickname of Old Main.</p><br>
<h2>Current status</h2><br>
<p>A new addition has been constructed at Dakota College at Bottineau (then called Minot State University–Bottineau) and Old Main will be left vacant. People at the college are looking at ways to maintain the building and put it to a new use. It will be left vacant and minimally heated after faculty have moved into the new addition in August 2007. The building is considered endangered by Preservation North Dakota.</p><br>
<p>The Tiffany and Company Building, also known as the Tiffany Building and 401 Fifth Avenue, is an eight-story commercial building at Fifth Avenue and 37th Street in the Midtown Manhattan neighborhood of New York City. The structure was designed in the Renaissance Revival style by Stanford White of McKim, Mead & White. It was built from 1903 to 1905 as the flagship store of jewelry company Tiffany & Co. The building is a New York City designated landmark and a National Historic Landmark.</p><br>
<p>The Tiffany Building has a marble facade inspired by that of the Palazzo Grimani di San Luca in Venice. The facade is divided by large entablatures and cornices into three horizontal tiers; the lowest tier has square piers and rectangular openings, while the second and third tiers have round columns and arched openings. The Tiffany Building has a steel superstructure and a sloped metal roof that resembles a tiled roof. The interior originally comprised seven above-ground stories and two basement levels; a mezzanine was added above the first story in 1952. The basement contained a vault, the first six stories contained various departments of the store, and the seventh story was an exhibition space. The interiors were decorated with various woods, marbles, and Guastavino tiles, much of which has since been removed.</p><br>
<p>Tiffany & Co.&#39;s president Charles T. Cook developed the building, which cost $600,000 and opened on September 5, 1905. The Tiffany store prospered through the 1920s, but it suffered through the Great Depression. After the company moved to a new flagship store on 57th Street in 1940, the building was occupied by American Red Cross and Textron in the 1940s. Henry Goelet of the Goelet family acquired the building in 1951 and renovated the lower stories, while the upper stories were occupied by Allied Stores from 1950 to 1973. Sun Myung Moon of the Unification Church bought the Tiffany Building in 1977 and used it as a newspaper office. Following a failed plan in the late 1980s to build a tower above the Tiffany Building, the upper stories were used as television studios. The Stahl Real Estate Company bought the building in 2000 and renovated the lower stories.</p><br>
<h2>Site</h2><br>
<p>The Tiffany and Company Building is at 401 Fifth Avenue in the Midtown Manhattan neighborhood of New York City, at the southeast corner with 37th Street. The building&#39;s land lot is nearly rectangular, with a recess at its southeast corner, and has a total area of. Nearby buildings include The Langham, New York hotel and 404 Fifth Avenue to the west; the Lord & Taylor Building one block north; 200 Madison Avenue to the southeast; and the Gorham Building at 390 Fifth Avenue to the southwest.</p><br>
<p>The residential core of Manhattan relocated north from lower Manhattan during the late 19th century. At the beginning of the 20th century, development was centered on Fifth Avenue north of 34th Street, where new department store buildings were quickly replacing the street&#39;s brownstones. One of the first new store buildings in the area was the B. Altman and Company Building, which opened in 1906. Other department stores such as Lord & Taylor, as well as specialty stores such as Tiffany & Co. and the Gorham Manufacturing Company, relocated during the 1900s and 1910s.</p><br>
<h2>Architecture</h2><br>
<p>The Tiffany and Company Building was designed by Stanford White of McKim, Mead & White for luxury retail store Tiffany & Co. It is the company&#39;s fifth flagship store in New York City. The facade is an adaptation of the Palazzo Grimani di San Luca in Venice. The building was originally seven stories tall, though its facade is divided into three horizontal tiers. The top of the roof is above ground; the high ceilings made the building about as tall as a typical 11-story structure. The facade remains intact, but the interior layout has been changed significantly. The addition of one story in the lowest tier makes the building now eight stories tall.</p><br>
<h3>Facade</h3><br>
<p>The facade is made largely of marble with finishes of iron and terracotta. It is divided vertically into five bays on its western elevation, facing Fifth Avenue, and seven bays on its northern elevation, facing 37th Street. Originally, the facade used clear wire glass for fireproofing, which was imperceptible from both the inside and the outside.</p><br>
<h4>First tier</h4><br>
<p>The bays of the lowest tier are mainly articulated by pairs of square Corinthian piers made of marble. Most bays are separated by two square piers, which rise from a single marble pedestal. These support an entablature and balustrade above the second floor. Between these piers, each bay has a square-headed opening.</p><br>
<p>On Fifth Avenue, the outermost bays provided an entrance to the Tiffany & Co. store. Several storefronts, with black-granite piers and spandrels, were installed in their place. The black granite was removed in 2002 and the original design of the ground story was restored, with new square piers and bronze storefronts. The pilasters at the ground story are lighter in color than those above.</p><br>
<p>On 37th Street, the third and fourth bays from west contained porticos similar to those on Fifth Avenue, while the remaining bays contained storefronts. The center three bays are separated by single rounded columns. The rest of the bays are separated by pairs of square piers, similar to those on Fifth Avenue. The two westernmost bays were modified in 1952 to resemble the storefronts on Fifth Avenue. The third through sixth bays from west remain intact, except for the addition of black-granite spandrels at the mezzanine level. The seventh bay from west (the easternmost bay on that elevation) was retrofitted with a black-granite entrance, removed in 2002.</p><br>
<h4>Second and third tiers</h4><br>
<p>The second and third tiers are designed similarly with only minor differences. On both tiers, the windows are designed as double-height arches. The bays are separated by rounded Corinthian-style engaged columns, which are generally grouped in pairs The columns contain imposts at that level; these imposts support round arches that rise to keystones at the top of the fourth story.</p><br>
<p>Above the fourth floor, at the central bay on 37th Street, This statue had been placed on Tiffany & Co.&#39;s previous headquarters and has been at 6 East 57th Street since 1940. The statue was of a bearded, thin man and was sculpted from wood of a fir tree, painted to resemble the patina of weathered bronze. The feet were made of solid lead. Aside from the Atlas statue, White intentionally did not put any sculpture on the facade.</p><br>
<p>An entablature separated the fourth floor (top of the second tier) and fifth floor (bottom of the third tier). The fifth and sixth stories are designed almost identically to the third and fourth stories, respectively. The main difference is that the engaged piers are covered with panels, and the spandrels of the arches are covered. The facade is topped by an entablature and a cornice with large modillions. The roof appeared to be a tile roof, but it was actually a fireproof metal surface fabricated by the Meurer Brothers.</p><br>
<h3>Structural and mechanical features</h3><br>
<p>The interior was divided into seven above-ground stories and two basement levels. High ceilings and glazed windows allowed natural light to illuminate almost all of the selling spaces on the first to sixth floors.</p><br>
<p>As a fireproofing measure, the Tiffany store minimized the use of wood. In addition, all doors were made of steel and all windows were made of wire-glass with steel frames. Terracotta and clay were also used for fireproofing. The ceilings of the basement and top floor were both made of Guastavino tiles, manufactured by the National Fire Proofing Company. Also included within the building were glass partitions made by the Pittsburgh Plate Glass Company in a manner resembling marble. All the interior windows, facing adjacent buildings on the same block, are made of wire glass.</p><br>
<p>Six elevators originally served the building&#39;s upper floors. In 1952, two of the elevators were removed while the other four elevators were rebuilt. The basement contained three small generators and an ice machine; to prevent vibrations, the foundation of the basement was encased in a layer of sand. Each floor had eight ventilation fans.</p><br>
<h3>Interior</h3><br>
<h4>Basement</h4><br>
<p>The basement contained a safe deposit vault and a valuables-storage department. The vaults ceiling was made of masonry. Its walls were thick Inside were 2,036 safe-deposit boxes, each of which was secured by a double combination lock. The vault was so closely guarded that, when the vault experienced a minor fire in 1914, the stores security guards initially refused to let New York City Fire Department firefighters in. The safe remained in place even after Tiffany & Co. relocated in 1940.</p><br>
<p>The vault was accessed by a marble hallway with decorative gates at one end. There was also a safe-keeping department with Guastavino-tiled ceilings and marble walls. The coupon room was surrounded by white-glass walls. On the 37th Street side was the shipping department. Packages would be loaded in the basement, where they were then lifted to a vestibule at street level and loaded onto trucks.</p><br>
<h4>First story</h4><br>
<p>The original first story contained gray decoration. The space had purplish-gray German marble columns. as well as selling counters decorated with griffin-shaped legs. Some wall surfaces were made of Formosa marble. Other walls and counters had teakwood with brass-and-steel borders. The first story originally contained ten tons of bronze fixtures, which were removed from the store in a 1952 renovation. Behind the elevators was an exhibit room trimmed in ash, which contained a brass coffered ceiling. The double-height ceiling was extensively coffered, and silvered chandeliers were hung from the coffers. In 1952, a mezzanine level was created within the upper half of the original space, and the original first story was slightly lowered.</p><br>
<h4>Upper stories</h4><br>
<p>The front of the second floor, facing Fifth Avenue, was used for selling Tiffany glass, statuary, and bronze merchandise. which were decorated with wood. The second floor also contained the counting rooms, correspondence, and mail order departments. Tableware, pottery, and glass were sold on the third floor, and the registry offices and the order department were also on that story. The fourth floor contained the photography, engraving, design, heraldic, and library departments. Goldsmiths, polishers, and diamond cutters worked on the fifth floor, while the sixth floor sold leather goods and clocks. Two of the upper floors contained wooden-tiled floor surfaces laid in a herringbone pattern.</p><br>
<p>The seventh floor, at the top of the building, was not in the original plans. It was only added after McKim, Mead & White realized that there was enough space beneath the metal roof. The center of the ceiling had an oval glass skylight measuring.</p><br>
<h2>History</h2><br>
<p>Charles Lewis Tiffany and John B. Young founded the stationery store Tiffany, Young and Ellis in 1837; the store was housed at 259 Broadway in Lower Manhattan. The company began selling jewelry, glassware, and clocks in 1839, and these items comprised most of the firm&#39;s sales four years later. This prompted the firm to expand to a neighboring building. Tiffany & Co. moved to 271 Broadway in 1847 With the uptown movement of commerce, Tiffany & Co. built a headquarters at 15 Union Square West in 1870. As late as 1893, Charles Tiffany denied rumors that the company would move yet again to Fifth Avenue and 34th Street, even as other companies were doing so.</p><br>
<h3>Tiffany use</h3><br>
<h4>Development</h4><br>
<p>Charles Tiffany was again planning to relocate the headquarters of Tiffany & Co. by 1902, but he died that year, before the company could relocate. Tiffanys successor as company president, Charles T. Cook, bought a site at Fifth Avenue and 37th Street from George C. Boldt in April 1903. The site cost $2 million and measured on Fifth Avenue by on 37th Street. Cook planned to build a new headquarters on the site, hiring McKim, Mead & White to "build me a palace". McKim, Mead & White filed plans for a seven-story store with the New York City Bureau of Buildings in September 1903. The building was to measure 117 by 152 feet and was to contain a marble facade with cornices, three Atlas statues, and two entrances. The next month, the Charles T. Wills Company was hired as the buildings general contractor. As the site was being excavated that October, the foundation walls collapsed, killing one laborer.</p><br>
<p>The buildings cornerstone was laid on March 16, 1904. That month, city inspectors alleged that the Tiffany Buildings contractors were violating construction codes by hastily erecting steel frames in the winters and then installing the brick-arched floors in the summers. At the time, New York City law mandated that the top of a development site&#39;s steel structure could not progress more than three stories beyond the highest brick-arched floor. The southern lot line, which abutted the home of Henry O. Havemeyer, was originally irregular in shape; this created a situation in which parts of one lot were surrounded on three sides by the other lot. In August 1904, Havemeyer and Tiffany & Co. swapped two of the interior lots to straighten out the boundary of the site. The building ultimately cost $600,000 to complete, excluding the cost of the land. The firm also designed a garage at 141 East 41st Street for Tiffany & Co.</p><br>
