<p>The Lorillard Snuff Mill now known as the Lillian and Amy Goldman Stone Mill, is the oldest existing tobacco manufacturing building in the United States. It was built around 1840 next to the Bronx River to supplement an earlier building of the same function. The schist rock that makes up its walls was quarried locally. It was declared a National Historic Landmark in 1977. It is located inside the New York Botanical Garden, itself an NHL.</p><br>
<h2>History</h2><br>
<p>The Lorillard firm was founded by Pierre Abraham Lorillard in 1760. His two sons, Peter and George, took over after he was killed during the American Revolutionary War, and they moved the manufacturing portion of the business to this location in the Bronx in 1792.</p><br>
<p>Peter Lorillard III built a forty-five room mansion, stone cottage and stables nearby. The mansion burned in 1923. The Lorillard company and family left the property in the Bronx in 1870 after relocating their business to Jersey City, NJ. The land was purchased by the New York City government in 1884 and was transferred to the New York Botanical Garden in 1915.</p><br>
<p>The Mill was retained by New York City Department of Parks and Recreation and used for storage and shops. In 1937 it was transferred to the Botanical Garden along with several other small parcels. The Mill was renovated in 1952-54. A cafe and patio were installed on the lower side facing the Bronx River, and a meeting room was fashioned from the space that once held snuff-grinding equipment. The building had a $10.5 million restoration in 2010. It is now used for staff offices and a catering facility.</p><br>
<p>Montgomery Place, now Bard College: The Montgomery Place Campus, near Barrytown, New York, United States, is an early 19th-century estate that has been designated a National Historic Landmark. It is also a contributing property to the Hudson River Historic District, itself a National Historic Landmark.</p><br>
<p>It is a Federal-style house, with expansion designed by architect Alexander Jackson Davis. It reflects the tastes of a younger, post-Revolutionary generation of wealthy landowners in the Livingston family who were beginning to be influenced by French trends in home design, moving beyond the strictly English models exemplified by Clermont Manor a short distance up the Hudson River. It is the only Hudson Valley estate house from this era that survives intact, and Davis&#39;s only surviving neoclassical country house.</p><br>
<p>Andrew Jackson Downing praised the landscapes of the estate, work he had informally consulted on that was not completed in its final form until almost the mid-20th century. The southern 70 acre of the estate, which he called the Wilderness and is today known as the South Woods, is the oldest oak forest in the Hudson Valley. It has grown to 380 acre, and includes many outbuildings. A network of trails and paths connects them and offers both quiet wooded tracts and views of the river and Catskill Mountains.</p><br>
<p>The estate was listed on the National Register of Historic Places in 1975. Ten years later, the Livingston descendants sold it to Historic Hudson Valley, a regional historic preservation group. The district was declared a National Historic Landmark in 1990, and Montgomery Place received that designation itself in 1992. In January 2016, Bard College purchased the estate from Historic Hudson Valley. Montgomery Place is located on Annandale Road near Barrytown, just off NY 9G. Montgomery Place grounds are open from dawn to dusk year-round. Mansion tours are available seasonally.</p><br>
<h2>Property</h2><br>
<p>The estate is bounded on the east by Annandale Road, on the north by the Saw Kill and the west by the river. A tree-lined driveway from the road leads west to a visitor center and parking lot next to an orchard. From there it is short walk through a grove of trees to an open lawn in front of the main house, atop a bluff overlooking the river and the Catskill Escarpment across it in the distance.</p><br>
<p>Five of the 22 buildings, structures and sites identified on the estate have been listed as contributing resources to its historic character. These are the main house, three other Davis-designed buildings and the surviving landscaping.</p><br>
<h3>Main house</h3><br>
<p>The house itself is a two-and-half-story five-by-four-bay building sided in stucco over rubble stone, with two frame wings on the north and south. The latter was originally sanded to give it a stonier appearance. A veranda is on the west (rear) elevation. The metallic hipped roof is pierced by two pairs of brick chimneys on the sides.</p><br>
<p>All facades are heavily decorated. Swags are on all four chimneys, and balustrades rim most of the roof lines. A central pier on the east above the main entrance is topped with an urn, flanked by wreathed balustrades, a cornice and frieze with triglyphs and metope-ornamented medallions. The double-doored main entrance is flanked by pilasters and topped with a fanlight and ornate keystone. It is sheltered by a semicircular portico supported by fluted Corinthian columns.</p><br>
<p>A similar portico adorns the rear, with its balustrade also topped by urns. On the wings flat pilasters support a frieze, with columns on the semi octagonal south wing creating an arcade.</p><br>
<p>The main entrance leads into a rectangular hall with doors leading to the two parlors on either side. It is partly divided by a segmental arch supported by two tapered wooden columns. The library is to the north, with a stair hallway on the south. Much of the decorative woodwork is original.</p><br>
<h3>Outbuildings</h3><br>
<p>Five outbuildings, most of them built around a garden, are in the nearest cluster, south and southwest of the main house. These include the shingle-sided Lodge and its board-and-batten shed, the clapboard-sided Court, a wrought iron greenhouse, and the coach house. This last building is the only outbuilding visible from the main house. It is a flushboard-sided one-and-a-half-story frame house with cross-gabled roof topped by a polygonal cupola. Pilasters mark the corners as well as the flanks of the main building. The interior contains much of the original woodwork.</p><br>
<p>To the east, close to the road, is the barn complex. It consists of an 1861 barn along with frame structures like the farm office and storage sheds, along with an octagonal stone reservoir building. The board-and-batten farmhouse features a cross-gabled roof and a triple Palladian-style window on the rear.</p><br>
<p>A group of cottages is located just downhill from the farmhouse. Most are simple frame structures, but one, the Swiss Cottage, was designed by Davis. It features a low-sloping truncated-gabled roof with vergeboard on the roofline and balconies on the rear. The Thompson House also has a dentilled and bracketed cornice.</p><br>
<p>There are some other isolated outbuildings elsewhere, mostly modern, such as the visitors&#39; center. A cement power station is at the creek mouth, with dams. Some small 20th century cottages are scattered in the orchards. Some buildings described by past visitors to the estate, such as the conservatory, are no longer extant.</p><br>
<h3>Landscapes</h3><br>
<p>The north and south sections of the property, known as the North and South Woods, remain heavily wooded. The South Woods, approximately 70 acre in size, is the oldest oak forest in the Hudson Valley. The North Woods slopes down to the ravine the Saw Kill flows through. Winding paths and trails lead through both wooded tracts. In the North Woods they lead to a waterfall; in the South Woods to the river&#39;s edge.</p><br>
<p>On the east are the property&#39;s orchards, leased and operated by Montgomery Place Orchards. On the farm, over 60 different varieties of apple and pear trees are planted and harvested as well as berries, vegetables, grapes and peaches. Annandale Atomic hard cider is also now produced on the farm from early American and English varietal apples. The produce is sold at the market. Black locust trees line the 0.5 mi unpaved allée and surround the lawn of the main house. The lawn on the west of the house slopes down to a reflecting pond at the edge of the wooded shore.</p><br>
<h2>History</h2><br>
<p>Archaeological investigations on the property have revealed evidence of Native American use as a seasonal hunting ground at least 5,000 years ago. These investigations have continued and the area&#39;s historic designation reflects its potential in this area as well.</p><br>
<p>After European settlement in the 18th century, the Saw Kill was used for various mills. Janet Livingston Montgomery purchased from Abraham Van Benthuysen 242 acre in the late 1770s, shortly after the death of her husband, General Richard Montgomery, at the Battle of Quebec. The couple had been living in nearby Rhinebeck at the time, where they were building their Grasmere estate, and she moved into that after the Revolutionary War.</p><br>
<p>She had plans for a Federal style mansion on the riverfront property drawn up and hired a local builder. Naming the house Chateau de Montgomery after her late husband, she moved in after it was completed in 1805. With tree samples her friends sent her from many places near and distant, she established a working farm on the property, employing many slaves and freemen. She lived there until her death in 1828, when the property was bequeathed to her brother.</p><br>
<p>Edward Livingston had summered there with his wife Louise while he was living in Louisiana, where he had moved after a scandal cost him his jobs as USA Attorney for New York and mayor of the city. He had returned to New York and was serving in the House when his sister died. Subsequently, he was chosen a Senator and later became the 11th Secretary of State, then as ambassador to France before leaving public service in 1835. They renamed the estate Montgomery Place.</p><br>
<p>He died the next year, leaving the house to his wife Louise. In 1844 she hired Alexander Jackson Davis to convert the stately mansion into a more ornate villa, in keeping with the eras emerging Romantic sensibilities. The two wings and exterior decoration were added at this time. A colonnade on the front entry, the only ornament on the original house, was moved to the interior, one of the only changes to Janet Livingstons original plan.</p><br>
<p>With the informal help of Andrew Jackson Downing, a friend of Louise&#39;s and mentor to Davis, she began developing the landscapes. Her daughter Cora Barton worked with the architect on designing a garden and conservatory. Davis also drew up plans for outbuildings on the estate.</p><br>
<p>In 1860, upon Louise&#39;s death, Cora and her husband hired Davis again to actually build some of the earlier outbuildings. These were the Coach House, Swiss Cottage and farmhouse. They also extended the landscaping. These were part of their overall intent to make the house and its "pleasure grounds" more separate and distinct from the farming operations, which they also began to reduce in scope.</p><br>
<p>From Cora&#39;s relatives it eventually passed to another Livingston descendant, John Ross Delafield, in 1921. He added modern heating and plumbing to the main house. He and his wife, Violetta White Delafield, made the last major additions to the property by extending the landscaping and adding small gardens to it in the years before World War II.</p><br>
<p>After his death in 1964, his son John White Delafield and his wife moved in. They established two corporations to own and operate the property. In 1975 it was listed on the Register. Eleven years later it was sold for $3 million to</p><br>
<p>Sleepy Hollow Restorations, which later renamed itself Historic Hudson Valley. After a five-year and $3 million restoration, the house was designated a National Historic Landmark in 1992.</p><br>
<p>Bard College purchased the property in 2016.</p><br>
<h2>Aesthetics</h2><br>
<p>Janet Livingstons original home reflected the tastes of its era. She and her family derived most of their wealth and prestige from agriculture, leasing lands to tenant farmers. Accordingly, their own homes often sat on high ground where they could view their holdings, which in the Livingston familys case included, at that time, portions of the Catskills across the river. The rectilinear forms of the Federal and Greek Revival styles established their authority and dominance of the land.</p><br>
<p>In the second quarter of the 19th century this began to change. Andrew Jackson Downing of nearby Newburgh championed villa and cottage-style houses in the styles that later came to be known as Carpenter Gothic and Picturesque. These were smaller structures, generally frame, that were topped by steeply pitched, often cross-gabled, roofs with decorated cornices that were intended to harmonize with surrounding natural features, giving the impression of a comfortable place to live. His pattern books sold widely and were used for many houses all over the growing nation.</p><br>
<p>Janets descendants called on Downings friend Alexander Jackson Davis to expand and renovate the house into a more classically inspired villa over a period of 20 years. He used curved forms in the balustrades and wings to offset the strong vertical lines of the existing building. The arcaded pavilion makes the veranda common on many mid-19th century houses into a wing of its own. Textures were added to the surface in the abundant decorations, many using floral motifs. All these features link the house more firmly to its surrounding landscape. Davis scholar Jane Davies calls it his finest country house.</p><br>
<p>The farmhouse, too, shows Davis&#39;s variations on a popular Downing pattern, "Bracketed Cottage with Veranda", from the posthumously published The Architecture of Country Houses. Davis updated it to the Italianate style more popular at that time, adding the Palladian-style window.</p><br>
<p>Downings influence can also be seen in Daviss Swiss Cottage. This pattern, widely republished but rarely built, was varied by Davis, who is not known to have built any other such cottages. He added more entrances since it was expected to have multiple tenants, but four of them are disguised as windows. The essential features of Downing&#39;s pattern, such as its floor plan, the low, broad roof; construction into a hillside exposing the basement on one side and multiple galleries and balconies offering views of a nearby stream, remain.</p><br>
<p>The landscapes were inspired by contemporary European trends. The Bartons had followed Edward Livingston to France when he served there and saw many of Europes celebrated gardens. Cora Barton had a full set of copies of Joseph Paxtons The Magazine of Botany sent to her when she moved in. Downing, a friend, visited in 1847 and wrote favorably about the resulting landscapes for his own magazine, The Horticulturist. He praised "the deep and mysterious wood" with "dark, intricate and mazy walks" in the "Wilderness" in the north of the property near the Saw Kill. He called it "the most complete estate in America".</p><br>
<h2>Further reading</h2><br>
<p>Great Houses of the Hudson River, Michael Middleton Dwyer, editor, with preface by Mark Rockefeller, Boston, MA: Little, Brown and Company, published in association with Historic Hudson Valley, 2001.</p><br>
<p>Mount Lebanon Shaker Society, also known as New Lebanon Shaker Society, was a communal settlement of Shakers in New Lebanon, New York. The earliest converts began to "gather in" at that location in 1782 and built their first meetinghouse in 1785. The early Shaker Ministry, including Joseph Meacham and Lucy Wright, the architects of Shakers&#39; gender-balanced government, lived there.</p><br>
<p>Isaac N. Youngs, the society&#39;s scribe, chronicled the life of this Shaker village for almost half a century. Youngs also designed the schoolhouse built there in 1839.</p><br>
<p>Holy Mount, where Shaker services were held, has a spur ridge which has been called Mount Lebanon.</p><br>
