<p>The Rudolph Oyster House is a historic seafood processing building on the grounds of the Long Island Maritime Museum in West Sayville, New York. Built in 1908, it is a rare well-preserved example of a typical oyster culling house of the early 20th century, of which many once lined the local waterfront. The building was designated a National Historic Landmark in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Rudolph Oyster House stands on the waterfront grounds of the Long Island Maritime Museum. It is a single-story wood-frame structure, mounted on wooden pilings and measuring 44.5 x. Its exterior is finished with wooden clapboards, and it has a gabled roof. The western roof face has a lower roof section that is set at an offset below the upper section, which is finished with glass skylighting to provide natural light to the shucking area. The interior retains original fixtures and features to facilitate the sorting, shucking, and packing of oysters.</p><br>
<p>The Rudolph Oyster House is a typical cullhouse, built in 1908 by William Rudolph, the son of Dutch immigrants. It was originally located on the waterfront off Shore Road, and was moved to its present site (about 600 ft from that site) when the museum acquired the building. Rudolph started his company in 1895, having grown up working in the oyster beds of Great South Bay. Rudolph and then his sons operated the business until 1947. The building was acquired by the museum in 1974.</p><br>
<p>The Roscoe Conkling House is a historic house at 3 Rutger Park in Utica, New York, United States. A National Historic Landmark, it was the home of Roscoe Conkling , a powerful and controversial politician. He is responsible, perhaps, for the angry, political atmosphere that led to the assassination of USA President James Garfield.</p><br>
<h2>Early political career</h2><br>
<p>Roscoe Conklings political career began as mayor of Utica in 1858, and rose through terms as USA Congressman 1859-1863 and 1865–1867. Finally he was USA Senator from New York 1868–1881. In 1870 he became boss of New Yorks Republican political machine. Conkling was mentor to Chester A. Arthur, and was instrumental in getting him appointed collector of the port of New York in 1871. In 1872 Conkling was offered the position of Chief Justice of the USA Supreme Court by Grant, but he refused.</p><br>
<h2>A party divided</h2><br>
<p>When Rutherford B. Hayes became president in 1877, Conkling violently opposed him on the issue of civil service reform. In 1880, Conkling, as part of the "Stalwart" faction of the Republican Party, supported Grants bid for a third term. The split in the Republican Party was so divisive that the 1880 Republican National Convention took 36 ballots to nominate James A. Garfield. The fact that Chester Arthur then accepted the nomination for vice-president infuriated Conkling. In May, 1881, Conkling and the other USA Senator from New York resigned from the Senate in protest of Garfields political appointments. They expected to be immediately re-elected to the Senate by the New York State legislature, but this did not happen. Instead, they returned to New York to campaign for re-election. In the highly charged atmosphere while the New York legislature was deadlocked on this issue, crazed "Stalwart" supporter Charles J. Guiteau assassinated President Garfield. The resulting public outcry effectively ended Conkling&#39;s political career. Although Chester Arthur became president, he kept Conkling at a safe political distance. Arthur did offer him a seat on the USA Supreme Court in 1882, but again Conkling refused.</p><br>
<h2>The House</h2><br>
<p>The Roscoe Conkling House was designed by Philip Hooker in the Greek Revival style. It was begun between 1820 and 1824, and completed in 1830 by the Miller family. The house may also be known as the Miller-Conkling-Kernan House. Roscoe Conkling bought the house in 1863 and lived there until his death in 1888. The hip roofed brick house is covered with grey stucco scored to look like rock. The house was purchased from Conkling&#39;s family in 1894 by Nicholas Kernan. After this time, the two story East (left) wing was added, as well as the current porch, dormer and chimney tops.</p><br>
<p>The house was declared a National Historic Landmark in 1975.</p><br>
<p>The house and its park are part of the Rutger-Steuben Park Historic District. In 2005, the house was listed for sale. It could be bought separately or together with another house at 1 Rutger Park that was designed by Andrew Jackson Davis.</p><br>
<p>As of 2010, both the Conkling House (3 Rutger Park) and 1 Rutger Park are owned by the Landmarks Society of Greater Utica, "which is slowly renovating the buildings with the goal of turning them into mansion-museums."</p><br>
<p>Julia Seymour Conkling, wife of Senator Roscoe Conkling, served as the very first Chapter Regent of the Oneida Chapter, Daughters of the American Revolution, which was formed on June 19, 1893. The first meeting took place in Julia’s home at 3 Rutger Park in Utica, New York.</p><br>
<p>St. Ann & the Holy Trinity Church is a historic Episcopal church at the northwest corner of Montague and Clinton Streets in the Brooklyn Heights neighborhood of Brooklyn in New York City. It is the co-cathedral of the Episcopal Diocese of Long Island.</p><br>
<h2>History</h2><br>
<p>The building was built as Church of the Holy Trinity, and opened in 1847. Following years of controversy, the parish was closed in 1957, and the building stood mostly empty for the next 12 years. The present name of the parish reflects the fact that St. Ann&#39;s, the oldest Episcopal parish in Brooklyn, moved into the then empty Holy Trinity building in 1969. The church possesses some of the earliest figural stained-glass windows made in the United States, crafted by William Jay Bolton. The church was declared a National Historic Landmark in 1987.</p><br>
<p>The designer for Holy Trinity was prominent 19th-century American architect Minard Lafever, with stained glass by William Jay Bolton and John Bolton. In 1859 English architect Gervase Wheeler was hired to enlarge and make improvements in the chancel such as modifications to the reading desk and adding pews; Wheeler was directed to follow the original plan in his work.</p><br>
<p>A rectory was constructed immediately west of the church between 1895 and 1897. The ground floor of this building now serves as the parish hall.</p><br>
<p>Following the departure of the St. Ann Center for Restoration and the Arts in 1999, the church complex continued to lease school, office, programming, rehearsal and concert space to a wide range of community service and arts groups. However, in 2013, full-time tenants were moved out of the Parish House.</p><br>
<h2>St. Ann&#39;s Church (1787)</h2><br>
<p>St. Ann&#39;s Church (organized 1787) was originally named in honor of Ann Ayscough Sands (1761–1851), who was an early patron with her husband Joshua Sands. The church previously occupied the elaborate High Victorian Gothic building still standing on the northeast corner of Clinton and Livingston streets, built 1877-1878 to designs by James Renwick Jr. of Renwick & Sands. That church, which featured stained glass by Henry E. Sharp, was sold to the Packer Collegiate Institute.</p><br>
<h2>Bolton stained glass windows</h2><br>
<p>The windows of St. Ann & the Holy Trinity Church were created by William Jay Bolton with the assistance of his brother, John Bolton, between 1845 and 1848. Though preceded by a figural window Bolton made for Christ Church Priory in Pelham, NY, these windows are the first complete canon, or set, of figural stained glass windows made in North America. The Bolton windows consist of six distinct sets totaling 55 glass installations, of which 54 remain.</p><br>
<p>When the church reopened in 1969, the problem of repairing the large building after a long period of deferred maintenance initiated many conservation projects and campaigns for the complicated and costly task of restoring the church and its endangered stained glass windows. The World Monuments Fund in collaboration with the St. Anns Center for Restoration and the Arts initiated projects in 1988 and continued repairs led to the sites listing in the World Monuments Watch in 2002 and 2004.</p><br>
<p>One of the stained glass windows, a 19 high and 10 wide window (5.8 x 3 meters) from the church&#39;s organ loft are on display in the American wing of the Metropolitan Museum of Art. The window depicts a musical scene of Miriam and Jubal standing beneath an arrangement of musical instruments articulated in bright purple and gold painted glass</p><br>
<h2>Peabody Memorial Organ</h2><br>
<p>The Peabody Memorial Organ was built by Ernest M. Skinner in 1925. It is the third instrument to be installed since the church opened in 1847. The organ was designed by and built by Ernest Skinner as his Opus #524, the gift to the church from parishioner and financier George Foster Peabody in memory of his brother. The organ comprises 4,718 pipes, ranging from 2 inches to 32 feet in length, as well as 20 chimes and a 61-note celesta. In 1999, it was recognized by the Organ Historical Society as "An Historic Instrument of Special Merit" — the musical equivalent of Landmark status. It is the largest E.M. Skinner organ in New York City.</p><br>
<p>Virgil Fox and Louis Vierne, organist at the Cathedral of Notre Dame in Paris, were among the world-famous organists who played the organ in Brooklyn.</p><br>
<p>Gregory Eaton, prior Dean of the Brooklyn Chapter of the American Guild of Organists, was the director of music and organist from 1993 to 2014.</p><br>
<h2>Restoration projects</h2><br>
<p>In 1979 the New York Landmarks Conservancy, a private, not-for-profit organization started a preservation program for the church called the St. Ann Center for Restoration and Arts. Through the program&#39;s efforts the chancel was renovated, 64 stained glass windows restored and the exterior fence repaired.</p><br>
<p>The church received a Sacred Sites Grant of $10,000 for brownstone façade and roof restoration of parish house wing in 2014. A site visit confirmed that brownstone façade is deteriorated, shedding large sections of projecting trim. Roofs are actively leaking and temporarily patched and tarped and wood windows are severely deteriorated. The large parish hall wing and formerly fully leased community spaces suffer from active leaks, plaster failure and weather infiltration as a result of the ongoing deterioration of the exterior envelope. The estimated cost of the restoration of the exterior and interior structures of the building is $6 million.</p><br>
<p>Since 2012, The Forum at St. Ann&#39;s Arts & Culture Series organizes fundraising events with exhibitions, film screenings, poetry and book readings, panel discussions and concerts for the ongoing restorations.</p><br>
<p>The Solomon Fussell Farm is located 3 mi east of Pendleton, Madison County, Indiana on State Road 38 at the junction of county road 150 West. The main feature is a -story log house built by Samuel Fussell in 1832. Extensive later additions have been attached to the rear. Also existent are out buildings including a barn.</p><br>
<p>The Fussell family were members of the local Quaker community. Several members of the Fussell family are buried in the cemetery of the nearby Fall Creek Meeting House.</p><br>
<p>It was listed on the National Register of Historic Places in 1992 and delisted in 2011.</p><br>
<p>Steepletop, also known as the Edna St. Vincent Millay House, was the farmhouse home of Pulitzer Prize-winning poet Edna St. Vincent Millay and her husband Eugen Jan Boissevain, in Austerlitz, New York, United States. Her former home and gardens are maintained by the Edna St. Vincent Millay Society, a nonprofit organization that also holds the rights to the poet&#39;s intellectual property. Steepletop was declared a National Historic Landmark on November 11, 1971.</p><br>
<p>The Millay Colony for the Arts, founded by Norma Millay Ellis, sister of the poet and heir to her estate, is located on an adjacent plot of land. In 1973, it was established as a separate nonprofit organization from the Edna St. Vincent Millay society (aka, "Millay Society").</p><br>
<p>The name Steepletop comes from a pink, conical wildflower that grows there known as Steeplebush or Spiraea tomentosa. The Society opened the house for tours in 2010.</p><br>
<h2>Property</h2><br>
<p>Steepletop is a 500 acre estate on a hilly, wooded area in the northeastern corner of the town near the Massachusetts state line. Although located within the range of the Taconic Mountains, the area is adjacent to the Berkshire Hills and is considered part of the cultural region of the Berkshires, known for its rich diversity in music, arts and recreation. The property is abutted on some areas by Beebe Hill and Harvey Mountain State Forest. It can be reached by taking partially paved East Hill Road to the main complex from the NY 22 state highway in the narrow valley to its west.</p><br>
<p>East Hill leads through the Steepletop property, on a rolling section of cleared land in the middle of the woods. Its most visible building is the guest house on the east side of the road, currently used as the Millay Society&#39;s offices. It is a two-story building, sided in shingles with a gabled roof and two exterior brick chimneys. To its southeast is a stable now used as a garage, with a second floor studio. A barn with curved roof is located on the northeast.</p><br>
<p>Just north of it, across the road, is the main house, Millay&#39;s primary home during her years of residence. It is a two-story white clapboard-sided house with a steep gabled roof and central chimney, built into ground that rises up from the short unpaved driveway on the west. A one-and-a-half-story wing projects from the north.</p><br>
<p>The four-bay west (front) facade has a single-bay, single-story gabled porch sheltering the main entrance, a doorway with sidelights and transom. The north wing has three shed-roofed dormer windows, an interior chimney and a single-bay, single-story projection on its west just north of the main entrance. Its north end has a double door and single window in the gable field. On the wing&#39;s east side is a screened porch with a single shed dormer above.</p><br>
<p>Behind the main door is a small full-length hallway with stone floor. It is decorated with photographs of Millay and art objects collected by her and Boissevain, including a bust of Sappho and a desk made for Millay. An adjacent parlor has a wide brick mantelpiece and paintings of and by Norma Ellis and her husband Charles, who lived in the house after her sister&#39;s death. At the east end of the hall is the dining room.</p><br>
<p>To its north is the kitchen, as remodeled by Ladies Home Journal in 1947 for a feature story, by their friend and an editor at the magazine, Alice Blinn. Its pantry is to the west, with a small room containing a wood stove on the north. Beyond that is a large storage room with concrete floor, bathroom and closet. It contains file cabinets with recordings of readings of Millays work.</p><br>
<p>A stairway leads up to the second floor, with the library on the south. All its walls have shelves of Millay&#39;s books. At the northeast corner is her bedroom, which still has furniture she bought and dresses she wore to poetry readings. A newer bedroom, used by her sister and her husband, is to the west.</p><br>
<p>Northwest of the house is a small one-story wooden cabin, used by Millay as a writing studio. It has a door at the west end, one window on the north face and two on the south. Within are a stove, chaise longue, bureau, desk and chair, and a table with magazines from 1949, all as Millay left it.</p><br>
<p>Farther away from the house are two more buildings and Millay&#39;s grave. A gabled icehouse is to the north; the Ellises converted it into a workroom and storage space. West of the driveway is a swimming pool complex, with a roofed terrace Millay referred to as "the bar" and lawn she called "the dingle". Her gravesite is off a dirt road that branches off to the west from East Hill a thousand feet (305 m) north of the main house.</p><br>
<h2>History</h2><br>
<p>The guest house is believed to have been built in the late 18th century, considerably predating the main house, which is believed to have been built around 1870. Millay and Boissevain bought the property, which had been a 635 acre blueberry farm and moved in in 1925, after the period in which critics and scholars generally believe she had done her best work. She continued to write since the rural setting provided sufficient distance from the outside world, and the couple lived there except for periods of travel.</p><br>
<p>The couple built the barn shortly after moving in, from a kit they bought from Sears.</p><br>
<p>After World War II, in the late 1940s, she left Steepletop less frequently. Boissevain died in 1949, making her even more reclusive in the year before she was found dead at the foot of the stairway in the main house.</p><br>
<p>Her sister Norma and her husband, painter Charles Ellis, moved in afterwards. In 1973, they established Millay Colony for the Arts on the seven acres (2.8 ha) around the guest house and barn. After her husband&#39;s death in 1976, Norma continued to manage the colony program until her death in 1986. During that time, in 1980, she renovated the barn into housing for visiting artists. In 1997, a disabled-accessible main building was built on colony property. The colony continues to offer one-month residencies to writers, visual artists and composers from the USA and other countries.</p><br>
<p>In 2006, the state of New York paid $1.69 million to acquire 230 acre of Steepletop, to add the land to a nearby state forest preserve. The proceeds of the sale were used by the Edna St. Vincent Millay Society to restore the farmhouse and grounds and turn it into a museum. The museum opened to the public in the summer of 2010, and guided tours of Steepletop and Millay&#39;s gardens were available from the end of May through the middle of October. Effective November 2018, Steepletop closed to the public due to financial challenges and restoration needs. Fundraising efforts continue as do considerations for the future of this museum house. Parts of the grounds of Steepletop, including the Millay Poetry Trail that leads to her grave, are now open for occasional scheduled events.</p><br>
<p>The Edna St. Vincent Millay Society remains in charge of the main house, the outbuildings around it and the grounds as a whole. It operates the property as a historic house museum dedicated to Millay and has spent much effort on restoring the house and grounds. In 2003, the Friends of the Millay Society built the Millay Poetry Trail along the dirt road leading to her grave and those of several family members. The trail is open to the public and posted with her nature poetry along the shaded route.</p><br>
<p>The Wilford Wood House is located on Pleasant Hill Road just east of the New York State Thruway in the Mountainville section of Cornwall, New York, United States. It is a white Colonial Revival farmhouse built in the late 19th century, a period when most large new houses in Cornwall were being built as boardinghouses to serve those who came to the area as a summer resort. The Wood house, too, would be used as a boardinghouse where guests could take in the mountain air and views of the surrounding mountains.</p><br>
<p>It was added to the National Register of Historic Places in 1998. Signs around the property indicate that it is currently owned by nearby Storm King Art Center. It is sided in white clapboard, with a gabled roof shingled in asphalt and pierced by two chimneys, one stone and the other brick. The cornice is bracketed. A porch with two classical columns runs the length of the western (front) facade.</p><br>
<h2>Building</h2><br>
<p>The two-and-a-half-story house sits in the middle of its 2 acre lot, with views of Schunemunk Mountain to the south and the Hudson Highlands to the east. Immediately to the west is the New York State Thruway.</p><br>
<p>It is sided in white clapboard with a gabled roof covered in asphalt shingles, pierced by two chimneys, one stone and the other brick. The roofline is marked by a bracketed cornice. A small porch on the western (front) facade is supported by two classically styled columns.</p><br>
<p>The Dutch door at the entrance leads into a central hall, ending in a rear Dutch door. Oak flooring is original, but the lath and plaster walls on the first story have been covered over with drywall. An original staircase leads to the second story, where the plaster walls remain uncovered. More original furnishings, including fixtures for gas lamps, are up the disappearing staircase in the attic. Many of the doors in the house and their hardware are original.</p><br>
<p>A three-car-garage and breezeway are connected to the house. Built later, they are architecturally sympathetic.</p><br>
<h2>History</h2><br>
<p>The house was built around 1890 as the center of the much larger Wood farm. At that time most larger houses in Cornwall were built to serve as boardinghouses (or, as with the Walter Hand House, both farmhouses and boardinghouses). It is a rare example of a late-19th-century farmhouse in the town, albeit later used as a boardinghouse as well due to the mountain scenery.</p><br>
<p>Only two substantial exterior renovations have been undertaken. The stone chimney was added to the south end around 1930, and in 1996 the garage and breezeway were added. The interior walls on the first story were also covered in drywall at some point in the late 20th century.</p><br>
<p>&#39;Christeen&#39; is the oldest oyster sloop in the United States and was declared a National Historic Landmark in 1992.</p><br>
<p>She was built in 1883 in Glenwood Landing, New York as a gaff-rigged sloop. She had several homes including Essex, Connecticut, but in 1992 she arrived back in the hamlet of Oyster Bay, New York. Funds were raised and over the next seven years, she was restored and relaunched in 1999. She currently serves as a working museum ship, offering educational tours, public, and private charters of Oyster Bay at the WaterFront Center.</p><br>
<h2>History</h2><br>
<p>The Christeen, recognized as a National Historic Landmark, was built in 1883 for Captain William Smith to harvest oysters in Oyster Bay and Cold Spring Harbor. Throughout her long life the Christeen worked in the waters of Greenport, Southhold, Connecticut, and New Jersey. The sloop was named for Captain Smiths 13-year-old wife.</p><br>
<p>In 1914 an engine was installed and the Christeen was used as a cargo vessel transporting potatoes between Long Island and New London, and furniture and other goods between New York City and the eastern end of Long Island.</p><br>
<p>From 1958 to 1976 she was a pleasure yacht and finally in 1989 was abandoned and nearly sunk in New London, Connecticut. After being saved by Tradewinds Education Network in Connecticut, the Christeen was donated to the Oyster Bay non-profit organization Friends of the Bay and in 1991 she finally returned home. Restoration of the oyster sloop was completed in 1999 at Jakobson Shipyard. The Christeen then joined the WaterFront Center at Oyster Bay, serving their mission of connecting people to the water. After surviving 16 major hurricanes, numerous nor&#39;easters, and severe neglect, the Christeen is now serving as a floating classroom to educate students of all ages about the operation of historic vessels and protection of the marine environment of Oyster Bay and Long Island Sound. The Christeen frequently collaborates with local nonprofits and additionally provides both public and private charters at the WaterFront Center.</p><br>
<h2>Boat Specifications</h2><br>
<p>The 1942 Farmers and Mechanics Savings Bank building in downtown Minneapolis, Minnesota, United States is a former bank building that is now the home of a Westin Hotel. The building is an example of the Streamline Moderne phase of the Art Deco movement and is notable for its bold relief sculptures of a farmer and a mechanic framing the main entrance. The sculptures were designed by Warren T. Mosman, who headed the sculpture department at the Minneapolis Institute of Arts. The structure was listed on the National Register of Historic Places in 2006.</p><br>
<p>The previous Farmers and Mechanics Savings Bank headquarters was built in 1891 on 115 S. 4th St. It is now home to The Downtown Cabaret, a strip club.</p><br>
<p>The walnut-paneled main banking hall of the building is now the lobby of the hotel. The taller wings of the building once held offices but now house 214 hotel rooms. The hotel conversion preserved several historic features of the bank building. The main banking lobby with a 34 ft high ceiling, marble staircase, and carved wood emblems have been retained. The bank&#39;s boardroom on the 10th floor, with floor-to-ceiling windows, is now a conference room. The original bank vault on the lower level is also a conference room, while the former safety deposit vault is now a wine vault and the entire bank has been made into a restaurant, called B.A.N.K. The restaurant kept as much of the original woodworking from the actual bank as possible. Former offices now serve as private dining rooms, and the teller counter now serves as a bar.</p><br>