<h4>Operation</h4><br>
<p>The new Tiffany Building opened on September 5, 1905. At the time, the seventh floor was not complete. Within the first three minutes of the new stores opening, a customer had bought $9,575 worth of merchandise. The stores merchandise at the time ranged from $2,000 garters to $700,000 necklaces. In February 1908, the city government ordered that buildings on Fifth Avenue between 26th and 47th Streets had to remove stoops and vaults that encroached onto the street, as the city planned to widen Fifth Avenue. That December, McKim, Mead & White filed plans to remove the marble steps in front of the building. Three months later, the firm filed plans for a seven-story building to the south, later the Gunther Building. Although that site was owned by Tiffany & Co., the Tiffany store did not occupy that land lot.</p><br>
<p>Tiffany & Co. had been one of the earliest stores to move uptown to Fifth Avenue, which at the time was still primarily residential. In 1910, the New-York Tribune reported that the Altman and Tiffany buildings had prompted high demand "of high-class retail houses for locations on the avenue".</p><br>
<p>By the late 1930s, commerce on Fifth Avenue had relocated still further uptown to 57th Street. In May 1939, the company leased a site on 57th Street from First National City Bank, which acted as trustee for the William Waldorf Astor estate, the previous owner of the property. In exchange, National City Bank agreed to take over the 37th Street building. Tiffany & Co. then hired Cross & Cross to design a new flagship store at 6 East 57th Street. The new flagship store opened on October 21, 1940. The same day, Tiffany & Co. deeded the 37th Street site to the Astor estate, with National City Bank paying $1.2 million. The interior of the old store was disassembled immediately after the Astors acquired the building.</p><br>
<h3>1940s to mid-1970s</h3><br>
<p>For three years in the early 1940s, the ground floor was leased to the American Red Cross, and then sold the leasehold to industrial company Textron. Textron then remodeled the first to third floors and, in the interim, opened an office on the seventh floor in April 1946. Textron planned to eventually occupy the entire building and rename it. The company also added an air conditioning system. In July 1949, Textron announced plans to move its mens division to the Empire State Building while keeping the womens division at 401 Fifth Avenue. That November, Textron sold the leasehold, which was then acquired by Charles A. Frueaoff. Allied Stores leased the third through sixth stories of the Tiffany Building in 1950, and the Office of Price Stabilization also briefly occupied the building until early 1952.</p><br>
<p>Henry Goelet of the Goelet real-estate family obtained full ownership of the Tiffany Building in January 1951 in a series of transactions worth $8.5 million. He bought the leasehold from the Frueaoff estate, as well as the fee interest in the land, from the Astor estate, obtaining $1.5 million in short-term financing. In 1952, Goelet detailed his plans to renovate the building. He planned to lower the first story slightly, add a mezzanine above it, remodel the storefronts, and add new air conditioning and elevators. Charles N. and Selig Whinston conducted the renovations, which cost $1 million. Ten tons of bronze and $1 million of marble were removed during the project.</p><br>
<p>The Gotham Hosiery Company leased the new mezzanine level in 1953, Allied renovated the fifth to seventh floors in 1960, consolidating its marketing department there. Allied continued to occupy the Tiffany Building until 1973, when it moved to 1120 Avenue of the Americas. The surrounding stretch of Fifth Avenue had begun to decline by the 1970s. A Burger King fast-food restaurant had opened within the Tiffany Building by 1976.</p><br>
<h3>Late 1970s to present</h3><br>
<p>In 1977, Sun Myung Moon of the Unification Church bought the Tiffany & Co. Building for a reported $2.4 million. The church promised to restore the Tiffany Building into offices for its daily newspaper, The News World. Within four years, the building had an estimated value of $4.3 million, and it housed the English and Spanish editions of the church&#39;s daily newspapers. The New York City Tribune, a subsidiary of The News World, was formed in 1983 and also had its offices in the Tiffany Building. Noticias del Mundo, a newspaper also run by the Unification Church, took some office space as well. The Unification Church planned to eventually restore the Tiffany Building, but it did not conduct any work in the decade after it purchased the building.</p><br>
<p>The Unification Church proposed restoring the building and erecting a tower above it in 1987. If built, it would have been 40 stories tall and made of precast concrete. Most of the facade of the original building would have been restored, except for two bays on the highest tier, which would have been removed to create a light court. The next year, the LPC designated the building as a landmark. Meanwhile, News World Communications acquired three lots beside the Tiffany Building to enable the construction of a tower with. The Unification Church canceled its plans to build a tower above the Tiffany Building in 1990, after the LPC rejected a similar tower over the Metropolitan Club building. Instead, the church planned to restore only the exterior storefront signs.</p><br>
<p>By 1991, the top floor was available for lease. Its broker described the space as being "ideal for a fashion or accessories showroom, or a television or video production company" due to its high ceilings. The Image Group also produced The People&#39;s Court in the building, and American Eagle Outfitters occupied two floors by the end of the 20th century. In 2000, the Stahl Real Estate Company bought the building, evicted three retail tenants, and began restoring the space. After the renovations, Stahl leased out on the ground floor and in the basement. The piers at the ground story were restored, although they were much lighter in color than the original piers above them.</p><br>
<h2>Reception</h2><br>
<p>When the building opened, Architects and Builders magazine said the interior color scheme "has been treated by a master hand". James described the building as having been designed "within the conditions of sociable symmetry", complementing McKim, Mead & White&#39;s other buildings on Fifth Avenue, including the Knickerbocker Trust Company Building, the Gorham Building, and the clubhouses of the University Club of New York and Metropolitan Club. Architectural Record wrote: "Compared to the Gorham Building, the Tiffany Building is by way of being frivolous". Henry Olmsted Jr. said: "Architects and Capitalists are awakening to the splendid returns obtained from building construction embodying the best skill and materials money can purchase", with the Tiffany Building being one such example.</p><br>
<p>When the building was renovated in the 1950s, architectural writer Lewis Mumford disapproved of the changes, saying there should be a "Society for the Prevention of Cruelty to Buildings". In the late 1970s, Paul Goldberger said the Tiffany and Gorham buildings were "splendid examples" of Renaissance palazzos on Fifth Avenue, even though the style "did not remain the favored architectural motif of the avenue for too long". Architectural critic Ada Louise Huxtable described the Burger King&#39;s presence at ground level as part of "the mutilation of Fifth Avenue", while Robert A. M. Stern described it as an "indignity". By 1990, Christopher Gray had described the building as "a notorious object lesson in how not to treat a landmark&quot at the time, the facade was extremely dirty. Even after the lower section of the facade had been restored in the 2000s, Gray described the restored section as being like "a pair of khakis dipped in bleach".</p><br>
<p>One Hanover  is a commercial building at 1 Hanover Square, on the southwestern edge of the square, in the Financial District of Lower Manhattan in New York City. It was the site of the United States&#39; first cotton futures exchange, the New York Cotton Exchange., One Hanover is owned by SomeraRoad Inc., which uses the building as its headquarters.</p><br>
<p>One Hanover is composed of four originally separate structures. The main structure is a three-story brownstone building designed in the Italian Renaissance style and completed in 1854. The brownstone contains the buildings main entrance facing Hanover Square. Adjoining the brownstone are three brick structures at 60–64 Stone Street, which date to 1836 and were built as commercial stores. The brick buildings are four stories tall but are the same height as the brownstone. Inside are maritime-themed spaces that are used by Harrys Bar, Ulysses Folk House, and the India House club.</p><br>
<p>The brownstone initially served as the headquarters of the Hanover Bank, while other commercial tenants occupied the brick buildings. The New York Cotton Exchange, founded in 1870, occupied the building from 1872 to 1885. The building subsequently served as the headquarters of W.R. Grace and Company until the early 1910s. In 1914, the structures were purchased by the India House, a private club for gentlemen involved in foreign commerce, which continues to occupy the building. Over the years, various architects have made renovations to One Hanover Square, with the three Stone Street stores being gradually combined with the brownstone structure between the 1870s and 1910s. Restaurants have also been housed in various portions of One Hanover Square throughout its history. SomeraRoad bought the building in 2022 and renovated it into an office building the next year.</p><br>
<p>One Hanover&#39;s design, especially in regard to its later use as the India House clubhouse, has received critical acclaim. The building was designated a city landmark by the New York City Landmarks Preservation Commission (LPC) in 1965, was added to the National Register of Historic Places (NRHP) in 1972, and became a National Historic Landmark in 1977. It is a contributing property to the Stone Street Historic District, which was designated by the LPC in 1996 and by the NRHP in 1999. 1 Hanover Square has been depicted in works of popular culture, including the 2001 film Kate & Leopold.</p><br>
<h2>Site</h2><br>
<p>One Hanover is in the Financial District of Manhattan in New York City. It occupies the northeastern side of a block bounded by Stone Street to the northwest, Hanover Square and William Street to the northeast, Pearl Street to the southeast, and Coenties Slip to the southwest. The building carries the alternate addresses 2 Hanover Square, 60–66 Stone Street, and 95–105 Pearl Street. 1 Hanover Square contains frontage of 72 ft on Hanover Square, 123 ft on Stone Street, and 114 ft on Pearl Street. The building is near 1 William Street to the northwest and the British Garden at Hanover Square to the northeast.</p><br>
<p>The site was historically part of New Amsterdam, a 17th-century Dutch colonial settlement in modern-day Lower Manhattan; the buildings site was acquired by Richard Smith in the 1640s. By the next decade, the southern portion of the lot was sold to Evert Duyckingh (also "Duyckinck"), who developed a house on the site. The northern portion was given to Abraham Martens Clock, who also developed a house on his site; after 1673, town official Nicholas Bayard bought the western end of Clocks land and built a house there. There were numerous buildings on the site by 1812, occupied by various dwellings and businesses.</p><br>
<h2>Architecture</h2><br>
<p>One Hanover is composed of four formerly separate buildings. The main structure, completed in 1851, is a three-story masonry structure atop a raised basement, built out of brownstone in the Italian Renaissance style. Although Lower Manhattan formerly contained many Italianate commercial structures, 1 Hanover Square is the only remaining such structure.efnThe three additional brick structures, from northeast to southwest, are labeled:</p><br>
<p>64 Stone Street (front), 101 Pearl Street (rear)</p><br>
<p>62 Stone Street (front), 99 Pearl Street (rear)</p><br>
<p>60 Stone Street (front), 95-97 Pearl Street (rear) The architects for all of these structures are not known,</p><br>
<p>The lot comprising One Hanover was formerly six separate parts. Each of the four-story brick structures at 60, 62, and 64 Stone Street comprise one part extending the depth of the block to 95–97, 99, and 101 Pearl Street respectively. The main structure is composed of a three-story brownstone section on Hanover Square, a three-story brick section on 66 Stone Street, and a three-story brownstone section on 103 Pearl Street. All of the constituent structures occupy the same land lot. The building as a whole is roughly rectangular but has longer frontage on Pearl and Stone Streets.</p><br>
<p>One Hanover serves as the headquarters of the SomeraRoad Inc. and contains restaurant and bar space.</p><br>
<h3>Facade</h3><br>
<p>The main brownstone structure has its primary frontage on Hanover Square. There are eight vertical bays facing Hanover Square, of which the center two contain the main entrance. The Pearl and Stone Street facades incorporate the additional structures at 60–64 Stone Street. The Pearl Street facade contains four brownstone bays, similar to those on Hanover Square, as well as eleven brick-clad bays. The Stone Street facade has two brownstone bays and twelve brick bays. There is a flat roof atop the brownstone structure and slightly sloped roofs atop the brick structures.</p><br>