<p>In addition to the Shakers central Ministry, notable residents at Mount Lebanons North Family included Elder Frederick W. Evans, known for his public preaching, and his partner, Eldress Antoinette Doolittle, who was succeeded by Anna White, M. Catherine Allen artists Sarah Bates, and Polly Anne Reed.</p><br>
<p>The North Family was also known for publishing a book of poetry, Mount Lebanon Cedar Boughs: original poems by the North family of Shakers, Anna White, ed. (Buffalo: Peter Paul Company, 1895), with a number of poems by Cecilia Devere and Martha Anderson.</p><br>
<h2>Membership</h2><br>
<p>In 1787, the Church Family (the First Order plus the Second Order) housed 57 male and 48 female Shakers, for a total of 105.</p><br>
<p>In 1789, the Church Family&#39;s two orders housed 117 male and 116 female Shakers, for a total of 233.</p><br>
<p>Numbers fluctuated according to the state of the economy and the vigor of Shaker missionaries; hard times increased membership, but rarely did the numbers reach that high again. The total dropped to 130 in 1806, then gradually rose to 240 in 1843 (111 males and 129 females) in the Church Family.</p><br>
<p>The Shakers used a controversial practice of adopting children and using them as servants and labor. The 1875 New York State Census lists many children as servants. The 1892 New York State census lists many as inmates</p><br>
<p>From that point, membership eroded further. In 1879, the Church Family housed only 54 male and 88 female Shakers, for a total of 142. The closing of smaller communities and consolidation into the larger villages postponed dissolution for several decades.</p><br>
<p>In the 1940s, due to aging members and declining membership, the Shakers sold the site to Darrow School. Throughout the subsequent years, the site has been managed by several different owners. Darrow owns what remains of the Church and Center Families, while Shaker Museum Mount Lebanon manages preservation and operates tours of the North Family; the rest of the buildings of remaining Families are privately owned.</p><br>
<h2>Buildings</h2><br>
<p>Mount Lebanon&#39;s main building became a National Historic Landmark in 1965.</p><br>
<p>Although the first of the Shaker settlements in the USA was in the Watervliet Shaker Historic District, Mount Lebanon became the leading Shaker society, and was the first to have a building used exclusively for religious purposes. Benson Lossing documented that meetinghouse and a few other buildings when he visited the Shakers in 1856.</p><br>
<p>Mount Lebanon is located where Shaker Rd. merges with Darrow Rd. off US 20 in New Lebanon, New York. The North Family buildings are preserved as the Shaker Museum.</p><br>
<p>The Flushing Friends Quaker Meeting House, also the Old Quaker Meeting House, is a historic Quaker house of worship located at 137-16 Northern Boulevard, in Flushing, Queens, New York. It was declared a National Historic Landmark in 1967 and a New York City designated landmark in 1970. Today, it still serves as a Quaker Meeting, with meetings for worship taking place every Sunday.</p><br>
<h2>History</h2><br>
<h3>Colonial times</h3><br>
<p>The Flushing Friends Quaker Meeting House was built in 1694 as a small frame structure on land acquired in 1692 by John Bowne and John Rodman in Flushing, New York. The first recorded meeting held there was on November 24, 1694. This original structure is now the easterly third of the current structure, which was expanded 1716-1719. According to one source, the original structure was renovated in 1704 and then demolished in 1716. The Flushing meeting house was the second meeting house to be built on Long Island, the first one being built in Oyster Bay in 1672, which no longer stands.</p><br>
<p>The Quakers, coming from the Netherlands, settled in the area in 1657 and meetings were held in people&#39;s homes until the Meeting House was built.</p><br>
<p>The building contains a partition which can be lowered and raised, and separates the mens from the womens side. Typically business meetings would be conducted by each group independently, then the partition would be raised for the religious meeting.</p><br>
<h3>Occupation by the Royal Army</h3><br>
<p>During the American Revolutionary War, the Meeting House was seized by the Royal Army and in 1776, converted to a barracks, prison, and hospital for soldiers. After the war, in 1783, the Quakers returned the building to its original use.</p><br>
<h3>Renovations and repairs</h3><br>
<p>In 1976, repairs were recommended to the building that totaled an estimated $70,000. After two and half centuries, the building constructed from solid timbers, suffered from “dry not rot and beetle teeth”. The crew conducted tests to determine the nature of the surface below the Meeting House floor. Since no evidence of significant cultural or archaeological artifacts were found, it was determined that excavation for the stabilization work could continue.</p><br>
<p>In 2005, the city allocated $600,000 to complete required repairs to the roof, gutters chimney, window frames, and porch deck, but as of 2006, no repairs were started because the amount of paperwork required. New architectural designs need to be approved by the Landmark Preservation Committee before any work can be done. Although the building requires repairs, it is still open for meetings and Sunday School.</p><br>
<h2>Graveyard</h2><br>
<p>In 2012, the Religious Society of Friends said that their graveyard, which contains hundreds of unmarked graves, was dug into by a construction company working on an adjacent lot. The company erected a fence on disputed property and caused an outcry from the Quaker community about graves that may have been disturbed. After the Landmark Preservation Commission threatened a $5,000 fine, the company retreated, although maintained the claim that they did not disturb the grave site. Because of custom at the time, some graves do not display identifying headstones. Rosemary Vietor, vice president of the Bowne House Historical Society said the contested area may have contained the remains of John Bowne and his successive wives. Although an archeological survey, completed in 2010 at the recommendation of the Landmarks Preservation Committee, approved the adjacent lot for construction, the Quaker community still feels that the issue is unresolved. Descendants of the Bowne family have been called upon to help raise awareness of the issue.</p><br>
<h2>Landmark statuses</h2><br>
<p>The Friends Meeting House in Flushing was designated a National Historic Landmark in 1967. in its report, the New York City Landmarks Preservation Commission reported among their findings that the Friends Meeting house “has a special character, special historical and aesthetic interest and value as part of the development, heritage and cultural characteristics of New York City.” Further, the Commission noted that it is the oldest place of worship still standing in the city and is an example of medieval architecture.</p><br>
<p>Southbury Training School is a large residential facility located in Southbury, Connecticut. It was built in the 1930s as a large state-funded and state-operated residential and habilitative facility for adults with intellectual disabilities. It consists of 125 buildings situated on a campus of 1,600 acre. It independently operates its own power, heat, sewage treatment, water, laundry, fire, ambulance, public safety, building maintenance, transportation and dietary services. It is run by the Connecticut Department of Developmental Services. The facility is listed as a historic district on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Southbury Training School was built in the 1930s as a state school. It is and was self-sufficient from the town of Southbury.</p><br>
<p>In 1976, John Lennon donated his 1970 Oscar statuette for auction to raise money for the school, which netted $600. It was auctioned again in 1992 for $110,000 with a portion of those proceeds going to the school.</p><br>
<p>In 1986, admissions to the school were closed. There was a recorded population of 1,111. The Department of Intellectual Disabilities was directed to attempt to place residents in group homes and other such settings.</p><br>
<p>The facility was listed on the National Register of Historic Places in 1992.</p><br>
<p>In 1997, STS was prohibited from accepting any new residents, however, the school continued operation. The school had 782 residents remaining.</p><br>
<p>As of 2000, STS maintained a staff of 1,700 people. 696 residents were remaining.</p><br>
<p>As of 2001, STS had 639 residents remaining. The average age was 55, and the average resident had been at the school for 43 years. The State intends to continue decreasing the number of residents through placement in other settings and through the death of residents.</p><br>
<p>As of 2019, STS has 180 residents remaining.</p><br>
<h2>Conditions</h2><br>
<p>In 1984, the first major lawsuit regarding the conditions at STS was filed by the United States of America against the State of Connecticut. A consent decree settled the suit in 1986, requiring that the State shall improve the conditions of both the care and the facilities.</p><br>
<p>In 1996, the United States District Court for the District of New Haven held the State in contempt of the consent decree.</p><br>
<p>In 1997, an order was issued and a special master appointed to oversee the school.</p><br>
<p>In 2005, Governor Jodi Rell requested the removal of David Ferleger from the role as a special master, also using the opportunity to request the removal of the special masters as a whole.</p><br>
<p>Without granting the state a hearing, the federal court rejected the states request to end Mr. Ferlegers work for the court as special master. “As a federally appointed special master, Ferleger is responsible for making sure Connecticut complies with a 10-year-old USA Department of Justice order to improve conditions at the facility for the intellectually disabled. In her ruling, Burns said that the state pointed to nothing in Ferleger&#39;s execution of his duties over the past eight years to suggest they were deficient." Hartford Courant, “Ruling Keeps Monitor on Job: State Loses Bid to Remove Training School ‘Special Master’” Colin Poitras, December 15, 2005</p><br>
<p>The state unsuccessfully contested most of the special master’s reports. As one historical summary of the case puts it, “the court ultimately accepted all of the reports.” Civil Rights Litigation Clearinghouse. IN 2006, STS was released from judicial oversight.</p><br>
<p>On June 4, 2008, in another lawsuit about Southbury Training School called Messier v. Southbury Training School, the federal court relied on the findings of Special Master Ferleger to find that most of the challenged inadequacies has been remedied under his evaluation process. “In a process of evaluation lasting almost a decade, the Special Master, with the assistance of experts commissioned by him and the parties, measured improvements at STS against the standards set forth in the Court Requirements. Periodically, when the Special Master concluded that the defendants had demonstrated compliance with a particular Court Requirement, he recommended that the court release STS from oversight for that Court Requirement.” Court Ruling, June 4, 2008, Messier v. Southbury Training School.</p><br>
<p>Owls Nest, also known as the Edward Eggleston Estate, is a historic estate property located on the shore of Lake George in Queensbury, New York. Developed in the 1870s and 1880s, it was the home of Edward Eggleston , one of Americas first realist writers. He began summering there in the 1870s and it was his permanent home from the mid-1880s until his death. The property was declared a National Historic Landmark in 1971.</p><br>
<h2>Description and history</h2><br>
<p>Owls Nest is located on the east side of Lake George, in the area known as Joshuas Rock, overlooking Dunham Bay northeast of village of Lake George. The property is about 10 acre in size, and includes three historic buildings and a family graveyard in which Edward Eggleston is buried. The main house, known as "The Homestead", is a two-story clapboarded frame structure with a hip roof, which was built in 1879 for Egglestons daughter and son-in-law, Elizabeth and Elwin Seelye. Egglestons house, built in the late 1880s, is a -story stone structure, to which a frame wing was added about 1890. It is connected by a breezeway to "Mellowstone", another stone structure built in 1883 to serve as Eggleston&#39;s library.</p><br>
<p>Eggleston first summered in the Lake George area in about 1875, and this property became his only permanent address after the Seelyes developed it in the late 1870s. He lived here during most of the year except for the winter months, which were typically spent in New York City, Washington, D.C., and Madison, Indiana. He did most of the writing of his later years here, and it remained his home until his death in 1902. The property remained in the hands of his descendants for many years thereafter.</p><br>
<p>Petrified Sea Gardens, also once known as Ritchie Park, is a National Historic Landmark on Petrified Sea Gardens Road in Saratoga Springs, New York. It preserves a bed of ancient stromatolites in a Cambrian rock layer, which were the first to be recognized and understood for what they are. The site was a private park open to the public for many years, but is now closed. The site was designated a National Natural Landmark in 1967, and a National Historic Landmark in 1999.</p><br>
<h2>Description and history</h2><br>
<p>The Petrified Sea Gardens site is located at 42 Petrified Sea Gardens Road, about 0.5 mile north of N.Y. 29, in far western Saratoga Springs, New York. The site is about 25 acre in size, although the outcrops of interest occupy only about 1.5 acre of the largely wooded site. The outcrops are a part of a larger geological formation known as the Hoyt Limestone, which is also exposed in Lester Park, a public park operated by the New York State Museum about 1 mi north of this site. Although stromatolites can be found more widely, they are rarely exposed in this area because of later glacial action.</p><br>
<p>The structures now identified as stromatolites, which are marine algae growths, were first identified on this site in 1825, but what they were was unknown and the subject of scientific debate. James Hall (1811–1898), the first State Paleontologist of New York, identified them as being organic and placed stromatolites in a new genus. Pioneering female paleontologist Winifred Goldring (1888–1971), was the first to identify the creatures responsible for creating the structures found, and described those found here among the finest surviving specimens. Samples from this site were later compared to stromatolites of more recent construction found in Australia.</p><br>
<p>In 1924, Robert F. Ritchie, a stonemason and amateur geologist who owned the property, opened a park to show them to the public. The site was a childhood inspiration for paleontologists Stephen Jay Gould. The site was most recently open as an educational site operated by a non-profit, the Friends of Petrified Sea Gardens until 2006. It is currently closed to the public.</p><br>
<p>The Greensboro Public School is an historic school building which is located in Greensboro in Greene County, Pennsylvania.</p><br>
<p>It was added to National Register of Historic Places on March 9, 1995.</p><br>
<h2>History and architectural features</h2><br>
<p>This two-and-one-half-story, seven-bay school was built in 1904 by James Parreco in the Richardsonian Romanesque style.</p><br>
<p>Students in grades one through eight attended the school until roughly 1960, when the building was donated by the school district to the town. By 1976, the building was turned over to the MONON Center to be used as a local history museum and community center that focused on regional craft and art.</p><br>
<p>It was added to National Register of Historic Places on March 9, 1995. A log cabin the Baltzer Kramer House was moved to the property sometime around 1976, but is not included in the historical site.</p><br>