<p>Arden is a historic estate outside Harriman, New York, that was owned by railroad magnate Edward Henry Harriman and his wife, Mary Averell Harriman. By the early 1900s, the family owned 40,000 acre in the area, half of it comprising the Arden Estate. The main house is at the top of a mountain east of the village, reachable by Arden House Road from NY 17. Since 2011, it has been owned by the nonprofit Research Center on Natural Conservation, which operates Arden House as a conference center with 97 guest rooms.</p><br>
<h2>History</h2><br>
<p>On September 17, 1886, Harriman bought at auction the 7,863 acre Peter Parrott family estate for $52,500, which was named Arden by the Parrott family after Mrs. Parrott&#39;s maiden name. Over the next several years, he purchased an additional 20,000 acre, almost forty different parcels of land, and built 40 mi of bridle paths. Harriman hired Carrère and Hastings to design a home, which was begun in 1905. Harriman had planned it for many years, but lived in it for only a few months before his death in 1909.</p><br>
<p>The house features a dramatic music room, modeled after a medieval great hall. Around the central courtyard is a brick corridor lined with murals by Barry Faulkner. Harriman commissioned a number of American artists to decorate the house. James Earle Fraser did a bas-relief portrait of Harriman over one of the fireplaces, as well as a fountain in the interior court; Malvina Hoffman did a bust of Mrs. Harriman; and Charles Cary Rumsey did a fountain of the Three Graces, a marble fireplace surround that featured a caricature of architect Thomas Hastings, and corbel carvings of bighorn sheep in the music room. He also managed to marry Harriman&#39;s daughter, Mary, in 1910, much to the surprise of society. Lining the staircase were Herter Brothers tapestries depicting the creation of the house. On the second floor was an "Indian Corridor", featuring photographs of Native Americans taken by Edward S. Curtis during the Harriman Alaska Expedition of 1899.</p><br>
<p>Mary Averell Harriman gave the house to her son W. Averell Harriman upon his wedding in 1915, although she continued to live in the west wing of the building until her death in 1932. After the USA entered World War II, the family offered the house to the USA Navy, which turned it into the first of the Navys convalescent hospitals, modeled on those that England and Russia had already successfully created. In 1950, Averell Harriman and his brother Roland deeded the property to Columbia University, as "home of The American Assembly", a public policy institution founded by Dwight D. Eisenhower the same year. It became primarily used as a center for executive management programs. The house was identified as Americas first conference center, and became a National Historic Landmark in 1966 but is not open to the public.</p><br>
<p>It was from this estate that Mary Averell Harriman donated 10,000 acre and one million dollars to New York State to start Harriman State Park in 1910.</p><br>
<p>In 2007, the Open Space Institute bought Arden House and its surrounding 450 acre. The house commands extensive views of the Ramapo River Valley. The property brings the total of preserved lands that were once owned by the Harriman family in New York State to nearly 70,000 acre, including Bear Mountain, Harriman and Sterling Forest State Parks.</p><br>
<p>In 2010, the Open Space Institute put the house up for sale. The house was purchased in 2011 by a Chinese-backed nonprofit, the Research Center on Natural Conservation, Inc. In 2015, the same group bought the bankrupt New York Military Academy.</p><br>
<p>Fort Corchaug Archeological Site is a prehistoric archaeological site in Cutchogue on eastern Long Island in New York State. It is located west of the North Fork Country Club, on the south side of Main Road . The site shows evidence of 17th century contact between Native Americans and Europeans. Fort Corchaug itself was a log fort built by Native Americans. It may have been to protect the Corchaug tribe from other Indians, built with the help of Europeans. Ralph Solecki, a prominent American archaeologist, grew up nearby and conducted several digs on site.</p><br>
<p>It remains today one of the few undisturbed Native American fortified village sites in the North East. and was declared a National Historic Landmark in 1999. The 105 acre property where the fort is located is protected in part by a conservation easement owned by a local land trust, and is in part owned by the town of Southold as a nature preserve. Known as the Downs Farm Preserve, it is open to the public with hiking trails.</p><br>
<p>The Corchaug tribe, also known as the Montaukett, originally had the land from the Nassau border to Montauk Point. Depradation by the Narragansetts of Connecticut and decimation from smallpox caused to tribe to leave their land in the South Fork and with the help of whites built forts to ward off attacks. Another fort still being excavated is Fort Hill (now in Montauk County Park) in Montauk Point, described as "one of the earliest and best for its time", it was placed on a 1658 map of Long Island.</p><br>
<p>Fort Massapeag Archeological Site is a historic archaeological site at Sunset Park in Massapequa, New York. It is believed to be the site of a New Netherland trading post built in the mid-17th century to facilitate trade with local Native Americans, and possibly serve as a wampum factory. It was first excavated in the 1930s by a team including Ralph Solecki. It was declared a National Historic Landmark in 1993.</p><br>
<h2>History</h2><br>
<p>In 1656, Peter Stuyvesant, the director of the New Netherland colony (now New York City) signed an agreement with Lenape chief Tackapausha, which included a provision that the Dutch would construct "A howse or A forte" for trade with Natives residing on Long Island. Ralph Solecki, a professional archaeologist with a long interest in this site, believes this site to be the fortified trading post that was then built. The trading post remained in operation until the Dutch turned New Netherland over to the British in 1664, and the land was sold by the Lenape to English settlers in 1694.</p><br>
<p>The area has long been known as "Fort Neck", and many people believed the remnant fortifications to be of Native construction, and possibly the site of a conflict between the English and Natives. The area came to the attention of archaeologists in the 1930s, when the Harbor Green development began, uncovering graves of Native Americans and the site of a village, which was destroyed in the process. The fort site itself was already well known to local collectors, and was significantly compromised by their activities. Solecki participated in an early excavation of the site, which formed the basis of his eventual doctoral dissertation.</p><br>
<p>The site was preserved from development and turned into what is now Sunset Park; a sign commemorating its significance stands near the junction of Fairfax and Gloucester Roads.</p><br>
<p>Harmony Mills, in Cohoes, New York, United States, is an industrial district that is bordered by the Mohawk River and the tracks of the former Troy and Schenectady Railroad . It was listed as Harmony Mills Historic District on the National Register of Historic Places in 1978. A portion of the district encompassing the industrial buildings and some of the housing built for millworkers was declared a National Historic Landmark in 1999. The centerpiece building, Harmony Mill No. 3 was listed on the National Register of Historic Places in 1971.</p><br>
<p>It was the largest cotton mill complex in the world when it opened in 1872, and is one of the finest examples of a large-scale textile mill complex outside of New England.</p><br>
<p>The complex went into decline after its largest tenant, Barclay Home Products, went out of business in 1988. Mill 2 burned down in 1995. Mill 1 suffered devastating damage in a second fire in 1998.</p><br>
<p>Developer Uri Kaufman purchased the complex in 2000.</p><br>
<p>In 2005–2006, a portion of Mill 3 was renovated and turned into high-end residential lofts. The 96 loft apartments completed in this first phase were at 100% occupancy by July, 2006. A second phase containing 135 units was completed in 2010, adding a pool and spa and other luxury amenities. This phase—98% leased as of July, 2012—was called Harmony Mills Fallsview Luxury Apartments because of the views of the Cohoes Falls.</p><br>
<p>A third phase, restoring Mills 1 & 4 was commenced in early 2013. Mill 4 was completed in early December, 2013. 31 of its 33 loft apartments were pre-leased prior to receipt of the Certificate of Occupancy on December 6, 2013. In all, the Harmony Mills now contains 340 luxury loft apartments.</p><br>
<p>The revival of the Mills sparked a revival of the City of Cohoes. In the 2010 census, the City gained population for the first time since 1930. According to a study by the Center for Economic Growth, Cohoes was the fastest growing city in New York State in both 2015 and 2016. The project has been hailed as a prime example of how adaptive re-use of historic buildings can revitalize cities, while clearing urban blight in an environmentally friendly manner.</p><br>
<p>For his efforts in restoring the Harmony Mills, Uri Kaufman was awarded the New York State Preservation League Excellence Award. The Harmony Mills is featured on the Home Page of the New York State Historic Preservation Office Website, as a leading example of historic preservation development.</p><br>
<h2>History</h2><br>
<h3>Origins</h3><br>
<p>In 1836, “wealthy Spanish gentleman” Peter Harmony founded the Harmony Manufacturing Company in Cohoes, at the time a small village with a population of only 1,850 people in 1840. Among the first stockholders of the Harmony Manufacturing Company was Stephen van Rensselaer, the “Good Patroon” and founder of Rensselaer Polytechnic Institute. In 1837, the company’s first mill opened with a workforce of 250 people. Mill No. 1 was built on a hill overlooking Cohoes on the south bank of the Mohawk River. It cost $72,000 to build and had 3,000 spindles. In its first year of operation, mill workers produced 1.5 million yards of print cloth. The company also constructed three brick tenements to house its workers, which cost $300 each to build. From its founding, Harmony played a leading role in the economic and social lives of the people of Cohoes.</p><br>
<p>Due to the powerful Mohawk River Falls and the introduction of the Erie Canal, the location of the Harmony Mills was key to the success and vast expansion of the company. Despite its vast potential, the Harmony Manufacturing Company lost money almost every year until 1850, when it was sold at a forced auction by the sheriff to two New York businessmen, Thomas Garner of New York City and Alfred Wild of Kinderhook, NY. The company was renamed Harmony Mills and began its rise to local economic dominance.</p><br>
<h3>Development</h3><br>
<p>After its acquisition by Garner and Wild, Harmony Mills began to flourish under the management of Robert Johnston. After moving from Rhode Island to New York, he worked for Wild, who bought the Harmony Manufacturing Company at his suggestion.</p><br>
<p>Johnston oversaw the expansion of Harmony Mills; in 1853, the first year it was incorporated, the physical size of Mill No. 1 was doubled. Johnston’s son David had also taken over his father’s role as supervisor, though Robert remained the general manager. By 1872, the year that Mill No. 3 was expanded to make it the largest cotton mill in the United States, the physical expansion of Harmony Mills was largely complete, and the acquisition of Ogden Mills in 1859 and Strong Mill in 1865 had cemented its monopoly over the Cohoes cotton industry.</p><br>
<h3>Harmony Mills Buildings</h3><br>
<h4>Mill No. 1</h4><br>
<p>Completed in the year 1837, Mill No. 1 stood as the first textile mill to house the operations of the newly founded Harmony Manufacturing Company. Mimicking the gable-roofed like structures common to the Greek revival movement, these impressive architectural features can still be appreciated today. The construction of this mill prompted the realignment of the Erie Canal which originally sat on the east side to be shifted to the west side of the building (1837-1842). The east side was then used as a hydraulic canal for the growing company. Its location was critical since the western side of the building sat just a few yards from the Erie Canals lock No. 16. Under Johnstons leadership, the company required the addition to the original Mill No.1. It consisted of an architecturally pleasing 5-story 274 foot long building and featured a large tower and arched entryway.</p><br>
<h4>Picker House / Storehouse / Pump House</h4><br>
<p>In the year 1853, the inclusion of the Picker House was required to increase the efficiency of the growing production. To meet these needs, the Picker House was utilized for the opening and cleaning of the imported cotton bales as well as a storage space. This building and the structural portion of the walkway to Mill No.1 still remain today.</p><br>
<h4>Mill No.2</h4><br>
<p>Erected in the year 1857, Mill No. 2 was a symbol of the ever growing production of cotton goods in Cohoes. To staff the mill, 500 workers were hired and 70 acres were purchased to construct additional tenement houses. This mill acted as an extension of Mill No.1 and later called for a fourth floor mansard roof addition in 1866. Unfortunately, the mill suffered severe damage from a fire in 1995 and has since been demolished.</p><br>
<h4>Mill No.3</h4><br>
<p>Years of continued success and an increase in production had allowed the most significant on the mills to begin construction in 1866. Due to the discovery of a prehistoric elephant’s skeleton during construction, the mill earned its nickname of the “Mastodon Mill”. With the first phase completed in 1868 and the second shortly after in 1872, Mill No. 3 stood with an astonishing foot print of 1,185 feet in length and 70–76 feet wide. Standing five stories tall and featuring gorgeous Victorian styled aesthetic features such as the mansard roof and the bronze statue of Thomas Garner near the front two towers, Mill No. 3 was a symbol of tremendous success for the Harmony Factories. Housed in the basement of the mill were two 800 horsepower Boyden turbines which powered all of the machinery in that mill. Boasting 130,000 spindles, 2,700 looms, and over seven miles of gas and water pipes, the Mastodon Mill became a destination for cotton capitalists from across the country.</p><br>
<h4>Mill No.4</h4><br>
<p>In 1872 the Harmony Company acquired what used to be the Van Benthuysen Mill and converted it into another cotton mill. This mill’s main responsibility was the production cotton bags and jute.</p><br>
<h4>Miscellaneous Buildings</h4><br>
<p>In addition the main mills, there was the Boiler House (c. 1911), Office and Sunday School Building (c. 1853), and the Generator Plant. Today the Office and Sunday school building is utilized as a commercial building and is currently leased out by a Salon.</p><br>
<h4>Tenements</h4><br>
<p>The quick growth of the Harmony Mills accompanied by a large influx of immigrants from Europe and Quebec, Canada, allotted the Johnston’s the opportunity to provide an easily adaptable community to entire newcomers. To do so, they eventually constructed over 800 tenements to house these immigrants and their families at very mere costs as long as they worked in the mills. The rent of 5 to 7 dollars was automatically deducted from workers’ paychecks. This allowed the mills to employ over five thousand operatives and assisted Cohoes in becoming the nation’s largest producers of wool knit goods in the 1860s.</p><br>
<h3>Life in Harmony Hill: 1860-1880</h3><br>
<h4>Workers</h4><br>
<p>Harmony Hill was the name of the settlement of cotton workers that developed around the Harmony Mills complex. Examining the period from 1860 to 1880 gives an idea of a worker’s life in the heyday of Harmony Mills’ ascendance. In 1860, Harmony Mills’ workers were largely made up of young, unmarried Irish women. By 1880, an influx of French Canadian immigrants had shaken the Irish domination of the workforce, but the average unskilled Harmony Mills worker remained a young, unmarried immigrant woman. These women were paid low wages and did not have many prospects of upwards mobility, easing the decision to stay home after marriage. Higher-paying skilled jobs, with the exception of weavers, were generally the provenance of men, largely married Englishmen, who had fled from the working conditions of 19th century English textile mills. Women were deliberately kept out of skilled jobs such as mule spinners, either out of ostensible concern for their safety, or because existing workers did not want the lower rates women received to drag down their wages.</p><br>
<p>As a result, families needed to send their older children to work to make up for the mother staying home to raise the younger children, particularly in cases where a widowed or otherwise single mother was the head of the family. (It is estimated that almost one-quarter of cotton worker families was headed by a woman.) Harmony Mills offered employment to these children for wages as low as 30 cents for a 12-hour workday; hence, to keep these families afloat, between 1860 and 1880, the percentage of workers under 15 had tripled. In 1882, thirteen Harmony Hill families testified before a New York State legislative committee investigating child labor that they could not stay out of debt without sending their children to work. This debt generally resulted from buying necessities on credit due to the rising cost of living; for example, many families would purchase food on credit at the Harmony Mills Company store.</p><br>
<p>Thus, while immigrants fleeing from conditions such as the Great Famine of Ireland and the economic conditions of Quebec in the 1870s would have likely appreciated steady work, guaranteed housing, and the possibility of owning property someday, the Harmony Mills workers also had increasing incentives to organize against the company to better their working conditions.</p><br>
<h4>The Labor Movement</h4><br>
<p>The workers at Harmony Mills, and other Cohoes cotton mills, had a modest history of strikes. In 1842, for example, a 20% wage cut induced Harmony Mills workers, likely women, to strike, but these workers may have been fired for their actions. In 1858, a 3-week strike successfully convinced Harmony Mills to raise wages, but an attempt later that year to fully restore wages ended in violence.</p><br>
<p>But when Harmony Mills workers struck in 1863 against stagnant wages and reduced hours, it fizzled out after a week; this was the only strike against Harmony Mills from 1858 to 1880. Ultimately, attempts to organize Harmony Mills workers was unsuccessful; period accounts would describe the cotton mill workers as “well-behaved, content, and benign”. Part of this can be attributed to the workforce being majority female; not only were women of this period expected to be passive, but Harmony Mills’ female workers also did not expect to work full-time after marriage.</p><br>
<p>The Hudson River State Hospital is a former New York state psychiatric hospital which operated from 1873 until its closure in the early 2000s. The campus is notable for its main building, known as a "Kirkbride," which has been designated a National Historic Landmark due to its exemplary High Victorian Gothic architecture, the first use of that style for an American institutional building. It is located on US 9 on the Poughkeepsie-Hyde Park town line.</p><br>
<p>Frederick Clarke Withers designed the hospitals buildings in 1867. Calvert Vaux and Frederick Law Olmsted designed the grounds. It was intended to be completed quickly, but went far over its original schedule and budget. The hospital opened on October 18, 1871 as the Hudson River State Hospital for the Insane and admitted its first 40 patients. Construction, however, was far from over and would continue for another 25 years. A century later, it was slowly closed down as psychiatric treatment had changed enough that large hospitals were no longer needed, and its services had been served by the nearby Hudson River Psychiatric Center until that facilitys closure in January 2012.</p><br>
<p>The campus was closed and abandoned in 2003 and fell into a state of disrepair. Authorities struggled with the risk of arson and vandals after suspicion of an intentionally set fire. The male bedding ward, south of the main building, was critically damaged in a 2007 fire caused by lightning. The property was sold to an unnamed buyer in November 2013. The site is currently being developed as a $300 million mixed-use project called Hudson Heritage, which will include 750 residential units, commercial space, medical office space, a hotel, and a conference center.</p><br>
<h2>Buildings</h2><br>
<p>The Hospital includes a number of unique buildings:</p><br>
<p>Main Building (the Kirkbride), a High Victorian Gothic building used for administrative purposes. This building will be preserved for future purposes.</p><br>
<p>Patient Wings, which split off the Kirkbride, housed patients. The male ward splits off to the south, and is much larger than the female wing to the north. It was struck by lightning on May 31, 2007, igniting a serious fire. These wings will be demolished sometime in the future.</p><br>
<p>Presbyterian and Roman Catholic churches were available to patients, one of which was near the male ward. One of the churches will be preserved for future use.</p><br>
<p>A morgue, with refrigerated cold chambers was located on the northeast corner of the property. This building will be demolished sometime in the future.</p><br>
<p>A power house was built, and still stands, to the northeast of the Kirkbride to provide power to the various buildings. Its smokestack is visible from Route 9 as well as nearby Marist College. This building will be demolished sometime in the future.</p><br>
<p>Ryon Hall opened in 1934 and housed violent or criminally insane patients. It was on the very southern property line, visible from Home Depot, in the shadow of the much larger Cheney Building. The building was demolished on October 14, 2019.</p><br>
<p>The Clarence O. Cheney Building, opened in 1952, is a ten-story steel structure with a brick facade. Named after Dr. Clarence O. Cheney, MD (1887-1947), the president of the American Psychiatric Association from 1935 to 1936, and hospitals superintendent from the 1920s until 1946, the building held doctors offices and medical examination rooms. The building did provide some patient housing. This building was demolished in 2020.</p><br>
<p>The Herman B. Snow Rehabilitation Center opened in 1971 and provided recreational relief for patients, sporting two bowling alley lanes, a lunch counter, an auditorium, a basketball court, and an indoor swimming pool. The building featured a modern concrete and glass construction with angular asymmetrical wings. Skylights provided natural lighting. This building was demolished in 2019.</p><br>
<h2>History</h2><br>
<p>The entire facility was built over the last three decades of the 19th century, at great cost. Once complete, it would be used as intended for much of the first half of the next century. As psychiatry moved away from inpatient treatments, it began to decline in use until its closure at century&#39;s end. Today, it is slowly deteriorating out of public view as it awaits reuse.</p><br>
<h3>19th century</h3><br>
<p>New York had opened what has since become Utica Psychiatric Center in 1843, the first state-run institution for the mentally ill. By the Civil War it was reaching its capacity, so in 1866 then Governor Reuben Fenton appointed a five-member state commission to look for a site for a second hospital in the Hudson Valley between New York and Albany, to serve New York City and the counties of Eastern New York. In January of the following year the members reported to the governor that they had temporarily secured a 296 acre tract of land overlooking the Hudson River north of Poughkeepsie, formerly part of the estates of James Roosevelt and William A. Davis. It would cost nothing as the citizens of Dutchess County would be offering it to the state as a gift. Two months later, the state accepted.</p><br>
<p>A nine-member Board of Managers was created and appointed to initiate and oversee construction of the actual building. They chose architect Frederick Clarke Withers to design a building according to the Kirkbride Plan, then a popular theory for the design of mental institutions. Withers planned a building 1,500 feet (457 m) in length and over 500,000 square feet (45,000 m) in area, most of it two wings that would house patients. It was the first institutional building in the USA designed in the High Victorian Gothic style. Calvert Vaux and Frederick Law Olmsted, designers of New York&#39;s Central Park, laid out the surrounding landscape. Like Withers, they had been influenced by landscape gardener Andrew Jackson Downing in nearby Newburgh.</p><br>
<p>The centerpiece of his design was the administration building, which branched off into two wings, composed of six parallel pavilions that flanked the central structure. The two wings, designed to hold 300 patients of either sex, were divided by a chapel placed between them in the yard behind the administration building so that patients could not see into the rooms of the opposite sex. The building and landscape plan were meant to aid in patients&#39; recovery, by giving them adequate space and privacy and imbuing their healing with a sense of grandeur.</p><br>