<p>The brownstone structure sits atop a slightly raised basement with rectangular sash windows and a facade of rusticated brownstone blocks. The Hanover Square facade is set behind a recessed area with an iron railing. One stair on each side of the main entrance leads down to the recessed area and the basement. The tall windows on the first floor are each flanked by paneled pilasters, which are topped by console brackets that support segmentally arched pediments. Second-floor windows are smaller, set beneath gabled pediments. The third floor windows are smaller still, with simpler rectangular surrounds.</p><br>
<p>The brick sections are largely four stories tall. The three easternmost bays at 66 Stone Street are three stories tall, similar to the main brownstone section. Along the brick sections of the building, the first story on both sides contains stone piers supporting a stone lintel. The upper stories contain rectangular windows with granite piers and lintels. Numerous alterations have been made to the first-story facades on either side, and there are various types of windows on the upper stories. There are ornate iron fire escapes on both sides of the building&#39;s brick sections. In addition, an iron basement hatch is at 95–97 Pearl Street, and there is a stoop leading to the basement at 99 Pearl Street.</p><br>
<h3>Interior</h3><br>
<h4>Basement and first floor</h4><br>
<p>Inside the main entrance is a vestibule measuring 10 by. A set of doors leads to a hallway, which connected to the former India House library on the right and the India Houses lobby, waiting area, reception area, and coat room on the left. At the end of the hall is a central stairway that splits into two perpendicular flights. The brick structures to the west contain offices, bars, and dining areas. Ulysses Folk House is within the ground floor space at 95 Pearl Street and the adjacent 53 Pearl Street. In Harrys Steakhouse and Restaurant, which occupies the buildings basement, were murals with images of drunken monks making wine.</p><br>
<p>In 2022, the first floor was converted into an amenity area and office lobby. There is a reception counter made of marble and wood, as well as a lounge with mid-20th-century seating, a wood-burning fireplace, a bar, and suspended gold fixtures. Also on the first floor are meeting rooms with glass panels and wooden pocket doors, as well as a larger conference space. The central staircase retains its original dark-wood design.</p><br>
<h4>Upper stories</h4><br>
<p>The upper floors of the main structure contain plaster walls, as well as several fireplaces with wood or marble mantelpieces. The second floor includes three dining rooms arranged around an opening that overlooks the hallway on the first floor. The third floor includes four dining rooms. The westernmost structure at 60 Stone Street contains a ballroom, the Marine Room, on its upper floor. The Marine Room was built in 1924 to designs by W. A. Delano and is connected to the second-floor landing of the building&#39;s central stairway.</p><br>
<p>By the early 21st century, the interior included nautical decoration and Oriental art. The maritime decorations included paintings, engravings, and models of ships. Among the maritime artifacts were a pair of cannons flanking the first-floor staircase banisters and a bell from the luxury ship SS Leviathan. During a 2022 renovation, the second-floor Marine Room&#39;s architectural detailing was restored.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<h4>Development and initial occupants</h4><br>
<p>In 1836, the year after the Great Fire, the 60–66 Stone Street and 95–105 Pearl Street lots were redeveloped with four-story brick commercial structures. a bank that had been incorporated that year.</p><br>
<p>The three-story brownstone for Hanover Bank was developed at 1 Hanover Square The four-story brick facade at 66 Stone Street was reconfigured so its fenestration, or window arrangement, matched that of the brownstone. According to the India House club, part of 1 Hanover Square was also occupied by Robert L. Maitland, or 1877. Sometime before its relocation, the Hanover Bank had sold the building to Maitland.</p><br>
<h4>New York Cotton Exchange</h4><br>
<p>The New York Cotton Exchange, founded in 1870, was initially housed in rented quarters nearby at 142 Pearl Street. The Cotton acquired the building from Maitland in February 1871 at a cost of $115,000. According to an exchange history, "the transactions increased rapidly in size and importance" after the relocation.</p><br>
<p>The Cotton Exchange&#39;s space was extended into the commercial building at 64 Stone Street/101 Pearl Street in 1876. A 16-year-old errand boy was killed the next year after falling from the top floor to the basement. The Third Avenue elevated train line on Pearl Street opened in 1878, overshadowing 1 Hanover Square. By the end of the decade, the Cotton Exchange decided to expand its quarters. Finding it impossible to purchase the brick rowhouses adjoining 1 Hanover Square, the exchange decided instead to look for sites for a new structure. The Cotton Exchange ultimately built a new headquarters on an adjacent block bounded by Hanover Square, Beaver Street, and William Street. The Cotton Exchange officially moved to its new building on April 30, 1885.</p><br>
<h4>W. R. Grace and Company</h4><br>
<p>One Hanover became the headquarters of W. R. Grace and Company. Shortly after W. R. Grace and Company had moved to the building, Julius Kastner designed and constructed the fire escapes on Stone and Pearl Streets. By the 1890s, images show the sign above the entrance was changed to "Old Cotton Exchange". George Ehret acquired the brownstone structure and adjacent brick structures in three separate transactions in the 1880s and 1890s. In 1899, 1 Hanover Square was merged with the commercial building at 62 Stone Street/99 Pearl Street, which previously had been owned by the estate of Manley B. Boardman.</p><br>
<p>At the beginning of the 20th century, One Hanover contained a Haitian consulate</p><br>
<h3>India House</h3><br>
<p>The India House, a private club for gentlemen involved in foreign commerce, was founded by James A. Farrell and Willard Straight in July 1914. It was so named because, at the time, merchants of the Western world were focused on trade with the Far East. Over the years, its members came to include politicians such as USA President Franklin D. Roosevelt; USA secretary of commerce Harry Hopkins; USA treasury secretary Henry Morgenthau Jr. USA secretaries of state George C. Marshall, James F. Byrnes and Cyrus Vance; New York governor W. Averell Harriman; USA Senator Henry Cabot Lodge; and mayors John P. O&#39;Brien and William Adams Delano.</p><br>
<h4>1910s to 1960s</h4><br>
<p>During mid-1914, India House obtained a ten-year lease on 1 Hanover Square and an option to buy it. George Ehret renovated the structure, removing the parapet atop the brownstone and adding a light-colored coating to the facade. In addition, maritime artifacts were moved to the clubhouse. The club moved into the building on November 16, 1914.</p><br>
<p>In 1915, plans were filed with the Manhattan Bureau of Buildings for a 20-story office building on the site. The filing was a preparatory measure rather than an indication that the site was to be redeveloped. The building was sold in January 1917 for $750,000, with J. Reuben Clark reported as the buyer. 1 Hanover Square was subsequently bought by Straight in 1918, and his widow Dorothy Payne Whitney continued to hold the property after his death the same year. In 1921, India House Inc. decided to purchase 1 Hanover Square for $650,000. William Adams Delano and Chester Holmes Aldrich further renovated 1 Hanover Square between 1924 and 1925. During this renovation, a skylighted third-floor meeting room was added with nautical decoration. As part of the renovation, the basement and cellar were also altered or expanded. The buildings basement restaurant was damaged in a 1925 fire; engine crews had gotten confused while simultaneously trying to fight another fire across the street. The club installed soundproofing in the buildings dining rooms in 1937.</p><br>
<p>The Third Avenue Elevated was closed in 1950 and subsequently removed. The lines demolition allowed both greater sunlight and quieter meetings; according to the India Clubs president, the passing trains were loud and had shaken the foundations of the building. The sheet metal balustrade was removed from the cornice during this time. Members of the India House proposed a maritime-themed park on Hanover Square, which was dedicated that November. By the 1960s, the basement contained a German-American tavern called Hanover Square.</p><br>
<h4>1970s to 2010s</h4><br>
<p>In 1972, Harry Poulakakos and his wife Adrienne opened Harry&#39;s Bar within the basement of 1 Hanover Square. By the 1980s, the bar typically served hundreds of patrons during lunch and dinner, and it had private telephone lines connecting to nearby brokerage houses. Meanwhile, India House had sold off much of its collection of maritime artwork by then. The India House Foundation, created in 1999, unsuccessfully attempted to save the collection.</p><br>
<p>Harrys survived the September 11 attacks in 2001, as did Bayards. After Adrienne Poulakakos died in August 2003, and amid a general decline in patronage, Harrys suddenly closed that November, Harry and Peter Poulakakos opened Harrys Steakhouse and Restaurant in May 2006. Also in the mid-2000s, Peter Poulakakos opened and co-operated Ulysses Folk House and Adriennes Pizza Bar within 1 Hanover Square and the adjacent buildings on Pearl and Stone Streets. Bayards had been closed by the 2010s.</p><br>
<h3>Office conversion</h3><br>
<p>India House closed permanently during the COVID-19 pandemic in New York City in 2020. SomeraRoad bought the building in March 2022 and began converting the upper stories into offices.</p><br>
<h2>Critical reception and landmark status</h2><br>
<p>The main structure was described by the AIA Guide to New York City as having "unfluted Corinthian columns and pedimented windows give an understated enrichment to the dour brownstone". After the India Club moved into 1 Hanover Square, a reporter for The New York Times said in 1929 that the "quiet dignity of the nineteenth century architecture furnishes a sharp contrast with the massive towers of banks and commercial structures in the Wall Street district" nearby. The architect Alexander Trowbridge characterized the building in 1926 as among the citys most attractive clubs, while Antiques magazine called the interior of the India Club "a kind of collectors paradise" in 1938. By the 1960s, it was described in the New York Daily News as a "well-preserved" structure "that contrasts sharply with many of its dilapidated neighbors". A Times reporter wrote in 2001 that the India Club building "evokes the heyday of Manhattan&#39;s waterfront" despite being one block inland.</p><br>
<p>One Hanover&#39;s exterior was designated by the New York City Landmarks Preservation Commission (LPC) as an official city landmark on December 22, 1965. It was one of the first landmarks to be designated by the LPC in Manhattan, and was re-added to the NRHP as a National Historic Landmark in 1977. 1 Hanover Square is also part of the Stone Street Historic District, which was designated as a New York City historic district in 1996 and as an NRHP district in 1999.</p><br>
<p>One Hanover and its occupants have also been depicted in works of popular culture. The building was used in the 2001 film Kate & Leopold as Leopolds family home. Harrys Bar in the basement was depicted as a traders&#39; favorite hangout in the 1987 novel The Bonfire of the Vanities. The art and artifacts at the India House were the subject of a 2014 book by historian Margaret Stocker.</p><br>
<p>Hugh Campbell House is a historic building near Harrison, Ohio. It was listed in the National Register of Historic Places on November 7, 1976.</p><br>
<p>The Hugh Campbell House was built 1854–1860 and is an excellent example of Italianate Villa architecture. Its builder, Hugh Campbell, was born in 1828 in County Tyrone, Ireland, and immigrated with his father to Philadelphia. He became a cattleman and contractor. In 1858 Hugh Married Martha A. Green. They had no children. Many nieces and nephews and a few servants lived in the home originally. Both are buried in Spring Grove Cemetery in Cincinnati and Hugh donated a significant portion of his estate to local orphanages when he died in 1901. The house was originally red brick, but painted over.</p><br>
<p>The Captain Stone House is a historic house in Cincinnati, Ohio, United States. A Romanesque Revival structure built in 1890, After Stone&#39;s lifetime, the house became a center for a Cincinnati chapter of Alcoholics Anonymous, which continues to host meetings at the property.</p><br>
<p>Located on a corner lot, Hannafords design features such distinctive elements as a round turret at the houses most prominent corner and a large gable on the house&#39;s front. Built with an asymmetrical floor plan, The walls are built primarily of large ashlar blocks that form massive lintels, as well as smaller blocks that compose lug sills and string courses. Individuals may enter the house through a Romanesque entryway, which is accessed by a large front porch.</p><br>
<p>Stones house was typical of the Hannaford style; four other Hannaford houses from the same period of time remain in Cincinnati, and all five buildings feature walls of coursed ashlar. By the late nineteenth century, Hannafords name was well known both in Cincinnati and elsewhere; he had produced the grand Music Hall in the 1870s, and many of the citys richest residents commissioned houses from him in the citys most prestigious neighborhoods. Dozens of nineteenth-century Hannaford designs remain in Cincinnati, including twenty houses; many of them have been deemed worthy of historic preservation because of their distinctive architecture. Among these houses is the Stone House, which was listed on the National Register of Historic Places in 1980, due to architecture that makes it important statewide, along with most of Hannaford&#39;s remaining buildings in Cincinnati.</p><br>