<p>Priscilla is a classic oyster dredging sloop and museum ship at the Long Island Maritime Museum. Built in 1888, it is the oldest surviving boat from the Great South Bay oyster fleet, and was designated a National Historic Landmark in 2006. It is berthed near the Modesty, another National Historic Landmark sloop.</p><br>
<h2>History</h2><br>
<p>On Saturday, April 7, 1888, Elisha Saxton launched his brand new working sloop, Priscilla on the Patchogue River. Saxton had built Priscilla for George Rhinehart of Lawrence, New York, who named the boat for his wife, Priscilla.</p><br>
<p>From 1888 to 1963, Priscilla was owned and operated by several oystermen from Connecticut and New York. During these years, she experienced many changes. The oystermen spoke of "Pris" as a fast, able and "smart" boat - a "money maker" because, unlike other boats, she could dredge well in both light and heavy winds.</p><br>
<p>By 1963, the oyster beds were completely exhausted or covered with silt from storms and hurricanes of the previous decades. Priscilla is one of the last of the New York oyster sloops. From 1963 to 1976, Priscilla became a cruising sailboat after much hull and interior restoration.</p><br>
<p>Her owner, John Woodside, sailed Priscilla several times to the Bahamas and to Maine. In the early 1970s, he schooner-rigged her, copying the sail plan of the famous schooner America.</p><br>
<p>In 1976, John Woodside donated her to the Suffolk Marine Museum, which is known today as The Long Island Maritime Museum. As the largest vessel in the museum&#39;s collection, Priscilla has traveled the Great South Bay visiting various ports of call, and has participated in special regattas held for classic vessels. In 1986, she participated in the Parade of Tall Ships at the Salute to the Statue of Liberty Fourth of July Celebration in New York Harbor, receiving featured television coverage by WABC-TV.</p><br>
<p>Vinton School was built as a fourteen-room elementary school in 1908 at 2120 Deer Park Boulevard in the Deer Park neighborhood of Omaha, Nebraska, United States. Designed by Omaha architect Frederick W. Clarke, Vinton School is the earliest and most elaborate example of a Tudor Revival-style school in Omaha. Designated an Omaha Landmark in June 1990, the building was listed on the National Register of Historic Places in November 1989.</p><br>
<h2>About</h2><br>
<p>Designed in the Tudor Revival style, the Vinton School was built as a two-story brick structure on a rectangular floor plan. Using a technical system of load-bearing walls to support floors of wood joist construction, the building includes a series of hipped roofs.</p><br>
<p>Rehabilitated into an apartment building in 1990, the building maintains the original exterior features.</p><br>
<p>The building&#39;s architect, Frederick W. Clarke, was also responsible for designing six other schools in the Omaha Public Schools district, including Tech High.</p><br>
<p>The Brisbois House, also known as the Bernard Brisbois House, is a historic house located on St. Feriole Island in Prairie du Chien, Wisconsin. Built circa 1840, the stone house is one of the oldest in Wisconsin. It was once thought to be built in 1808 by early settler and fur trader Michael Brisbois, but in the early 1920s, historians learned that it was built by his son after his death. The house is a National Historic Landmark and is now owned by the Wisconsin Historical Society.</p><br>
<h2>Appearance</h2><br>
<p>The Brisbois House is two-and-a-half stories tall and built from locally extracted gray limestone. The front facade has five bays, with a central entrance and two pairs of windows on either side. Fluted Doric columns flank the front entrance, and molded trim forms the rest of the doorway; the lightness of these features reflects a Federal influence. A front porch, a later addition, covers the entrance with a pediment supported by columns, which match the doorway. A gable roof with chimneys at either end tops the house. A wooden addition was placed on the south side of the house in 1905, replacing a platform which wrapped around that side.</p><br>
<h2>History</h2><br>
<p>The Brisbois House was traditionally thought to have been built in 1808 by Michael(Michel) Brisbois, an early settler and fur trader of Prairie du Chien and one of the city&#39;s first prominent businessmen. Brisbois owned the plot of land the house is built on.</p><br>
<p>In the 1950s the Wisconsin Historical Society determined that the house was built after Bisboiss death in 1833. According to the investigation, Michaels son Bernard Walter Brisbois most likely built the house for himself and his widowed mother circa 1840. While a building of the house&#39;s style and permanence would have been uncommon in the early 1800s, it fits the 1840s pattern of more elaborate homes being built for wealthy Prairie du Chien residents. It is one of the most well-crafted extant homes in the city which dates from before 1850, and it is one of the oldest standing stone houses in Wisconsin. The house was documented by the Historic American Buildings Survey in 1934, purchased by the Wisconsin Historical Society circa 1955, and designated as a National Historic Landmark in 1960.</p><br>
<p>The original Omaha Public Library building was built in 1891 at 1823 Harney Street in downtown Omaha, Nebraska by renowned architect Thomas Kimball. Designed in the Second Renaissance Revival style, the building was designated an Omaha Landmark in October 1978, and was listed on the National Register of Historic Places that same year.</p><br>
<h2>About</h2><br>
<p>Similar to the Boston Public Library, the original Omaha Public Library building is the best early Second Renaissance Revival structure in Nebraska. Byron Reed, a pioneer real estate broker in Omaha, donated the site for the building and his collection of books, manuscripts and coins.</p><br>
<p>The library closed on February 16, 1977. It was subsequently renovated as an office building called the "Omaha Library Plaza".</p><br>
<p>The Plumb-Bronson House, also known as the Dr. Oliver Bronson House and Stables, is a historic house on Worth Avenue  in Hudson, New York. Built in 1811 and significantly altered in 1839 and 1849, it is an important early example of the Hudson River Bracketed style by Alexander Jackson Davis. The house was declared a National Historic Landmark in 2003.</p><br>
<h2>Description and history</h2><br>
<p>The Plumb-Bronson House is located in southeastern Hudson, on the west side of Worth Avenue (US 9) just north of the town line. The estate consists of about 50 acre of open grass and woodlands, with most of the buildings set well back from the road. A gated drive with a small gatehouse on the south side provides access to the property. In addition to the main house, there are three outbuildings set in a cluster around it.</p><br>
<p>The house was originally built for Samuel Plumb, who purchased the site in 1811. The construction of the house has been attributed to local builder Barnabas Waterman (1776-1839), but the identity of its architect, if there was one, remains unknown. Alterations and additions to the house were designed by architect Alexander Jackson Davis and constructed in 1839 and 1849 for Dr. Oliver Bronson, who purchased the property in 1838. Davis&#39; work converted the house into an early example of the Hudson River Bracketed style, and his influence is also evident in the adjacent outbuildings. Dr Bronson was the heir to an affluent banking family and was probably introduced to Davis by his brother in law, Robert Donaldson Jr. The grounds may be an early example of the work of landscape architect Andrew Jackson Downing.</p><br>
<p>Bronson sold the house in 1853. In the twentieth century portions of the property became the site of a girls&#39; school, now used as a prison. The house and its immediate grounds are now leased by Historic Hudson, Inc., who have begun a restoration program.</p><br>
<h2>In popular culture</h2><br>
<p>The house was a setting of a shoot out scene in the 2012 film Bourne Legacy, where it is burned down.</p><br>
<p>The Hudson River Historic District, also known as Hudson River Heritage Historic District, is the largest Federally designated district on the mainland of the contiguous United States. It covers an area of 22,205 acres  extending inland roughly a mile  from the east bank of the Hudson River between Staatsburg and Germantown in Dutchess and Columbia counties in the USA state of New York. This area includes the riverfront sections of the towns of Clermont, Red Hook, Rhinebeck and part of Hyde Park. This strip includes in their entirety the hamlets of Annandale, Barrytown, Rhinecliff and the village of Tivoli. Bard College and two protected areas, Margaret Lewis Norrie State Park and Tivoli Bays Unique Area, are also within the district.</p><br>
<p>From the colonial era to the early 20th century, the district was characterized by large "country seats" built by members of the Livingston family, such as Clermont Manor and Montgomery Place, both National Historic Landmarks. For most of that period, these estates were worked by tenant farmers, with much of the rest of the population concentrated in small riverside communities. This semi-feudal arrangement is still reflected in land use and architecture within the district today, since it has not seen major development.</p><br>
<p>In 1990, two separate historic districts were combined and expanded into a National Historic Landmark District (NHLD), in recognition of this unique history and character. Only 2% by acreage of the properties within the district are not considered historic.</p><br>
<h2>Geography</h2><br>
<p>The Hudson River Historic District roughly corresponds to the 40 estates established along the river on lands originally granted to the Livingston family. Portions, the Sixteen Mile District and Clermont Estates Historic District, were previously included in two other smaller districts that were later incorporated into the district.</p><br>
<p>Two of its boundaries are political. On the west it ends at the Ulster county line in the middle of the river channel. The Kingston-Rhinecliff Bridge provides the only access from this direction. In the north it is the line between the towns of Clermont and Germantown. The south boundary is not a municipal line but rather coterminous with the south boundary of Margaret Lewis Norrie State Park north of Staatsburg.</p><br>
<p>Only to the east does the delineation get complicated. It follows an irregular line parallel to US 9 north to Weys Corners, the junction with NY 9G north of Rhinebeck, and then 9G from there to the north boundary. It has been drawn very tightly to exclude some newer properties that do not reflect the traditional character of the area yet include some lands still reflecting their development as estates that had not previously been recognized. There are no signs or other indicators of the district boundary along the local and county roads that serve it.</p><br>
<p>The land within the district is generally a gentle and gradual slope from the low glacial ridge followed by routes 9 and 9G to the river, which generally remains about 10 feet (3 m) above sea level at this point. The railroad tracks built for the Hudson River Railroad to connect New York City and Albany, still used by Amtrak and CSX today, run at the river&#39;s edge through much of the district.</p><br>
<p>Most of the land reflects its past as large country estates, with large fields and meadows alternating with woodlots. The slope allows for expansive views from cleared areas of not only the river and the higher glacial ridges on the west side but the Catskill Mountains in the distance. This prospect has attracted homebuilders from the earliest times of settlement to the present, and is considered an essential quality of the district: "There is a sense of openness that belies s constrained width because it is counterpointed by the persistent vision of the mountains in the west," writes architectural historian Neil Larson in the NHL application. "The district benefits from such a direct and imposing profile of the mountains, and its legendary country estates would lose much of their appeal without this extraordinary setting."</p><br>
<p>The district&#39;s permanent human population and attendant development is densely concentrated in the small riverside communities — from south to north, Rhinecliff, Barrytown, Annandale and Tivoli. This, too, reflects the years of estate and country house development, as well as the historic importance of the river and rail transportation corridor to the local economy.</p><br>
<h2>History</h2><br>
<p>The history recognized by the NHLD designation began in 1688 with the first colonial land grants and continues to the end of country house development in the area around 1940. It can be divided into several phases: the colonial era when only Clermont Manor stood, the post-Revolutionary period in the early 19th century when more houses were built in newer architectural styles, the later 19th and early 20th century when the area became less attractive to wealthy homebuilders, and the later 20th century when efforts to preserve and protect the properties began.</p><br>
<h3>Colonial era</h3><br>
<p>Robert Livingston the Elder was the first member of the family to obtain the patent on the 160,000 acre that would later become identified with his family. His son Robert Livingston Jr. established the first country seat on Livingston Manor in the 1730s when he built Clermont, reserving the entire 2,000 acre that fronted on the river for himself. He designed Clermont carefully to be a working farm as well as an estate, to be made financially viable when portions further inland were leased in portions to tenant farmers. The sweeping view of the lands further emphasized the Livingstons dominance over many of the lands visible. This, as well as Clermonts name and position, strategically overlooking the Hudson and its commercial traffic, was influenced strongly by European feudal practices, setting a pattern other estates in Livingston Manor were to follow long after his lifetime.</p><br>
<p>His son Judge Livingston followed feudal tradition further by marrying Margaret Beekman, daughter of Henry, another large local landowner whose holdings were concentrated around present-day Rhinecliff, which grew up around them. Beekman lived at Kipsbergen, a Dutch-style stone house that burned down in the early 20th century. Its appearance is recalled in the peaked roof of the Rhinebeck post office, built in 1940. Judge Livingston participated in the Stamp Act Congress. His son, Robert helped draft the Declaration of Independence.</p><br>
<p>He and Margaret would have nine children. The eldest, Robert R. Livingston, built another estate, Belvedere, just south of Clermont. In retaliation for the family&#39;s revolutionary activities, in October 1777, the British burned both Clermont and Belvedere.</p><br>
<p>Around the time of the Revolution, Margaret Beekman Livingston, had begun parcelling out smaller tracts of her holdings to her children. This led to the construction of another dozen estates during the early years of the new nation. They were joined by her son-in-law, Governor Morgan Lewis, who settled on 334 acre south of Rhinecliff in 1790 and built a small house there.</p><br>
<h3>19th century</h3><br>
<p>At first, some of the younger Livingstons&#39; estates followed the British colonial patterns of Clermont. Rhinebeck House, today known as Grasmere, is the best-preserved example. Later on the houses began to show the influence of contemporary French tastes, abandoning the large central hall in favor of smaller rooms and passageways inside and focusing more attention on the garden side of the house, which usually faced the river and mountains as well. Montgomery Place, built by Janet Livingston Montgomery after the death of her husband Richard, is the only example from this period that remains largely as it was when first built.</p><br>
<p>A direct French presence, in the form of a visiting French friend of Robert Livingstons, was also responsible for creating Tivoli. He laid out streets and a plan for Red Hook Landing, a small boat-building town on the river, and renamed it. His plans were never fully realized, but they did guide the communitys development. In 1870 it incorporated as a village, taking in the adjacent commercial center of Madalin.</p><br>