<p>Construction began in 1868, with the cost estimated at $800,000. Cost-saving measures included the construction of a new dock on the Hudson so that building materials could be shipped more directly to the site, quarrying and cutting the foundation stones on site, mixing concrete from local materials and hiring local craftsmen instead of a general contractor.</p><br>
<h4>Spending controversies and delays</h4><br>
<p>Despite the efforts to save money, the board was slightly over the $100,000 it had expected to spend that year, according to its first annual report. The main building was completed and opened, with 40 patients admitted, in October 1871. As work continued on other structures planned for the complex, so did the cost overruns. In 1873, the year county residents had been promised the hospital would be finished, the New York Times ran an editorial harshly criticizing the board for not only having gone way over budget but for lavish extravagance and waste:</p><br>
<p>Some efforts were made to stop the project, but the legislature continued to appropriate funds despite further revelations like these. Construction continued until 1895, when further money could not be found. Despite this expenditure of time and money, the hospital&#39;s original plan was still not complete, and never would be.</p><br>
<h3>20th century</h3><br>
<p>A Refrigerating Plant was built 1948 and a Tubercular Hospital was built in 1951 to the designs of Samuel Juster of DePace & Juster. Buildings continued to be opened and reopened in the 20th century, and as late as 1952 the institution was treating as many as 6,000 patients.</p><br>
<p>Changes in the treatment of mental illness, such as psychotherapy and psychotropic drugs, were making large-scale facilities relics and allowing more patients to lead more normal lives without being committed. A major fire destroyed a hospital wing in the 1960s and threatened to spread to the administration building, but was halted in a connecting hallway. The section was rebuilt, although some large roof beams still showed evidence of the earlier fire. Though 1971 saw the addition of the Snow Recreational center, by the late 1970s the hospital administration had decided to shut down the two main wings as few patients were residing in them and due to neglect some of the floors had collapsed. The hospital housed 1,780 patients by 1976. The state offices of Mental Health and Historic Preservation clashed over a plan to demolish the wings, even after the National Historic Landmark designation in 1989.</p><br>
<p>In the 1990s, more and more of the hospital site would be abandoned as its services were needed less and less. It was consolidated with another Dutchess County mental hospital, Hudson River Psychiatric Center, in 1994 and closed in 2003. The center moved operations into a much smaller building nearby, Ross Pavilion, located on a hilltop on the east side of Rt 9G.</p><br>
<h2>21st century</h2><br>
<p>In 2005, the state sold the property and subsequently, the Empire State Development Corporation sold 156 acre including the Main Building to Hudson Heritage LLC, a subsidiary of the Chazen Companies, for $2.75 million. Hudson Heritage and Chazen had planned to thoroughly renovate the Main Building into a combination hotel/apartment complex as the centerpiece of a residential/commercial campus, Hudson Heritage Park.</p><br>
<p>Redevelopment plans hit two setbacks in the mid- to late-2000s: in 2005, the Town of Poughkeepsie imposed a moratorium on new construction to cope with its growth. Hudson Heritage had been seeking to have a "historic revitalization district" created for the property that would help spur its growth.</p><br>
<p>Then, on May 31, 2007, lightning struck the sprawling south wing, which held male housing, causing one of the most serious fires in Dutchess County&#39;s history. It is unclear whether that portion of the building can be effectively restored after such severe damage. The Administration building was again hit by fire on the morning on April 27, 2018.</p><br>
<p>In the meantime, the property has remained closed to the public, with signs posted at fenced-off entrances. Local firefighters have complained, after dealing with two fires in April 2010 that appeared to be deliberately set, that the property is not adequately secured against trespassing.</p><br>
<h2>2010s</h2><br>
<p>As of May 2012, the campus is owned by CPC Resources, a subsidiary of the New York City-based Community Preservation Corporation, a non-profit mortgage lender that finances multifamily developments. CPC has placed the 162-acre parcel on the market, citing that the poor economy has hindered timely development. Walmart has shown a strong interest in the property, but Poughkeepsie Town Supervisor Todd Tancredi noted that the Town Board cannot envision such a large piece of land used for a single store.</p><br>
<p>An unnamed buyer purchased the campus for an undisclosed sum in November 2013. The closing for the property occurred on November 8, 2013. The site is currently being developed as a $300 million mixed-use project called Hudson Heritage, which will include 750 residential units, commercial space, medical office space, a hotel, and a conference center.</p><br>
<h2>Fire</h2><br>
<p>An intentional fire was set on the morning of April 27, 2018 at the Hudson River State Hospital, according to Fairview Fire District Chief. The fire was located in the wing of the old Main Administration building, and firefighters were dispatched around 3:45 AM; more than a dozen agencies responded with assistance.</p><br>
<h2>Demolition</h2><br>
<p>Demolition began on July 13, 2016 when smaller auxiliary buildings were torn down. The heavy vegetation that mostly hid the property from plain sight was cleared in summer 2019. The demolition of Ryon Hall, on the extreme southern end of the property, began on October 14, 2019. As part of the mixed use site, the "Kirkbride" main administration building, library, amusement hall, chapel, and the northernmost tower of the north wing will be preserved and put in to adaptive reuse. Also, the Great Lawn will be preserved. As of May 25, 2020, the fate of the other buildings on the North Campus is still unwritten and may be added for future use.</p><br>
<p>The Nathaniel Topliff Allen Homestead is a historic house at 35 Webster Street in the village of West Newton, in Newton, Massachusetts. The Greek Revival house is notable as the home of Nathaniel Topliff Allen , an innovative educator in the mid-19th century. Allen&#39;s pioneering work influenced the development of new teaching methods taught at the state normal school . The house is listed in the National Register of Historic Places, and is currently owned by Newton Cultural Alliance.</p><br>
<h2>Description and history</h2><br>
<p>The Allen Homestead, located at the northeast corner of Webster and Cherry Streets in West Newton village, consists of three connected wood-frame structures: Allen&#39;s -story Greek Revival house with a temple front facing Webster Street, built about 1848–1852 (probably by Milo Lucas, a local builder); a two-story flat-roofed structure, built in the late 19th century as a dormitory; and a -story gable-roofed schoolhouse.</p><br>
<p>In 1847, Horace Mann, the Massachusetts Secretary of Education, hired Allen to operate a model school in Newton, where students could be taught using methods developed at the nearby Normal School. Allen had attended Rensselaer Polytechnic Institute and taught previously in a number of public high-schools before coming to West Newton. Allens school became an internationally renowned showcase for teaching methods, and rapidly outgrew its facilities. When the Normal School moved to Framingham (becoming the school now known as Framingham State University), Allen purchased its building to continue running his school, West Newton English and Classical School. Allens innovations included the first-ever kindergarten, and an emphasis on physical fitness, exemplified in part by the school&#39;s large (for the period) gymnasium.</p><br>
<p>Nathaniel Allen married Caroline Swift Bassett of Nantucket in 1853; their daughters also taught at the school.</p><br>
<p>The West Parish Burying Ground, also known as the River Street Burying Ground or River Street Cemetery, is a cemetery located at River and Cherry streets in West Newton, Massachusetts, and is listed on the National Register of Historic Places. Established in 1777, the cemetery is owned and maintained by the City of Newton; the Second Church in Newton, its original owner, was known as the West Parish.</p><br>
<h2>Description and history</h2><br>
<p>The cemetery occupies a roughly rectangular plot about 1.6 acre in size at the northwest corner of River and Cherry Streets, just north of the village center of West Newton. The street sides of the property are bounded by a low fieldstone wall, which is topped by a distinctive wrought iron cross-link fence. The entrance, on River Street, is marked by dressed granite posts, and is secured by a chain-link gate. There is no paved interior circulation lane, but a rectilinear grid of pathways is discernible in the landscape. The cemetery is divided into a combination of family plots and single plots, with headstones generally oriented facing west. When surveyed in 2004, there were 170 grave markers, down from about 200 at the turn of the 20th century.</p><br>
<p>Newton was first settled in 1660, was incorporated as a town in 1688, and as a city in 1873. Its first parish meetinghouse, with accompanying cemetery, were located in what is now Newton Corner. By the mid-18th century the population in western Newton had grown to the point of meriting a separate parish. The Second Church in Newton was established in 1778, and this burying ground was formally established in 1781. Its earliest burials, however, took place in 1777, with at least five members of the Fuller family, who gave the land, interred there. The Fuller family is buried in one of several tomb mounds that dot the landscape. Use of the cemetery declined significantly after the large Newton Cemetery was established in 1855 (in the then-popular rural cemetery style), and its last recorded burial was in 1891. The cemetery was transferred from the parish to the city in the 1880s. The city made a detailed record of the cemetery, including its burials, layout, and landscaping, in 1901.</p><br>
<p>The cemetery is owned today by the City of Newton. Historic Newton manages the preservation of the graves and tombs of Newton&#39;s City-owned historic burying grounds. The burying grounds are not open to the public.</p><br>
<h2>Notable grave sites</h2><br>
<p>Rev. William Greenough, died November 10, 1831, first pastor of the Second Church in Newton.</p><br>
<p>The West Newton Hill NR Historic District is a residential National Register historic district in the village of West Newton, in the city of Newton, Massachusetts in the United States. It is composed of a cohesive collection of spacious houses built in the second half of the 19th century, representing the development of the West Newton area as a fashionable railroad suburb. The district was listed on the National Register of Historic Places in 1986.</p><br>
<p>The Boston and Worcester Railroad was built through West Newton in 1834, leading to its first significant period of growth. At this time, Chestnut Street was laid out across the hill south of the railroad line, and several houses were built. The improvement of regular passenger service in 1843 spurred further growth in the village, and in 1849 developers hired Alexander Wadsworth to lay out an 80 acre subdivision on the hill. Ten houses were built before 1879, and the majority of the development took place between 1880 and 1900. The district includes 36 acre of these subdivisions, with 58 contributing houses that are predominantly Queen Anne, Shingle, and Colonial Revival in their styling. Only six houses were built in the area after 1936.</p><br>
<p>One of the oldest houses in the district is 12 Valentine Street, a Greek Revival house that was moved to its current location, and is believed to include timbers used from an early farmhouse. This was formerly the house of Lawson Valentine. One of a handful of antebellum houses in the district is at 128 Chestnut Street, the home of Rev Henry and Catherine Porter Lambert, built in 1854 with Queen Anne alterations introduced in 1900. There are two notable well preserved Second Empire houses, at 152 Chestnut Street, 292 Otis Street, and 129 Chestnut Street. There are also several Italianate houses in the area dating from the 1870s.</p><br>
<p>Chestnut Street is lined by a significant number of Queen Anne houses, notable among them 170 Chestnut, which features the asymmetrical styling and varied gables, dormers, and projections typical of the style. The houses at 332 and 334 Otis Street are nearly mirror images of one another, with off-center projecting pavilions and hip roofs. The corner house at 333 Otis Street features a pair of turrets, a wrap-around porch with columns with scamozzi capitals, a porte-cochère and a turreted carriage house which mimics the main house.</p><br>
<p>The bronze sculpture by Anne Whitney, Child with Calla Lily Leaves, is a contributing resource to the district. This was cast from Whitneys 1893 submission to the Worlds Columbian Exposition and installed in 1903 in memory of Catherine Porter Lambert of 128 Chestnut Street. Distinctive from most of Whitney&#39;s pieces in its Art Nouveau design, this sculpture is located in a small community garden on the island at the intersection of Chestnut, Highland and Valentine Streets.</p><br>
<p>The National Register district is generally bounded on the west by Chestnut Street, running just south of Westfield Road to Highland Street, and on the north by Otis Street from Chestnut to Lenox Street, which defines the eastern boundary. The southern boundary includes Valentine and Highland Streets, omitting the houses south of those roads except for those within the triangular junction of Valentine Street with Burnham and Hampshire Roads.</p><br>
<p>In 2017, the Newton Historical Commission and the Massachusetts Historical Commission approved a study report proposing a Local Historic District on West Newton Hill, encompassing about 330 houses, including those in the existing National Register areas including this area as well as Putnam Street, and the Day Estate, and several individual buildings such as: the Second Church, the original Peirce School, the Neighborhood Club and the Henry Day House, now the All Newton Music School. The proposed boundaries of this new district would have linked houses on either side of Chestnut Street into one protected area, while still allowing for ongoing modifications and updates. This proposal did not proceed to a vote by the Newton City Council due to a lack of consensus in the neighborhood. The most historic buildings are not protected from demolition.</p><br>
<p>The 1891 Farmers and Mechanics Savings Bank building in Minneapolis, Minnesota, United States, is a Beaux-Arts style building that formerly served as the headquarters of Farmers and Mechanics Savings Bank. The building is now home to The Downtown Cabaret, a strip club. Architecture critic Larry Millett writes, "If you step inside for a view of the, ahem, scenery, youll discover a glass dome that once illuminated a ladies banking lobby&#39; but is now the scene of activities not everyone would consider ladylike."</p><br>
<p>The building was designed by the locally prominent firm of Long and Kees as a one-story building. Long and Kees usually preferred the then-popular Richardsonian Romanesque style for their buildings, but deviated from this style for the bank. In 1908 architect William Kenyon designed a second-story addition that enlarged the façade while retaining the Beaux-Arts style. The exterior is faced with white limestone, with five piers of rusticated stone supporting fluted Corinthian pilasters. In 1942, the bank moved to a new location at 88 S. 6th St. at the corner of Sixth and Marquette. The building was listed on the National Register of Historic Places in 1984.</p><br>
<p>The Smith Clove Meeting House is a Quaker place of worship in Highland Mills, New York, United States, a short distance from NY 32 on Smith Clove Road. It is the oldest religious building in the town and village of Woodbury, dating to the beginning of the 19th century, and is still used by the nearby Cornwall Quakers for meetings at least once a year.</p><br>
<p>While modified and renovated in the mid-19th century, its design still reflects its era of Quaker practice. It was added to the National Register of Historic Places in 1974.</p><br>
<h2>Building</h2><br>
<p>The meetinghouse sits in the middle of a 2 acre lot, gently sloping uphill westward. The land is mostly open with several large trees, and some smaller ones that shade the meeting house. A small burial ground for early members of the meeting is located just to the north.</p><br>
<p>It is a one-and-a-half-story four-by-two-bay clapboard-sided frame house supported by a fieldstone foundation. The gabled, wood-shingled roof is pierced by a central chimney.</p><br>
<p>A porch runs the length of the south-facing front facade. The entrances are on either end, with an accompanying window, reflecting a contemporary Quaker practice of holding separate meetings for men and women. There are two other windows on the east and west elevations. A small privy is attached to the rear elevation.</p><br>
<p>The interior consists of a sparely finished meeting room, with removable wooden partition. The walls are painted plaster, the flooring is wide wooden planks. The furniture consists of simple wooden benches and two wood-burning stoves.</p><br>
<h2>History</h2><br>
<p>The Smith Clove meeting began in 1790 as a preparative meeting under the Cornwall meeting, a few miles to the north. They met in a member&#39;s home until the need for a separate meeting house became apparent after a decade, and the land for the current meeting house was purchased in 1801. The name Smith Clove came from the original landowner of the area from the Cheesecocks Patent, William Smith, and the Dutch term kloof, for a steep, narrow valley such as the one in which Highland Mills is located, between Schunemunk Mountain and the Hudson Highlands, where Woodbury Creek flows.</p><br>
<p>The members built the house themselves, it is believed, and it was complete and in use by 1803. To avoid the possible confiscation of the land, which had happened to some Quaker meetings in the area before the Revolution, several of the member families held title to the land rather than the meeting itself.</p><br>
<p>In the middle of the 19th century, the meeting house was renovated. Most of the building and the original interior were kept. The clapboard siding matches the wide planks used in other Quaker meeting houses ca. 1800, but may have been replaced at this time as well. In 1886, with confiscation no longer a threat, title was passed to the meeting proper. Over time the Highland Mills meeting dwindled to the point that it merged back into the Cornwall meeting, which still meets in Smith Clove once a year.</p><br>
<p>The Clarke Historical Museum  in Eureka, California contains the area&#39;s premier collection of California North Coast regional and cultural history. The facility houses a Native American wing, Nealis Hall, which features an internationally recognized collection of basketry, regalia, stoneware, implements, and other objects indicative of the culture and creativity of local and regional Native American groups including the Wiyot , Yurok, Karuk and Hupa Tribes. The Eureka Visitors Center is located in the main hall of the museum. The Clarke Museum is a 5013 nonprofit.</p><br>
<h2>History</h2><br>
<p>The Clarke Historical Museum was founded by Cecile Clarke (18851979). Miss Clarke was a local history teacher at Eureka High School. It was at there that she first started displaying her collection of local Native American basketry. In 1960, when the school ran out of room for her increasing collection of local history items, Miss Clarke sold her family sheep ranch and used the money to buy the Bank of Eureka building, where she moved her collection. Miss Clarke taught for over 40 years and dedicated her life to the museum. Originally named the Clarke Memorial Museum, after her parents, it was renamed the Clarke Historical Museum in 2001, and is now a privately operated non-profit organization for the use, benefit, and awareness of the City of Eureka, surrounding cities and the local Native American tribes. The Native American wing, Nealis Hall, was built in 1979.</p><br>
<p>The museum is housed in the former The Bank of Eureka & The Savings Bank of Humboldt Building (1911) in Old Town Eureka, which is listed on the National Register of Historic Places both as an individual landmark and as a contributing building to the Eureka Historic District. The bank building was designed by noted San Francisco architect Albert Pissis in a Classical Revival or Neoclassical style. The building is notable for its glazed architectural terra-cotta facade. Quoined pavilions flank the recessed portico supported by ionic columns and an extensive balustraded parapet appears above the cornice.</p><br>
<p>The Levi F. Warren Jr. High School is a former public junior high school building  located at 1600 Washington Street, in the village of West Newton, in Newton, Massachusetts. It was named for Levi F. Warren, who graduated in 1854 from what is now Bridgewater State College and taught 21 years in grammar schools in Salem and in Newton, where he was a principal in West Newton.</p><br>
<h2>History</h2><br>
<p>Built in 1927 of red brick, it was designed in a mixture of the Colonial Revival and Georgian Revival styles by noted Boston architects Ripley and LeBoutillier, and is the city&#39;s most architecturally sophisticated early 20th-century school building. It is a large two-story structure, set on a raised basement, which is demarcated by a granite water table. Its main facade has a central five-bay section with a gable roof with a pedimented entry and a cupola atop the roof. This central section is flanked by eight-bay sections that are terminated in end pavilions with pediments above, and secondary entrances in the side facades. A two-story wing, apparently integral to the original construction extends to the rear of the central portion, and a later addition extends to the right rear. On March 16, 1990, the building was added to the National Register of Historic Places.</p><br>
<p>The school was closed in 1983. The building, now called Warren House, is divided into 59 rental apartments and sits on a smaller parcel of 168,479 ft&sup2; carved out of the original school property. The remaining school property on the east, south and west totals 459,769 ft&sup2; and is still owned by the City of Newton and is used for parks and recreational purposes.</p><br>
<p>The Second Church in Newton, United Church of Christ, is located at 60 Highland Street in West Newton, a village of Newton, Massachusetts. This church is rooted in the Congregational denomination, welcomes all visitors, and does not require uniformity of belief. Its present church building, a Gothic Victorian structure designed by architects Allen & Collens and completed in 1916, was listed in the National Register of Historic Places  in 1990.</p><br>
<h2>Description and history</h2><br>
<p>The current building is the third home for this congregation.</p><br>
<p>West Parish of Newton was organized in 1764 and formally recognized in 1778. At that time it was Newtons second parish. As the congregation grew, a meeting house was built on Washington Street in 1848, when the first structure was adapted for use as town hall as part of the town governments move to West Newton. By the start of the 20th century, the congregation was outgrowing its Washington Street home.</p><br>
<p>Planning to build a new structure began in 1908. The land was purchased in 1913 and the cornerstone laid in 1914, the 150th anniversary of the congregation. The building was designed by the noted ecclesiastical architects Allen & Collens, a leading firm with offices in Boston and New York, with Charles Collens having the principal role for the design. The firm was noted for its Gothic Revival design work including the Cloisters Museum in New York.</p><br>
<p>The location of the Second Church in Newton is on the east side of Highland Street, just south of the Massachusetts Turnpike and the West Newton Village Center Historic District at the rise of West Newton Hill, making the spire visible from all directions. The parcel it occupies is bounded on the north by the highway and on the east by Chestnut Street; both Chestnut and Highland are collector roads leading through the residential area of West Newton Hill.</p><br>
<p>The church sanctuary is an elaborate example of Gothic Revival architecture executed in stone. The adjoining Parish House, begun in 1915 and extended and completed in 1938, has stucco walls and Tudor Revival features. All parts of the building are remarkably intact with minimal alterations.</p><br>
<p>The main façade, facing west toward Highland Street, is narrow, with a buttressed projecting section housing the main entrance in a recessed arch, with a large stained-glass window above. The side walls are also buttressed, with pointed-arch windows in each of four bays.</p><br>