<p>The John Church Company Building is a historic commercial building in downtown Cincinnati, Ohio, United States. Designed by one of Cincinnatis most prominent architects, it was home to one of the countrys leading vendors of sheet music and musical instruments, and it has been named a historic site.</p><br>
<h2>History</h2><br>
<p>John Church Jr. established the company in 1859, and after taking partners into the firm, he incorporated it in 1885. Among the companys leading ventures was the marketing of pianos produced by the Everett Piano Company of Boston, Massachusetts, which was functionally a wholly owned subsidiary. Other subsidiary companies included Cincinnatis Royal Manufacturing Company, which produced smaller musical instruments such as drums, violins, guitars, mandolins, and banjos. These firms had been separate until 1892, when they were consolidated under one management in order to expand their influence over the broader world of music business.</p><br>
<p>Besides musical instruments, the John Church Company published large amounts of sheet music; by the late 1870s, they were the largest music publishing house in Cincinnati and all of Ohio, and one of the largest in the United States. Among their titles were educational works such as the "School of Singing" and religious works such as "Choir and Congregation", in addition to other publications in all fields of contemporary music. Theodore Presser Company acquired the John Church Company in 1930.</p><br>
<p>Built in 1885 on a foundation of limestone, the John Church Company Building is a primarily brick and stone structure in the Renaissance Revival style; its roof is rubber, and it features some elements of iron and steel. The five-story facade is divided into two sections of three bays each, with storefronts on the first floor and windows higher up, and topped with a decorative cornice. Although one of its neighbors is just three stories tall, it is substantially smaller than many of the surrounding buildings. Their building was designed by Samuel Hannaford, a leading Cincinnati architect responsible for designing many of the city&#39;s most significant buildings, including Cincinnati Music Hall. As a work of a prominent architect, the building was listed on the National Register of Historic Places in 1994; it is one of dozens of Hannaford designs listed on the National Register.</p><br>
<p>The Cincinnati and Whitewater Canal Tunnel is a historic yet abandoned canal tunnel in the southwestern corner of the USA state of Ohio. Located within the village of Cleves near Cincinnati, it was constructed in 1837 as part of the Whitewater Canal system. Since the canal&#39;s closure, it has largely been forgotten, but it has been designated a historic site.</p><br>
<p>After Indiana began building the Whitewater Canal in the 1830s, Ohio businessmen urged the construction of an extension from the canal to Cincinnati. The resulting Cincinnati and Whitewater Canal was completed in 1843, including a canal tunnel near the village of North Bend, which was finished six years before the canal opened for business.</p><br>
<p>Lined with brick,</p><br>
<p>Despite the efforts spent on building the Whitewater Canal, it was abandoned in 1856 after numerous floods had destroyed much of its length. This resulted in the abandonment of the canal tunnel, a period of stagnation that ended in 1863 when a railroad company began a twenty-five-year period of using it as an ordinary rail tunnel. Since the rail line was rerouted in 1888, the tunnel has become completely unusable, having silted up almost all the way to the ceiling. However, the tunnel has not been completely forgotten; the Ohio Historical Society and a group of private organizations placed a historical marker by the tunnel&#39;s northern portal in 2000, and it was listed on the National Register of Historic Places in mid-2001. Its historic significance derives from its rarity: only a handful of canal tunnels were ever built in the United States.</p><br>
<p>Cincinnati City Hall is the seat of the municipal government of Cincinnati, Ohio. Completed in 1893, the Richardsonian Romanesque structure was listed in the National Register of Historic Places on December 11, 1972. The building was designed by Samuel Hannaford at a cost of $1.61 million.</p><br>
<p>The main building comprises four and a half stories with a nine-story clock tower. The building was constructed by the David Hummel company of Cincinnati using stone quarried in Wisconsin, Ohio, Missouri, and Indiana. Marble stairways and wainscoting originated in Italy and Tennessee, while granite columns were obtained from Vermont. Stained glass windows were installed which depict Cincinnatus and illustrate Cincinnati&#39;s early history.</p><br>
<p>The first city hall was built on this site in 1852 and was demolished in 1888 to make way for the current structure. Construction costs for the building totaled $1.61 million of which $54,000 was paid to Samuel Hannaford as architect and construction superintendent.</p><br>
<p>"Cincinnatis City Hall represents the prevailing architectural tastes at the time of its construction and the influence of H. H. Richardson on its designer, Samuel Hannaford. Richardsons winning design for the Cincinnati Chamber of Commerce building was executed in the 1880s; however, the building&#39;s demolition in 1911 left City Hall the best remaining example of Richardson Romanesque in Cincinnati. Samuel Hannaford practiced from 1858 until 1897 and made a significant contribution to the architectural heritage of the Cincinnati area."</p><br>
<p>An optical trick known as forced perspective makes the building appear even larger than it actually is. As it becomes taller, its windows get smaller.</p><br>
<p>The Cincinnati Enquirer Building is the former headquarters building of The Cincinnati Enquirer on Vine Street in downtown Cincinnati, Ohio. It was designed by the firm of Lockwood Greene and Company and completed in 1926.</p><br>
<p>Built primarily of limestone, and measuring fourteen stories tall, the Enquirer Building was built to house both commercial offices and publishing facilities. Lockwood Greene&#39;s architects designed the building in a mixture of architectural styles; among its most distinctive features include the first-floor storefronts, the recessed central main entrance, and marble stonework with a Christmas tree with bronze details.</p><br>
<p>The building is shown as the home of WKRP in the 1978-1982 television series WKRP in Cincinnati and its 1991-1993 sequel The New WKRP in Cincinnati. However, the building was referred to as the fictional Osgood R. Flimm Building.</p><br>
<p>In 1975, the Enquirer Building was listed on the National Register of Historic Places, due to its place in local history and architecture. The newspaper&#39;s printing facilities moved to a new property at the intersection of Western Avenue and Liberty Street in 1979, and the offices to 312 Elm Street in 1992.</p><br>
<p>In 2015, the Cincinnati Enquirer Building was divided into two hotels, each containing over 100 rooms.</p><br>
<p>The Cincinnati Gymnasium and Athletic Club is a historic building in Cincinnati, Ohio, United States. Located on Shillito Place in the city&#39;s downtown,</p><br>
<p>A Second Renaissance Revival building designed by John Scudder Adkins of the firm Werner and Adkins, the building is built of brick with stone and metal elements. Among these elements are rusticated stone courses, a molded balustrade, and trimmed windows. In recognition of its distinctive and historically significant architecture, the club building was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Cincinnati Zoo Historic Structures is a collection of historically significant buildings at the Cincinnati Zoo in Cincinnati, Ohio, United States. They were designated a National Historic Landmark on February 27, 1987.</p><br>
<p>The second oldest zoo in the United States, it has opened to the public in September 1875. Significant for the antiquity and richness of its collections and for its efforts in the propagation, nurture of rare and endangered species, it was well known as the home of Martha, the last passenger pigeon.</p><br>
<h2>History</h2><br>
<p>Four zoo buildings were listed on the National Register in 1975 as the "Cincinnati Zoo District", although they were removed in 1999. This district comprised the Kemper Log Cabin (built in 1804 and moved to the zoo in 1912), the Aviary, the Monkey House, and the Elephant House. These buildings were the oldest existing structures in the Cincinnati Zoo complex at that time. Two of the buildings were separately included in the "Cincinnati Zoo Historic Structures" designation in 1987 and named a National Historic Landmark: the Monkey House and the Elephant House. Built of concrete and stone, the Monkey House had been constructed by 1880, along with the Aviary, although the Elephant House was built in 1902. Space for all of these animals has been a component of the zoo since its earliest years: when it first opened in 1875, its collection comprised the menagerie of Andrew Erkenbrecker, a prominent bird collector who desired to form the country&#39;s first zoological gardens. Besides a group of birds that he had collected, Erkenbrecker owned a group of mammals of all types, including multiple monkeys as well as an elephant that he had bought from a circus.</p><br>
<h3>Elephant House</h3><br>
<p>Equipped with minarets and a windowed dome, the Elephant House was built to evoke the Taj Mahal and a sense of contemporary India. This concrete structure measures 150 x in length and height respectively. In building such a structure, the zoo followed the pattern of many other zoos, which constructed animal houses in the styles of the countries whence the animals came, but the Elephant House was one of the last zoo buildings in the United States constructed with such a philosophy. Designed by architects Elzner and Anderson, it was placed atop the zoo&#39;s highest hill. Its original cost was $50,000, and in later years the zoo has expended further money on renovations.</p><br>
<h3>Reptile House</h3><br>
<p>Originally built as the Monkey House, the Reptile House is a round Moorish Revival building designed by James W. McLaughlin for use as the aviary. Its design centers around a large dome more than 40 ft high, with numerous windows and skylights that enable it to be lit by sunlight, in addition to Corinthian columns. Although it was expanded in 1922 by the construction of a veterinary hospital, the zoo arranged for an extensive remodeling to prepare it for the reptiles that were first placed within it in 1951. Zoo historians claim that the Reptile House was the oldest zoo building anywhere in the United States. The original Aviary no longer stands, having been destroyed in the 1970s; a collection of gorilla exhibits occupies the site now. The Kemper Log Cabin is also gone, have been moved to Sharon Woods Village in Sharonville in January 1982.</p><br>
<p>The Clough Creek and Sand Ridge Archaeological District is a historic district composed of two archaeological sites in the southwestern part of the USA state of Ohio.</p><br>
<h2>Sites</h2><br>
<h3>Clough Creek</h3><br>
<p>The Clough Creek Site occupies an area of approximately 2 acre; although no archaeological excavation has been conducted there, it is believed to have been the site of a large prehistoric village.</p><br>
<h3>Sand Ridge</h3><br>
<p>The Sand Ridge Site lies about 0.3 mi away from the Clough Creek Site. Located along a prominent ridgeline to the west of the old Union Bridge along the road between Cincinnati and Batavia, it has long been known as a significant archaeological site. As early as the 1880s, many individuals frequently visited the ridge to collect artifacts from the surface, such as bones, pottery, and pieces of flint. The residents appear to have inhabited the site only seasonally, with autumn and winter being the most likely times of occupation. They appear to have been heavily dependent on fish for their food, as many fish bones have been discovered at Sand Ridge; among the most common types of fish were suckers, channel catfish, and freshwater drums.</p><br>
<h2>Excavation and conclusions</h2><br>
<p>On behalf of the Peabody Museum of Archaeology and Ethnology, archaeologists investigated a midden at Sand Ridge in 1884. They were able to add a wide range of artifacts to the museum&#39;s collection, including a wide range of stone tools, bird and deer bones, and projectile points. In more recent years, Clough Creek has also attracted attention for the artifacts visible on its surface, including scrapers, blanks, and projectile points. According to archaeological estimates, some artifacts at the site may be buried as much as 5 ft below the surface.</p><br>
<p>Despite the distance between the two sites, they are believed to be closely related. This identification is based primarily on the pottery recovered, which resembles that of the Madisonville and State Line Sites. A distinctive feature of Sand Ridge is the presence of artifacts from two chronologically different cultures: the Fort Ancient village was apparently built on the site of an earlier Late Woodland occupation.</p><br>
<h2>Recognition</h2><br>
<p>In 1974, the Clough Creek and Sand Ridge Archaeological District was listed on the National Register of Historic Places because of its information-yielding potential. In the community of Newtown to the east are several villages that have received a similar status: the Perin, Turpin, and Hahn Field sites. Like Clough Creek and Sand Ridge, Turpin and Hahn Field were once Fort Ancient villages that were founded atop former Woodland period villages, while Perin Village and the related Odd Fellows&#39; Cemetery Mound are exclusively Woodland sites.</p><br>
<p>The Coca-Cola Bottling Plant is a historic manufacturing facility in the Evanston neighborhood of Cincinnati, Ohio. Constructed in the 1930s in high Streamline Moderne style, it no longer produces beverages, but has been named a historic site.</p><br>