<p>The Romanticism that flourished in the succeeding years drew a good deal of its inspiration from the Hudson Valley, in the form of the Hudson River School in painting and the architectural theories of Andrew Jackson Downing, put into practice there and elsewhere by his protegés Calvert Vaux and Frederick Clarke Withers as well as Richard Upjohn and Alexander Jackson Davis. "No part of the United States had a more correct kind of Romantic scenery to offer", wrote Catskill historian Alf Evers.</p><br>
<p>The Livingstons took full advantage of this gift dumped into their laps by a whim of the gods. They appropriated the Catskills as a feature of their landscape and as a source of aesthetic pleasure to Livingstons and their guests... rom the Livingston country, the entire eastern wall of the Catskills with its higher peaks rising within the wall may be grasped in one delighted glance.</p><br>
<p>Many of the then-popular locust trees were planted on the Livingston estates to frame the views. The Livingstons, as was customary for the owners of large country estates at the time, opened their grounds to the public on weekends as parks, and to this end followed Downing&#39;s theories of landscaping by building curving paths and rustic benches and shelters from which to admire the river and distant mountains.</p><br>
<p>The Livingstons also spurred the population of the area through the tenants they attracted to work the farms. Many were poor German immigrants, who settled in the area from the 1710s onward because other settlers were wary of the feudal "three-life" leases the Livingstons had traditionally offered, under which the property reverted to the original landowner if it could not be paid off in the lifetime of the original lessee, his son and grandson after him (It rarely was). Occasionally these led to "Anti-rent Wars", uprisings that sometimes directly affected the landlords, as in 1832 when Lewis&#39;s mansion was burned, supposedly by angry tenants. He replaced it with a 25-room Greek Revival home, the root of the current structure.</p><br>
<p>Those who did not go into farming settled instead into the hamlets that served them, starting with Rhinecliff, where ferries crossed the river to Kingston. The completion of the railroad stimulated the development of not only Rhinecliff, which took that name in 1849 from the railroad station, but Barrytown as well, where an icehouse was built in what had previously been a landing between the Massena and Edgewater estates into a small community. Another hamlet, Staatsburg, sprung up around the station near William Dinsmore&#39;s "Locusts on Hudson" in the 1860s and 70s.</p><br>
<p>As the century wore on, into the Victorian period, the houses became more idiosyncratic and individualistic. Estates like Wyndcliffe, Wilderstein, Ferncliff and Rokeby sported towers and other ornamentation. By 1865, there were thirty such houses. The Livingstons&#39; hold on the area diminished through the continuing divisions of their property and the abolition of three-life leases under a new state constitution in 1840. Newer families, such as the Astors, moved in to take their place. Many of their homes were set among the winding rural roads that had served to divide the farmed portions of property, closer to the river, from the estates and surrounding gardens. They built picturesque stone walls and elaborate gateways that enhanced the rural character of the landscape but also served to emphasize the exclusivity of ownership. Private pathways and roads connected the newer estates directly to each other, further segregating the estate dwellers from the public.</p><br>
<h3>20th century</h3><br>
<p>Livingston Manor&#39;s prestige began to diminish somewhat in the later years of the century. The new money of the Gilded Age had come from industrialization, not landownership, and preferred newer hot spots like Long Island and Newport for its summer mansions and retreats, or followed Jay Gould and the Rockefellers in building or improving estates further downriver, closer to the city.</p><br>
<p>The influence of the newer wealth and its tastes on design and living was still felt along the Hudson most in the changed approach to the pleasure grounds around the estates. What had once been used for gardening and ornamental farms was now used for recreation, and some of the earliest golf courses, tennis courts and country clubs were built on the country seats.</p><br>
<p>Some significant new buildings were added to the future district during this period. Stanford White converted Lewis&#39;s old home into a new mansion for Ogden Mills, as well as doing some renovations at Rokeby. Another Astor had Mott B. Schmidt design Valeur, and Charles A. Platt designed an American Renaissance home for the Chapman family. The last major country seat came when Harrie T. Lindeberg built Fox Hollow on the thousand acres (4 km) Tracy Dows had acquired.</p><br>
<p>In 1860, the Bard family had provided money so that a small Episcopal seminary near their Tivoli estate could be expanded into St. Stephens College, later renamed after them. It eventually expanded into three of the former country seats. This was the beginning of a second life for some of the old country seats, as some moved out of private residential use and became institutions. The Catholic Church received Ellerslie, Ferncliff and Linwood, using them for various purposes. Dorothy Day made Rose Hill the location of one of the Catholic Worker Movements farms during the 1960s.</p><br>
<p>By the 1930s, many of the old estate houses were becoming difficult to keep up and burdens on family fortunes that were being divided as the Livingstons&#39; had once been. Some survived by selling and subdividing the farms to offset rising property taxes. Others, like Clermont, the Mills Mansion and Wilderstein, were eventually given to the public or private trusts and turned into museums of the life once led in them.</p><br>
<p>The end of the country-seat era and of any major new construction locked the existing buildings and their architectural styles in place. At the same time the rise in automotive transportation and attendant road improvements, particularly the bridge, made the district more accessible than before. Preservation efforts in the wake of the establishment of the National Register of Historic Places led to the 1979 creation of the Clermont Estates Historic District in Columbia County and the Sixteen Mile District to its south. Shortly afterwards, the state Department of Environmental Conservation designated the area the state&#39;s first scenic district. Later research by the group Hudson River Heritage led to findings that the two needed to be combined into a larger district extending as far south as the Mills Mansion, and that it was significant and well preserved enough to be accorded National Historic Landmark District status. The National Park Service (NPS) added it to the list in 1990.</p><br>
<h2>The district today</h2><br>
<p>On account of the scenic views and history, houses in the district command a high price. The desirability of open space overlooking the river is a source of constant development pressure on the district, as builders look to serve buyers priced out of growing suburbs further south in the valley, yet still looking for a rail commute to the city via Amtrak or Metro-North (via Poughkeepsie). The district boundaries had to be drawn to exclude one newer subdivision near Staatsburg, but had to include one in Tivoli.</p><br>
<p>To protect the district&#39;s historic character, the Town of Rhinebeck, at least a third of which is included in it, has adopted local ordinances which govern the potential demolition of historic buildings as well as creating a special historic-preservation zoning district for those areas.</p><br>
<p>The other municipalities with land in the district have not gone quite to this extent. Hyde Park has created a historic overlay district which applies to all historic properties in the town, providing in the case of the Hudson River Historic District that land use within its boundaries "shall obtain site plan approval and shall be limited to an agriculture, water-dependent and/or water-enhanced use or to a use appropriate to preservation of the historic resources of the district". Clermont, Red Hook and Tivoli have so far not chosen to apply any additional standards and continue to preserve the district through their existing zoning and applicable New York state laws requiring historical and environmental reviews in certain areas.</p><br>
<p>The district&#39;s boundaries have not been expanded since its creation and designation, but there is some interest in doing so. The Town of Germantown has formally expressed its intention to have the northern boundary extended from the Clermont line to the hamlet of Germantown.</p><br>
<h2>Aesthetics</h2><br>
<p>The estate houses generally followed the pattern established by Clermont — a house with a river and mountain view surrounded by "pleasure grounds", with an approach road from the east so as to reveal the vista only at the house. The farm leaseholds were usually located further inland. This accounts for the large areas of open space still apparent in the district today.</p><br>
<p>The tenant farms also boasted distinct architecture, mostly vernacular styles. Most notable among them would have been the wooden, center-aisled New World Dutch barn, often built before the farmhouse. In the pre-industrial era, it could store all the animals and equipment necessary for growing and harvesting wheat, the region&#39;s primary cash crop, as well as the harvest itself. Several remain standing.</p><br>
<p>Farmhouses were, in the colonial era, often small two-story structures. It was not uncommon for them to be razed if the landlord desired to extend the estate to the farm property and move the tenants further east; as a result most of the surviving ones are made out of stone, such as Clermonts Stone Jug and Rhinebecks Fredenburg House, since they were harder to demolish. Later in the 18th century, after independence, the tenants&#39; homes echoed the Neoclassical aspirations of their landlords, as well as similar trends in Germany. Around Clermont, some two-story wood-frame farmhouses with five-bay facades and centrally-located entrances remain from this period.</p><br>
<p>The advent of Romanticism began to show in the farmhouses around the mid-19th century, shortly after its debut in the estates. Like their neoclassical predecessors, they took as much inspiration from popular German forms as from the landowners&#39; homes. The farmhouses built during this period are large, square, hipped-roof structures with ponderous cornices and large porches to match. While there are no houses in this style left in the district, some older barns and other farm buildings show it.</p><br>
<p>Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts. Early churches hosted both, with the oldest example in the district being the plain white frame Red Church along Route 9G in Red Hook, dating to the early years of the 19th century. Later on, the wealthy began building churches and chapels for their private or exclusive use, and these, such as the chapel on the Clarkson property on 9G, show more ornament than the older churches.</p><br>
<p>The hamlets, particularly Rhinecliff and Tivoli, also reflect the areas original land distributions. Many of their houses are small two-story frame structures in Victorian styles that occupy small lots on narrow streets. Commercial buildings, in the core neighborhoods, usually occupy the ground floors of such houses or small brick buildings. The landowners often donated money for various public buildings like churches and schools, such as Rhinecliffs Morton Memorial Library.</p><br>
<h2>Cultural legacy</h2><br>
<p>The district has influenced American culture and history beyond its art and architecture. In 1807, Robert Fultons North River Steamboat, stopped at Clermont for an hour on its maiden voyage up the Hudson. It was the first commercial steamship voyage; the boat itself would later be renamed Clermont in recognition of Robert Livingstons patronage and investment.</p><br>
<p>Several statesmen have called the district home besides the many from the Livingston-Beekman family. Egbert Benson, a congressman, federal judge and New York&#39;s first attorney general, built his law practice in what would later be Tivoli. John Winthrop Chanler, another congressman, married Margaret Astor Ward, who had inherited Rokeby through her Livingston / Astor forebears. His son Lewis served as a state assemblyman and lieutenant governor. Another son, William Chanler, also served briefly in Congress. Another son, Robert, was Dutchess County sheriff and an accomplished painter. John Watts de Peyster, Civil War general, military historian and adjutant general of the New York National Guard, also spent some of his formative years at Rose Hill in Tivoli, and later built the firehouse now used as village hall. Another New York Civil War figure, Charles S. Wainwright, lived at The Meadows.</p><br>
<p>Franklin Delano Roosevelt&#39;s ancestral home in Hyde Park is just south of the district, but some of his Delano ancestors were longtime residents of the Steen Valetje estate. As a child, his wife Eleanor lived at Oak Lawn, the Tivoli estate of her grandmother Mary Ludlow Hall, for several years after the death of her mother.</p><br>
<p>The district has had a role in literature as well, both as a setting and a residence. Henry James, a frequent visitor to his uncle&#39;s home at Linwood, makes several references to Rhinebeck and other locales within the district in his writings. Edith Wharton, likewise a childhood visitor to her aunt at Wyndclyffe, used the district as a setting in many of her works. Thomas Wolfe lived in a gatehouse at Fox Hollow while writing Look Homeward, Angel, and Aldous Huxley lived there for a time in the 1930s.</p><br>
<p>Bard College has played an increasing role in the districts cultural impact. Its faculty has included Hannah Arendt and John Dewey, and the former is buried there with her second husband Heinrich Blücher. The colleges alumni have included many figures in late 20th-century popular culture. Two of them, Walter Becker and Donald Fagen, cofounded the rock group Steely Dan, and wrote two songs about Bard and places near it: "My Old School", from Countdown to Ecstasy; and "Barrytown", on Pretzel Logic. In 2003, the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts brought innovative contemporary architecture back to the district. The irregularly-shaped metal panels on its roof echo the view of the Catskills across the river, the district&#39;s original attraction.</p><br>
<h2>Contributing properties</h2><br>
<p>Historic properties listed in Historic American Buildings Survey that may be within the district include:</p><br>
<p>The Meadows, near Rhinebeck</p><br>
<p>The Meadows, Stable cottage</p><br>
<p>The Meadows, Stables and carriage house</p><br>
<p>Wyndcliffe near Rhinebeck</p><br>
<p>Wilderstein in Rhinebeck</p><br>
<p>Wildercliff near Rhinebeck</p><br>
<p>Rose Hill, near Tivoli</p><br>
<p>Montgomery Place, near Barrytown</p><br>
<p>Swiss cottage</p><br>
<p>Farmhouse</p><br>
<p>Annandale Road</p><br>
<p>Edgewater (Barrytown, New York) one time country estate of Gore Vidal.</p><br>
<p>La Bergerie also known as Rokeby, in Barrytown</p><br>
<p>Rhinecliff – Kingston (Amtrak station)</p><br>
<h2>Further reading</h2><br>
<p>Pieter Estersohn. Life Along the Hudson (New York, NY: Rizzoli, 2018).</p><br>
<p>Jane Garmey. Private Gardens of the Hudson Valley (New York, NY: Monacelli Press, 2013).</p><br>
<p>Michael Middleton Dwyer, editor, with a preface by Mark Rockefeller. Great Houses of the Hudson River (Boston, MA: Little, Brown and Company, published in association with Historic Hudson Valley, 2001).</p><br>
<p>Jean Bradley Anderson. Carolinian on the Hudson: the Life of Robert Donaldson (Raleigh, NC: Historic Preservation Foundation of North Carolina, 1996).</p><br>