<p>The prominent spire at the north east corner reaches to 196 feet with decorative finials in limestone. It is topped by two figures, a young man facing east toward the sunrise and an old man facing west towards the sunset. The spire is an immediately recognizable landmark for West Newton, visible to travelers on the Massachusetts Turnpike and the Commuter Rail. The bell in the tower was brought from the previous building and still operates. It was cast at the George Handel Holbrook Foundry in Medway in 1848.</p><br>
<p>There are gargoyles on either side of the front entrance. A square tower rises at the eastern end of the north elevation. To the north of the main building, the Parish House, an education wing with Tudor styling and leaded casement windows, was added in 1938. The architectural firm Allen, Collens & Willis was responsible for the design.</p><br>
<p>The interior of the sanctuary was inspired by European Gothic elements from the 12th to 16th centuries. The ceiling, which is supported by stone pillars recalling the trunks of trees, is the shape of an inverted boat, referencing Noah&#39;s ark and the sanctuary it provided.</p><br>
<p>The stained glass windows include both a number of original panels and others added in the years between WWI and the 1960s, through gifts and sponsorship of parishioners. The oldest windows contain glass imported from Europe and were designed by Henry Wynd Young and Charles Jay Connick. In the Fuller Chapel in the north transept are found the two windows designed by Henry Wynd Young, considered to be an unusually gifted artisan at the time.The windows at the rear of the nave, designed by nationally renowned artist and Newtonville resident Charles Jay Connick, are also original to the building and have distinctive crosses at the top of each panel. In the post-WWII period, three other windows designed by Connick Associates were added, with themes of world peace, pastoral care, and prayer and communion. In a more modern design in deep blues from the glass studio of William Willet, a window in the south transept recognizes the role of health care professionals.</p><br>
<p>The distinctive and elaborate original wood carvings crafted in red oak at the altar, choir stalls, pulpit and lectern were created by Johannes Kirchmayer. The natural elements included, such as branches, birds and small animals, are reflective of the Arts and Crafts design style.</p><br>
<p>The First Unitarian Universalist Society in Newton occupies a prominent location at 1326 Washington Street in the heart of the village of West Newton in Newton, Massachusetts. Architect Ralph Adams Cram designed the church, Frederick Law Olmsted Jr. designed the grounds, the cornerstone was laid in 1905, and it was dedicated in 1906; it is one of the villages oldest buildings. The church is in Crams signature Gothic Revival style, with buttressed walls and a blocky square tower with crenellations and spires. An enclosed courtyard is formed by an office wing, banquet hall, and parish house, which are built to resemble Elizabethan architecture with brick first floor and half-timbered upper level.</p><br>
<p>The Unitarian Society was organized in 1848, and its first building was built in 1860. A Gothic Revival structure later expanded with Stick style decoration, it stood at the present location of the West Newton Cinema. The present building was built on the site of an early experimental normal school (later moved to Framingham and now Framingham State University, and has a stained glass window featuring two Massachusetts education pioneers (and parishioners of the church), Horace Mann and Cyrus Peirce.</p><br>
<p>The building was listed on the National Register of Historic Places as the First Unitarian Church in 1986.</p><br>
<p>The Gen. Horatio Gates House and Golden Plough Tavern are two connecting historic buildings which are located in downtown York, York County, Pennsylvania. The buildings were restored between July 1961 and June 1964, and are operated as a museum by the York County History Center.</p><br>
<h2>Gates house</h2><br>
<p>The General Horatio Gates House was built by Joseph Chambers in 1751, and connected to the Golden Plough Tavern through a shared kitchen. It is a -story, brick and limestone dwelling in the Georgian-style.</p><br>
<p>It was the home of General Horatio Gates (1727–1806), while the Second Continental Congress convened in York, September 30, 1777, to June 27, 1778, and was added to the National Register of Historic Places in 1971.</p><br>
<h2>Tavern</h2><br>
<p>The Golden Plough Tavern was built by Martin Eichelberger in 1741 and is a two-story, Germanic influenced medieval style building. The tavern is quite significant for its age and social history but is also an exceptional museum of historic carpentry and vernacular architecture.</p><br>
<p>The ground floor wall construction is a rare type which blends timber framing with log building. These walls are framed and the spaces between the posts are infilled with hewn beams, each beam fitted into its own mortise, and the gaps between the beams chinked with stones and mud like a log cabin. This construction technique is similar to timber framing infilled with planks known by many names including post-and-plank.</p><br>
<p>The upper walls are half timbered in a Germanic style with brick nog and wattle and daub infill. Half timbered buildings in America are relatively rare, generally found in some areas settled by German immigrants.</p><br>
<p>The roof structure is framed with a Germanic type of truss called a liegender stuhl directly translated as a "lying chair" where chair has the general meaning of support. Liegender stuhl trusses in Europe are found in Switzerland and Germany.</p><br>
<p>The wood shingles on the roof are also a rare type for America.</p><br>
<p>The Barnett Bobb Log House was moved to this location in 1968.</p><br>
<p>The tavern was added to the National Register of Historic Places in 1971.</p><br>
<p>The Barnett Bobb House, also known as the Old Log House, is a historic building in downtown York, Pennsylvania, York County, Pennsylvania. It was originally located at the intersection of Pershing and College Avenues. In 1968, it was moved to its current location and restored. It is on the same site as the General Horatio Gates House and Golden Plough Tavern. It was built in 1811, and is a two-story log dwelling with dovetailed corners. It houses a museum operated by the York County Heritage Trust that showcases family life during the 1830s.</p><br>
<p>It was added to the National Register of Historic Places in 1975.</p><br>
<p>The Washburn-Fair Oaks Mansion District is a historic district in the Whittier neighborhood of Minneapolis, Minnesota, United States, centered on Washburn-Fair Oaks Park. The city of Minneapolis designated a district bordered by Franklin Avenue, Fourth Avenue South, 26th Street East, and First Avenue South. A smaller district, listed on the National Register of Historic Places, includes seven mansions along and near 22nd Street East.</p><br>
<h2>Overview</h2><br>
<p>The development in the area was spurred by the desire of prominent families to move away from the central business district and to build larger and more elegant homes along what was the edge of town. Development began around the early 1870s and continued through about 1930. The houses within the district represent a number of popular architectural revival styles.</p><br>
<p>The park itself is named for a now-demolished mansion known as Fairoaks. Built in 1884 by E. Townsend Mix, Fairoaks was one of the grandest Twin Cities mansions of its era. The house itself had 40 rooms and sat on a lavishly landscape lot two square blocks in size. It was built for William D. Washburn, a lawyer who moved to Minneapolis in 1857 and amassed a fortune in the family milling business. Washburn lived in the house until his death in 1912, at which point he willed the mansion to the Minneapolis Park Board. The park board ultimately found the mansion too expensive to maintain, so it was demolished in 1924.</p><br>
<p>The Minneapolis Institute of Art building is located immediately south of the park. The site was formerly occupied by the Dorilus Morrison house, built in 1858 by a lumberman who moved from Maine and became a businessman in Minneapolis, as well as the city&#39;s first mayor. Clinton Morrison agreed to donate the old family estate to the Minneapolis Society of Fine Arts. The house was demolished in 1911, and the Minneapolis Institute of Art, designed by the New York firm of McKim, Mead, and White was completed in 1915.</p><br>
<p>The neighborhood surrounding the mansion district is now home to many young professionals and artists.</p><br>
<h2>Mansions in the district</h2><br>
<h3>Eugene Merrill House</h3><br>
<p>The Eugene Merrill House, at 2116 Second Avenue South, was built in 1884 by banker and lawyer Eugene Merrill, to designs by William Channing Whitney (1851–1945). The Merrill House is the oldest mansion in the district. Its rusticated red sandstone, bold massing, polygonal tower and characteristic clustered fenestration are marks of the Richardsonian Romanesque architectural style. It is now owned by Rhett A McSweeney and is the offices of McSweeney/Langevin.</p><br>
<h3>Gale Mansion</h3><br>
<p>The Gale Mansion, at 2115 Stevens Avenue South, was built in 1912 to designs in the Renaissance Revival style by Ernest Kennedy of Minneapolis. In 1855, the 40 acre tract had been purchased for $50. Water company records indicate that several smaller houses once occupied the Stevens Avenue site. The owner, Edward Chenery Gale, was the son of Minneapolis pioneer real estate broker Samuel Gale. His wife, Sara Belle Pillsbury, was a daughter of Governor John S. Pillsbury. The house, now owned by the American Association of University Women, is faced in Bedford limestone. Many modern features were part of the design: a central vacuum-cleaning unit, a kitchen at ground floor level, rather than secreted in the basement, an intercom system. The house was centrally heated with a coal furnace; the decorative fireplaces were infrequently used. In the garden stands a fountain with the sculpture Boy with a Duck by Frederick MacMonnies.</p><br>
<h3>Alfred F. Pillsbury House</h3><br>
<p>The Alfred F. Pillsbury house, at 116 22nd Street East, was designed by prominent local architect Ernest Kennedy and built in a Tudor Revival style and faced with locally quarried limestone with a dense, craggy look. Alfred F. Pillsbury, the only son of John S. Pillsbury, was an art collector who collected a number of Chinese jades now on display at the Minneapolis Institute of Art.</p><br>
<h3>Charles S. Pillsbury House</h3><br>
<p>The Charles S. Pillsbury House, at 100 22nd Street East, is also in the Tudor Revival style. The house features a polygonal conservatory, bas-relief carvings, and two statues of lions guarding the entrance gate. Charles S. Pillsbury was the son of Charles Alfred Pillsbury, the founder of the Pillsbury Company. The house is now owned by an organization that provides services for the blind.</p><br>
<h3>John Crosby House</h3><br>
<p>The John Crosby House, at 2104 Stevens Avenue South, was built in 1904 for John Crosby, cofounder of the Washburn-Crosby Company, which later became General Mills. The house was designed in Colonial Revival style by William Channing Whitney.</p><br>
<h3>Caroline Crosby House</h3><br>
<p>The Caroline Crosby House, at 2105 First Avenue South, was built by the daughter of John Crosby. The house is a brick Georgian Revival structure. The house now serves as headquarters for the Institute for Agriculture and Trade Policy.</p><br>
<h3>Luther Farrington House</h3><br>
<p>The Luther Farrington House, at 2100 Stevens Avenue South, is also in the Georgian Revival style. The building is currently known as the Hartwell Center for Mentoring, named after John and Lucy Hartwell (also related to the Crosby family) who purchased the building and donated it to the Minneapolis Jaycees, which in turn sold it to Bolder Options, a locally based youth mentoring program.</p><br>
<h3>George H. and Leonora Christian House / Hennepin History Museum</h3><br>
<p>The Hennepin History Museum was formerly the George H. and Leonora Christian House. It was designed by local architects Hewitt and Brown using Renaissance Revival elements such as a balustraded roof. George Christian was the manager of the Washburn-Crosby milling company in the 1860s and helped to perfect the "new process" of milling hard spring wheat to make a pure white flour. This process made Minneapolis flour highly competitive with flour from other mills. The building now houses the Hennepin History Museum. The building is not listed on the National Register, but is part of the local historic district.</p><br>
<p>Before the project was finished Christian, his wife, and his son died, leaving Carolyn (also spelled Caroline) McKnight Christian, the younger Christian&#39;s widow, seven servants, and three foster children as the only occupants for the next forty years.</p><br>
<p>The Church of the Holy Transfiguration of Christ on the Mount is a modest, single-room, hand-built wooden church near the summit of Meads Mountain in Woodstock, New York, originally constructed c. 1891 by George Mead, his son, William Mead and his son&#39;s wife, Anna Della Mead. Services in the Sarum Rite of the Western Orthodox  tradition are held each Sunday morning.</p><br>
<p>The church is purported to be the repository of a Marian weeping icon. In the 1960s, Father Francis, the much-beloved "hippie priest", here welcomed hippies who had congregated in town during those years that culminated in the famous art and music festival. Fr. Francis began the practice of this lesser known branch of Catholicism, which acknowledges the Pope as an earthly spiritual leader but, unlike classical Roman Catholicism, does not consider the Pope to be supreme or infallible.</p><br>
<p>The church has been placed on the National Register of Historic Places, due in meaningful part to the devoted efforts of Father Deacon John Nelson, an understudy of Fr. Francis and peer of contemporary spiritual leaders who reverently maintained the Church until his death on August 1, 2017.</p><br>
<p>Fr. John&#39;s remains were committed to the earth alongside the structure following a traditional requiem Mass.</p><br>
<p>The Gilbert Millspaugh House is located on Church Street in Walden, New York, United States. It is a 2005 addition to the National Register of Historic Places, built in a Victorian style for a local man named Richard Masten. Later it was home to Gilbert Millspaugh, son of a local furniture retailer.</p><br>
<p>It is an unusual use of the Second Empire style for a small-scale cottage-style primary residence. The house retains many of its original features, such as its fireplace, mansard roof and carriage barn in the back. The latter is considered a contributing property to the house&#39;s historic character.</p><br>
<h2>Property</h2><br>
<p>It is located just south of downtown Walden on Church Street, which slopes up sharply between Orange Avenue (NY 208) and Scofield Street. Like all the other lots on Church, it is located on the west side of the street as the east is a wooded slope to Orange too steep to be buildable. The lot itself, 60 by with a variety of trees and shrubs, slopes up from the street and its flagstone sidewalk. The other houses in the neighborhood are also of late 19th century construction.</p><br>
<p>An asphalt driveway goes to the north of the building to the outbuildings in the rear. From it a stone walkway runs diagonally to the entrance.</p><br>
<p>The house itself is two stories high, sided in clapboard three bays by three, with an exposed basement of mortared rubblestone faced in brick and mansard roof shingled in square and diamond-shaped wood. Steep stairs rise on the east (front) facade to the flat-roofed porch, detailed with chamfered posts and scroll-sawn brackets and railing to create a Picturesque effect. Above the roof is a bracketed frieze giving way to the fasciae below the bracketed cornice.</p><br>
<p>The roof&#39;s steep, nearly vertical pitch is pierced by two gabled round-topped dormer windows with louvered shutters. The top of the pitch is marked by a wood crown molding with built-in gutters.</p><br>
<p>On the north, the fenestration is duplicated with a three-sided projecting bay window. The south is similar has only one dormer in the mansard. A gable-roofed wing with a small addition, both sided in clapboard. It has a bracketed cornice, fasciae and kicked eaves at the rear.</p><br>
<p>The deeply recessed entrance features paneled double doors below a rectangular transom. It opens on a side entrance hall. The house&#39;s original floor plan remains, although the functions of the rooms have changed. Original finishes include the pine flooring, wall plaster, marbleized door knobs, a marble mantel, molded wooden window trim and the turned newel post and balusters on the staircase.</p><br>
<h2>History</h2><br>
<p>The house was originally built for Richard Masten in 1874. There are almost no surviving records on Masten besides the loan agreement. A local contractor began the house late that year and finished it in 1875. The design likely came from a pattern book, with the</p><br>
<p>Millspaugh, son of the furniture dealer&#39;s founder, moved in 20 years later, in 1895. He stayed there for ten years. The house would remain associated with him afterwards. At some point, the rear wing was built to replace the original rear porch, which had become too rotten to stand. There have been no other significant changes to the house.</p><br>
<p>The New York State Armory was built in 1880 on Broadway in Newburgh, New York, United States. Designed by John A. Wood, it housed a local unit of the New York National Guard.</p><br>
<p>In the 1930s the Guard moved to a newer armory on South William Street and the old building fell vacant and became property of the city. It was nearly gutted by fire in the 1970s but remained standing, an eyesore in Newburgh&#39;s Lower Broadway area.</p><br>
<p>In 1981 it was added to the National Register of Historic Places, which helped prevent its demolition. It also became one of over 2,000 contributing properties to the East End Historic District when that was added to the Register four years later.</p><br>
<p>Nothing was done to refurbish it until the late 1990s, when the city sold it to Orange County for a dollar and the countys former courthouse. The county brought in Robert Carchiettas Gemma Development to restore it. The project won the Commissioners Annual Private Sector Achievement Award from Bernadette Castro, then-commissioner of the New York State Office of Parks, Recreation and Historic Preservation. The company spent $28,000 on a mahogany door for the building, which now houses the busy city office of the countys Social Services department, as well as its probation officers and the district attorney.</p><br>
<p>The Cobblestone Historic District is located along state highway NY 104  in Childs, New York, United States. It comprises three buildings that exemplify the cobblestone architecture developed to a high degree in the regions of upstate New York near Lake Ontario and exported to other areas with settlers. It is the location of the Albion-based Cobblestone Society&#39;s Cobblestone Museum.</p><br>
<p>The buildings are in the Federal and Greek Revival styles typical of their era. Later renovations gave them some touches of styles from later in the 19th century, such as Italianate and Gothic Revival; however they remain largely intact in their original designs. They are currently owned by the Cobblestone Society, which has restored and preserved them since the 1960s.</p><br>
<p>Currently the largest building, a former Universalist church that is the oldest cobblestone church in North America, is used as a museum. Another building, a school, is one of only two that use the cobblestones as an outer veneer. The district was added to the National Register of Historic Places as a National Historic Landmark in 1993. At less than an acre in total area it is the smallest National Historic Landmark District in the state.</p><br>
<h2>Geography</h2><br>
<p>The district consists of three buildings — a church, its parsonage and a former school building — in two separate parcels totaling 0.9 acre. Both are located along the north side of the highway just east of its junction with NY 98, three miles (4.8 km) north of Albion, the Orleans County seat, in the Town of Gaines. The terrain is generally level along Route 104, the top of the long rise of the Niagara Escarpment the former Ridge Road followed, with the land gently rising to it from both north and south. The surrounding area of the hamlet of Childs has light development, mostly residential, along the two highways near the intersection. Some of the other buildings are also of cobblestone but are not included in the district. Beyond the hamlet the area is rural, with cultivated fields and woodlots.</p><br>
<p>Immediately adjacent to a modern gas station at the northeast is the first of the two parcels, containing the church and Ward House, its onetime parsonage. The school is located approximately a half-mile (1 km) down the road to the east, on the other parcel. Between the two are other buildings, mostly houses, some of cobblestone themselves. All three buildings are contributing properties to the district.</p><br>
<h2>History</h2><br>
<p>The smooth round cobblestones from the lake began to be used as a building material around 1825, in Wayne and Monroe counties to the east. The English masons who worked on the Erie Canal are believed to have pioneered the technique, borrowing from Roman building traditions still followed in Britain. Local farmers of means in the counties along the Lake Ontario shore had houses built of cobblestone in the Federal and Greek Revival architectural styles.</p><br>
<p>John Proctor, a successful real estate speculator who had made money in Massachusetts and Vermont as well as elsewhere in New York, bought the Childs area in the 1820s and planned the village, subdividing it into lots. He was determined that a church should be the focal point of the village, so he bought back the current lot and had the church built there in 1834. He owned the land on which the neighboring parsonage and the District 5 School were both built, later selling them to the church and school district respectively.</p><br>
<p>The three buildings show the evolution of cobblestone technique. The church, the oldest, uses regular field cobbles with minimal mortar decoration. The Ward House has the stones arranged in a pattern, the depressed hexagon known as the Gaines Pattern after another small community to the west along Route 104. The school, built last, uses small lake-washed stones as a veneer. It is one of only two cobblestone buildings in the state which are known to have a cobblestone veneer over wood frame.</p><br>
<p>In 1874 the church was renovated. The terrace was added outside and the inside redecorated and reconfigured so that the pews were turned around to face the new location of the pulpit in the rear, most of their doors removed, and the center gallery removed. The pews themselves, originally painted white, were grained at this time. The parsonage&#39;s original front door was replaced as well. Later the rear wing was built.</p><br>
<p>Some Americans who later became significant historical personages lived in or near the future district during the 19th century. George Pullman lived there as a teenager, learning cabinetry from his father. He worshipped at the church, which remained the main Universalist church in the area until he endowed a new one in the village of Albion near the county courthouse in 1894. Newspaper editor Horace Greeley&#39;s aunt and uncle, Benjamin and Mary Ann Woodburn Dwinnell, lived in the Ward House.</p><br>
<p>The church fell into disuse for much of the 20th century, but has hosted summer "country" services twice a year since 1971. Its tower was removed in 1919.</p><br>
<p>In 1961 the Cobblestone Society, established the year before, bought it for $129, In 1966 an architect working from photos of the original tower designed an exact copy as a replacement, and it was installed. The parsonage came into the society&#39;s possession in 1975, when Inez Martyn Ward, for whom it would be named, sold it to the society.</p><br>
<h2>Buildings</h2><br>
<h3>1834 Universalist Church</h3><br>
<p>The westernmost of the three buildings in the district, the church is a three-story Federal style building with a gabled roof, quoined at the corners and topped by a square wooden tower with corner pilasters, and wooden front pediment. The front cobblestones are more finely graded than those on the sides, with some tooling evident in the interstitial mortar. A stone terrace in front is floored in brick capped with sandstone coping. Brick also frames a marble tablet over the front door that reads: "Erected by the First Universalist Society A D 1834 GOD IS LOVE".</p><br>
<p>On the inside the lobby has stairs to the gallery, with delicate square newels topped by spherical finials, on each side. At the rear of the church is a 12 by platform with a walnut pulpit and three matching Gothic Revival pulpit chairs in front of a trompe-l&#39;œil painting of an alcove. Italianate detailing is evident in the pillars and balustrade of the choir loft. The woodwork has been meticulously grained by the same local painter who did the rear wall painting.</p><br>