<p>Around 2001, Xavier University purchased the building and converted it into the Alumni Center, a building holding the Xavier University National Alumni Association, Community Building Institute, Human Resources, Physical Plant department, and Office of University Communications.</p><br>
<h2>Bottling plant</h2><br>
<p>The Coca-Cola Company ordered construction of the present building in the Evanston neighborhood during the Great Depression, It was completed in 1938. The plant was built largely of Indiana Limestone with substantial amounts of glass block, and smaller amounts of metal are also present. Although the facade is two stories tall, the main manufacturing section is just one story; a basement underlies much of the building. Some of the architecture, including the little-changed lobby, employs Art Deco details. In conjunction with the general Streamline Moderne appearance, the Art Deco features emphasize a sense of modernism with few parallels in the Cincinnati area, especially because the style&#39;s application to an industrial facility was unusual. The company promoted its use of highly mechanized production equipment at this facility; its ability to produce 500 bottles each minute was highly touted.</p><br>
<h2>Post-bottling</h2><br>
<p>Coca-Cola no longer employs the building for beverage production. It was later converted for the use of F&W Publications, and then Xavier University acquired the property in early 2002. Renovations quickly began, with extra space used for offices and rented to Cincinnati Country Day School after one of its buildings collapsed. In June 2004, the university announced that a gift from wealthy alumni would be used to convert the building into an alumni center with space for conferences, banquets, and other types of meetings. Long before that time, the building had been granted recognition by the federal government: while still a manufacturing facility, it was listed on the National Register of Historic Places because of its historically significant architecture. Hundreds of locations in Cincinnati are listed on the National Register, but the bottling plant&#39;s status was exceptional due to its young age; it was only about forty years old when designated, and buildings younger than fifty years old can only qualify for designation in the most exceptional circumstances.</p><br>
<p>The building currently holds the Xavier University National Alumni Association, Community Building Institute, Human Resources, Physical Plant department, and Office of University Communications.</p><br>
<p>The College Hill Town Hall is a historic village hall in the city of Cincinnati, Ohio, United States. Built as village offices for College Hill when it was a separate community, the building was designed by Samuel Hannaford, and it has been named a historic site.</p><br>
<p>Founded in 1813, College Hill incorporated in 1866. For its first twenty years, the village owned no public buildings; the present structure, built in 1886 and dedicated in January 1887, was the only such building ever owned by the village before its annexation into the city of Cincinnati. Such buildings were common in communities of the period, but as the only public building in College Hill, it is starkly different from the surrounding built environment. The architect was Samuel Hannaford, who had become famous a decade earlier as the designer of the grand Cincinnati Music Hall near downtown. In 1886, Hannaford was ending a period of sole proprietorship; just one year after the College Hill Town Hall was built, he began a partnership with two of his sons.</p><br>
<p>Built of brick on a stone foundation, the town hall is covered with an asphalt roof and features additional elements of brick and stone. A wide staircase permits entry through a large archway in the facade, which sits next to a four-story tower, within which a Belfry is placed. The building has an irregular plan, due partly to multiple locations at which elements of brick project from the walls. Rather than being of a single style, the town hall is an eclectic structure, mixing elements of the Greek Revival and Renaissance Revival styles. For example, various parts of the roof are disparate: some are hipped, while others rise to gables. A brick frieze with corbelling is placed near the top of the walls, while the cornice itself is formed of crafted metal. Indoors, the building is divided into rooms for numerous functions. In addition to the meeting room for the village council, the building has space for a community room with stage and for apartments in which the village&#39;s jailer could live.</p><br>
<p>In 1978, the College Hill Town Hall was listed on the National Register of Historic Places, qualifying both because of its place in the area&#39;s history and because of its historically significant architecture. It is one of dozens of Hannaford-designed buildings in Cincinnati and the suburbs to be listed on the National Register. Among the organizations using the building is a dance company, the Contemporary Dance Theater.</p><br>
<p>The Conrad Mound Archeological Site is an archaeological site in the southwestern part of the USA state of Ohio. Located east of Cleves in Hamilton County, the site is centered on an isolated Native American mound. Its location atop a ridgeline has been interpreted as evidence that the mound was constructed by the Adena culture. No artifacts have been found at the site, for no archaeological excavation has ever been carried out; however, experience with other sites has led archaeologists to surmise that the mound is surrounded by a larger zone of archaeological interest. Because of its potential archaeological value, the mound was listed on the National Register of Historic Places in 1975.</p><br>
<p>The Courtland Flats are an apartment building on Court Street in Cincinnati, Ohio, United States. A brick building constructed in 1902, it was the first Second Renaissance Revival apartment building to be constructed in the city&#39;s downtown. Despite the presence of many Second Renaissance Revival elements, the building includes several details more typical of the First Renaissance Revival period, such as elaborate window decorations on the exterior, multi-piece pediments above the fourth-floor windows, and prominent pilasters.</p><br>
<p>The Courtlands first owner was Christopher Sandheger, one of Cincinnatis leading distillers of whiskey. During the late nineteenth and early twentieth century, Cincinnati produced more whiskey than any other city in the country, thus leading to great wealth for men such as Sandheger. In 1984, the Courtland Flats were recognized for their well-preserved historic architecture by being added to the National Register of Historic Places. Another apartment building on Court Street, known as one of the Alkemeyer Commercial Buildings, had been placed on the Register four years previously.</p><br>
<p>The George B. Cox House is a historic residence in Cincinnati, Ohio, United States. An Italianate building constructed in 1894, this two-and-a-half story building was built as the home of leading Hamilton County politician George B. Cox.</p><br>
<p>Largely a self-made man, Cox began to support himself and his mother at age eight after his fathers death in 1861; within ten years, he entered politics, and at the age of twenty-four, he was elected to City Council. Before the age of thirty, he had laid the groundwork for political domination of the city, and his position as Cincinnatis political boss was firmly cemented by the late 1880s.</p><br>
<p>In 1894, Cox arranged for the construction of a new house, to be designed by leading Cincinnati architect Samuel Hannaford.</p><br>
<p>Coxs house was built near to the end of Samuel Hannafords career; in practice since 1858, he retired in 1897 at the age of sixty-two. During his career, he rose to the status of Cincinnatis leading architect, due to his responsibility for such buildings as the Cincinnati Music Hall. Many of his buildings, including the majority of the houses that he designed in Cincinnati, were constructed as the homes of wealthy or powerful members of the citys society; numerous rich and famous individuals of the Gilded Age found his style highly attractive.</p><br>
<p>Among the owners of Coxs house after his death has been a chapter of Pi Kappa Alpha, which used the building as their fraternity house, and the University of Cincinnati, which purchased the property in 1939 and converted it into a womens dormitory. In late 1973, the Cox House was listed on the National Register of Historic Places, both because of its connection to Cox and because of its historically significant architecture. Seven years later, it became one of twenty houses included in a multiple property submission to the National Register of Hannaford-designed buildings in Cincinnati and surrounding portions of Hamilton County; it was one of the collection&#39;s few houses that was already listed on the Register.</p><br>
<p>In 2010, arrangements were made to transfer ownership of the property to the Public Library of Cincinnati and Hamilton County, which announced plans to convert it into a branch library to serve the surrounding Clifton neighborhood. The library stated that the Cox House would replace a small storefront that previously served the Clifton branch. It opened in 2015.</p><br>
<p>The Jacob D. Cox House is a historic residence located on Gilman Avenue in the Mount Auburn neighborhood of Cincinnati, Ohio, United States. An Italianate structure built in 1880, His two-year service as president of the University of Cincinnati occurred during his residence at the house, which concluded upon his retirement to Oberlin, Ohio.</p><br>
<p>Cox&#39;s house is similar to many others constructed in Mount Auburn during the third quarter of the nineteenth century, at which time it was a suburban neighborhood. A two-story brick building, it features a rear gable and a hip roof over the main part of the house, plus various details of stone. Because of its historically distinctive architecture, and because of its connection to Cox, the house was listed on the National Register of Historic Places in 1975. It is currently a private residence.</p><br>
<p>The Cummins School is a historic former school building in Cincinnati, Ohio, United States. Built in 1871 in the neighborhood of Walnut Hills, it was later used as a model for the construction of other city school buildings.</p><br>
<p>One of several Cincinnati school buildings designed by Samuel Hannaford, the Cummins School is a -story building. More than thirty years after the buildings construction, it was expanded by the addition of a small Neoclassical structure on its rear. The building as a whole was built in the Italianate style, similar to other Cincinnati schools built at the same time, such as the McKinley School on the citys east side.</p><br>
<p>The Cummins School was eventually used by Cincinnati Public Schools as a model for later construction, due to its useful and economical floor plan. Its history paralleled that of the Eighteenth District School in the Camp Washington neighborhood; also a three-story Italianate brick building designed by Hannaford, it was erected in 1882 and expanded in 1908 and 1916. Hannaford&#39;s company continued to design buildings for Cincinnati Public Schools into the early twentieth century, their strong reputation having been established by buildings such as Cummins.</p><br>
<p>In 1986, the Cummins School was listed on the National Register of Historic Places in recognition of its historically significant architecture. It joined dozens of other Hannaford designs in Hamilton County that had been listed on the National Register in 1980, including the Eighteenth District School. Five years later, the school was renovated at a cost of approximately $2,100,000. Today, it is used as an office building.</p><br>
<p>The Cuvier Press Club, located at 22 Garfield Place is a historic former house in Cincinnati, Ohio, United States. It is also referred to locally as the Fechheimer Mansion and as of 2006 served as the headquarters location for Cincinnati-based firm LPK.</p><br>
<h2>Design and construction</h2><br>
<p>The 2-story stone mansion was originally owned by the Fechheimer family. Marcus Fechheimer commissioned Samuel Hannaford and Edwin Anderson to design the townhouse. It is reportedly the oldest surviving residence designed by Hannaford, who also designed many public facilities in the region including Music Hall, City Hall, and the Cincinnati Observatory. Two stories tall, the frontispiece possess many Neoclassical details, such as Corinthian columns and pilasters, as well as Corinthian details in the cornice, entablature, and pediment. The style is described as Italian Renaissance with a stone wall facade, Italian tile floor, and marble fireplaces. Many similar houses were built at the same time but have lost their architectural integrity; the Fechheimer House is significant partly because it retains so much of its original style and construction. When it was built, it was one of many residences on its street, but all others have since been destroyed.</p><br>
<h2>Non-residential uses</h2><br>
<p>In 1938, Cincinnati&#39;s Cuvier Press Club moved into the building from their former location on Opera Place.</p><br>
<p>The building was listed in the National Register of Historic Places on October 26, 1972. One year later, the building was acquired by the City of Cincinnati and re-opened as a Senior Citizens&#39; Center.</p><br>
<p>The building was purchased by advertising agency LPK in 2005 and a redesign was begun to conjoin the neighboring Butterfield Center into headquarters and meeting space for the agency.</p><br>
<p>The Stephen Decker Rowhouse is a historic multiple residence in the Columbia-Tusculum neighborhood of Cincinnati, Ohio, United States. Built in 1889, Rated "outstanding" by an architectural survey in 1978, it is the only rowhouse of its type in Cincinnati, due to its well-preserved Victorian architecture.</p><br>