<p>Gore Vidal. Palimpsest: A Memoir (New York, NY: Random House, 1995).</p><br>
<p>Harold Donaldson Eberlin and Cortlandt Van Dyke Hubbard. Historic Houses of the Hudson Valley (New York, NY: Architectural Book Publishing Co., Inc., 1942).</p><br>
<p>The Geneseo Historic District, previously known as the Main Street Historic District, is a historic district encompassing much of the village center of Geneseo, New York. Geneseo has a remarkably well-preserved 19th-century streetscape, with Victorian architecture embodying a picturesque style advocated by architect Andrew Jackson Downing. The district was listed on the National Register of Historic Places in 1977; an enlarged district was designated a National Historic Landmark in 1991.</p><br>
<h2>Description and history</h2><br>
<p>Geneseo was founded in 1790 by William and James Wadsworth, whose descendants exerted a significant influence on the development of the community. In addition to their philanthropic and business contributions to the town, the Wadsworths planted many oak trees, with the result that the village now has a large number of mature trees approaching 200 years or more in age. The town served as a market center for the surrounding rural agricultural areas in the first half of the 19th century, and was boosted economically by the establishment of a state normal school (now SUNY Geneseo) on a campus west of the village&#39;s commercial district. The downtown suffered a devastating fire in 1864, but was rebuilt.</p><br>
<p>The district includes Geneseos historic commercial center and its most refined residential neighborhood, plus the 102.8 acre estate of the Wadsworth family. That estate, The Homestead (Geneseo) was already separately listed in 1974. The district consists of 312 properties, of which 288 are contributing. The districts buildings are stylistically somewhat diverse, with Italianate and Queen Anne Victorian styles of the second half of the 19th century dominating. Many older homes, originally built in the Federal style, were later renovated into these styles.</p><br>
<h2>Properties</h2><br>
<p>Properties included in the district include:</p><br>
<p>Temple Hill Cemetery</p><br>
<p>Avon Road, east side:</p><br>
<p>The Hartford House, c. 1836, another Wadsworth family property.</p><br>
<p>Avon Road, west side:</p><br>
<p>Soldiers Monument</p><br>
<p>St. Mary&#39;s Roman Catholic Church</p><br>
<p>St. Mary&#39;s Rectory</p><br>
<p>Center Street, north side:</p><br>
<p>Thirty residences and buildings, from 3 Center Street up to 81 Center Street</p><br>
<p>Central Presbyterian Church (c.1939)</p><br>
<p>Center Street, south side:</p><br>
<p>2nd St.</p><br>
<p>Wadsworth Library</p><br>
<p>Geneseo Baptist Church</p><br>
<p>Old Antheum Library</p><br>
<p>(to be expanded)</p><br>
<p>The Boston Post Road Historic District is a 286 acre National Historic Landmark District in Rye, New York, and is composed of five distinct and adjacent properties. Within this landmarked area are three architecturally significant, pre-Civil War mansions and their grounds; a 10,000-year-old Indigenous peoples site and viewshed; a private cemetery, and a nature preserve. It is one of only 11 National Historic Landmark Districts in New York State and the only National Historic Landmark District in Westchester County. It touches on the south side of the nations oldest road, the Boston Post Road , which extends through Rye. A sandstone Westchester Turnpike marker "24", inspired by Benjamin Franklins original mile marker system, is set into a wall that denotes the perimeter of three of the contributing properties. The district reaches to Milton Harbor of Long Island Sound. Two of the properties included in the National Park Service designation are anchored by Greek Revival buildings; the third property is dominated by a Gothic Revival structure that was designed by Alexander Jackson Davis.</p><br>
<p>This district, which also has immense archaeological significance and importance to Native American, European-American and African-American heritage, was declared a National Historic Landmark in 1993. The 3/4 mile meadow and viewshed is one of fewer than a dozen such identified Indigenous peoples sites in all of New York State. In 2005, J. Winthrop Aldrich, former assistant to six successive Commissioners of New York State Department of Environmental Conservation (1974–1994) and Deputy Commissioner New York State Office of Parks, Recreation and Historic Preservation (1994-2003; 2007–2010), attested that the District was acknowledged to be "one of New York State&#39;s finest assets", "amply deserving the rare honor of National Historic Landmark designation by the Secretary of the Interior."</p><br>
<h2>Components of the district</h2><br>
<p>Included within the district are the following historic buildings, structures, and landscape features:</p><br>
<h3>Jay Estate (1745 and earlier)</h3><br>
<p>The historic 23-acre Jay Estate, including its buildings, landscape, and gardens, is being restored by the not-for-profit Jay Heritage Center. The site was added to the Westchester County African American Heritage Trail in 2004 by then County Executive Andrew Spano because of its association with John Jay and his lasting legacy to abolish slavery through law in his home state beginning in 1777, along with the efforts of his descendants: "With respect to the abolition of slavery in New York, no New Yorker was as persistent, politically skilled, and, ultimately, as legally effective as John Jay." His legacy was complicated: while Jay was founder and president of the Manumission Society of New York, and signed legislation as governor to abolish slavery in 1799, he held enslaved African Americans as workers here until 1810. Free African Americans also worked for wages at his estates.</p><br>
<p>This house was designated as a member site of the Hudson River Valley National Heritage Area in January 2009 because of 1) the architectural and historical significance of its buildings; 2) as significant parkland it illustrates the role of the Hudson River Valley in the modern environmental movement; 3) the site is associated with great Americans and social issues, particularly the examination of the abolition of slavery; and 4) because of its once notable formal gardens and landscape. Governor Andrew Cuomo added the site to New York State&#39;s "Path Through History" in 2013 for its ongoing relevance to the historic interpretation of Civil Rights in New York.</p><br>
<p>The 1838 Peter Augustus Jay Mansion at the center of the property is owned outright by the Jay Heritage Center; it is one of two Greek Revival residences in the larger landmarked district. The mansion is situated on the site of the childhood home of American Founding Father John Jay, with approximately the same orientation and viewsheds. John Jays house was built upon the footprint of an older 18th-century farmhouse, "The Locusts". Jays eldest son, Peter Augustus Jay, replaced it with the current structure in the early nineteenth century. The mansion was constructed according to specifications in a contract between Jay and a builder named Edwin Bishop, and details appear to have been drawn from architectural pattern books by Minard Lafever and Chester Hills. Restoration of the house is an official Save America&#39;s Treasures project.</p><br>
<p>1907 Van Norden Carriage House (designed by Frank A. Rooke)</p><br>
<p>This bright yellow Classical Revival structure serves as the Visitor Center and is open to the public.</p><br>
<p>1907 Zebra House (designed by Frank A. Rooke)</p><br>
<p>Tennis House (1917 or earlier)</p><br>
<p>Cottage on Barlow Lane (18th century or earlier)</p><br>
<p>Summer House (1957-8, non-contributing)</p><br>
<p>Estate Cottage B (demolished)</p><br>
<p>Bowling Alley (demolished)</p><br>
<p>Four outbuildings (demolished)</p><br>
<p>Gazebo (demolished)</p><br>
<p>Gardens designed by Jay family, Brinley & Holbrook and others; includes dry-laid stone ha-ha walls (1822). Currently being restored and rehabilitated by Nelson Byrd Woltz Landscape Architects.</p><br>
<h3>Jay Family Cemetery (1806)</h3><br>
<p>The Jay Cemetery is a private cemetery of 3 acre. John Jay was buried there in 1829. It is not open to the public.</p><br>
<h3>Lounsbury (1831), also known as Lounsberry or the Parsons Estate</h3><br>
<p>This second Greek Revival residence in the district has a notable library designed by Delano & Aldrich. It is privately owned and not open to the public.</p><br>
<p>Gardener&#39;s Cottage</p><br>
<p>Carriage House and Stable</p><br>
<p>Outbuilding with five bays</p><br>
<p>Poultry and Wood House</p><br>
<p>Greenhouse</p><br>
<h3>Rye Golf Club including Whitby Castle (1854) Gothic Revival</h3><br>
<p>Former Chapman family residence, which has been adapted for use as the City of Rye Golf Club. Designed by Alexander Jackson Davis</p><br>
<p>Caretaker&#39;s house</p><br>
<p>Pool house and golf cart garage (non-contributing)</p><br>
<p>Starter&#39;s House (non-contributing)</p><br>
<p>Maintenance building (non-contributing)</p><br>
<h3>Marshlands Conservancy (formerly Devereux Reservation, 1966)</h3><br>
<p>The Marshlands Conservancy is owned and operated by Westchester County Parks. It is a nature preserve with a diverse number of habitats - several ponds, an East Stream, West Creek, open meadow, woodland, salt marsh, and freshwater wetlands - that attract a variety of flora and fauna. Historically, the land was part of the larger old Jay Estate and the neighboring Parsons Estate. It was formed from two separate gifts in the 20th century: one of 120 acres given by Zilph Devereux to Westchester County on November 9, 1966, and another of 27 acres given by Fanny Wickes Parsons to Westchester County in December 1977. The resulting parcel of 147 acre was rededicated as passive parkland in 1997 by Westchester County so that "The natural area and wildlife sanctuary will be protected, preserved and regulated as a nature and wildlife preserve to be used only for passive recreation." It has been recognized as an Important Bird Area.</p><br>
<p>The Brooklyn Heights Historic District is a historic district that comprises much of the Brooklyn Heights neighborhood of Brooklyn, New York City, United States. It was named a National Historic Landmark in January, 1965,</p><br>
<p>The district is bounded by Cadman Plaza West (Old Fulton Street) on the north, the Brooklyn-Queens Expressway on the west, Atlantic Avenue on the south, and an irregular line that partly follows Clinton and Henry Streets on the east. It is of national significance as an early commuter suburb, and as a remarkably well-preserved 19th-century urban streetscape.</p><br>
<p>Grace Episcopal Church, designed by Richard Upjohn, which held its first service in 1848, is in the district, as are Plymouth Church of the Pilgrims, Our Lady of Lebanon Maronite Cathedral, the First Presbyterian Church, the First Unitarian Congregational Society, the Center for Brooklyn History, the Heights Casino and Casino Apartments, Packer Collegiate Institute, and St. Ann&#39;s and the Holy Trinity Church, among other historically notable buildings.</p><br>
<p>The development of Brooklyn Heights as a fashionable residential area began with the introduction of ferry service to Manhattan in 1814. By the mid-19th century, the area was served by three ferry services as well as the Brooklyn and Jamaica Railroad, and it was one of New York&#39;s premier residential addresses. The latter distinction was eventually eclipsed by Fifth Avenue. Some of its streets are named for early real estate developers.</p><br>
<p>The Paramount Theatre is a historic theater located at 17 South Street in Middletown, New York, United States. It was built in 1930 in an Art Deco style, a twin to the Paramount Theater in Peekskill, across the Hudson River. It was included in the National Register of Historic Places in 2002.</p><br>
<p>Paramount-Publix Corporation (now Paramount Pictures) built and opened the building on June 12, 1930, with a celebration that included a parade at noon, a musical performance by the Paramount Symphony Orchestra, and the first movie, The Big Pond, starring Maurice Chevalier and Claudette Colbert at 6 p.m. The feature film was preceded by a newsreel, a short film about Middletown and its citizens and a welcome film starring Buddy Rogers.</p><br>
<p>Paramount-Publix sold the theater after the USA Supreme Court&#39;s 1948 United States v. Paramount Pictures, Inc. decision, which required the movie studios to divest themselves of their theater chains. ABC, a successor corporation, owned the Paramount until 1973 when it sold it to Hallmark Releasing. After several other owners, it closed five years later. In 1979, the city took title when back taxes went unpaid.</p><br>
<p>Two years later, the Arts Council of Orange County bought the building and renovated it into a performing arts center. An apron was added to the stage, and a pavilion on the back of the building provided dressing room space. It was reopened in 1985. The building was added to the National Register of Historic Places in 2002. The theatre hosts a variety acts and events, as well as art exhibits, lectures, civic fundraisers, dance recitals, business receptions, school theatre series, performing arts summer camp and some film features.</p><br>
<p>The New York Theater Organ Society installed the Wurlitzer organ from the Clairidge Theater in Montclair, New Jersey. The Paramounts organs original keyboard is now part of the organ at the Orpheum Theater in Phoenix, Arizona.</p><br>
<p>The Hoboken International Film Festival takes place annually at the theater.</p><br>
<p>The John I. Crawford Farm, also Hopewell Farm, is located on NY 302 in the Thompson Ridge section of the Town of Crawford in Orange County, New York, United States. It has been on the National Register of Historic Places since 1998.</p><br>
<p>Crawford, whose family lends its name to the town, settled the region and began building the farm around 1780. The property&#39;s main house was built not long afterwards, in the Federal style. A century later, in 1890, the bright yellow outbuildings of the property were updated in a Victorian style. The Crawford family cemetery lies to the southwest. Note: This includes</p><br>
<p>The Lemuel Haynes House is a historic house on County Road 27 in the village of South Granville, New York. Built in 1793, it was the home of Lemuel Haynes , the first African-American clergyman ordained in North America, from 1822 to 1833. It was designated a National Historic Landmark in 1975. The house was purchased from Charles Halderman as a private residence in 2009 by Bo Young and William J. Foote and is not normally open to the public.</p><br>
<h2>Description and history</h2><br>
<p>The Lemuel Haynes House is located in the rural village of South Granville, on the south side of Washington County Route 27 a short distance east of its junction with New York State Route 149. It is a -story wood-frame structure, with a gabled roof, central chimney, and clapboarded exterior. It is oriented with its front facade facing east, perpendicular to the street. The main facade is five bays wide, with closely set pairs of sash windows on either side of the central entrance. The house is not architecturally distinguished, but does retain some period features, including wide floor boards and a large kitchen fireplace with a pot crane and a beehive oven. The house was built in 1793.</p><br>
<p>From 1822 until his death in 1833, the house was home to Lemuel Haynes. Born to a white woman and man of African descent, Haynes spent his early years in indentured servitude, but was educated by his master and introduced to the Congregational church. He served in the local (Granville, Massachusetts) militia during the American Revolutionary War, after his indenture ended, and was formally ordained as a Congregationalist minister in 1780. His service as minister to the Middle Granville church marks the first known instance of an African-American preacher leading a predominantly white congregation. Haynes spent many years leading a church in Rutland, Vermont, before ending his long career in Granville, New York.</p><br>
<p>Other usesChestnut Hill </p><br>