<h3>Ward House</h3><br>
<p>Believed to have been built around 1840 as a parsonage, it is a hipped-roofed Federal style one-story building with a raised basement giving the effect of a ground floor. The 18 by main block is sided in cobblestone applied more carefully than that on the church. On the east and west sides of the ground level the field cobbles are set in the Gaines Pattern, in which each is part of a small hexagonal box. Quoins of Medina sandstone mark the corners.</p><br>
<p>On the northwest the house has a small frame wing, sided in vertical tongue and groove, added later, with a porch on the west side. Its roof is supported with a Colonial Revival fluted column. The addition itself has a shed roof.</p><br>
<p>An Italianate door with two original stained glass windows leads into a first floor with Federal door and window casings on long, narrow Greek Revival doors. The walls are plastered directly onto the masonry. Furniture and decor reflect the 1880s.</p><br>
<h3>District 5 School</h3><br>
<p>A half-mile (1 km) east of the other two buildings, the District 5 School is the youngest, built in 1849. It is a one-and-a-half-story Greek Revival gabled building topped by an open belfry with louvered vents and domed roof at the south (front) end. Its predominately lake-washed brown cobblestones are different from the other two buildings in that they are a decorative veneer on a wood-frame structure. Only one other cobblestone building in New York, another residence in Gaines, is known to use cobblestone this way. At the northwest corner some brick was used when repairs were necessary.</p><br>
<p>The cobblestones are arranged tightly, four rows per corner quoin on the front and sides and three in the rear. A sandstone water table runs around the building at floor level, above the fieldstone foundation. At the roofline is a wide wooden molded frieze with returns. The windows have plain stone trim. In the front center are two separate doors, for boys and girls, similarly treated, with small stone steps. Above them is a marble tablet reading "School District No 5 of Gaines A D 1849 Wm. J. Babbitt Esq. gratuitously superintended the erection of the building and made the district a present of the bell". It is topped with an unusual attic gable-field window.</p><br>
<p>Inside, the recessed-paneled wooden doors open into separate cloakrooms 10 feet (3.3 m) square. Both have horizontal tongue-and-groove wainscoting and plaster upper walls. The ceilings, like all in the school, are tongue-and-groove random-width plank. The boys&#39; cloakroom has the cellar door, and a rope to ring the bell.</p><br>
<p>In the classroom, the maple flooring is inclined so students in the northern portion, the rear, were sitting higher than those in the front. Its walls have a similar treatment to the cloakrooms. Original blackboards are still in place, supplemented by slate boards added to the side walls later. Behind the teacher&#39;s desk is a cupboard and niche for a clock. The heating system of two trapdoors to the ceiling operated by a rope remains as well.</p><br>
<h2>Preservation</h2><br>
<p>The town has no special zoning to protect the district. All three buildings are property of the Cobblestone Society, founded when 60 people met at the church in 1960 to discuss how to best preserve them. In addition to the three in the district, it also runs five other buildings in the vicinity, part of the museum complex, representing life in Childs at the time the cobblestone buildings were built. It also works to preserve cobblestone buildings elsewhere in the county.</p><br>
<p>The society also operates a gift shop in the basement of the church, and gives tours. It has also made the church available for weddings. Money earned from these endeavors has helped it restore the buildings and give demonstrations of cobblestone masonry techniques.</p><br>
<p>Plattsburgh Bay, also known as Cumberland Bay, is an inlet on the western shore of Lake Champlain in Clinton County, New York. The bay is the location of the town and city of Plattsburgh, and was the site of the Battle of Plattsburgh, a naval and land engagement fought on September 11, 1814, late in the War of 1812. The bay and two land sites related to the battle were designated as a National Historic Landmark in 1960.</p><br>
<h2>Description and history</h2><br>
<p>Plattsburgh Bay is located in the northern third of Lake Champlain, on its western shore opposite Grand Isle. It is bounded on the north and east by Cumberland Head, a peninsula extending east and then south, and on the west by the mainland city of Plattsburgh. The southern tip of Cumberland Head is about 2.8 mi east of the city&#39;s shoreline. Southeast of the city, several miles south of the bay, lies Crab Island, which also played a significant role in the 1814 Battle of Plattsburgh, and is included in the landmarked area of the bay.</p><br>
<p>In September 1814, Plattsburgh came under attack by British forces from Canada seeking to gain territory for advantage in peace talks which were then ongoing. The city was occupied by British land forces on September 6, and preparations were made for a decisive sea battle for control of the lake. American ships were arrayed across the mouth of the bay between Cumberland Head and Crab Island, and won a decisive victory over the British fleet. At the same time, the British land forces were repulsed by Americans in repeated attempts to cross the Saranac River. One of the principal American land defenses was Fort Brown, which is included in landmark as a separate area.</p><br>
<p>The third segment of the landmark is the Macdonough Memorial, placed in front of Plattsburgh City Hall and dedicated in 1926. A limestone obelisk 135 ft in height, it honors Captain Thomas Macdonough, leader of the American naval forces in the battle.</p><br>
<p>First Church of Christ, Scientist, also known as First Christian Science Church Edifice, is a church building located in Oconto, Wisconsin. Built in 1886 of stone, weatherboard and brick in the Gothic Revival style, it was the first purpose-built Christian Science church edifice in the world. It was added to the National Register of Historic Places in 1974.</p><br>
<h2>History</h2><br>
<p>First Church of Christ, Scientist, Oconto, was organized on June 10, 1886 as "the Christian Science Association of Oconto," with the building being finished in October of that year for less than $1,000; but for various reasons it was not dedicated until February 1887. Other Christian Science groups were meeting at the time around the United States, and the membership of the Oconto church did not realize they had built the first Christian Science church edifice in the world until later. Laura Sargent and her sister Victoria, who were very involved in the founding of the church, would go on to play important roles in the movement.</p><br>
<h2>Current use</h2><br>
<p>The building is still used for Christian Science religious services, although First Church of Christ, Scientist, Oconto, is now Christian Science Society, Oconto.</p><br>
<p>The auditorium seats 100 people.</p><br>
<p>The Carvey–Gatfield House  is a historic house located at 375 Angola Road in Cornwall, Orange County, New York.</p><br>
<h2>Building</h2><br>
<p>The land was originally the property of Isaac Bobbin, an early settler, until being subdivided into the present parcel and sold to Mathias Carvey in 1805, around the time the stone house was built. The house was built in the first decade of the 19th century in the then-dominant Federal style, with two storeys, three bays and a sidehall plan. However, it also features some unique touches such as a gambrel roof, with a corresponding dormer added later. It also appears taller than it actually is due to the sloping land beneath. An original front porch that ran the width of the house was removed during the 20th century.</p><br>
<p>Two of its features, a low-pitched roof on a two-story dwelling and a wide top section, suggest some connection to New England building traditions. Decorative sidelights, transom light around the entryway and brick surrounds on the front windows show the slow move from the vernacular styles of the colonial era to the Federal style of American independence, which put more emphasis on a decorative facade.</p><br>
<p>The house&#39;s interior has not been significantly altered since its construction. The original wall finishings are gone, but much of the woodwork and molding remains.</p><br>
<p>Two other buildings are located on the property: a barn, also gambrel-roofed, and a garage. The former dates to the original construction of the house and is considered a contributing resource; the latter is more contemporary and does not contribute to the historic value of the house.</p><br>
<h2>History</h2><br>
<p>Carvey purchased the property from William Robinson, two owners removed from Bobbin, to support his mill on a nearby stream. After Carvey&#39;s death, his wife, the former Eleanor Wheeler, continued to run the farm, even after the death of her second husband, Rev. William Pearce. She, in turn, left the property to her nephew, Benjamin Gatfield, the son of her deceased sister, Katherine Wheeler, and the former wife of Archibald Gatfield (also deceased).Benjamin Gatfield and his brother Archibald lived on the property with their widowed aunt, assisting her with the running of the farm. Another sister of Eleanor Wheeler Carvey Pearce, Diana Wheeler Gatfield Harwick, who married her brother-in-law, Archibald Gatfield after the death of their sister Katherine, unsuccessfully contested the will together with her second husband, Justus Harwick. The house would remain in the Gatfield family for almost a century. After the deaths of Benjamin and Archibald Gatfield, the property was inhabited by their half-brother, George S. Gatfield - a son of Diana Wheeler Gatfield Hardick and Archibald Gatfield.</p><br>
<p>It was added to the National Register of Historic Places on March 8, 1996.</p><br>
<p>The Aitkin County Courthouse and Jail, in Aitkin, Minnesota, United States, serves as the county seat of Aitkin County. The building is actually the second courthouse for the county. The first courthouse was built in 1888, but in 1920, a grand jury reported that the building was dangerous and "falling apart". After difficulties securing financing, the county commissioners approved a plan for a new courthouse, which was finished in 1929. The design mixes Beaux-Arts architecture and Moderne elements. The interior features marble wainscoting, oak woodwork, terrazzo floors, and stained glass skylights.</p><br>
<p>The W. & L. E. Gurley Building is a historic industrial building in Troy, New York, United States. Built in 1862, it is a classical revival structure that housed the W. & L. E. Gurley Company, a maker of precision measuring instruments. The Gurley Company was one of the first companies in the nation to make precision instruments. The building was designated a National Historic Landmark in recognition of this in 1983.</p><br>
<h2>History</h2><br>
<p>The Julius Hanks foundry was purchased by the W. & L. E. Gurley Company in 1852, and was destroyed in the Great Troy Fire of 1862. The W. & L. E. Gurley Building was built in "an amazing feat of construction" in just 8 months to replace the previous building. Originally, the first floor space was used for retail with the third and fourth floors leased to other manufacturers. Gradually, Gurley expanded to use the entire buildings.</p><br>
<p>The company, run by William Gurley and his brother, Lewis Ephraim, were leaders in the field and published a regularly updated manual of instruments and their operations and were engaged in producing military products for the American Civil War, which included "brass fuse-plugs for naval projectiles and an improved type of brass trimming for saddle trees." and was sold again in 1993 and continues as Gurley Precision Instruments today.</p><br>
<p>The building was declared a National Historic Landmark in 1983. The building is currently rented by Rensselaer Polytechnic Institute, and houses its Lighting Research Center, which moved there in 2000, and a few acoustics labs associated with the school of architecture as well as the Human Resources department. Gurley Precision Instruments still occupies the first floor of the building and the entire building directly across the street.</p><br>
<p>It is located on Fulton Street between 5th and Union Streets in Troy.</p><br>
<h2>Architecture</h2><br>
<p>The building is a four-story red brick building, U-shaped around a small courtyard. A foundry was at ground level on the north side of the courtyard. The building’s foundation is made of stone with brick bearing walls and cast-iron interior columns. The building’s classical revival exterior includes arched doors and windows with semicircular brick arches and hoodmoulds. Entrances are asymmetrical with the main entrance located on Fulton Street.</p><br>
<p>Originally, the first floor space was used for retail with the third and fourth floors leased to other manufacturers. Gradually, Gurley expanded to use the entire buildings.</p><br>
<h2>HAER photos</h2><br>
<p>W L E Gurley Building HAER cropped.jpg1969 HAER photo</p><br>
<p>W L E Gurley Building CompanyNameDetail HAER cropped.jpgCornice detail</p><br>
<p>The William H. Seward House Museum is a historic house museum at 33 South Street in Auburn, New York. Built about 1816, the home of William H. Seward , who served as a New York state senator, the governor of New York, a USA senator, a presidential candidate, and then Secretary of State under presidents Abraham Lincoln and Andrew Johnson. The house was declared a National Historic Landmark in 1964, and added to the National Register of Historic Places on October 15, 1966. It is now maintained by nonprofit organization as a museum dedicated to Sewards legacy. Sewards house lies on the same street at Harriet Tubman&#39;s house.</p><br>
<h2>Description</h2><br>
<p>The Seward House is located south of the center of Auburn, on the west side of South Street opposite Grover Street. Its core element is a two-story brick structure, with a gabled roof. To this house William Seward made numerous additions, beginning with a two-story tower and wing at the west end in 1847, to which a porte-cochere and carriage house were added. In 1866, he added another narrower wing and three-story tower to the south side of the house, and additional separate carriage houses were built further south on the property.</p><br>
<h2>History</h2><br>
<p>The core of the house was built in 1816 by Judge Elijah Miller, Sewards father-in-law. Much of the actual construction of the house was done by the carpenter John C. Jeffries as well as his apprentice Brigham Young, who later became the leader of the Church of Jesus Christ of Latter-day Saints. The house remained in the hands of Sewards descendants until 1951, when it was turned over to a nonprofit for conversion to a museum.</p><br>
<p>Among other notable accomplishments, Seward negotiated the 1867 purchase of Alaska from Russia, which became known as "Seward&#39;s Folly". Although he spent many years in Albany and Washington, D.C., he called this house his home from the time of his marriage in 1824 until his death. The entire house remains furnished with extensive Seward-family collections.</p><br>
<p>The James Hall Office, formerly a part of the Sunshine School, is a historic building located in Lincoln Park in the city of Albany, New York, United States. It is a small brick Italianate building now annexed to a more modern school building. In 1976 it was designated a National Historic Landmark for its association with James Hall , a leading American geologist of the 19th century.</p><br>
<p>It is one of the few buildings remaining from a brief period of collaboration between Andrew Jackson Downing and Calvert Vaux. Hall, a paleontologist, led research on the geology of North America during the 19th century. He spent much of his time working in this small building, which served him as both office and laboratory. Among his many discoveries here, Hall found that the stromatolite fossils discovered at Petrified Sea Gardens, a site near Saratoga Springs, also a National Historic Landmark, were originally organic.</p><br>
<p>In the late 20th century it was expanded slightly and annexed to one of Albanys elementary schools. It served that purpose until 2011. After voters approved the school districts plan to sell it, the building and annex is pending purchase by the Boys and Girls Club of Albany.</p><br>
<h2>Building</h2><br>
<p>The former office is located on the northwest corner of the building, in the southwest portion of the park. One of the parks internal access roads, to the south, provides access to a parking lot on the west. Beyond it, Morton Avenue is 300 ft (100 m) to the south. On the west is a large octagonal childrens swimming pool, basketball court and tennis courts along Delaware Avenue (USA Route 9W).</p><br>
<p>To the north is another, larger school. Eastward, the park extends for another half-mile (800 m) to Eagle Street, sloping gently down toward the Hudson River a mile (1.6 km) further to the east. The South End–Groesbeckville Historic District begins along Morton just southeast of Eagle.</p><br>
<p>The building itself is a one-story three-by-four-bay brick structure with a gently pitched front-gabled roof. A small tower is at its southeast corner, topped by a flat roof pierced by a brick chimney. On its east it is joined to the school building for the entire length. A stairway to the basement, with modern metal guardrail, is cut into the pavement at the southwest corner. It has been painted white, which has begun to fade and flake off, with green trim.</p><br>
<p>A string course of projecting brick divides the basement and first story. Windows are all set with six-over-six double-hung sash. All have simple sills of brick; the central window on the south (front) facade has a similar lintel. The main entrance is located to its east.</p><br>
<p>Above that central window is a commemorative plaque. It is topped by a pair of smaller windows, segmentally arched in splayed brick. At the roofline is a molded cornice. The tower has a stringcourse separating its top and bottom stages, with a single segmental-arched window similar to those on the south facade on each of its faces. Small brackets hold up the cornice.</p><br>
<h2>History</h2><br>
<p>A Massachusetts native, James Hall came to the Capital District to study under Amos Eaton at what is now Rensselaer Polytechnic Institute (RPI) in Troy. Hall also went on field expeditions led by Ebenezer Emmons, which along with Eaton led him to choose geology as a career. After working at the RPI library following graduation, he began working with the state&#39;s newly established geological survey, which became his lifelong career.</p><br>
<p>After a groundbreaking 1843 report on the states fourth district which established him as one of the nations leading stratigraphers and paleontologists, the survey asked him to do a paleontological report on the entire state. The resulting eight-volume, 13-part report, considered an American scientific classic, was not published until 1894, four years before his death. During that time he was appointed the state geologist for not only New York but Iowa and Wisconsin as well, and the director of the New York State Museum.</p><br>
<p>His work consisted primarily of reviewing and inspecting fossil and rock samples, not just from New York but the entire country. By 1850 he had run out of storage space at his state office, so he had this building constructed for the exclusive use of himself and his assistants. Andrew Jackson Downing and his student Calvert Vaux were collaborating at the time, and designed it in the Italian villa style the former had popularized. It closely matches one drawing in Downings influential pattern book, The Architecture of Country Houses. The two architects collaboration ended with Downing&#39;s death in a steamboat accident on the Hudson in 1852, the year the building was finished. It is one of the few extant works credited to both Downing and Vaux.</p><br>
<p>In the 1880s, Hall had a house for his family built nearby. He nevertheless spent so much time working in the office, sometimes sleeping there, that he and his family grew distant. In 1885 the state insisted he work out of one of its offices; however he continued to spend a great deal of his time at the 1852 office until he died 13 years later. Its interior, essentially one large room at the time, was lined with charts, specimens and books. Off to one side was his spartan bedroom.</p><br>
<p>By 1916 the city had acquired the building. That year the geological survey had the plaque, commemorating Hall&#39;s life and work in the building, affixed. At some point during the intervening 60 years between then and its National Historic Landmark designation, it began being used as a school. It was annexed to the Sunshine School building shortly after that.</p><br>
<p>The school remained open until 2011. Shortly after it was closed, the Albany City School District agreed to sell the building to the Boys & Girls Club of Albany. The sale is still pending</p><br>
<p>The Gen. William Floyd House is a historic house on Main Street at Gifford Hill Road in Westernville, New York. Built in 1803, it was the last home of Founding Father William Floyd , a signer of the Declaration of Independence, and a driving force in the settlement of the area. It was declared a National Historic Landmark in 1971. The house is a private residence, and is not normally open to the public.</p><br>
<h2>Description and history</h2><br>
<p>The Gen. William Floyd House is located in the village center of Westernville, on the west side of Main Street at its junction with Gifford Hill Road. The house&#39;s main block is a -story wood-frame structure, with a gabled roof, two interior chimneys and clapboarded exterior. It is oriented facing roughly southwest, with a two-story ell extending to the west. The main facade is five bays wide, with a center entrance. The interior follows a center hall plan, with the main staircase on the left side of the central, a pair of parlors to the right, and the dining room and study to the left. Preserved period elements include wide floor boards and paneled fireplace walls.</p><br>
<p>The house was built in 1803 by William Floyd, a signer of the United States Declaration of Independence. Floyd, a native of Mastic, New York, served in the New York militia during the American Revolutionary War, rising to the rank of major general. For his service, he was awarded over 10,000 acre in Upstate New York in 1787. He began developing the grant soon afterward, and moved to what is now Westernville in 1803, when this house was finished. The house remained in the hands of his descendants until 1956.</p><br>
<p>Floyd&#39;s home in Mastic, New York, still stands, and is also listed on the National Register of Historic Places. The two William Floyd houses are believed to be the only surviving homes in New York of signers of the Declaration of Independence.</p><br>
<p>King Manor, also known as the Rufus King House, is a historic house at 150th Street and Jamaica Avenue in Jamaica, Queens, New York City. The two-story house is the main structure in Rufus King Park, an 11.5 acre public park that preserves part of the former estate of Rufus King, a USA Founding Father. Built 1730 and expanded in 1755 and the 1800s, the house is designed with elements of the Federal, Georgian, and Greek Revival styles. The house is designated as a National Historic Landmark, and the house, its interior spaces, and the park are all New York City designated landmarks.</p><br>
<p>The house was occupied by the Colgan and Smith families in the late 18th century. King acquired the house and surrounding land in 1805 and expanded it into a 17-room mansion, which he occupied until his death in 1827. Kings family lived in the house until 1896 when Rufuss granddaughter Cornelia King died. The house and the remnants of King&#39;s land were sold in 1897 to the then-independent village of Jamaica and converted into a public park; when Jamaica became part of New York City the next year, the New York City Parks Department (NYC Parks) took over the property. The King Manor Association renovated the mansion in 1900 and reopened it as a clubhouse for various local civic groups. King Park underwent several alterations in the early and mid-20th century, and there were numerous unexecuted plans to demolish the mansion or convert it to other uses. The house itself was renovated after a major fire in 1964, and the house and park were again restored in the late 1980s and early 1990s. Additional, smaller renovations of the house and park took place in the early 21st century.</p><br>
<p>What is now King Manor is composed of several sections, arranged roughly in an "L" shape. The facade is slightly asymmetrical, with frame shingles and a Dutch portico, and is topped by a gambrel roof. The rooms largely date to when Rufus King renovated and expanded the house in the early 19th century. The first floor includes an ornate parlor, library, and dining room, while the second and third floors include bedrooms. King Manor is owned and maintained by the New York City Department of Parks and Recreation, and its interior furnishings are supervised by the King Manor Association. The houses collection includes objects from the 18th and 19th centuries, and it has hosted various programs, events, and exhibits over the years. There has been commentary about both the museums exhibits and the house&#39;s plain architecture.</p><br>