<p>In 1979, the Stephen Decker Rowhouse was listed on the National Register of Historic Places because of its historically significant architecture, as had been recognized by the survey of the previous year. It was one of seventeen Columbia-Tusculum properties included in a multiple property submission related to that survey; most of the properties were buildings, but the Columbia Baptist and Fulton-Presbyterian Cemeteries were also included.</p><br>
<p>H. W. Derby Building is a registered historic building in Cincinnati, Ohio. The building was designed by architect Samuel Hannaford. It listed in the National Register on March 3, 1980.</p><br>
<p>The firm of H. W. Derby & Co. acted as a jobbing outlet "for such large eastern houses as Harpers and Appleton", operated the largest and most elaborate bookstore in the West, and was well known in the Ohio Valley. H. W. Derby had an extensive publishing business of law books, medical books, and "miscellaneous" publications, "his law book line being unrivaled in the West" and his works of history, biography, and travels, "received a new impetus with the passage of the act establishing the Ohio School Library in 1853." This law, "which Derby had zealously promoted, provided a tax for the support of libraries in school districts throughout the state, and the books for these collections were largely supplied by Derby from the publications of Harpers (who in 1839 had secured a monopoly to supply the New York School District libraries), Appleton, Derby & Jackson, and his own house."</p><br>
<p>Architect John R. Hamiltons firm Hamilton & Rankin had designed the previous H. W. Derby Building, "Derbys Building" at the southwest corner of Third and Walnut (razed).</p><br>
<p>H. W. Derby opened a New York gallery, the Institute of Fine Arts, at 625 Broadway, but "it is likely that this enterprise was a casualty of war" because a few years later he was exhibiting foreign paintings around the country "one of which, Dubufes "Prodigal Son," burned in Smith & Nixons hall in Cincinnati. In the late 1870s, he returned to Columbus, Ohio and then, after a few years, moved on to Cincinnati, where he erected an impressive business block, the Derby Building, which later burned down."</p><br>
<p>The A.M. Detmer House is a historic residence in Cincinnati, Ohio, United States. Constructed in the 1880s, it has been named a historic site as an example of the work of a prominent architect.</p><br>
<p>Amadeus M. Detmer was a leading member of the firm of Warburg and Company, which was located at Sixth and Main Streets downtown; it did business as a "merchant tailor", serving high-end buyers of custom clothing. Detmer had the house built in 1885, choosing leading Cincinnati architect Samuel Hannaford to produce the design</p><br>
<p>Detmer&#39;s house is a brick building constructed on a stone foundation. Rather than exemplifying a single architectural style, the house is eclectic. Among its prominent components are a trio of parapets mixing the roles of gables and dormer windows, constructed in a Flemish Revival style; a porch with Doric columns underneath a pediment, constructed around the main entrance; and numerous corbelled chimneys. Two bays wide, the facade includes stringcourses of limestone as part of its Flemish Revival parapet, along with small finials; together with the chimneys and the steep hip roof, the parapets help to lend the house the appearance of height greater than its actual two and a half stories.</p><br>
<p>In 1980, the A.M. Detmer House was listed on the National Register of Historic Places; it qualified for inclusion due to its well-preserved historic architecture. Nearly 40 other properties in Cincinnati and other parts of Hamilton County, including 14 other houses, were added to the Register at the same time as part of a multiple property submission of buildings designed by Samuel Hannaford and/or his sons. The Detmer House is significantly newer than some of the houses included in this group, for the oldest of Hannaford&#39;s residential designs in the city was constructed in 1862.</p><br>
<p>The Doctors&#39; Building is a historic commercial structure in Cincinnati, Ohio, United States.</p><br>
<p>The Doctors Building was designed by the firm of Tietig and Lee, one of Cincinnatis leading architectural firms in the early twentieth century. although reinforced concrete was also employed in construction. Some additional elements are constructed of metal or marble. The building is topped with a mostly flat roof with a small penthouse.</p><br>
<p>In 1986, the Doctors Building was listed on the National Register of Historic Places. It qualified for the Register both because of its place in local history and because of its well-preserved historic architecture. Key to these two statuses was its place as the areas only large building constructed for physicians and as one of the most important buildings designed by Tietig and Lee.</p><br>
<p>The Domhoff Buildings are a pair of historic commercial buildings in the Northside neighborhood of Cincinnati, Ohio, United States. Designed by architect W.W. Franklin, the two buildings are located on one corner of the junction of Hamilton and Chase Avenues, that neighborhood&#39;s most important intersection.</p><br>
<p>Charles Henry Domhoff was a manufacturing magnate in late nineteenth-century Cincinnati. After joining a firm known as Addy, Hall, and Company in 1871, a company that manufactured pig iron in the Cincinnati area, he became its senior partner in 1888. Seven years later, he branched out on his own, founding the Domhoff and Joyce Company to manufacture pig iron and coke. While a partner with the Addy Company, he purchased a lot on the corner of Hamilton and Chase Avenues and arranged for the construction of two commercial buildings on the site. Completed in 1893, the two buildings are built of brick with metal roofs and minor elements of stone and metal. The two four-story structures were erected adjacent to each other, with only a small service yard separating them; the streetside portions of the buildings have room for five businesses, while the upper floors are divided into seventeen apartments. Neither building fits clearly into any single architectural style: because they were erected at a time when the Italianate style was losing favor and the Queen Anne style was becoming more common, they display some elements of each style.</p><br>
<p>In 1980, the Domhoff Buildings were listed on the National Register of Historic Places, qualifying for this distinction because of their well preserved historic architecture.</p><br>
<p>Eckert Building is a historic building in Cincinnati, Ohio. It was listed in the National Register of Historic Places on September 29, 1983.</p><br>
<h2>Description and history</h2><br>
<p>The large multi–story mixed residential/commercial use building sits on a foundation of rock faced limestone in an ashlar pattern capped with a smooth plinth course. The main wall treatment is deep red brick with sandstone belt courses that become ornamented lintels. The lintels vary on each floor. String courses run in line with lug sills. A decorative frontispiece with a glazed brick arch and name plate is on the south facade. It is an example of Queen Anne style architecture in the United States. It is the only example of its kind on the east side of the Cincinnati. It was built for Valentine Eckert, who operated a notions business with his brother Joseph, as an investment property.</p><br>
<p>Eden Park Standpipe is an ornate historic standpipe standing on the high ground of Eden Park in Cincinnati, Ohio. The standpipe is a form of water tower common in the late 19th century. It was listed in the National Register on March 3, 1980.</p><br>
<p>The standpipe, completed in 1894 by the firm of Cincinnati architect Samuel Hannaford, stands at 172 ft tall. It was built to provide sufficient water pressure for the neighborhood of Walnut Hills, Cincinnati. The standpipe held water pumped into it from the Ohio River by means of the neighboring Eden Park Station No. 7. Water flowed out of it into two 24 in and one 36 in mains. However, as the city grew ever outward and newer water towers were built, the old standpipe was rendered obsolete and it was discontinued from service in 1916. A public observation deck that once operated is no longer accessible to visitors.</p><br>
<p>A copper spire that adorned the turret was removed in 1943 for a war scrap drive. The structure is now used by the City as a communications tower.</p><br>
<p>The Eden Park Station No. 7 is a historic structure located in Eden Park in Cincinnati, Ohio, United States. Constructed in the late nineteenth century as a significant part of the city water supply system, it was used for its original purpose for only a few decades. As a work of Cincinnati&#39;s most important architect, it has been named a historic site.</p><br>
<h2>History</h2><br>
<p>Cincinnati city officials began to build the Eden Park Station in 1889, with construction overseen by the David Hummel Construction Company, but five years passed before it was completed. The station formed part of the city&#39;s water supply network, raising water from the nearby Ohio River and moving it into the Eden Park Standpipe, which was finished in the same year as the pumping station. When built, the station was able to move 16 e6USgal of water with Snyder and Holly pumps, but only for a few years did the network operate as designed. A new station in the East End opened in 1907 to replace the stations in Eden Park and on Front Street downtown; contamination in the nearby Deer Creek, which by this time had been converted into a sewer, was severe to the point that the nearby waters of the Ohio River were polluted to an unsafe extent. After years of little use, the station was restored to usefulness in 1939, as its tower was converted into a radio station for police purposes.</p><br>
<h2>Architecture</h2><br>
<p>City officials employed Samuel Hannaford as the architect for the Eden Park Station. he was favored as a residential architect by the metropolitan area&#39;s elites, and he had produced structures far from the Cincinnati metropolitan area, including the tall Vigo County Courthouse in Terre Haute, Indiana and the smaller Perry County Jail in faraway Pinckneyville, Illinois. Many of his functional buildings still standing in Cincinnati are eclectic in style; instead of insisting on a specific style or styles, Hannaford freely designed in many different styles popular in the late nineteenth century. The Eden Park Station is typical of these, exhibiting features of the Neoclassical, the Queen Anne, and the Romanesque Revival styles. Although the walls of the building and its associated chimney are brick, the building rests on a stone foundation, and the roof is tiled. Sandstone is employed for decorative arches placed underneath a Neoclassical pediment to form the frontispiece. The tallest parts of the station are four stories tall.</p><br>
<h2>Preservation</h2><br>
<p>In early 1980, the Eden Park Station was listed on the National Register of Historic Places, qualifying because of its historically significant architecture. It was one of dozens of Hannaford-designed buildings in Hamilton County listed on the Register together as a multiple property submission. Two of the buildings in the submission were related to the station: the Elsinore Arch, a castle-shaped structure near Eden Park housing valves for the water system, and the Eden Park Standpipe.</p><br>
<p>The William Edwards Farmhouse is a historic residence near Cincinnati in the village of Newtown, Ohio, United States. One of the area&#39;s leading early farmhouses, it has been designated a historic site.</p><br>
<p>In the early 19th century, New Jersey native Isaac Edwards purchased land in the Virginia Military District from other early residents; part of his new property comprised a farm in District Land Grant 427 with an extant log cabin. Here, adjacent to Isaacs own property, settled his son, William. Before long, the log cabin proved insufficient for his familys needs, so in 1840 Edwards arranged for the construction of a new brick structure. This building, the present house, was constructed with many elements of the stylish Greek Revival mode of architecture, but it also combined some non-Greek elements, such as the gambrel roof. Two and a half stories tall, the house was built of brick on a foundation of limestone.</p><br>
<p>For most of its history, the house has been a local landmark. Just forty years after it was built, the 1881 History of Hamilton County highlighted it and described it as a mansion. Nearly a century later, architectural historians praised it as being one of the best local examples of early agricultural architecture in Anderson Township. In recognition of the historic importance of its architecture, the house was listed on the National Register of Historic Places in late 1989, along with a single outbuilding. It is one of six National Register-listed places in the vicinity of Newtown, along with the Cyrus Broadwell House, the Hahn Field Archeological District, the Harrison-Landers House, the Odd Fellows&#39; Cemetery Mound, and the Perin Village Site.</p><br>
<p>The Eighteen Mile House is a historic house near the city of Harrison in western Hamilton County, Ohio, United States. its construction date is unknown: some hold it to have been erected in 1800,</p><br>
<p>Constructed of brick, the two-and-one-half-story house is covered by a tin roof. Among its most distinctive elements are the gables on the ends, the interior chimneys that rise from above these gables, and a two-story porch on the western front. It was originally erected near a gate on the toll road between Cincinnati and Brookville, Indiana; its name is derived from its location, approximately eighteen miles from Cincinnati in the city&#39;s early years. Besides serving its purpose as a tavern and thus an inn, the Eighteen Mile House operated as a post office in its first years of existence. As time passed, the house was modified at an unknown date under the supervision of an unknown individual, being expanded on its northern side.</p><br>