<p>The Chestnut Hill is a historic apartment building at 219 Commonwealth Avenue in the village of Chestnut Hill in Newton, Massachusetts, USA.</p><br>
<h2>History</h2><br>
<p>Designed by the Boston architect Francis W. Chandler in the Tudor Revival style of architecture, it was built in 1899 for Dana Estes, one of the developers responsible for the extension of Commonwealth Avenue to Auburndale. On September 4, 1986, it was added to the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>It is a -story wood-frame building with fieldstone on the ground floor, and a half-timbered stucco finish above. The wall surfaces are in places embellished by decorative mastic elements.</p><br>
<p>Quarters A, also known as the Commandant&#39;s House, is a historic house on Evans Street in the Vinegar Hill neighborhood of Brooklyn, New York City. Built beginning in 1805, with a number of later alterations, it remains a prominent example of Federal architecture in New York City. It was designated a National Historic Landmark in 1974 for its association with Matthew C. Perry, commandant of the adjacent Brooklyn Navy Yard 1841–1843, whose opening of Japan to the West in 1854 revolutionized trade and international affairs. The building is now privately owned.</p><br>
<h2>Description and history</h2><br>
<p>The former Commandant&#39;s House is set on a bluff overlooking the western side of the Brooklyn Navy Yard, a few blocks south of the East River. It is accessed via a gated drive at the junction of Little and Evans Streets. The house is three and a half stories in height, of wood-frame construction, and finished in wooden clapboards. The building has an extensive history of alteration, but the interior, its original main block, retains Federal period architectural details, including leaded front entry sidelight windows, carved wooden paneling, and wooden floorboards (although the latter have been covered by other flooring). The original block was built in 1805–06, supposedly to a design by Charles Bulfinch and John McComb, Jr. Additions have substantially increased the size of the house in 1860, 1904, and 1936.</p><br>
<p>It was built as the quarters for the commandant of the Brooklyn Navy Yard. Most notably, it was home to Commodore Matthew C. Perry (1794–1858) between 1841 and 1843. Perry was assigned to the yard from 1833 to 1843 in a variety of roles, during which time he is credited with improving the Navys steamship navigation, education of enlisted men and commissioned officers, and improving the nations lighthouse service. Perry&#39;s signature achievement was his 1854 expedition to Japan, in which he compelled the previously cloistered nation to open its borders more widely, inaugurating a series of economic and geopolitical changes.</p><br>
<p>The house was declared a National Historic Landmark in 1974, while it was still part of the active navy yard. The current owners of the Commandant&#39;s House are Charles Gilbert and Jennifer Jones, who purchased it in 1997.</p><br>
<p>The Chestnut Hill Reservoir Historic District is a historic district encompassing the Chestnut Hill Reservoir and the surrounding water works facilities which were historically used to provide fresh water to Boston, Massachusetts, and surrounding towns. The district is nearly coextensive with the Chestnut Hill Reservation, a state park managed by the Massachusetts Department of Conservation and Recreation ; those elements of the water works that are still required as an emergency backup are managed by the Massachusetts Water Resources Authority . The reservoir is located between Beacon Street and Commonwealth Avenue in Boston&#39;s Chestnut Hill district, just east of the Boston College Main Campus Historic District.</p><br>
<p>The Chestnut Hill Reservoir was built between 1865 and 1870 to supplement the capacity of the Brookline Reservoir, which was then the terminus of the Cochituate Aqueduct. The Sudbury Aqueduct was completed in 1878, providing water to the reservoir from the Sudbury River in Boston&#39;s western suburbs. Its terminal chamber, a single-story granite Romanesque structure with a hip roof, stands across Beacon Street from the reservoir, and houses gates for controlling flow into the reservoir from both the Cochituate Aqueduct (now defunct) and the Sudbury Aqueduct (in backup service), and from the reservoir to the Brookline Reservoir. The other major structure in the district is the high service pumping station, a massive Romanesque structure designed by Arthur Vinal in 1887, which is now a museum.</p><br>
<p>The Chestnut Hill Reservoir and pumping stations were designated a Boston Landmark by the Boston Landmarks Commission in 1989.</p><br>
<p>The Orange County Courthouse is located on Courthouse Square in Paoli, Indiana at the intersection of State Roads 37, 56 and US Highway 150.</p><br>
<p>The courthouse is one of the two oldest courthouses in Indiana that have been used continuously, the other being in Rising Sun, Indiana (Ohio County). The Orange County Courthouse was built 1847–1850. It is a good example of the Greek Revival style of architecture. The courthouse is distinguished by a Doric portico with six fluted columns.</p><br>
<p>It was listed on the National Register of Historic Places in 1975.</p><br>
<p>The Woodbury County Courthouse is located at 620 Douglas Street in Sioux City, the county seat of Woodbury County, Iowa, United States. It is regarded as "one of the finest Prairie School buildings in the United States" and has been declared a National Historic Landmark for its architecture. It is used for legal proceedings in the county.</p><br>
<h2>Early courthouses</h2><br>
<p>Initially, crude log structures were used for county business. Sioux City was made the county seat in 1856, and it was at this time a county-owned courthouse was considered. It was to be located on the public square and the foundation was laid in 1857. The contract to complete the building was let two years later, but it was canceled before construction could begin. County offices continued to be located in various locations in the city.</p><br>
<p>Voters approved the construction of a courthouse in October 1875. It was designed by Des Moines architect William L. Foster and built by brothers Charles E. Hedges and Daniel T. Hedges for $75,000. Designed in the Second Empire style, the building was composed of Kasota limestone. It featured a mansard roof with iron cresting and a corner tower capped with a dome and a statue of Lady Justice.</p><br>
<h2>Present courthouse</h2><br>
<p>In 1914, the county determined that the courthouse was too small for the city and they decided to build a new one. The old courthouse was sold and the new one, designed by the Minneapolis architect George Grant Elmslie in collaboration with the Sioux City architect William L. Steele and Elmslie&#39;s partner, William Gray Purcell, was constructed from July 10, 1916 to March 1, 1918 at a cost of $850,000. This building is the current courthouse, located at the southeast corner of Douglas and Seventh Streets. It is a nearly square four story structure, built out of Roman brick, with granite and terra cotta trim elements. It has a 157 ft eight-story tower, and features sculptural work by Alfonso Iannelli over its doors. The northern entrance features metal grillwork designed by Elmslie. The interior floors are marble, and the central rotunda features a glass mosaic drinking fountain in one wall. All ornamental metal work was produced by Crown Iron Works of Minneapolis, Minnesota. The interior murals were painted by John Norton of Chicago.</p><br>
<p>In 1973, the building was added to the National Register of Historic Places. It was declared a National Historic Landmark in 1996.</p><br>
<p>The General William Grose House is a historic home located at 614 S. 14th St., New Castle, Henry County, Indiana. It is the home of the Henry County Historical Society. The Italianate mansion was built in 1870 by Civil War Major General William Grose and his wife Rebecca. General Grose commanded the 36th Indiana Regiment and fought in the battles at Vicksburg, Chattanooga, Chickmauga and Atlanta. He resided in the house until his death in 1900. The Henry County Historical Society acquired the 16 room mansion in 1902 and operates it as a museum.</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>The Thomas Jansen&#39;s House, also known as Dwaarkill Manor is a historic home located on Jansen Road in the western section of the Town of Shawangunk, in Ulster County, New York, United States. It is a Dutch stone house built first in 1727 by Jansen, an early settler of the area. In 1780, his family built the current house; the original survives as a rear wing, a common practice in the area. Edgar Covantes Osuna.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Benjamin Van Keuren House Ruin is located at the corner of Bruyn Turnpike and Benjamin van Keuren Drive in the western portion of the Town of Shawangunk, in Ulster County, New York, United States. It was the site of the house built in 1745 by Van Keuren and his wife Sarah, early settlers of the area. He would later be elected town supervisor four times and serve in the 4th Regiment of the Ulster County Militia during the Revolutionary War.</p><br>
<p>Today only the foundation stones remain, on a slight rise at the edge of a nearby woodlot, after the building burned down. The town has honored Van Keuren and his role in its history by naming the street after him when houses were built on it recently, and putting a commemorative plaque on the nearby pillar. In 2000 the site was added to the National Register of Historic Places.</p><br>
<p>The Colburn School–High Street Historic District is a linear historic district encompassing the village center of Westwood, Massachusetts. It extends along High Street  roughly between Conant Street in the north and Gay Street in the south. It is largely residential in character, with 37 houses, most of which date from the 18th to the mid-19th centuries. The rural character of the area is captured by a number of preserved 19th-century barns. The district also includes Westwood Town Hall, a 1910 Classical Revival building, and the 1874 Second Empire Colburn School. The school was named for Warren and Dana P. Colburn who both attended the school. They authored a book on arithmetic. Prior to being named for them in March 1867, it was known as the Clapboardtrees School, the West Dedham School and District Number Eight.</p><br>
<p>The district was listed on the National Register of Historic Places in 2000.</p><br>
<p>Wesleyan Hall, constructed in 1856, is one of the oldest structures on the University of North Alabama campus, located in Florence, Alabama.</p><br>
<h2>History</h2><br>
<p>With its distinctive towers, Wesleyan Hall also is considered one of the most eminent landmarks in North Alabama. The Gothic Revival structure was designed to serve LaGrange College when this Methodist institution relocated from Franklin to Lauderdale county and subsequently was renamed and rechartered as Florence Wesleyan University.</p><br>
<p>In 1856, the year the structure was completed, a President&#39;s Report showed an enrollment of 180 students. The fledgling university peaked at 225 students in the early 1860s, shortly before the outbreak of the Civil War.</p><br>
<p>During the war, Wesleyan Hall was occupied by both Union and Confederate armies.</p><br>
<p>Following the war, Dr. Septimus Rice was the University&#39;s sole instructor, teaching classes in the Preparatory School and holding college-level courses in Wesleyan Hall. Despite a prolonged effort by the new Wesleyan University president, Dr. William H. Anderson, the institution continued to founder, and in 1871, the doors of Wesleyan Hall were closed.</p><br>
<p>Recognizing the need for trained teachers in the post-war South, the Methodist Episcopal Church turned over Wesleyan Hall and the surrounding 12 acre grounds to the state of Alabama, which then chartered it as a state normal school.</p><br>
<p>During this period, the halls of Wesleyan remained unheated, so stoves were used to warm classrooms, while coal oil lamps were employed for lighting. Because of the initially small enrollment, the upper floors were used as dormitories.</p><br>
<p>A dilapidated white-washed board fence stood along the perimeter of the Wesleyan grounds to prevent livestock owned by nearby townspeople from wandering onto campus. On the south side of the structure in a similar state of disrepair stood a number of old stables used to quarter horses of local country boys attending the school. A large cistern in the rear of the Wesleyan supplied the school&#39;s water supply.</p><br>
<p>At the turn of the 20th century, the 45-year-old structure remained the only building owned by the school. The exterior of the building had changed little since its construction in 1856, bearing the same castle-like towers, battlements and top-floor observatory. Likewise, the campus adjoining Wesleyan encompassed only the original 12 acre.</p><br>
<p>A three-story building finally was added in 1909 to accommodate increased enrollment and became known as Wesleyan Annex.</p><br>
<h2>Today</h2><br>
<p>Part of the 130 acre University of North Alabama campus, Wesleyan Hall currently contains the departments of Geography, Psychology, and Foreign Languages. It also houses the Geographic Research Center, a cartography lab, and a language lab.</p><br>
<p>The Department of Military Science is located in Wesleyan Annex.</p><br>
<p>Wesleyan also houses personal effects and mementoes of former Alabama Supreme Court Chief Justice and USA Senator Howell Heflin, a native of nearby Tuscumbia. The building is listed in the National Register of Historic Places.</p><br>
<h2>Wesleyan Bell and Tower</h2><br>
<p>Adjacent to Wesleyan Hall in a specially constructed tower is the Wesleyan Bell, which tolled regularly throughout the last quarter of the 19th century to summon Florence Normal School students to class. Sometime around 1910, the bell was removed from Wesleyan Hall and stored. Rediscovered after the passage of almost a century in 2002, the 130-year-old Wesleyan Bell finally was restored to a prominent place on campus following construction of the Smith Bell Tower in 2004.</p><br>
<p>The Kaiser Richmond Field Hospital was the first Kaiser Permanente Hospital and is a historic site resource of the city of Richmond, California, and a contributing property to Rosie the Riveter/World War II Home Front National Historical Park, listed on the National Register of Historic Places. The hospital provided health services for surrounding communities until 1995 when it was replaced by the then state-of-the-art Richmond Medical Center in downtown Richmond. The field hospital is now closed and remains in its original location in South Richmond along Cutting Boulevard.</p><br>
<h2>Background</h2><br>
<p>More American workers died in Home Front accidents than US soldiers killed on World War II battlefields. This was true up to the Battle of Normandy in June 1944. Henry J. Kaiser, owner of the Richmond Shipyards, realized that only a healthy work force could meet the deadlines and construction needs of wartime America. He institutionalized a revolutionary idea, pre-paid medical care for workers, which soon expanded beyond workers. For many workers, this was the first time they had seen a doctor.</p><br>
<h2>Hospital operations</h2><br>
<p>The Kaiser Richmond Field Hospital for the Richmond Shipyards was financed by the USA Maritime Commission, and opened on August 10, 1942. Sponsored by Kaisers Permanente Foundation, it was run by Medical Director Sidney R. Garfield, M.D. The Field Hospital served as the mid-level component of a three-tier medical care system that also included six well-equipped First Aid Stations at the individual shipyards, and the main Permanente Hospital in Oakland, where the most critical cases were treated. Together, these facilities served the employees of the Kaiser shipyards who had signed up for the Permanente Health Plan (commonly referred to as the "Kaiser Plan"), one of the countrys first voluntary pre-paid medical plans, and a direct precursor to the health maintenance organizations (HMOs) defined by the federal HMO Act of 1973.</p><br>