<h2>Site</h2><br>
<p>King Manor is located at 15003 Jamaica Avenue (originally Fulton Street), within Rufus King Park, in the Jamaica neighborhood of Queens in New York City. It is on the north side of the avenue between 150th and 153rd Streets.</p><br>
<h3>Rufus King Park</h3><br>
<p>The house is the main attraction of Rufus King Park, which occupies a city block bounded by Jamaica Avenue to the south, 150th Street to the west, 89th Avenue to the north, and 153rd Street to the east. The park covers 11.5 acre and preserves a portion of the former estate of Rufus King, one of the Founding Fathers of the United States. It has been cited as measuring 552 by across. The park has numerous recreational facilities. Also within the park, about 100 ft north of the mansion, is the gravesite of a 19th-century slave known as Duke.</p><br>
<h3>Previous site usage</h3><br>
<p>Prior to the European colonization of Long Island in the 17th century, the island was occupied by Native Americans, though there exists no evidence of Native American settlement on the houses site. The current park site was located between a group of hills named the Woody Heights to the north and Mechawanienck Trail (which later became Jamaica Avenue) to the south. The first documented structure on or near King Manors site was a quartering house, which appeared in a 1666 map. According to researcher Jo Ann Cotz, the presence of a chimney and large foundation indicate that this structure may have been used by the British military, but researcher Joel Grossman writes that the nearby huts used by British soldiers were different in design from the quartering house. A leathermaker named John Owlffield bought the land in 1664; the grounds may contain remnants of trenches that he used to soak animal hides. Though it is unknown whether Owlffield&#39;s holdings included the King Manor site itself, his descendants, the Oldfield family, did own property that became part of King Manor.</p><br>
<p>There may have been several outbuildings associated with King Manor, although the locations of the outbuildings are not all known. A structure east of the main house, dating from the early 19th century, may have been used as a bathroom. Nothing is known about older outbuildings from as early as the 17th century. By 1813, these included a pair of parallel 50 by buildings north of the house, as well as a third structure that was built near Grove Street In addition, there was a stone edifice known as building K to the east of the manor&#39;s rear wing, which may have been used as a barracks, dairy house, or smokehouse. In the 1900s, building K was a milk house, connected to the main house with latticework.</p><br>
<h2>Use as residence</h2><br>
<h3>18th century</h3><br>
<p>It is not known when the oldest section of the house was built. According to research by Robert W. Venables in 1989, there was already a small cottage on the grounds by 1730. The cottage&#39;s original location has also not been determined, but that residence was likely moved at some point Other sources date King Manor to 1750, although the New York City Landmarks Preservation Commission (LPC) cites the western half of the house as having been built at that time. One writer, Richard Panchyk, credits Ames Smith as having built the house.</p><br>
<p>Two rectors of Grace Episcopal Church lived on the land in the early and mid-18th century: Thomas Poyer and Thomas Colgan. Thomas Poyer married Sarah Oldfield in 1724 and acquired a 53 acre farm from his father-in-law, Joseph Oldfield, in 1726. he was recorded as having owned 50 acre or 53 acre of land in what was then the town of Jamaica. Poyer sold off some of the land in 1730. Colgan lived on the estate until his death in 1755. His estate, at the time, faced the shore of the now-infilled Beaver Pond.</p><br>
<p>The Colgan house was characterized as having "eight rooms on a floor, and two good rooms upstairs" in the mid-18th century, although Venables described the house as having four rooms per floor. The house was described as having sash windows that overlooked Beaver Pond; this indicates that the house has likely always faced south, since Beaver Pond was to the southwest. Around this time, the main houses western half was built. Colgans widow placed the house on sale in 1759, and she was living in another house in Jamaica by 1765. Mrs. Colgan died in the house on April 17, 1776.</p><br>
<p>The house passed to Colgans son-in-law Christopher Smith, who was married to Mary, one of the Colgan daughters. Although there was a common misconception that George Washington once slept in the house, he never visited it; however, Washington is known to have visited a neighboring tavern. Smith bought land from the Sayre family in 1781 and from Ann Banks in 1785. The Colgan and Smith families may have owned up to 10 slaves on the estate, as recorded in the 1790 and 1800 United States censuses. Little else is known about the Smith familys occupancy of the house. When Christopher Smith died in 1805, he was indebted to the estate of the politician John Alsop, who had given Smith a mortgage for the house.</p><br>
<h3>Rufus King ownership</h3><br>
<p>Rufus King, who was Alsop&#39;s son-in-law, He and his wife Mary had moved in 1788 to New York City (which at the time excluded Jamaica), Just before King occupied the house, there were a narrow gravel path and a carriage driveway leading to Jamaica Avenue, and there were two horse chestnut trees and a white picket fence separating the house from the avenue. There were no other flora on the property aside from a grove of apple trees.</p><br>
<p>King purchased Christopher Smiths house and 90 acre in 1805 for $12,000, and he also paid off Smiths mortgage. King moved into the house in early 1806 King also planted a semicircular row of linden trees behind the house; According to Venables&#39;s research, King obtained pine and oak from the nearby forest, as well as shingles from a nearby property owner, and used these materials to build a new kitchen in 1806. King also erected the eastern portion of the main house. The interiors were redesigned in the Federal and Georgian styles; There were two buildings north of the mansion, which may have been barns. There was also a lawn to the west of the main house.</p><br>
<p>King was an abolitionist and paid his workers, in contrast to the slaveowners in the surrounding area. The 1810 United States census shows that he had a slave named Margaret, whom he freed two years later. The New York Amsterdam News said he bought Margaret to free her from the estate of a friend who had died, There were unfounded rumors that King buried slaves on the grounds and used the mansion as a plantation. King served again as a USA senator from 1813 to 1825 and continued to own the house. The King estate also had a cistern at an unknown location.</p><br>
<h3>Later King family ownership</h3><br>
<p>Rufus King died at the mansion on April 29, 1827, and was buried beside his wife in Grace Churchyard, Jamaica. The manor was inherited by his firstborn son, John Alsop King, who would later serve as a state legislator, USA Representative, and then the governor of New York.</p><br>
<p>During the late 19th century, the farm gradually declined. Atlases from 1895 and 1897 indicate that all except one outbuilding, namely building H, had been demolished.</p><br>
<p>After Cornelias death, her brother John A. King was offered $700,000 for the house but refused to take the offer. King Manors old gardens still remained intact, even though the estate itself was a fraction of its original size. Several local newspapers endorsed selling the King estate to the village of Jamaica and converting the grounds to a public park; one newspaper wrote that "the dwelling, although unpretentious, is famous and interesting from its historical associations".</p><br>
<h2>Use as park and museum</h2><br>
<h3>Acquisition of land for park</h3><br>
<p>By 1897, the residents of Jamaica were in favor of buying the remnants of the King estate. John A. King offered the land to the village of Jamaica for $50,000, a discount compared with the market-rate value of the site. and residents voted to buy the land on June 29, 1897. The plot was bounded by modern-day 150th Street, 89th Avenue, 153rd Street, and Jamaica Avenue. A group of citizens immediately sued the trustees to annul the bond issue. Nonetheless, the village trustees acquired the land on July 9 and opened it to the public; they also appointed a policeman to serve as the houses live-in caretaker. A New York Supreme Court justice enjoined the trustees from spending money on the parks upkeep, but the Appellate Division reversed this injunction. The park was officially renamed Jamaica Park in October 1897 and served briefly as a town park. The house&#39;s preservation, which occurred long before the historic preservation movement in New York gained momentum, was uncommon for the time.</p><br>
<p>Jamaica was annexed to the City of Greater New York at the beginning of 1898, becoming part of the borough of Queens, and the New York City Parks Department (NYC Parks) took over the house and land. These included a New York City Police Department (NYPD) precinct, offices for borough officials, and the Queens headquarters of the New York City Board of Education. The Brooklyn Daily Eagle reported in April 1899 that the house was inhabited by a single janitor and had no offices. New York City park commissioner George V. Brower and a local landscape artist were planning to restore the mansion and grounds by 1899. This involved cutting down dead trees, installing new plantings, and adding furniture. There were concerns that the house would be demolished.</p><br>
<h3>Clubhouse conversion and 1900s</h3><br>
<p>Local women, led by Mary E. Craigie, were pushing to convert Kings mansion into a clubhouse for local groups by early 1900. Brower expressed support for the idea. and it set up various committees to manage various aspects of the house. By March, the Daughters of the American Revolution (DAR), the Jamaica Womens Club, and the Brooklyn Public Library Association planned to refurbish the first-floor rooms, although this was delayed because a furnace in the mansion had to be repaired first. The group hosted its first meeting at the house in May 1900. The KMA signed a three-year lease for the house that June and shortly began making plans to convert the house into a headquarters for local clubs. The KMA requested "furniture, pictures, books, and what not" to furnish the house, which was also used to store heirlooms. Brooklyn Life magazine wrote that the conversion of King Manor into a clubhouse was "doubly gratifying", as many of western Long Island&#39;s old structures were being demolished.</p><br>
<p>The first social meeting in the house took place in October 1900. One source described the renovated first floor as having a green-and-white hallway with mahogany finishes; a tan-and-white drawing room; and a dark-red library. The dining room, the largest in the manor, was used as a meeting room. and other groups expressed interest in using the house and renovating other rooms. The KMA received its certificate of incorporation in December 1900; it had over 200 members, while the houses clubs had a combined membership of 1,000. Water and sewer pipes were installed starting in 1902, The KMA also wanted to restore the mansions interior, roof, and porches and repaint the facade; this work was completed by 1903. In its first decade, King Park was re-landscaped and hosted numerous concerts during the summer.</p><br>
<p>The New York City government considered erecting a Carnegie library on the site of King Manor in late 1902, though local residents opposed the Carnegie library. which would not be eligible for Carnegie funds; The same year, the Long Island Society of the Daughters of the Revolution restored the houses parlor. The KMA agreed in 1904 to maintain the houses interior and furnishings, while NYC Parks agreed to maintain the surrounding site as a park. it recorded thirteen hundred annual visitors in 1904 and two thousand visitors by 1906. There were also plans to move Queens&#39; borough hall to King Park by the late 1900s, and paths were built in the park toward the end of that decade.</p><br>
<h3>1910s and 1920s</h3><br>
<p>By 1911, Queens park commissioner Walter G. Elliott planned to convert the house into a regional headquarters for NYC Parks, but the parks departments office was relocated after the KMA protested. a fence was installed around King Park; and NYC Parks set aside $10,000 for a new bathroom in the park. Although a contractor for the bathroom was selected in 1912, the contractor withdrew from the contract, Also in 1914, the Board of Estimate provided $5,000 for the construction of a bandstand and restroom. The bandstand in King Park opened in June 1915, and the restroom in building K was renovated and partitioned around the same year. Additional clubs had space at the house during the late 1910s, including the National Surgical Dressings Committee and the DARs Rufus King Chapter.</p><br>
<p>Two cedar trees from former USA president Theodore Roosevelts estate, Sagamore Hill, were planted in front of the house in 1919. In September 1920, the Queens Borough Public Librarys board of trustees John Leich proposed moving the librarys Jamaica branch into King Manor, saying there were no other suitable buildings for the library branch. This prompted opposition from several civic groups led by the DARs King chapter, Leich withdrew his plan to use the house in February 1921 due to widespread opposition; the library had already identified an alternate location. When a children&#39;s shelter was proposed inside the house in May 1921, civic groups objected even more strongly, calling the plan a "menace". Pratt Institute artisans also took wood from an old oak tree on the grounds and turned it into three gavels, which were presented to the DAR, KMA, and American Scenic and Historic Preservation Society in 1921.</p><br>
<p>Free concerts were given in King Park through the 1920s and proved popular. An unidentified building was erected in the park in 1922; records for this structure are incomplete. and the society used that room to display documents, manuscripts, and other artifacts from 19th-century Jamaica. King Manor was one of the few colonial-era mansions in Jamaica by the 1920s, even as the surrounding neighborhood had changed. NYC Parks again solicited bids for the replacement of King Park&#39;s bathroom starting in 1927–1928, but this bidding process was prolonged through at least 1930. During the late 1920s, the Jamaica Center of Commerce also proposed constructing tennis courts in the park.</p><br>
<h3>1930s to 1970s</h3><br>
<p>A civic center was proposed in King Park in 1930, and local businessman George Jones proposed constructing four 10-story government buildings surrounding King Manor. The KMA vigorously opposed the plan, The new bathroom, east of building K, was completed in 1935. Officials quickly dismissed the plan, citing a lack of parkland in the neighborhood. At the time, the park was cited as having a cannon, flagpole, bandstand, and the new comfort station, in addition to the mansion. The Jamaica Womens Society decided to move into the house in 1936 and renovate a room for itself. The New York City government planted tulips at King Park in 1939, part of a gift of one million tulips from the Dutch government, but King Parks tulips died within a year due to poisoning.</p><br>
<p>The mansion underwent further renovations in the early 1940s as part of a program to restore historical sites across the city. The Long Island Daily Press reported in 1943 that the house had 1,000 visitors every month. When the house was open to the public, two members of the KMA (one each on the first and second floors) showed visitors around. and the 1960s. A playground and basketball court were built just east of King Manor in 1957, on the site of a building that had been demolished more than a century earlier. By the early 1960s, the roof of the house was being reshingled, and floodlights were installed in the adjacent park.</p><br>
<p>The house was severely damaged in March 1964 by a fire that began on its first floor, which was likely caused by faulty wiring. Two rooms were destroyed by the fire, and there was smoke and water damage throughout the house. Officials first estimated that it would cost $39,000 to restore the exterior and grounds and $20,000 to restore the interior, but an expert determined that the interior would cost $50,000 to restore after visiting the house. Restoration of the mansion was completed in 1966, funded by donations from various sources.</p><br>
<p>A group of teenagers set fire to the houses porch in 1973, but passersby noticed the fire before any major damage occurred. The house was open on Thursdays during the late 1970s, and the KMA had further restored the houses interiors by then. By then, the surrounding park was popular among students at York College and visitors to the Queens Supreme Courthouse (both of which were nearby). The area was also a frequent hangout for drug addicts, as there was a drug treatment center near King Park. The park&#39;s benches were repaired in the late 1970s, and the NYPD cracked down on illicit drug sales in the park during the same time. In 1979, the King Manor Association raised $10,000 for a trust fund for King Mansion, which was to be complemented by $10,000 in matching funds from the city government. The association also had an operating fund of $1,800 and wished to conduct a study of the house.</p><br>
<h3>1980s and 1990s</h3><br>
<p>A group of architects inspected the house in 1980 and found that, although some parts of the exterior were deteriorating, the mansion was largely in good condition. and the park had degraded to such an extent that one critic wrote that "King Park, for all its beauty, has become Junk Park". City Council member Sheldon S. Leffler requested funding for the house&#39;s renovation in 1983, and the city provided $500,000 for design in June 1984. The city initially provided $1.31 million for the renovation of the mansion in March of that year and added $3.6 million for the park that September. Designs for the renovation were completed by the end of the year. The KMA also obtained $500,000 in city funds for new furnishings and $80,000 in private funds for new exhibits. By that time, the restoration of King Park and Manor was estimated to cost $1.9 million.</p><br>
<p>In March 1987, the New York City government began renovating King Manor. This project was to include new mechanical and electrical systems; security and fire-prevention features; repainting; and restoration of decorations and surfaces. The mansion&#39;s renovation involved repainting the rooms their original colors, and the park was also to receive a new bandstand and bathroom. Huff Enterprises, Arista Heating, Action Electric, and Calco Plumbing and Heating were hired to carry out the work on the mansion. The renovation of King Manor was one of several major projects underway in downtown Jamaica at the time. In conjunction with these projects, the NYPD focused on making King Park a drug-free zone during the late 1980s.</p><br>
<p>King Manor was one of the founding members of the Historic House Trust, established in 1989, and the city gave $28,000 for programs at the mansion the same year. Roy Fox, a former radio host who was looking for a place to live, became the houses caretaker in 1989 after learning about a rent-free apartment from his wifes supervisor. At the beginning of 1990, work commenced on the park itself, Although the New York Daily News reported that July that the house was open one day a week, Newsday said three years later that the house was open only for scheduled events. Museum officials developed a plan for the house&#39;s programming in 1991 after the Andy Warhol Foundation and J. M. Kaplan Fund provided a $50,000 grant.</p><br>
<p>City officials officially rededicated the house on June 21, 1994. Ultimately, the King Manor Museum had cost $2 million to renovate, and the park had cost $4 million. In addition, as part of the Jamaica Action Plan, the city spent $127,000 on a fence around the park, which was finished in 1997. Hispanic residents of the surrounding neighborhood were also using parts of the park for soccer practice, angering the area&#39;s black residents.</p><br>
<h3>2000s to present</h3><br>
<p>A $300,000 renovation was announced in May 2002. The project included new doors, shutters, and windows; repairs to the wooden porch, which had been restored in the 1990s but was starting to buckle; repainting of the facade; and upgrades to the air conditioning, lighting, and fire detectors. The museum remained open during the renovation and offered free admission to compensate for the closure of several rooms. By 2004, researchers within the park had uncovered 4,000 artifacts during the past decade. Local residents also began advocating for a turf field in the surrounding park.</p><br>
<p>King Manor and Park were again upgraded as part of a $1.7 million project that was completed in 2008. The project included drainage upgrades, drinking fountains, a turf field, and a concert space in the park, as well as new trees and driveway at the mansion. Another $2.2 million renovation of King Park was announced in 2015, which involved upgrades to the gazebo, paths, and greenery. NYC Parks announced a set of new entrances for the park in 2017 and replaced the mansion&#39;s roof in 2018 for $1.8 million, though museum officials had to repair the second-story ceiling themselves. A new space for temporary exhibits opened in the second-floor sitting room in December 2019.</p><br>
<p>The mansion was closed temporarily in 2020 due to the COVID-19 pandemic in New York City; Roy Fox, who had been the live-in caretaker for three decades, continued to maintain the property. The same year, the Robert David Lion Gardiner Foundation gave the museum a $13,750 grant for an exhibition catalog. A Parks Enforcement Patrol substation in the park was finished in 2021, and the house&#39;s HVAC system was fixed that year for $718,000. Nonetheless, King Manor officials claimed in 2023 that the house was suffering from neglect: its exterior had not been repainted in two decades, while the dining room was partly closed because of falling plaster. In addition, museum officials alleged that, after the Wi-Fi stopped working at the end of 2020, NYC Parks failed to restore Wi-Fi to the house, causing event organizers to avoid the house.</p><br>
<h2>Architecture</h2><br>
<p>It is not known who designed King Manor. The house&#39;s design contains elements of the Federal, Georgian, and Greek Revival styles. What is now King Manor is composed of several sections, arranged roughly into an "L" shape. The main house is located in the middle of the estate, while the kitchen is placed in an annex extending north of the easternmost part of the main house.</p><br>
<h3>Exterior</h3><br>
<p>The western part of the main house was constructed when Colgan lived there in the mid-18th century and is two stories high with a half-story attic. The eastern part dates from the Kings&#39; 1800s renovation. The facade is composed mostly of white frame shingles. The design of the two sections is similar, but the architectural elements in the eastern section are wider, making the facade slightly asymmetrical. Both sections are topped by a gambrel roof, which has two chimneys above it. The main entrance is through a portico to the south, supported by fluted columns in the Doric order. Within the portico is a Dutch door, a sidelight on either side of the door, and a transom window above the door. The portico itself has a cornice with dentils, and there is a Palladian window directly above the portico.</p><br>
<p>The rear annex, an extension of Poyers original house, may be the oldest part of the current King Manor. It includes the Colgan and Smith families kitchen, as well as another kitchen and a lean-to added by the Kings to the north. The rear annex is composed of one- and two-story high sections, topped by gable roofs. Both sections of the annex are topped by brick chimneys. The southern section of the annex, abutting the main house, is two stories high and has a porch with columns.</p><br>
<h3>Interior</h3><br>
<p>The interior spaces largely date to when Rufus King renovated and expanded the house in the early 19th century. King Manor had 17 rooms, including a drawing room and family room, after King finished renovating the house; The rooms included imported marble fireplace mantels.</p><br>
<h4>First floor</h4><br>
<p>Generally, the first floor plan is symmetrical and is bisected by a central hallway, but the main entrance door is itself placed asymmetrically within the hallway. There is a staircase to the second floor at the rear of the eastern wall. The stairway has a balustrade with square spindles, a handrail, and newel posts with volutes. The stair also includes a window on one landing and a molding on the adjacent wall.</p><br>