<p>During the middle of the nineteenth century, the Civil War directly affected the Eighteen Mile House twice. According to local legend, Abraham Lincoln stayed in the house at least once, while Morgans Raiders attacked the property in the middle of 1863. As time passed, the house became more and more a survivor of old times, and for this reason it was listed on the National Register of Historic Places in 1975. It qualified for the Register both because of its distinctive historic architecture and because of its place in Ohios history.</p><br>
<p>The Eighteenth District School at one time also known as Washington Elementary School is a registered historic building in Cincinnati, Ohio.</p><br>
<h2>Description and history</h2><br>
<p>The school was built in two sections the earlier in 1882 designed by Samuel Hannaford and Harry Bevis. It was listed in the National Register of Historic Places on March 3, 1980 as part of the Samuel Hannaford & Sons thematic resource.</p><br>
<h2>Photo gallery</h2><br>
<p>Wye House is a historic residence and former headquarters of a historic plantation house northwest of Easton in rural Talbot County, Maryland. Built in 1781–1784, it is a high-quality and well-proportioned example of a wooden-frame Southern plantation house. It was designated a National Historic Landmark in 1970.</p><br>
<h2>History</h2><br>
<p>The Wye plantation was created in the 1650s by a Welsh Puritan and wealthy planter, Edward Lloyd. Between 1780 and 1790, the main house was built by his great-great-grandson, Edward Lloyd IV, using the profits generated by the forced labor of enslaved people. It is cited as an example between the transition of Georgian and Federal architecture, which is attributed to builder Robert Key. Nearby the house is an orangery, a rare survival of an early garden structure where orange and lemon trees were cultivated, and which still contains its original 18th-century heating system of hot-air ducts.</p><br>
<p>During its peak, the plantation&#39;s owners enslaved more than 1,000 people to work lands that totaled more than 42,000 acre. Though the land has shrunk to 1,300 acre today, it is still owned by the descendants of Edward Lloyd, now in their 11th generation on the property. Frederick Douglass was enslaved on the plantation, from around the ages of seven and eight, and spoke extensively of the brutal conditions of the plantation in his autobiography, Narrative of the Life of Frederick Douglass, an American Slave.</p><br>
<h2>Modern situation</h2><br>
<p>The nearby hamlets of Unionville and Copperville are now home to many descendants of the people who were enslaved at Wye House. This has created an interesting dynamic, with the descendants of the enslavers and the enslaved living within a very short distance of one another.</p><br>
<p>The Wye House plantation gained media attention in 2006 for archaeological investigations led by the University of Maryland.</p><br>
<p>In 2011, excavation of the greenhouse, built by enslaved African people, brought a discovery of African charms laid to ward off bad spirits at the house&#39;s furnace and entrance.</p><br>
<p>Darnalls Chance, also known as Buck House, Buck-Wardrop House, or James Wardrop House, is a historic home located at 14800 Governor Oden Bowie Drive, in Upper Marlboro, Prince Georges County, Maryland, United States.</p><br>
<p>It is named after Colonel Henry Darnall, a wealthy Roman Catholic planter, who was the Proprietary Agent of Charles Calvert, 3rd Baron Baltimore and who served for a time as Deputy Governor of the Province. The house itself was built c. 1742 by a merchant named James Wardrop who bought some of Darnall&#39;s land from Eleanor Darnall Carroll and her husband Daniel Carroll, a politician and wealthy planter. Wardrop enslaved 32 people at the house.</p><br>
<p>Today, Darnalls Chance houses the Darnalls Chance House Museum, a historic house museum which opened to the public in 1988.</p><br>
<h2>History</h2><br>
<h3>Origins</h3><br>
<p>The tract of land the house sits on was patented in 1704 by Col. Henry Darnall (1645–1711), a wealthy Maryland Roman Catholic planter, Proprietary Agent of Charles Calvert, 3rd Baron Baltimore and, for a time, Deputy Governor of Maryland. However, during the Protestant Revolution of 1689, Darnall&#39;s proprietarial army was defeated by the Puritan army of Colonel John Coode, and he was stripped of his numerous offices.</p><br>
<p>When Col. Darnall died in 1711, he owned 27,000 acre in Prince Georges County, as well as holdings in four other counties. The property of what became known as Darnalls Chance passed through his family to his granddaughter Eleanor Darnall, who married Daniel Carroll I in 1727.</p><br>
<p>Their family was reared on the large landholding and plantation. Two Carroll sons were prominent members of colonial and early United States society: Daniel Carroll became a politician in the Continental Congress and Maryland Senate, and member of the Constitutional Convention; and John Carroll became the first Roman Catholic bishop in the United States, and founder of Georgetown University.</p><br>
<p>In 1741, the Carrolls sold 6 acres of their land to James Wardrop, a Scottish merchant. Wardrop built a 15-room brick dwelling house within a year, originally a -story, Flemish bond brick house. It is that house that currently stands on the property. After living at Darnall&#39;s Chance as a bachelor for six years, Wardrop married 22-year-old Lettice Lee, whose father, Philip Lee Sr., was a member of the Lee family of Westmoreland County, Virginia.</p><br>
<h3>Nineteenth century</h3><br>
<p>In the mid-19th century, the house was remodeled to two stories, of stuccoed brick, with Italianate and Greek Revival stylistic elements. The major alterations to the property were probably carried out under the ownership of Edward Grafton W. Hall, who owned it between 1857 and 1887.</p><br>
<h3>Modern era</h3><br>
<p>The house and property were acquired by the Maryland-National Capital Park and Planning Commission in 1974, for administrative offices, but was later renovated and reopened as a house museum.</p><br>
<p>Darnalls Chance was listed on the National Register of Historic Places in 1978. The official name for the house, the Buck House, is for a late-20th-century owner, Harry Buck, Sr. After renovations and opening as a house museum, the property was subsequently renamed Darnalls Chance, after its first owner.</p><br>
<p>In 1986, the entire second floor and roof were removed, and the house was reconstructed to its 18th-century appearance. Two years later, it opened as Darnall&#39;s Chance House Museum.</p><br>
<h2>Darnall&#39;s Chance House Museum</h2><br>
<p>Darnalls Chance House Museum is a historic house museum which opened to the public in 1988. It is operated by the Maryland-National Capital Park and Planning Commission. The tour at Darnalls Chance focuses on the life of Lettice Lee, as she lived in the house for almost thirty years, married three times, and was an unusual 18th-century woman. It also includes more general information on the other women who lived at Darnalls Chance and in Prince Georges County at that time.</p><br>
<p>The house is open for tours on Friday from noon to 4 pm, Sunday from noon to 4 pm, and at other times by appointment. Public programs offered at the Museum include tea lessons for young ladies, a pirate-for-a-day program, and an annual gingerbread house contest and show. The Museum rents its tented patio, which has a capacity of 125, for weddings and other events.</p><br>
<h2>Burial vault</h2><br>
<p>During 1987, an was discovered on the property. The vault when discovered, was filled with 8 feet of trash from the 18th and 19th century. Under the trash were found nine sets of human remains: three adults and six children. It was later determined that five of those remains were of native-born Americans. It was concluded that the people died of various illnesses.</p><br>
<p>Since 1815, three separate buildings have served as the Gibson County Courthouse in Princeton, Gibson County, Indiana, United States. The current building was constructed in 1884 and is located at the intersection of Indiana State Road 64 and Indiana State Road 65. It is an example of Romanesque Revival architecture and was the model for Department 56s Original Snow Village Courthouse. Gibson Countys Courthouse is of very similar design to the Johnson County Courthouse in Franklin, Indiana.</p><br>
<h2>History</h2><br>
<p>The residence of Judge William Harrington was first used to conduct court business. Work on the first courthouse began on September 1, 1814. The building was constructed of bricks which were made nearby on the public square. It had two floors and measured 33 feet by 40 feet. It was first occupied in June 1815.</p><br>
<p>The second courthouse was also made of brick and was completed in 1843 at a cost of about $9,000.</p><br>
<p>The third (and current) courthouse was built on the site of the previous building. The cornerstone was laid on June 17, 1884, accompanied by a Masonic ceremony attended by several thousand people. The McDonald Brothers of Louisville, Kentucky designed the Romanesque Revival building, which was constructed by local contractor Joseph Miller of Washington, Indiana at a cost of $188,661. The two-story building has a full basement and is made of red brick trimmed with stone; the interior is trimmed with black walnut and oak, and has mosaic tile floors.</p><br>
<p>The trial of Leslie Irvin (also known as "Mad Dog Irvin") was conducted here in 1955.</p><br>
<p>In 2006 and 2007, an aesthetic renovation project began. The exterior walls and corner towers as well as the central bell tower were repainted, and a gazebo donated by Toyota Motor Manufacturing Indiana was placed on the courthouse lawn.</p><br>
<p>Firehouse, Engine Company 33 and Ladder Company 9 is a New York City Fire Department firehouse at 42 Great Jones Street in NoHo, Manhattan. It is the home of Engine Company 33 and Ladder Company 9. The building is a Beaux Arts structure built in 1899 by Ernest Flagg and Walter B. Chambers.</p><br>
<h2>History</h2><br>
<p>10 of the 14 firefighters from this house who responded to the World Trade Center were killed in the September 11 attacks.</p><br>
<h2>Equipment</h2><br>
<p>The first engine kept at 42 Great Jones was powered by steam and built by Clapp & Jones Manufacturing Company, Hudson, New York. It was able to throw water 215 feet.</p><br>
<p>Fort Independence is a granite bastion fort that provided harbor defenses for Boston, Massachusetts, located on Castle Island. Fort Independence is one of the oldest continuously fortified sites of English origin in the United States. The first primitive fortification was called "The Castle", placed on the site in 1634. It was rebuilt twice, then replaced around 1692 with a more substantial structure known as Castle William. It was abandoned by the British during the American Revolution, but the Americans renamed it Fort Adams and then Fort Independence. The existing granite fort was constructed between 1833 and 1851. Today it is preserved as a state park and fires occasional ceremonial salutes. Fort Independence was added to the National Register of Historic Places in 1970.</p><br>
<h2>History</h2><br>
<h3>Castle William</h3><br>
<p>The site of Fort Independence has been occupied by various fortifications since 1634. The first fort to be constructed on Castle Island resulted from a visit by Governor John Winthrop; it was partly financed by him and the council. A later commander was Captain Richard Davenport, who supervised the post from 1645 until 1665 when he was struck by lightning and killed. His successor was Captain Roger Clap, who commanded the fort from 1665&ndash;1686.</p><br>
<p>On March 21, 1673, the fort was destroyed by fire. It was rebuilt the next year in stone, with 38 guns and 16 culverins in the four-bastion main fort, along with six guns in a water battery. Governor Edmund Andros was confined in the fort and sent to England to stand trial in 1689, following the Glorious Revolution in England, in which James II was replaced by William III. In 1692, the fort was renamed "Castle William" in honor of the king and rebuilt. The new work had 54 cannon: 24 9-pounders, 12 24-pounders, and a total of 18 32- and 48-pounders.</p><br>
<p>From 1701 to 1703, the fort was further expanded. It was designed by Wolfgang William Romer, the chief engineer of British forces in the American colonies, and its armament was nearly doubled to 100 guns. In 1740, a fifth bastion was added mounting 20 42-pounders.</p><br>
<p>In the years leading up to the American Revolution, Castle William became a refuge for British officials during periods of unrest and rioting in Boston. In 1763, Thomas Goldthwaite, half-brother of Ezekiel Goldthwait, was appointed commissioner to take charge of the repairs of Castle William. Violence forced provincial leaders and British soldiers to take shelter within the fort in the wake of events such as the Stamp Act crisis in 1765 and the Boston Massacre in 1770. In September 1765, the stamps to be issued under the Stamp Act were kept at the fort.</p><br>
<p>As the American Revolution erupted in 1775, American forces quickly commenced the Siege of Boston, and British forces made Castle William their primary stronghold. It was not until the Continental Army led by George Washington managed the fortification of Dorchester Heights that Castle William was threatened and the British evacuated Boston in March 1776. Before leaving Castle William, the British set fire to the fort, damaging it and its ordnance as best they could.</p><br>