<p>By August 1944, 92.2 percent of all Richmond shipyard employees had joined the plan, the first voluntary group plan in the country to feature group medical practice, prepayment and substantial medical facilities on such a large scale. After the war ended, the Health Plan was expanded to include workers families. By 1990, Kaiser Permanente was still the countrys largest nonprofit HMO.</p><br>
<p>In part due to wartime materials rationing, the Field Hospital is a single-story wood frame structure designed in a simple modernist mode. Originally intended for use primarily as an emergency facility, the Field Hospital opened with only 10 beds. Later additions increased its capacity to 160 beds by 1944. The Field Hospital operated as a Kaiser Permanente hospital until closing in 1995. Kaiser conducted its first medical research at the facility in 1942 and later at another site before abandoning animal research all together in favor of correlational studies in 1958.</p><br>
<h2>Current status</h2><br>
<p>The site and its parcel officially entitled the Nystrom Tract Addition are owned by Masjeed Al-Noor. It was sold by Kaiser in the late 1990s, after the opening of the Richmond Medical Center and converted to a mosque that was shut down for dilapidated conditions in 2014 by the Richmond Fire Department, which caused accusations of racism by Richmond City Councilman Corky Boozé while the congregation began to meet in a tent according to Richmond Confidential.</p><br>
<p>In the summer of 2007 preliminary bus tours were begun with a new guideless model, which instead filled half of the bus with residents who spoke of their experiences from the time to put what are otherwise everyday streets for residents into a greater historical perspective.</p><br>
<p>The Nodena site is an archeological site east of Wilson, Arkansas, and northeast of Reverie, Tennessee, in Mississippi County, Arkansas, United States. Around 1400&ndash;1650 CE an aboriginal palisaded village existed in the Nodena area on a meander bend of the Mississippi River. The Nodena site was discovered and first documented by Dr. James K. Hampson, archaeologist and owner of the plantation on which the Nodena site is located. Artifacts from this site are on display in the Hampson Museum State Park in Wilson, Arkansas. The Nodena site is the type site for the Nodena phase, believed by many archaeologists to be the province of Pacaha visited by Spanish explorer Hernando de Soto in 1542.</p><br>
<p>In 1900, a prehistoric mastodon skeleton was discovered 2 mi south of the Nodena site.</p><br>
<p>In 1964, the Nodena site was declared a National Historic Landmark and in 1966 it was added to the National Register of Historic Places.</p><br>
<h2>Culture of the Nodena people</h2><br>
<p>Nodena is the type site for an important Late Mississippian cultural component, the Nodena phase, which dates from about 1400&ndash;1700 CE. The Nodena phase was a collection of villages (see Eaker site) along the Mississippi River between the Missouri Bootheel and Wapanocca Lake. This culture is contemporary with the Menard complex, Tipton phase, Walls phase and the Parkin phase. The Parkin Indian Mound, the type site for the Parkin phase, is the site of another Late Mississippian village located in Parkin, Arkansas, about 30 mi southwest of Wilson. In the early 1540s, the Spanish Hernando de Soto Expedition is believed to have visited several sites in the Nodena phase, which is usually identified as the Province of Pacaha. The Parkin site is a candidate for the province of Casqui.</p><br>
<p>Nodena people were part of the Southeastern Ceremonial Complex, an extensive religious and trade network that brought chert, whelk shells, and other exotic goods to the site.</p><br>
<h3>Nodena village 1400&ndash;1650 CE</h3><br>
<p>The site was a 15 acre palisaded village on a horseshoe bend of the Mississippi River about 5 mi east of Wilson, Arkansas. Archaeological artifacts from the villages of the Nodena people are dated to 1400&ndash;1650 CE.</p><br>
<p>The site had three to eight mounds, two of them large substructure mounds. The largest, designated as "Mound A", was 111 ft wide by 120 ft long, and 15.5 ft high. It had two levels, with the top being 40 ft by 60 ft, and the terrace level being 30 ft wide. The remains of three structures were found on the mound, one on the top level and two on the terrace level. The mound designated as "Mound B" was 117 ft by 111 ft by 4 ft tall. It had the remains of a 60 ft diameter round structure found at its summit. The site also had several large plaza areas, and what Dr. Hampson described as a "chunkey field", which was located directly behind Mound A. A circular mound, designated as "Mound C", was located at the other end of the chunkey field. It was roughly 93 ft in diameter and 3 ft high. A large number of male graves, 314 of 316, were found buried under it.</p><br>
<p>The houses in the village were laid out in a very orderly fashion, located on the same axis as the mounds at the site, demonstrating that the whole site was planned. Members of the de Soto Entrada described the villages of the Pacaha and Nodena peoples as being the most carefully planned and organized of all the villages they had seen in "La Florida", which was what they called the entire southeast. The villages of this area were described as having few if any trees, probably because this was the primary source of fuel and building materials. Many trees close to the villages would have been cut down for these purposes. Homes were built from wattle and daub, with thatched roofs. The palisade which surrounded the site was designed for defensive purposes. It had bastions at regular intervals, with archer slots to defend against enemy attacks. The peoples of Casqui and Pacaha were in a state of perpetual war with one another, and most large sites throughout the area in this time period had this type of defensive palisade.</p><br>
<p>The de Soto chroniclers indicate that political provinces characterized by a paramount chief living in a paramount town with satellite vassal towns surrounding it were the major political institutions of this area. The Nodena site was either the main town or one of the larger satellite towns of the Pacaha province.</p><br>
<h3>Pottery</h3><br>
<p>Most pottery found at the Nodena site is of the kind known as Mississippian Bell Plain. It was buff colored, contains large fragments of ground mussel shell as a tempering agent, and isn&#39;t as smooth and polished as other varieties. Other kinds found there are much finer, with a finer ground shell as a temper, some instances being so finely ground as to look untempered. The Nodena phase people put a bowl and a bottle into a grave with the bodies, usually of the finer variety of pottery. Shapes and decoration were varied in the mortuary pottery, from brightly colored abstract spiral designs, to elaborate effigy vessels depicting human heads, animals, and hunters and their prey. Pottery made by the Nodena people was built up from strips of clay, and then smoothed out by the potter, much like other pottery in the Eastern America area where the potters wheel was unknown. Slips using galena for white, hematite for red, and sometimes graphite for black were used to paint the pottery, with a red on white swastika design being particularly popular. Sometimes incising was used (an example is the incised raptor image on the effigy head pot pictured), although it is rare in Nodena pottery.</p><br>
<h3>Head deformation</h3><br>
<p>The people of the Nodena phase practiced artificial cranial deformation or head flattening. Shortly after infants were born, they were strapped to a special carrier which deformed their skulls as they grew. Many of the skeletal remains found at the Nodena site had deformed skulls, of the type defined as fronto-occipital deformation, flattening of the forehead and the back of the head. Of 123 skulls found by Dr. Hampson, only six could be considered "normal", meaning they did not show the signs of head deformation. The functioning of the brain is not affected by cranial deformation, but the overall shape of the skull bones are. This practice was performed by many Native American tribes into historic times, including the Choctaw, although it later fell out of favor.</p><br>
<h3>Agriculture and food</h3><br>
<p>The people of Nodena were intensely involved in maize agriculture, as well as other food crops originating in the Americas, such as beans, squash, sunflowers and gourds. They also gathered wild foodstuffs such as pecans and persimmons. The de Soto chroniclers described the area as being under heavy cultivation, and the most populous they had seen in La Florida. The Spaniards described groves of wild fruit and nut bearing trees, implying that the Nodena must have left them standing when clearing other trees for the cultivation of maize. The hunting of whitetail deer, squirrel, rabbit, turkey, and mallard was practiced as well as fishing for alligator gar, catfish, drum, and mussels.</p><br>
<h3>Language</h3><br>
<p>The peoples of Nodena were probably Tunican or Siouan speaking. It is known that the Tunica were in the area at the time of the de Soto Entrada, and the related group of phases present in the region may have all been Tunican speakers, with Caddoan speakers to their west and south. But by the time of later European contact in the 1670s and the beginning of the historic period, the area was occupied by the Dhegiha Siouan speaking Quapaw. Attempts have been made to connect pottery styles and words from the de Soto narratives with historic tribes, but have so far been unsuccessful.</p><br>
<h2>Dr. James K. Hampson</h2><br>
<p>The museum for the Nodena site is named after Dr. James K. Hampson (1877&ndash;1956), owner of the Hampson Plantation on which the Nodena site is located, and the first archaeologist to excavate and preserve the artifacts from the Nodena site and to document their recovery.</p><br>
<p>The Hampson Museum State Park in Wilson, Arkansas exhibits an archeological collection of early American aboriginal artifacts from the Nodena site. Cultivation of crops, hunting, social life, religion and politics of that ancient civilization are topics of the exhibition. Stone and shell artifacts as well as pottery are on display to illustrate the culture of the Nodena people.</p><br>
<h2>Prehistoric Mastodon skeleton</h2><br>
<p>Mastodons are members of the prehistoric, extinct genus Mammut, they resemble modern elephants. Native to North America they are said to have lived on the North American continent from almost 4 million years ago until their eventual disappearance about 10,000 years ago.</p><br>
<p>In 1900, archaeologist Dr. James K. Hampson documented the find of skeletal remains of a mastodon on Island No. 35 of the Mississippi River, 2 mi south of the Nodena site and 23 mi south of Blytheville, Arkansas. In 1957 the site was reported as destroyed.</p><br>
<p>The Abbott Street School is a historic school building at 36 Abbott Street in Worcester, Massachusetts. Built in 1894, it is a good local example of Romanesque Revival architecture. It served as a public school until 1981, after which it was converted to residential use. The building was listed on the National Register of Historic Places in 1980.</p><br>
<h2>Description and history</h2><br>
<p>The former Abbott Street School is located west of downtown Worcester, on the west side of Abbott Street between Pleasant and Chandler Streets. It is a 2-1/2 story brick building with a hip roof and Romanesque Revival styling. Its most prominent feature is a projecting central turret, topped by a conical roof. It has a dentillated cornice, and round-arch windows on the second floor of the turret. Windows have rusticated granite sills, and there is a wide stone water table between the basement and ground floors. The main entrances flank the turret on either side, projecting slightly from the main block and recessed under round-arch openings with a granite keystone. A two-story addition extends to the rear.</p><br>
<p>The school was designed by Boston architect William Forbush and built in 1894. Stylistically it is similar to the 1891 Downing Street School, also designed by Forbush, but with less elaborate trim. It was built by B.C. Jacques at a cost of $20,000. In 1905-06 it was enlarged, with a sympathetic design by Worcester builder J. William Patston. The city operated the school until 1981, after which it was converted to residential use.</p><br>
<p>Valcour Bay is actually a strait or sound, located between Valcour Island and the west side of Lake Champlain, four miles south of Plattsburgh, New York. It was the site of the Battle of Valcour Island during the American Revolutionary War. It was declared a National Historic Landmark in 1961 because of this association. Valcour Bay is located in the Towns of Peru and Plattsburgh, both in Clinton County, New York.</p><br>
<h2>Description</h2><br>
<p>Valcour Island, located in Lake Champlain, is roughly rectangular in shape, extending 2 mi from its northern to southern tips. It is located about 0.5 mi east of the New York state shoreline to the west. Valcour Bay is the body of water between the island and the mainland, with the landmarked area of the bay consisting of about 1,200 acre. Both the island and the mainland shore have seen relatively little development since the area was of military importance in 1776.</p><br>
<p>In 1776, Benedict Arnold was placed in command of a Continental Navy fleet on the lake, composed mostly of small gundalows armed with three small cannons. After training with the fleet during the summer months, Arnold selected Valcour Bay as the place to meet the British Royal Navy fleet, which had taken longer to prepare for action. The bays location required the British fleet to sail with the wind south past the island, and then turn to come upwind toward Arnolds fleet, which he arrayed in a crescent formation. Meeting in battle on October 11, the two fleets engaged in battle in which both sides suffered some damage, but left the American fleet in a precarious position, with little ammunition and separated from its base by the British presence. The Americans were able to escape that night, but most of their fleet was abandoned, sunk, or captured over the next two days.</p><br>
<p>The, which was sunk during the battle, was raised in 1935 and is on display at the Smithsonian Institution in Washington, D.C. It was also declared a National Historic Landmark in 1961. The wrecked remains of the American schooner Royal Savage, abandoned and burned during the battle at the southern tip of Valcour Island were raised in 1934.</p><br>
<p>The Bennington Battlefield is the Rensselaer County, New York, location where the Battle of Bennington occurred on the 16th of August 1777. It is located on New York State Route 67 in Walloomsac, New York, a historic route between Bennington, Vermont and the Hudson River. Here, New Hampshire, Vermont and Massachusetts militia under General John Stark rebuffed a British attempt led by Colonel Friedrich Baum to capture American stores. It was declared a National Historic Landmark in 1961. A portion of the battlefield is preserved in the Bennington Battlefield State Historic Site. The American Battlefield Trust and its partners have acquired and preserved more than 23 acres of the battlefield not already part of the state historic site.</p><br>
<h2>Description</h2><br>
<p>The main portion of the Bennington Battlefield is located about 2.5 mi west of the New York-Vermont border, on the north side of the Walloomsac River. The river valley is flanked by a series of hills with steeply ridged sides. The state historic site encompasses the top of one of these hills as well as some of its surrounding terrain; it is at this site that some of the most concentrated fighting took place. The modern Route 67 no longer exactly follows the alignment of the road in 1777, but a bridge crossing on a nearby secondary street is believed to be located near a key crossing site at the time. Most of the hillside terrain is now wooded, while portions of the river floodplain are in agricultural use (as they were in 1777), and the hilltop of the state historic site has been cleared. A 19th-century railroad right-of-way, also following the river, is a significant intrusion on the battlefield landscape.</p><br>