<p>The western half of the first floor contains a parlor and a library (the latter also known as the family room). Both rooms are 24 ft wide; the parlor is 16 ft deep, while the library is 22 ft deep. which were imported from England and once accommodated over five thousand volumes. When King lived in the house, the library was filled with 5,000 books, These included over 400 volumes from the 16th to mid-18th centuries. The fireplace has white-and-blue Dutch tiles on its mantel, as well as paneling on its overmantel. Other elements of the library include a paneled door.</p><br>
<p>At the southeast corner of the first floor is the dining room, which measures 22 by across, The curved wall was not dissimilar to other American houses built after the Revolutionary War, which often had curved walls, although these houses&#39; exteriors were also typically curved. The fireplace itself is flanked by pilasters that support a mantelpiece shelf; it is topped by a frieze with a central ellipse. Above the fireplace is a chimney shaft that blends with the baseboard and chair rail on the wall.</p><br>
<h4>Second floor</h4><br>
<p>In general, the second floor was designed with a similar plan to the first floor. The staircase from the rear of the first floor opens into a wide central hall on the second floor, which has a cornice with moldings and dentils. At the eastern end of the main house, a short flight of steps lead down to the former childrens playroom, which has a closet and walls with paneling. The room, which had pink walls by the 1990s, was also used by servants. Next to the childrens playroom, a stair connects with the attic.</p><br>
<p>To the southwest is a sitting room, which retains most of its 18th-century details. The sitting room has a marble fireplace frame (which was later concealed by an arched fireplace) and an ornamental fireplace mantel, above which is an overmantel decorated with paneling and a cornice. There is also a door, baseboard, chair rail, and cornice in the sitting room, similar to those in the first-floor parlor. This room was once used by the Queens Borough Musical Society (which outfitted the room with Empire-style furniture) and has built-in closets on either side of the fireplace.</p><br>
<p>The bedroom at the northwest corner, formerly used by Rufus King, has baseboards, chair rails, and cornices on the walls. There is a fireplace on its south wall, surrounded by wooden panels. The fireplace itself is decorated with an eared frame, an arched marble panel added in the mid-19th century, and a mantelpiece shelf topped by a frieze. There are built-in closets on either side of the fireplace. The King room was once used as an assembly room by the Queens Borough Musical Society and also had Empire-style furniture. Another bedroom in the northeast corner had small closets and was outfitted with multiple pieces of furniture by the early 20th century.</p><br>
<h4>Other stories</h4><br>
<p>As designed, the third floor had smaller rooms than the floors below. Some of the upper-story rooms were generally closed to the public in the 21st century. There is also a cellar under the entire house. The rafters in the cellar&#39;s ceiling were made by hand, as were the wooden flooring.</p><br>
<h2>Operation</h2><br>
<p>King Manor is owned and maintained by the New York City Department of Parks and Recreation, and its interior furnishings are supervised by the King Manor Association. The house has historically been known alternately as King Mansion; the City History Club of New York said in 1909 that the "Manor" name was a misnomer, as no manors have ever existed in Queens County.</p><br>
<h3>Collection</h3><br>
<p>Until the museum closed for renovation in 1987, its collection mostly included furnishings and objects from the 18th and 19th centuries. The kitchen featured a stove and large brick ovens, while the second-floor hall displayed a spinning wheel. in its first decade, the association loaned or acquired artwork, furnishings, carpets, engravings, and bric-à-brac. and Rufus King&#39;s table silverware.</p><br>
<p>Following the 1980s and 1990s renovations, reproductions of original furnishings were installed, including the carpet in the parlor and the 5,000 books in the library. The house also contains original artifacts, such as an 18th-century piano built in England and an old leather horse-hair sofa under the west window that belonged to Rufus King. The library includes a plaster statue of Rufus King.</p><br>
<h3>Programming and events</h3><br>
<p>The house was used for club meetings and events beginning in October 1900; Tours of historical sites in Queens also sometimes passed through the house. By the late 20th century, the house held events such as celebrations of Kings birthday, Historic House Festivals, Historic Games Weekends, fall festivals, and historic-house tours. At the end of the century, the house and park often hosted cultural events. The mansions events in the 21st century included naturalization ceremonies, poetry readings, tours of non-public parts of the house, holiday concerts, and networking events.</p><br>
<p>The museum gave tours in both English and Spanish by the end of the 20th century. In 2001, the King Manor Museum began operating an archeology program in conjunction with local public schools., the museums educational programs include classes on the Revolutionary War and on Kings abolitionist activities. In addition, guided tours are hosted between February and December.</p><br>
<h3>Exhibits</h3><br>
<p>In King Manors early years as a museum, one room on the second floor was set aside for the display of furniture and antiquities. The house hosted exhibits such as antiques collections, as well as sampler, metal, and textile exhibitions. By the mid-20th century, exhibits included showcases of heirlooms and a showcase of the houses history. One news article from 1957 described the house as a "treasure-trove of 18th century lore", with furniture, furnishings, books, and pictures dating to the 18th century.</p><br>
<p>To attract visitors after the 1990s renovation, the museum began posting bilingual signs and hosting events in both English and Spanish, Since 2019, the second floor has been used as a space for temporary multimedia exhibits. Some of the temporary exhibitions are also documented online after they have been displayed on the second floor.</p><br>
<h2>Impact</h2><br>
<p>At the end of the 19th century, when the Kings still owned the mansion, the Brooklyn Daily Eagle wrote of the house&#39;s colonial architecture and "quaint and charming" furniture, and the Times-Union described the house as "destitute of architectural beauty, either ancient or modern, its chief characteristic being the solidity of its construction". The Standard Union said in 1900 that the house "bears comparatively few traces of the many winters it has weathered" and credited its sturdy construction to the fact that it was built by hand. In 1903, the New York Times described the house as rivaling the Van Cortlandt House "in historical and colonial museum interest", although the Times wrote that the Van Cortlandt House had more artifacts. The Brooklyn Daily Eagle said in 1907 that, despite its nondescript appearance, King Manor was "one of the show places of Jamaica&quot a 1913 article from the same newspaper said the house reflected "the individuality of its former owners". The Times-Union said in 1931 that the mansion "maintained its 18th century atmosphere" despite the presence of vehicular traffic and the adjacent Jamaica Avenue elevated railway.</p><br>
<p>Later reception was also positive. In 1997, one critic for Newsday described the house as an "odd juxtaposition" with the Long Island Rail Roads nearby Jamaica station but also "a rewarding destination for families curious about Long Islands prestigious past".</p><br>
<p>King Manor has also appeared in several media works. Dorothy and Richard Platt included images of the King Mansion in a 1950s guidebook of historical structures in New York City. The house was depicted in a mural painted at the New York City Subway&#39;s 111th Street station in 1977, and it was featured in a TV series produced by Queens Public TV and Queens Council on the Arts in 1996.</p><br>
<p>The LPC held hearings at the beginning of 1966 to determine whether to designate King Manor as a city landmark, and the exterior of the building was designated as a landmark the same year. The landmark designation also included the grounds of King Park. The LPC held hearings in January 1976 on the possibility of designating the building&#39;s interior as a landmark, and the commission designated parts of the first- and second-floor interiors as a landmark that March. The Queens Chamber of Commerce gave its Historic Structure Award to the mansion during the 1980s.</p><br>
<p>The John Jay Homestead State Historic Site is located at 400 Jay Street in Katonah, New York. The site preserves the 1787 home of Founding Father and statesman John Jay , one of the three authors of The Federalist Papers and the first Chief Justice of the United States. The property was designated a National Historic Landmark in 1981 for its association with Jay. The house is open year-round for tours.</p><br>
<h2>Description and history</h2><br>
<p>The John Jay Homestead is located in a rural setting east of the village of Katonah, on the north side of Jay Street (New York State Route 22). It is a -story gambrel-roofed brick building, with single-story gable-roofed wings to either side. The main facade is five bays wide, with sash windows arranged symmetrically around the centered entrance. The center bay is slightly wider than the others, and the entrance is topped by a four-light transom window. A shed-roof porch shelters the entire span of the first floor, wrapping around in open sections to secondary entrances in the side wings.</p><br>
<p>The home was constructed in two major phases, on 600 acre of land that was part of a larger 5,200 acre parcel that his maternal grandfather Jacobus Van Cortlandt purchased from Chief Katonah around 1700. John Jay made arrangements in February 1787 with brickmakers and carpenters for the first phase of construction, which was completed in 1790. The second phase, executed in 1800–01, included the extension of the main block to five bays and the addition of the wings (one replacing the first kitchen wing). Jay, whose long and illustrious career included the Continental Congress, drafting of New Yorks first state constitution, Governor of New York, and Chief Justice of both New Yorks Supreme Court and the United States Supreme Court, spent his retirement years on this property.</p><br>
<p>The house remained in the Jay family until 1959, when it was given to Westchester County, which turned it over to the state. The state undertook the reversal of some alterations made after Jays ownership, and opened it as a historic site. In 1977, the non-profit Friends of John Jay Homestead was founded to increase public awareness of the site. It raises funds and provides volunteer assistance for the Homesteads preservation, restoration and interpretation.</p><br>
<p>The house was declared a National Historic Landmark in 1981.</p><br>
<h2>Legacy</h2><br>
<p>In 2004, the landmark, known as Bedford House, was added to the African American Heritage Trail of Westchester County, a group of 16 sites which include the Rye African-American Cemetery, Saint Paul&#39;s Church National Historic Site and the Jay Estate in Rye.</p><br>
<p>The Willard Memorial Chapel and the adjoining Welch Memorial Hall are historic conjoined buildings located at 17 Nelson Street in Auburn, Cayuga County, New York. Built 1892–1894 for the Auburn Theological Seminary, the buildings contain an ecclesiastical installation of stained glass and interior decoration by Louis Comfort Tiffany that is still in its original setting. They were declared a National Historic Landmark in 2005. Note: This includes</p><br>
<h2>Architecture</h2><br>
<p>Willard Memorial Chapel and Welch Memorial Hall stand north of downtown Auburn, on the west side of Nelson Street south of Seymour Street. The block on which it stands was once almost completely occupied by the buildings of Auburn Theological Seminary, most of which have since been demolished and their sites redeveloped. The two buildings are largely independent of one another, joined together by a small hyphen, but share construction materials and architectural vocabulary. Their exterior are composed of load-bearing masonry, most of which is gray rock-faced limestone with red limestone trim. They are Richardsonian Romanesque in style, with entrances set recessed behind rounded arches. Windows are in a variety of styles, including round-arch Romanesque, lancet-style Gothic, and rectangular sash.</p><br>
<p>The chapel and hall were designed by Warner & Brockett of Rochester, New York, and were built in 1892-94. They feature the stained-glass windows and interior decoration of Louis Comfort Tiffany. They are the last surviving complete installation by Tiffany in its original location. The chapel was dedicated in memory of Dr. Sylvester Willard and his wife, Jane Frances Case Willard. Funding was provided by their daughters, Caroline and Georgiana.</p><br>
<p>The Kate Mullany House was the home of Kate Mullany , an early female labor leader who started the all-women Collar Laundry Union in Troy, New York in February 1864. It was one of the first women&#39;s unions that lasted longer than the resolution of a specific issue. It is located at 350 8th Street in Troy, just off NY 7 one empty lot east of the Collar City Bridge.</p><br>
<p>The house was declared a National Historic Landmark in 1998. It is now a National Historic Site. The site also includes Mullanys grave. The New York State Senate honored the house and its most famous resident for Womens History Month in March 2007. The house is also on the New York Women&#39;s Heritage Trail.</p><br>
<h2>Designation as a National Historic Site</h2><br>
<p>Then First Lady Hillary Clinton toured the house in 2000, and named it as a "treasure". Senator Daniel P. Moynihan had introduced a bill to designate the home as a National Historic Site, but the bill languished in the United States Senate.</p><br>
<p>Senator Clinton took up the bill in January 2001 when Moynhian retired, and she advocated for the home. There were hearings on the bill, and the Congressional Budget Office undertook an official budget analysis for the United States Congress. The bill was co-sponsored by Senator Clinton and Representative Mike McNulty, supported by organized labor, and was passed into law. It is an affiliated area of the National Park Service; it remains privately owned and operated but the NPS provides technical support.</p><br>
<p>On November 10, 2020, a car crashed through the building&#39;s back wall. Though no one was injured, the National Park Service reported that the "damage to the back wall was so extensive that engineers worried the second floor might collapse". Before the incident, the site was planned to open in late 2020.</p><br>
<p>The site was officially opened to the public on June 10, 2023 with a public celebration hosted by Paul Cole, executive director of the American Labor Studies Center who helped organize fundraising for the site.</p><br>
<p>The Marysville Opera House, located in Marysville, Washington, is a performance hall and meetinghouse constructed in 1911. It was added to the National Register of Historic Places in 1982. It seats approximately 400 people.</p><br>
<h2>History</h2><br>
<p>The opera house&#39;s predecessor, a simple meetinghouse and community space, was built in 1898 by the Marysville chapter of the Independent Order of Oddfellows. The wooden building was destroyed in a fire in 1910, and it was decided shortly thereafter to build a replacement venue out of another material.</p><br>
<p>The new opera house was built the following year by local contractor A.E. Heider, at a cost of $20,000. The cornerstone was laid on March 26 and construction was finished by August 1911. The new building was designed to grow with the city and serve social functions as well as traveling shows. It was the second known structure in Snohomish County, Washington to use poured concrete, rather than timber or masonry, in its construction.</p><br>
<p>The Oddfellows Marysville lodge was disbanded in 1966, and the opera house later served as a roller skating rink, shooting range, furniture store, and a disco nightclub over the next two decades. The Marysville Fine Arts Committee successfully placed the building on the National Register of Historic Places in 1982 as the citys only entry, and hoped to restore the building but were unable to raise enough money to do so. The city of Marysville began leasing the opera house from the Williams family in 1998, who renovated the building after years of neglect left the building with a leaking roof. It reopened in March 2001, allowing the city to rent it out for private events.</p><br>
<p>A second renovation in 2016 included the repainting of the building, installation of LED lighting, and new artwork. In 2017, it hosted 138 events. The city government purchased the Opera House in January 2018 for $1.44 million, aiming to continue booking events while revitalizing the surrounding riverfront area.</p><br>
<p>The Downtown New London Historic District, also known as the Waterfront Historic District, refers to 78 acre with 222 contributing buildings along the waterfront of New London, Connecticut. It was added to the National Register of Historic Places  in 1979, with 190 buildings and 60 acre. The district was expanded in 1988, adding 18 acre and 33 buildings.</p><br>
<h2>History and description</h2><br>
<h3>Bank Street</h3><br>
<p>Bank Street is so named because it sits atop the bank of the Thames River. It is one of New London&#39;s oldest sections and was once dominated by fishing wharves and tall ships. Benedict Arnold led British forces through New London in 1781, burning much of the city to the ground during the American Revolutionary War. The waterfront was subsequently rebuilt and the roadway was raised to accommodate additional development and larger ships.</p><br>
<p>The bank itself is now home to a number of restaurants, cafes, and boutiques and is dotted with a handful of 18th-century structures, including:</p><br>
<p>the Shaw Mansion, built in 1753, which served as Connecticut Navy Headquarters during the American Revolution</p><br>
<p>Bukeley House, built in 1796; the original owner of this house served with John Paul Jones</p><br>
<p>Bank Street also includes 19th-century buildings, including:</p><br>
<p>New London Customhouse, built in 1833, the oldest such building continuously operated in the United States</p><br>
<p>the Brown House at 258 Bank Street at the intersection of Tilley Street, built in 1833 in the Federal/Greek Revival style for Benjamin Brown, using the same materials as the Custom House including granite quarried from the ledge behind the house</p><br>
<p>the site of the events surrounding the slave ship La Amistad</p><br>
<h3>State Street</h3><br>
<p>State Street runs east–west through the District from Huntington Street to Water Street and is lined with 19th-century buildings. Notable exceptions are the 1787 New London County Courthouse at the head of State Street, which was separately designated to the NRHP and is not part of the District, and the 1740 Timothy Green printing studio off State and Green Streets. At one time the 1774 Nathan Hale School House was located on State Street, but it has been moved to Atlantic Street north of the Soldiers and Sailors Monument.</p><br>
<p>State Street is also the location of a number of notable buildings, such as:</p><br>
<p>Leopold Eidlitz&#39;s First Church of Christ (Congregational), was a Gothic Revival structure built in 1850, located at the corner of State and Union Streets. On 25 January 2024, the spire collapsed, and the building was destroyed beyond repair.</p><br>
<p>the 1856 First Baptist Church at 268 State Street, designed in the Italianate style by William T. Hallett</p><br>
<p>Eidlitz&#39;s Romanesque Revival Harris Place (1885) at 159 State Street, a mixed-use building which housed offices, eight luxury apartments, and the Hislop, Porteus & Mitchell department store</p><br>
<p>Lyric Hall (1898) at 243 State Street, designed by James Sweeney, which had a small theater used for lectures and music and dance recitals</p><br>
<p>Ewing & Chappell&#39;s 1905 Thames Club at 290 State Street</p><br>
<p>James Sweeney&#39;s Beaux-Arts New London City Hall (1912), also known as the Municipal Building, at 181 State Street</p><br>
<p>The 1930 Greek Revival bank building at 250 State Street</p><br>
<p>Lena Building (originally J.N. Harris Building), 1884-1885</p><br>
<p>The New London Public Library is also on State Street at the corner of Huntington Street, built in 1889-92 and designed by Shepley, Rutan & Coolidge in the Richardsonian Romanesque style.</p><br>
<p>Green Street is also part of the downtown historic area, just off State. It was laid out officially in 1787, and many of the buildings in this neighborhood date from 1760 to 1792 and survived the torch of Benedict Arnold. Eugene ONeills favorite watering spot was Dutch&#39;s Tavern, better known as The Dutch and housed in a 1760 building. The home at 79 Green dates to around 1801 and is known as The Richard Douglass House; Douglass was a veteran of the American Revolution, and the house is still a private residence.</p><br>
<p>Also in the immediate area is the Starr Street District, a group of row houses built in the first two decades of the 1800s. The New London Railroad Station is also within the physical confines of the district, but not part of it; it is separately listed on the NRHP like the Courthouse, Customhouse, and Public Library.</p><br>
<p>The Jethro Wood House is a historic house on Poplar Ridge Road, in a rural area west of the hamlet of Poplar Ridge in the town of Ledyard, New York. Built by 1800, it was the home of inventor Jethro Wood , whose 1819 invention of an iron moldboard plow revolutionized American agriculture. The house was declared a National Historic Landmark in 1964. It is a private residence, and is not normally open to the public.</p><br>
<h2>Description and history</h2><br>
<p>The Jethro Wood House is located on the south side of Poplar Ridge Road, west of the village center of Poplar Ridge in Ledyard, New York. It is a large -story wood-frame structure, with a gabled roof and clapboarded exterior. It has a five-bay front facade, with sash windows arranged symmetrically around the main entrance. The entrance is sheltered by a gable-roof portico supported by metal fixtures, and is framed by sidelight and transom windows.</p><br>
<p>The house was purchased about 1800 by Jethro Wood, who grew up in Washington County, New York and engaged in farming when he moved here. In 1814 he was granted the first patent for a cast-iron plow with replaceable parts, improving on extant single-piece plows. This first effort was not a commercial success, but in 1819 he was awarded a second patent which was. His improvements made it possible for farmers to more rapidly prepare land for planting, enabling them to work more land.</p><br>
<p>Jethro Wood was also the area&#39;s first postmaster. His wife, Sylvia Howland, was the aunt of Emily Howland, an active abolitionist, philanthropist, and educator. He spent his earnings fighting patent infringements. When he died in 1834, his children tried in vain to carry on his efforts at obtaining a renewed patent.</p><br>
<p>Thomas Hoppel, the current owner, extensively renovated the house in 2020, both inside and out, and a porch was added to resemble a previous addition in the back of the house. Many of the original features of the house remain in place including two fireplace mantels, the original doors and the front staircase. The large original key to the front door still operates the lock. The door is painted red which was a symbol that the house was a welcoming place along the underground railroad. There is no evidence that the house was part of the Underground Railroad, but the railroad was very active in places close by, including the hamlet of Sherwood. A new large barn was erected in 2021 which is historically accurate to the barns in the area. There is a oil portrait of Jethro Wood and many artifacts, including an original cast iron plow.</p><br>
<p>The John Brown Farm State Historic Site includes the home and final resting place of abolitionist John Brown . It is located on John Brown Road in the town of North Elba, 3 miles  southeast of Lake Placid, New York, where John Brown moved in 1849 to teach farming to African Americans. It has been called the highest farm in the state, "the highest arable spot of land in the State, if, indeed, soil so hard and sterile can be called arable." </p><br>
<p>According to a 1935 visitor, "the site which so captivated John Brown on his first visit and held his interest to the end of his life is one of the most impressive in the Adirondacks. The awe-inspiring mountains surrounding the spot look down on friendly valleys, lakes, hills, streams, homes, hamlets and villages. The panorama stresses the power, majesty and eternal verities embodied in the towering peaks; calls attention to the peace, grandeur and solitude of the region; and deepens the feeling of man&#39;s weakness, finiteness and transitory abode on mother earth."</p><br>
<p>A visiting reporter described the scenery as "absolutely the grandest in all the Adirondack region, being superior to that found at Mirror Lake and Lake Placid....A superb view."</p><br>
<p>It was declared a National Historic Landmark in 1998. It has been managed by the state since 1896; the grounds are open to the public on a year-round basis, and tours of the house are offered in the warmer months.</p><br>