<p>During the Revolutionary War, a fort called Fort Independence was built on Point Allerton in Hull, Massachusetts. In 1797, the name was transferred to the former Castle William, apparently leaving the fort in Hull without a name. That fort fell into disuse after the War of 1812. The site in Hull was named Fort Revere with a new fort built in the late 19th century.</p><br>
<h3>Fort Adams</h3><br>
<p>American forces rebuilt the fort in 1776 and renamed it Fort Adams. In 1785, the legislature of Massachusetts designated the fort as a prison, in which capacity it served until 1805.</p><br>
<p>The fort was renamed Fort Independence during a ceremony attended by President John Adams in 1799. The following year, the fortification and the island were turned over to the United States government. The Secretary of War&#39;s report on fortifications for December 1811 describes the fort as "...a regular pentagon, with bastions of masonry, mounting 42 heavy cannon, with two batteries for six guns...". During the War of 1812, a squadron of the British Navy repeatedly captured American merchant and fishing vessels in Massachusetts Bay; however, they never attempted an attack on the port of Boston due to the strength of Fort Independence.</p><br>
<h3>Existing structure</h3><br>
<p>Work on the present fort began in 1833 under the third system of US fortifications, supervised by Colonel Sylvanus Thayer, one of the nations leading military engineers of the time. The new fort had walls 30 ft high and 5.5 ft thick and was constructed primarily out of granite from Rockport, Massachusetts. It was substantially complete by 1848, although repairs and other work continued until 1861. At the height of its strength during the American Civil War, it mounted 96 cannon, some of which were 15-inch Rodman guns capable of firing a 450-pound shot more than 3 mi. A small part of Castle Williams brick structure remains in the rear portion of the present fort, but is covered up by subsequent stonework.</p><br>
<p>At the start of the Civil War in 1861, Fort Independence was garrisoned by the Fourth Battalion Massachusetts Volunteer Militia. The battalion set the fort in order and were trained in infantry and artillery drill, eventually forming the nucleus of the 24th Regiment Massachusetts Volunteer Infantry. At least two other infantry regiments were trained at Fort Independence during the Civil War—the 11th Massachusetts and the 13th Massachusetts.</p><br>
<p>Following the Civil War, Fort Independence gradually fell out of use, as its importance was reduced by the larger Fort Warren which had also been constructed under the direction of Sylvanus Thayer. In the 1880s, landscape architect Frederick Law Olmsted designed a series of parkways and parks in Boston known as the Emerald Necklace. Olmsted had originally envisioned a parkway to be known as the Dorchesterway that would connect Castle Island (via a new earthen causeway) to the rest of the Emerald Necklace. The Dorchesterway was never realized, although Boston did undertake a large-scale project in the 1890s to create a park-like environment around Fort Independence. In 1890, the Federal government ceded Castle Island (excluding the fort) to the Commonwealth of Massachusetts. The city of Boston commenced filling the marshes separating Castle Island from South Boston in 1890 with the intention of creating green space and promenades. The process was finished in the 1920s and Castle Island ceased to be an island. The Federal government ceded the fort to the city of Boston in 1908.</p><br>
<p>The Federal government briefly reclaimed Castle Island in 1898 during the Spanish American War, but it was quickly returned to the city of Boston in 1899. The military again took control of Fort Independence during World War I and World War II, and anti-aircraft guns were added. During World War I, the fort was used primarily as a depot for small arms ammunition. During World War II, the Navy used it as a degaussing station for de-magnetizing the hulls of ships. At the close of both conflicts, the fort was promptly returned to the city of Boston.</p><br>
<p>In 1962, the Federal government permanently deeded Castle Island and Fort Independence to the Commonwealth of Massachusetts. It is now overseen by the Massachusetts Department of Conservation and Recreation and the non-profit Castle Island Association. Over the course of its history, a shot was never fired in anger from Fort Independence.</p><br>
<h2>Edgar Allan Poe and a duel</h2><br>
<p>A monument outside the west battery of the fort marks the grave of Lieutenant Robert F. Massie who was killed in a sword duel with Lieutenant Gustavus Drane on December 25, 1817. According to folklorist Edward Rowe Snow, Massie was so popular with the soldiers stationed at Fort Independence that they walled up his killer within a vault in the fort. Edgar Allan Poe was serving with the 1st United States Artillery Regiment at Fort Independence in 1827, and he purportedly was inspired by the story to write "The Cask of Amontillado".</p><br>
<p>The legend, however, is not entirely accurate. The duel did take place, but Lieutenant Drane was not murdered by the forts soldiers. He continued in his military career, was promoted to the rank of captain, and died on active duty in 1846. After World War II, Lieutenant Massies remains were moved to the Fort Devens Cemetery near the town of Ayer, Massachusetts.</p><br>
<h2>Cultural References</h2><br>
<p>Fort Independence shares its location with "The Castle" in Fallout 4 by Bethesda Game Studios. This game location, as with many in the Fallout universe, is inspired by its real-life counterpart. The size and layout of The Castle is not an exact replica of Fort Independence.</p><br>
<p>Bryce Canyon Lodge is a lodging facility in Bryce Canyon National Park, Utah, United States, built between 1924 and 1925 using local materials. Designed by architect Gilbert Stanley Underwood, the lodge is an excellent example of National Park Service rustic design, and the only remaining completely original structure that Underwood designed for Bryce Canyon National Park, Zion National Park, and the North Rim of the Grand Canyon.</p><br>
<h2>Description</h2><br>
<p>The two-story lodge is built on a stone base with intentionally oversized log framing, creating a massive, rustic appearance. The central portion of the building dates to 1924, with the addition of the north and southeast wings taking place in 1926. The lodge is entered by a long porch fronting the entire lobby, whose roof rests on a 52 ft long log beam supported by paired log columns. The lodge is capped by a heavy, steeply-pitched shingled roof with clipped gables and shed dormers.</p><br>
<p>The main floor of the lodge comprises the lobby, a dining room, a small auditorium, a gift shop, kitchen and administrative and utility spaces. The dining room and auditorium are open to the roof with exposed log trusses. The lobby features milled timbers with Arts and Crafts detailing. Fireplaces of rough rubble stone are found in the lobby, where the firebox is constructed in a pointed arch, and in the auditorium. A basement underlies much of the main level.</p><br>
<p>The lodges roof is notable for its unusual shingling pattern, originally designed by Underwood, in which the lower edges of the horizontal shingle courses form irregular, undulating moiré or wave-like patterns across the roof. This creates an optical illusion that the roof is warped, or in motion. This unique shingling pattern is on the original cabins as well as the main lodge buildings, and has been replicated with each re-roofing of the complex, using the original pattern, as a way to keep the craftsmans trademarks of the original builders and Underwood&#39;s design.</p><br>
<h3>Deluxe cabins</h3><br>
<p>The satellite cabins, called deluxe cabins, are to the southeast of the lodge. Five buildings contain four lodging units, and ten contain two. The cabins have rubble stone chimneys and corner pilasters, with log slab siding on the main wall exposures, simulating full log construction, complete with chinking. The cabins have log-framed porches with log railings. On the interior the roof trusses are exposed. Original paneling complements the stone fireplaces. The area formerly included two other lines of cabins, the budget cabins and standard cabins, since removed.</p><br>
<h2>History</h2><br>
<p>The Bryce Canyon Lodge was built by the Utah Parks Company, a subsidiary of the Union Pacific Railroad, and opened by T. E. Fitzgerald, a noted hotel manager in the region. The lodge was part of the railroads project to develop tourist traffic to Bryce, Zion, and the Grand Canyon by providing noteworthy destination hotels at each park. The Union Pacific was following in the footsteps of other railroads efforts to promote the western parks of the United States and Canada. Architect Gilbert Stanley Underwood was in charge of the design work for the Union Pacific hotels. Construction at the Bryce Canyon Lodge started in 1924 and was completed in the early summer of 1925. The guest wings were added in 1926 and the auditorium in 1927. The second floor of the lodge was used as the dormitory for women employees of the lodge. The budget and economy cabins, also designed by Underwood, were mostly built in 1927, with five deluxe cabins. Ten more deluxe cabins were completed by 1929.</p><br>
<p>Bryce Canyon Lodge is operated by Aramark, a park-management company selected and contracted by the National Park Service. The lodge and cabins were declared a National Historic Landmark (NHL) on May 28, 1987 under the name "Bryce Canyon Lodge and Deluxe Cabins." The historic district was expanded on April 25, 1995, as the Bryce Canyon Lodge Historic District which encompasses the National Historic Landmark District but is not itself an NHL.</p><br>
<p>Fish Farm Mounds State Preserve is a 3 acre archaeological mound group containing Native American burials in the USA state of Iowa. It is located within the larger Fish Farms Mounds Wildlife area, a state owned hunting area a few miles south of New Albin, just inland from the Upper Mississippi River in Allamakee County.</p><br>
<h2>History</h2><br>
<p>This prehistoric cemetery was acquired by the state in 1935 as a donation from the Fish family. It became an archaeological state preserve in 1968. It was listed on the National Register of Historic Places in 1988.</p><br>
<p>It is located in the Driftless Area of Iowa, a region which escaped being glaciated during the last ice age, near the mouth of the Upper Iowa River.</p><br>
<p>The Dean Family Farm, listed since 1975 as a historic site on the National Register of Historic Places, has its origins with the immigration of Daniel Dean, a native of Tobermore, County Londonderry, Ireland, to Philadelphia, Pennsylvania, in 1784 when he was aged 18, according to Dean family histories. Daniel was a son of George Roger Dean, who fought in the Colonial line, and Mary Campbell who was reared with her sister by the Duke of Argyl at Inveraray Scotland, the clan Campbells&#39; ancestral home.</p><br>
<p>The National Register and an Ohio Historic Inventory, dated 11 October 1974, list the historic site at 199 N. Ballard Road, Xenia, as having five buildings dating from the 1820s on 157 acre along Caesar&#39;s Creek in Greene County, Ohio. The National Register listing was expanded by a boundary increase adding 199 Ballard in 1994, and renaming as the Dean Family Farm Historic District.</p><br>
<p>Daniel Dean, born October 20, 1766, in Ireland was a son of George Roger Dean, whom DAR archival records list as a Pennsylvania sergeant and militiaman in the 1770s, along with his elder brothers James and David Dean. A weaver by trade, Daniel Dean lived briefly in Pennsylvania, Maryland and Virginia before meeting and marrying Jannet "Jenny" Steele (1768-November 18, 1841), a Scots-Irish girl of Steele&#39;s Tavern in Augusta County, Virginia. The couple relocated near Mount Sterling, Kentucky, where Dean built a mill, a house for the couple and another for his sister and mother, both named Mary, whom he brought from Ireland to Kentucky via Wilmington, North Carolina, in 1790.</p><br>
<p>Daniel and Jannet had the first of their 11 children while in Kentucky. But when Ohio became a free state in 1803, Dean, an ardent abolitionist, scouted out the new lands north of the Ohio River with his brother-in-law, Henry Barnes, a skilled builder whose son later would become Greene Countys wartime sheriff and treasurer. Dean, shortly thereafter, bought 2,000 acre on Caesars Creek near the settlement of Xenia, but he spent several years litigating to perfect his title. Once his title was secure, Dean joined Barnes and their families in relocating via Fort Washington (later Cincinnati) to Greene County in September 1812. They first dined using as a table a huge, flat rock—then began a lucrative business in which Dean harvested and milled timber for lumber used by Barnes to build homes in and near Xenia, Ohio. Dean&#39;s son, Joseph (1804–83), wed Hannah Boggs (1809–88)and, according to Dean Family records, Joseph built the first substantial two-story home on the family farm in 1823, a house that still stands.</p><br>
<p>Daniel Dean, descended from Covenanter Presbyterians, was a church stalwart. At least 36 of his 111 progeny enlisted and served honorably in the Union Army during the Civil War, according to records read at an 1880 Dean family picnic. The elder Dean, who died January 24, 1843, at age 77, is buried alongside his wife, Jannet, in the Dean Family Cemetery in New Jasper Township. The cemetery and farm, privately owned, were added to the National Register of Historic Places in 1994. The historic Ballard Road Covered Bridge stands just off Route 35 nearby and spans a fork of Caesar&#39;s Creek.</p><br>
<p>Greene County (Ohio) Public Library archives feature maps, from 1855, 1874 and 1896, depicting the original Dean Family Farm acreage divided among Daniel&#39;s heirs — Joseph, William, John, Levi, D. S. Dean and others. Lands lie along the Jamestown Turnpike, now USA Route 35.</p><br>