<p>The weather was described at the time as "six months winter and the other six months was mighty cold weather". A recent (2002) writer called it "one of the most inhospitable places in the eastern United States".</p><br>
<h2>The Browns&#39; first house in North Elba</h2><br>
<p>It is sometimes forgotten that when the Browns first came to the Adirondacks, in 1849, North Elba did not exist and the farmhouse had not yet been built. North Elba was separated from the town of Keene effective January 1, 1850.</p><br>
<p>John Brown rented from "Cone" Flanders a little house. His daughter Ruth described it in a letter:</p><br>
<p>The "chamber" was the unfinished attic, or second story. This small house sheltered a family of ten, one or more colored helpers, and occasional guests. The ten in the family were Mr. and Mrs. Brown, five sons—Owen, Frederick, Watson, Salmon, and Oliver—and three daughters, Ruth, Annie, and Sarah. (John Jr. and Jason were married and living separately.) They lived in this house for two years, until Brown moved his family and his cattle to Akron, Ohio, where he needed to be while winding up his wool business. The Flanders house burned in the first half of the 20th century.</p><br>
<p>John&#39;s cattle were exhibited at the Essex County Fair in 1850: "No incident of the Fair, however, was more exciting and grateful to Essex County than the, to most of us, unlooked-for advent of the splendid specimens of Devons. These most beautiful and noble animals are the property of Mr. John Brown, of North Elba, and as a single entry, triumphantly bore away the palm. Essex County is deeply indebted to Mr. Brown. While we acknowledge the succor the county derived from his exhibition in her friendly competition with Clinton, we trust his public spirit and enterprise will be appreciated and addquately rewarded." "Our readers cannot have forgotten the strong impression produced by the appearance at the recent Fair, of the magnificent of Mr. Brown of North Elba. We are happy to Iearn that Mr. Brown, whose zeal and efficiency is most commendable, has, during the present autumn, added some fine animals to his herd. In justice to him we must remark that some of his more valuable stock was not exhibited at the Fair."</p><br>
<p>In 1855 Brown and his family moved back to North Elba and built the surviving home.</p><br>
<h2>The farm a refuge for his family</h2><br>
<p>Brown viewed the house he had built as a place not for himself—he lived there only 6 non-consecutive months—but for his wife and younger children, where they would be safe while he and his four oldest sons were in Kansas fighting slavery. According to a local historian, "besides the other inducements which this rough and bleak region offered him, he considered it a good refuge for his wife and younger children, when he should go on his campaign; a place where they would not only be safe and independent, but could live frugally, and both learn and practise those habits of thrifty industry which Brown thought indispensable in the training of children."</p><br>
<p>Actually running the farm in 1859 was John&#39;s son Salmon, aged 23.</p><br>
<h2>Description</h2><br>
<p>Much is known about John Browns farm as it was in 1859. A reporter from the New York Tribune and Thomas Nast, a sketch artist from the New York Illustrated News, were present at Browns funeral. Rev. Joshua Young, who lost his pulpit (job) in Vermont for having presided over Brown&#39;s funeral, also left a lengthy description, and the farm was also described by a visitor to the widowed Mrs. Brown in 1861, and, slightly earlier, by Adirondack tourists who stumbled upon it.</p><br>
<p>The John Brown Farm, on John Brown Road (New York State Route 910M), is in the township of North Elba, south of the modern village of Lake Placid, which did not exist in 1859. It was about 2 mi from the former hamlet of Black farmers at Timbuctoo, New York, whom Brown attempted to teach to farm. According to the deed, the property consisted of 214 acre. The site today (2021) is 270 acre in size, of which the northern third houses the developed part of the site, with the balance in now reforested hills. However, a visitor to the widowed Mary Brown in 1861 described the property as "a circular patch of about 60 acre, cleared in the midst of the primeval forest, covered over with blackened stumps, and devoted to grass, buckwheat, oats and potatoes." About 1860 Salmon Brown&#39;s potato harvest, which he sold to "the starch factory", was 4,500 USbsh.</p><br>
<p>The developed area today (2021) includes John Browns farmhouse and barn, the exhibit "Dreaming of Timbuctoo" permanently installed on the second floor of the barn, as well as a caretakers house and other infrastructure for visitors. The house was described in 1859 as "a medium-sized frame building, such as is common in that part of the country. It has four rooms on the first floor, and corresponding space above." "It is a rude frame building, two stories high, and has anything but a pretentious appearance." The 1861 visitor called it a cabin, "which has recently received the addition of another room, and the logs of the building covered with clap-boards through the liberality of his Boston friends". "What! That humble unpainted farmhouse John Brown&#39;s home?" was the comment of Kate Field, who arranged the purchase and donation of the farm to New York State. A modern description is: "The house is a -story timber-framed structure, with a gable roof and clapboarded exterior. Its front is four bays wide, with the entrance in the left center bay, topped by a transom window. Most of the finishes, both interior and exterior, are restorations performed in the second half of the 20th century to bring about a c. 1860 appearance."</p><br>
<p>An 1859 visitor continued:</p><br>
<p>The family graveyard, which Mary Brown exempted from the sale, is now part of the site, encircled by a modern iron fence. A statue of John Brown by Joseph Pollia, placed in 1935, stands nearby. A 2002 visitor described the grave as "a chaotic memorial, a riot of symbol and meaning."</p><br>
<h2>History</h2><br>
<p>John Brown arrived in upstate New York as part of a project funded by Gerrit Smith to assist Blacks in becoming property owners and thus voters, under New York State law at the time. To this end he gave away hundreds of 40-acre tracts of Adirondack wilderness, to be cleared and farmed. (See Timbuctoo, New York.) John Brown was financially ruined saying that his years in rural Pennsylvania showed that he knew how to clear land and build a farm, and organize a community. He agreed to teach these skills to the Blacks. He said that he had purchased the farm from Smith, and he had a deed registered at the county clerk in Elizabethtown, but he never paid Smith anything. The purchase was finally paid for by a collection among his friends.</p><br>
<p>The Timbuctoo experiment was a failure, as almost all the Blacks, save Lyman Epps, left within a few years; it was too cold and isolated, and clearing land and creating a farm is hard work. However, Brown himself did succeed in building a farm that could support his family.</p><br>
<p>The house was built by John Browns son-in-law Henry Thompson "with his own hands". His wife was Browns daughter Ruth.</p><br>
<h3>Brown&#39;s funeral and burial, December 8, 1859</h3><br>
<p>After Browns failed raid on Harpers Ferry and execution on December 2, 1859, his widow Mary brought his body back to his farm for burial, which took place December 8. Half of those present were Black, most formerly enslaved. Wendell Phillips spoke. John Browns favorite hymn, "Blow ye the trumpets, blow!" was sung. The Unitarian minister conducting the service, Joshua Young, recited as the casket was put in the ground. Upon returning to Burlington, disapproval of his participation in Brown&#39;s funeral was so severe that he was forced to resign his pulpit, and his friends said that he had ruined his future, which turned out not to be true.</p><br>
<h3>Memorial service, July 4, 1860</h3><br>
<p>Over 1,000 people were present at the farm on July 4, 1860, for a memorial service, including the surviving members of Browns family, all but one (Tidd) of the surviving participants in Browns raid, and hundreds of friends, including Thaddeus Hyatt. It was the last time Browns traumatized family would gather together. None ever spoke publicly about him, and none of the many people who wrote of contact with Browns survivors reports private conversations. The one who was most directly involved in the Harpers Ferry Raid, Owen, 12 years later, after repeated attempts by a journalist, told his story once. Salmon, shortly before he died, dictated to his daughter his recollections, which were incompletely published, and briefly told a journalist some of his recollections of his father. A 20th-century descendant of John Brown, Alice Keesey McCoy, said that within the family, he was not talked about, that there were feelings of shame. Browns daughter Annie did not even tell her children "what Browns they were", because she felt it would hinder them to be known as John Browns grandchildren.</p><br>
<h3>Mary Brown sells the property to Alexis Hinckley</h3><br>
<p>Funds collected from Brown followers for the support of Mary Brown, his widow, enabled her to add between 1860 and 1863 the addition with two windows on the right (removed during restoration).</p><br>
<p>Contrary to Browns wish, none of his family would remain long at the North Elba farm. In 1860 his three oldest sons, John Jr, Jason, and Owen, were all living in Ohio. Salmon, who later remarked that the Brown family was "despised bitterly" and “our family was long buffeted from pillar to post,” also departed, in his case for California. He was accompanied by his wife, children, mother Mary Brown, and sisters Sarah and Ellen, Mary seeking "a chance to start over in a new country". In 1863 Mary leased the farm to Alexis Hinckley, brother of Salmons wife. In 1865 he purchased it from her, the grave site being exempted, for $800 (~$ in ). It was with the proviso, added to the deed, that any interested party should be allowed to cross the property to access her husbands grave. Registers were kept so that visitors could write their name and any comments; Joshua Young left remarks in 1866.</p><br>
<h3>Preserving the property</h3><br>
<p>Already in 1864 "many tourists, from various parts of the country...have made a pilgrimage..to the tomb of John Brown." In 1867, "nearly every day people from a distance visit this...shrine of John Brown, the martyr."</p><br>
<p>In 1870 Alexis Hinckley, described as a "thin, sad man", whose wife had died, wanted to move. (He turns up later in Pasadena, California, where some Brown family members—Ruth, Owen, and Jason—were.) He listed the farm for sale for $2,000. It was purchased by journalist Kate Field; a monument with her name and the other nineteen sponsors is displayed at the farm. She formed a John Brown Association to oversee the preservation of what she called "John Browns Grave and Farm", and make it accessible to visitors. A history of Essex County published in 1885 reports that already there were hundreds of visitors to the grave every year. In 1892 it was "the Mecca of all tourists". By 1894, the cumulative number of visitors was said to have been "tens of thousands". It was given to the State of New York in 1896. In 1897, President McKinley was spending his summer in Plattsburgh, New York, and a special train to Lake Placid took him, Vice-President Hobart, Secretary of War Russell A. Alger, Secretary to the President John Addison Porter, and various Plattsburgh politicians, including Smith M. Weed, to the site for the dedication ceremony. John Browns favorite hymn, "Blow ye the trumpet, blow", was sung.</p><br>
<h2>Graves</h2><br>
<p>There have been three burials on the John Brown Farm:</p><br>
<p>John Brown himself, buried on December 8, 1859, immediately after his execution.</p><br>
<p>Watson Brown, one of John Brown&#39;s sons, died 1859, buried in 1882. His body was brought for burial by his mother; it was her first visit to the farm since leaving it in the early 1860s.</p><br>
<p>In a single coffin, since the condition of the remains did not permit better identification, the remains of 10 of the raiders, including son Oliver Brown, died or executed 1859–60, were reburied on August 30, 1899. The coffin was donated by the town of North Elba.</p><br>
<p>A cenotaph on the grave of John Brown was originally erected and inscribed for his grandfather, Capt. John Brown, who died September 5, 1776, while serving in the Continental Army. It originally sat at the elder Browns gravesite in Connecticut. When it was replaced by a newer stone, the younger Brown moved it himself to his farm in New York. The younger Brown had an inscription written for his son Frederick after Frederick was killed by pro-slavery forces at the Pottawatomie massacre in 1856 and buried in Kansas, and then directed before his hanging that the names and epitaphs of his sons Oliver and Watson be inscribed alongside his own on the cenotaph. It has been encased in glass to protect it. There is no other tombstone, although two plaques were installed about 1899 (see John Browns raiders#Symbols).</p><br>
<p>Kate Field, who is central to the site&#39;s history, had wanted to be buried here as well, but this met with local opposition, as did the erection of any monument to Brown other than the boulder.</p><br>
<h2>Modern activities</h2><br>
<p>Beginning in 1922, the Negro members of the John Brown Memorial Association, based in Philadelphia, together with some local sympathetic whites, made an annual pilgrimage to Brown&#39;s farm and grave. In the early years especially, the Association would bring prominent speakers, such as attorney Clarence Darrow, Brown biographer Oswald Garrison Villard, and labor leader A. Philip Randolph.</p><br>
<p>In 1935 there was a full program of activities and speakers, centering on the new "impressive heroic-sized statue of John Brown befriending a Negro boy", by Joseph Pollia. The cost of the statue and pedestal "was contributed in small sums by Negroes of the United States". Unveiling was by Lyman Epps, Jr., a local celebrity, who was the only person present who had attended, as a boy, Browns 1859 burial. The plinth is of Ausable granite; the cement foundation, landscaping, walks, and rustic fences were the result of work by the Civilian Conservation Corps) (CCC). Attendance was 2,000, including the mayor of Lake Placid, state historian Alexander C. Flick, and written greetings from Governor Lehman. A "colored quartet" from Lincoln University (Pennsylvania) sang. The Lake Placid Justice O. Bryan Brewster of the New York Supreme Court gave that evening what the press called an "impressive and masterful address" on John Brown. The Lake Placid Junior High School Glee Club sang "John Browns Body".</p><br>
<p>In 1946, the John Brown Memorial Association held its 24th annual pilgrimage and memorial.</p><br>
<p>After 1970, reports Amy Godine, the tone and goals of this annual pilgrimage shifted and softened, and failed to keep pace with the burgeoning civil rights movement. Attendance waned.</p><br>
<p>In 1978, plans to add an interpretative center, parking lot, picnic tables and benches, with 5 employees, were abandoned due to local opposition from the John Brown Memorial Association and from a descendant of Brown and owner of the grave.</p><br>
<p>In 1997 the John Brown Farm and Gravesite was nominated as a National Historic Landmark.</p><br>
<p>In 1999, a new organization, John Brown Lives!, directed by Martha Swan, revived the celebration of John Brown Day at the farm.</p><br>
<p>At the 150th anniversary of the raid In 2009, a two-day symposium, "John Brown Comes Home", on the influence and reverberations of Browns raid was held, using facilities in adjacent Lake Placid. Speakers included Bernadine Dohrn, whose relationship with her family has been said to have resembled John Browns ("a similar history of personal unhappiness, alienation, and parental difficulties"), and a great-great-great-granddaughter of Brown.</p><br>
<p>An annual Blues at Timbuctoo festival is held at the John Brown Farm, presented by the organization John Brown Lives! Friends of Freedom. The festival is a combination of blues music and conversation around race relations. The festival was launched in 2015.</p><br>
<p>In 2016 the John Brown Farm State Historic Site became the permanent home of the “Dreaming of Timbuctoo” exhibition.</p><br>
<p>In 2017, the State University of New York at Potsdam held an archeology field school at the site, searching for artifacts linked to Brown.</p><br>
<p>The John A. Hartford House, now known as Hartford Hall, is a historic house on the campus of Westchester Community College. It was built in 1930–32 by John A. Hartford , company president of the Great Atlantic and Pacific Tea Company . The house was designated a National Historic Landmark in 1977 for its association with Hartford, who oversaw the rise of A&P into the nation&#39;s first national chain grocer. The building now houses the office of the college president, among other uses.</p><br>
<h2>Description and history</h2><br>
<p>The John A. Hartford House stands on the campus of Westchester Community College, located west of the village of Valhalla. The college is located on a portion of the original Hartford country estate. The house is a large Tudor Revival structure, designed by Mann and MacNeille, an architecture firm from New York City, and completed in 1932. It is stories in height, built mainly out of fieldstone and covered by a slate hip roof. The stone is laid in rough courses, with wooden beams interrupting some of them. Red brick chimneys with corbelled tops dot the structure. The interior is finished with rich woodwork, marble, and plasterwork. Despite the buildings adaptation to institutional use, it retains some feeling of a home, and still includes some of John Hartfords furnishings.</p><br>
<p>John Hartford purchased over 300 acre of land in 1930 from Joseph Daly, a New York lawyer who had used the estate for breeding horses. Hartford had the house built, along with other trappings of a country estate, including a nine-hole golf course. Of Hartford&#39;s estate buildings, only the house and a greenhouse survive. Hartford is considered by historians of business to be the principal force in the expansion of A&P to national scope; the company was founded in 1859, but its expansion took place in between 1910 and 1930, with Hartford and his brother George at the corporate helm.</p><br>
<p>After Hartford died in 1951, the property was controlled by the John A. Hartford Foundation, which leased it to Yale University for use in a forestry program. In 1957, the foundation sold the property to the county at a discounted price, for use as an educational facility. The county had been seeking a home for the community college, whose administration it had taken over from the state.</p><br>
<p>The John Philip Sousa House, also known historically as Wildbank, is a historic house at 12 Hicks Lane, overlooking Manhasset Bay, in Sands Point, New York. Built in 1907, it was the home of composer and bandleader John Philip Sousa  from 1912 until his death. It was declared a National Historic Landmark in 1966. It is still a private residence and is not open to the public.</p><br>
<h2>Description and history</h2><br>
<p>The John Philip Sousa House is located on a bluff overlooking Manhasset Bay on the North Shore of Long Island in the Sands Point area of North Hempstead. It is a rambling -story frame structure with a brown stucco exterior and a red tile roof. Its main block has a gabled roof oriented north–south, with a two-story wing extending east off the northern end. Porches extend along the western facade of the main block (overlooking the bay) and the south side of the wing. Outbuildings on the property include a stable and carriage house, an L-shaped structure near Hicks Lane, which has an apartment on the upper level. Near the waterfront there is a small teahouse.</p><br>
<p>The house was built in 1907 for architect Alexander Buel Trowbridge as his summer residence. It was purchased in 1915 by John Philip Sousa, and remained his home until his death in 1932. During Sousa&#39;s ownership, the property was known as "Wildbank". Sousa was instrumental in elevating wind ensembles and marching bands to a high level of prominence and popularity, both as a conductor of the United States Marine Band, and as the composer of hundreds of marches, many of which remain staples of the band literature.</p><br>
<p>The Land Tortoise was a military transport ship built for service on Lake George, New York during the French and Indian War. The vessel, a radeau , was built in 1758, and was intentionally sunk later that year with the intention of raising her for use in 1759. This did not happen, and the sunken vessel was discovered in 1990. Its site is a National Historic Landmark and a state-protected underwater preserve. It is believed to be the oldest intact warship in North America, and is the only surviving ship of its type. The site is accessible to the diving public with advanced diving skills.</p><br>
<h2>Description and history</h2><br>
<p>The Land Tortoise was built in 1758, as part of a British effort to regain control of Lake George after the loss of Fort William Henry at the south end of the lake in 1757. She was built by provincial militia forces under the direction of Captain Samuel Cobb of Falmouth, now Portland, Maine. She was built in just over a month, launched, tested ("rowed well with 26 oars") and then two days later intentionally sunk by adding ballast with plans to re-float her in the spring of 1759. The location where she was sunk was too deep for recovery, and a new radeau, the Invincible, was built in 1759.</p><br>
<p>The sunken vessel lies at a depth of about 105 ft in the southern basin of Lake George, about 2 mi north of Lake George Beach. It is about 50 ft long, and has seven sides, varying in width between 16 and. It has no keel, and was fitted with seven cannon ports. She was discovered in 1990, and was researched by a team of amateur divers guided by a professional archaeologist for four years. The site was listed on the National Register of Historic Places in 1995, and was designated a National Historic Landmark in 1998. The official National Historic Landmark plaque is located at the intersection of Beach Rd. and Fort George Rd (at the south end of Lake George).</p><br>
<p>The Anheuser-Busch Beer Depot is located at 1207-1215 Jones Street in downtown Omaha, Nebraska. Omaha architect Henry Voss designed the complex for the Anheuser-Busch Brewing Association of St. Louis, Missouri in 1887.</p><br>
<p>Once covering more than a block, today the Anheuser-Busch Office Building is the only remaining structure of what was the original Krug Brewery, the largest brewery among Omaha&#39;s original "Big 4" brewers. Anheuser-Busch took over the facilities after buying Krug. The office building is one of the most elaborate examples of the Romanesque Revival style in Omaha. The Depot once included a stable, beer vault/ice house, famous gold basement and cobblestone alley.</p><br>
<p>The Louis Armstrong House is a historic house museum at 34-56 107th Street in the Corona neighborhood of Queens in New York City. It was the home of Louis Armstrong and his wife Lucille Wilson from 1943 until his death in 1971. Lucille gave ownership of it to the city of New York in order to create a museum focused on her husband.</p><br>
<p>The house was designated a New York City Landmark in 1988 and declared a National Historic Landmark in 1976. It now serves as a museum that presents concerts and educational programs, and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research.</p><br>
<h2>Background</h2><br>
<p>The Louis Armstrong Educational Foundation gave the house to the New York City Department of Cultural Affairs after Lucille Armstrong died in 1983. The brick house was designed by architect Robert W. Johnson and built by Thomas Daly in 1910. Some changes were made to the exterior and interior of the house when the Armstrongs moved in. The porch that was once in the front of the house was taken down and the space was added to the living room. For the exterior of the house the garden was assembled and the garage was constructed by the Armstrongs.</p><br>
<p>In addition the interior of the house was renovated to their taste. Ornate bathrooms, and the kitchen was not originally part of the house. Paintings and souvenirs were given to Louis Armstrong on tour from Asia, Europe to Africa. These gifts have found a home of their own on dressers, night stands, shelves and walls.</p><br>
<h2>Landmark designation</h2><br>
<p>The New York City Landmarks Preservation Commission held a hearing in November 1985 about whether to designated the Louis Armstrong House as a Landmark. At the hearing, a letter and a statement were read in support of the designation, and five witnesses spoke in favor. The house was designated as an individual landmark on December 13, 1988.</p><br>
<h2>Louis Armstrong Center</h2><br>
<p>After a 2017 groundbreaking, in 2023, the Louis Armstrong Center opened across the street from the Armstrongs&#39; house and represents the largest archives for a jazz musician with more than 60,000 items. It also features a 75-seat performance space.</p><br>