<p>Prior to the Battle of Bennington, British troops (mainly Hessians) under the command of Colonel Baum occupied this particular hilltop, with additional detachments guarding the bridge, the ridge on the south side of the river, and a stream crossing north of the river and east of the hill. The American troops led by General Stark were able to reconnoiter these positions and sneak up on them, executing a surprise attack. Baum&#39;s forces were eventually routed, and he was slain. Hessian reinforcements arrived near the end of the first phase of the battle, and were eventually also put to chase, with the battlefield extending as far as a mile further down the river valley. The battle was a serious blow to the campaign of British General John Burgoyne depriving him of a needed supplies and a significant portion of his army as he made his push toward Albany, New York. and set the stage for his subsequent surrender at Saratoga.</p><br>
<p>The Barclay–Vesey Building  is an office and residential building at 140 West Street in Lower Manhattan, New York City. The 32-story building was designed in the Art Deco style by Ralph Walker of Voorhees, Gmelin and Walker, and was Walker&#39;s first major commission as well as one of the first Art Deco skyscrapers. It occupies the entire block bounded by West Street to the west, Barclay Street to the north, Vesey Street to the south, and Washington Street to the east, abutting the World Trade Center.</p><br>
<p>The building was constructed from 1923 to 1927 and was the longtime corporate headquarters of New York Telephone and its successor Verizon Communications. The building, being adjacent to the original World Trade Center to the south and 7 World Trade Center to the east, experienced major damage in the September 11 attacks following the collapse of the World Trade Center. Restoration of the building and damaged communications infrastructure after the attacks took three years and cost $1.4 billion. In 2016, part of the building was converted into 100 Barclay, a residential condominium development.</p><br>
<p>The Barclay–Vesey Buildings architects intended for the structure to have an imposing form, with vertical piers designed as buttresses; setbacks at upper floors; and a program of elaborate ornamentation on the exterior and interior. The Barclay–Vesey Buildings design has been widely praised by architectural critics, both for its design scheme and for its symbolism. The building&#39;s exterior and first-floor interior were declared city landmarks by the New York City Landmarks Preservation Commission in 1991, and the building was added to the National Register of Historic Places in 2009.</p><br>
<h2>Site</h2><br>
<p>The Barclay–Vesey Building is on the border of Lower Manhattan&#39;s Financial District and Tribeca neighborhoods. It occupies an entire city block bounded by West Street to the west, Vesey Street and the World Trade Center to the south, Washington Street to the east, and Barclay Street to the north. Adjacent buildings include 7 World Trade Center to the east and One World Trade Center to the south. The block is parallelogram-shaped, measuring about 210 ft along West and Washington Streets and 250 ft along Vesey and Barclay Streets. The total area of the block is 52,000 ft2.</p><br>
<p>Prior to the 19th century, the Barclay–Vesey Building&#39;s site was located off the shore of the North River (now Hudson River). The shore from Vesey Street north to King Street was infilled during the mid-19th century, and docks were constructed west of West Street. A wholesale market called the Washington Market was established on the future Barclay–Vesey Building block in 1812 or 1813. To support the market and the nearby food businesses, about 35 three- to five-story brick structures were erected on the block. When the building was erected, the site was still on the shoreline of the Hudson River. In the 1970s, Battery Park City was built on filled land along the shore, severing the building from the waterfront.</p><br>
<h2>Architecture</h2><br>
<p>The Barclay–Vesey Building, later known as the Verizon Building, was designed by Ralph Thomas Walker in the Art Deco style. It measures 498 ft tall with mezzanines above the ground, 17th, and 31st stories. The Art Deco style was not yet established when the building was erected, and contemporary publications described the building as being "Modernistic" or "Modern Perpendicular". It was also the first major structure that Walker designed for McKenzie, Voorhees & Gmelin, and, as such, was aesthetically distinguished from the firm&#39;s previous commissions. The building was constructed by general contractor Marc Eidlitz & Son, with several consulting engineers assisting in the project.</p><br>
<p>Walker intended the building to be "as modern as the telephone activity it houses". His design took several elements from Eliel Saarinens proposal for Chicagos Tribune Tower, as well as from Walkers own entry in the design competition for the Tribune Tower. Such elements included the Barclay–Vesey Buildings setbacks; its vertical piers; and its pyramidal roof, which had been a defining feature of Walker&#39;s Tribune Tower proposal.</p><br>
<h3>Form</h3><br>
<p>The massing of the Barclay–Vesey Building includes numerous setbacks. Though setbacks in New York City skyscrapers were mandated by the 1916 Zoning Resolution to allow light and air to reach the streets below, they later became a defining feature of the Art Deco style. The lowest ten floors of the building occupy the entire area of the city block. Above the 10th floor, there are setbacks on the north and south elevations of the facade. Narrow and deep light courts, to the west and east, create an H-shaped floor plan from the 11th to the 17th floors. There are smaller setbacks at each corner on the 13th floor. The building rises as a 108 by tower above the 17th floor, though smaller wings flank the northern and southern elevations on the 18th and 19th floors. The rectangular tower is aligned with buildings on Broadway to the east, so it is parallel to Barclay and Vesey Streets.</p><br>
<p>During the design process, Walker had considered plans for "a series of stacked blocks connected by blunt transitions", though this proposal lacked a unified sense of character. The appearance of unity was ultimately attained through the inclusion of piers on the facade. These piers divide the facade into bays. The western and eastern elevations of the Barclay–Vesey Building&#39;s facade are 19 bays wide, while the northern and southern elevations contain 23 bays each.</p><br>
<p>The Barclay–Vesey Buildings form was also influenced by its interior use. There were numerous functions that did not necessitate sunlight and could operate using artificial light, such as the central operating system and the mechanical space, which was placed inside the buildings core. The mechanical core was an important consideration since, at the time, office buildings largely relied on natural ventilation through means such as light courts. Because the office space was placed on the exterior walls, the lowest ten stories did not need light courts. As a result, the base could also occupy the entire lot area, with higher setbacks than in other office buildings.</p><br>
<h3>Facade</h3><br>
<p>The facade was inspired by Maya architecture. Above the granite base, the exterior is clad with brick in hues of green, gold, and buff, The Barclay–Vesey Building also contains serrated stone-and-light-brick parapets, which, when combined with the building&#39;s vertical piers, give a naturalistic "alpine" look to the setbacks. When taken as a whole, the materials of the facade were intended to give an impression of stability and mass.</p><br>
<p>The facade also serves a protective purpose: the steel frame is enclosed within 12 in, heavy masonry in the exterior infill walls. This was composed of 4 in of face brick and 8 in of terracotta, laid in Portland cement mortar with a waterproofing compound. Face brick on terracotta was used because it was cheaper than solid brick.The ornamentation on the facade was carried out by Ulysses Ricci and John De Cesare. It includes complex foliage; babies and animal heads; and a bell above the door, symbolizing the telephone company.</p><br>
<h4>Ground story</h4><br>
<p>The main facades are on West and Washington Streets to the west and east, respectively. At the center of each side, there are large entrance portals that are three bays wide and two stories tall. These portals contain bronze-framed doorways with decorative motifs. Above the doors are bronze screens with vine-and-grape ornamentation; these formerly also contained motifs of bells to represent the New York Telephone Company. The main entrance portals are framed with a decorative limestone lintel depicting a bird and human figures. The limestone friezes above each set of doors depict a bell flanked by a Mongolian and a Native American, which respectively symbolize the Eastern world and the Western world. On the West Street facade, the main entrance portal is flanked on either side by two single-width double-height bays, a triple-width double-height bay, and another single-width double-height bay. These double-height bays contain storefronts. From top to bottom, the storefronts at the base are generally composed of a solid panel, glazed glass, and a decorative transom.</p><br>
<p>There is an enclosed, arched arcade above the Vesey Street sidewalk on the southern facade, measuring approximately 17 ft wide and 250 ft long. There are 12 arches in total; each corresponds to two window bays above, except the westernmost arch, which corresponds to one window bay. The arches are supported by brick piers while the ceilings are composed of Guastavino tiles. but because it was so dark, the arcade did not receive too much pedestrian traffic. Nevertheless, numerous enterprises were located in the arcade, including a circulating library. The Vesey Street storefronts were converted to office space by the 2000s.</p><br>
<p>The north facade also contains storefronts set within double-width, double-height arches. Two of the central arches were converted into rectangular garage openings.</p><br>
<h4>Upper stories</h4><br>
<p>On the second through 32nd stories, the window design is mostly consistent. Most window openings contain three-over-three sash windows, though some openings have been covered with louvered grates, especially in places where there are mechanical or communications equipment.</p><br>
<p>Cast stone decorative elements are concentrated above the 20th story. The 30th floor, 31st floor, and 31st-floor mezzanine contains five triple-height arched windows on each facade. Stone piers protrude above the rooftop level, which contains some mechanical equipment.</p><br>
<h3>Features</h3><br>
<h4>Structural features</h4><br>
<p>The building&#39;s basements extend 72 ft deep and are surrounded by a concrete cofferdam measuring 8 ft thick. The cofferdam encloses steel braces that descend to 65 ft below the curb. Above ground, there is masonry encasing the steel superstructure. Brick, cinder, concrete, and other masonry materials are used throughout the interior. The floors are made of reinforced concrete, and wood was avoided in the building where possible, with steel doors used for fireproofing. The stairs and corridors were also designed to be fire- and smoke-proof, with partitions throughout the building. Some 5,000 ST of steel was used in the substructure, while 15,000 ST of steel was used in the superstructure.</p><br>
<h4>Mechanical features</h4><br>
<p>The building was split mechanically into two sections: one serving the basements and lowest 16 floors, and another serving the 18th through 32nd floors. The 17th floor housed the mechanical equipment. This was in contrast to other buildings, where mechanical equipment were usually contained on their roofs or in their basements. The floors could handle live structural loads of up to 150 or, depending on the intended uses of each floor section. The Barclay–Vesey Building was equipped with electric ducts on every floor, so a wire could be brought to within 2 or of any point in the building. Two 110-to-220-volt direct current power lines provided power for the buildings normal operation, though either line could provide all of the buildings power if the other line failed. In addition, there were two 13,400-volt, three-phase alternating current lines for the telephone exchanges. There were also 35 motor generators with a total capacity of 2,000 hp.</p><br>
<p>Heating and ventilation systems were also divided into three sections: the basements to the 10th story, the 11th to 17th stories, and the 18th to 32nd stories. Air distribution to each section was controlled by a panel in the fourth basement, which operated pneumatic valves in the 10th story and 17th mezzanine. The heat was provided by four boilers, which were powered by coal bunkers with a capacity of 1,500 ST. The heat was then distributed to the upper stories through 3,000 radiators. There was also an ice-making plant in the basement, which could create 2,000 lb of ice every 24 hours.</p><br>
<p>The building&#39;s water-supply system is divided into three sections. The basements and ground story were served directly by the New York City water supply system. The second through 16th stories were supplied by a 33,500 gal tank on the 17th-story mezzanine. The 18th through 32nd stories were supplied by a 15,000 gal tank on the 32nd story. The tanks on the 17th mezzanine and 32nd story were each served exclusively by two pumps, and a fifth pump could serve either tank. Hot water was provided by heaters on the first basement, the fourth story, and the 17th mezzanine. The original fire-protection system had tanks with a total capacity of 62,500 gal, with a large tank on the roof and smaller reserve tanks on the eighth, 17th mezzanine, and 25th floors. The fourth basement had two motor-driven 250 hp pumps, which could provide 2,000 gal of water per minute.</p><br>
<p>The buildings drainage system was divided into several sections. In the basements and the first story, the sanitary system discharged into ejectors in the fifth basement. On and above the second story, there were two main sanitary stacks serving alternate floors. The roof had a separate drainage system that connected directly to the citys sewer system. Subsoil water and floor drains emptied into a 70,000 gal sump in the fifth basement. From there, two sump pumps drained the water out of the building.</p><br>
<h3>Interior</h3><br>
<p>In his design for the Barclay–Vesey Building, Walker believed that the structure should serve "as a machine which had definite functions to perform for the benefit of its occupants." Walker created the interior elements by machine when it was possible. Mumford likened this continuity in interior and exterior design to the works of Frank Lloyd Wright, Henry Hobson Richardson, and Louis Sullivan, which also exhibited such consistency. When used as a telephone facility, the Barclay–Vesey Building could accommodate 6,000 workers in 850,000 ft2 of usable space.</p><br>
<p>There are 26 elevators to transport tenants to upper floors.</p><br>
<h4>Lobby</h4><br>
<p>The lobby runs between the West and Washington Street entrances to the west and east, with a vaulted ceiling. The interior of the lobby includes buff-colored veined marble walls and floors. The elevator doors were originally made of hammered iron, A telephone alcove is also placed off the lobby. Since the upper floors residential overhaul in the 2010s, the western half of the lobby is still used by Verizon, but the eastern half is used as a residents lounge.</p><br>
<p>The lobby has an Art Deco decorative scheme. These works were designed by Ricci and De Cesare, and executed by Edgar Williams and Mack, Jenney & Tyler. The elevator doors are framed by bronze surrounds, while the elevator lobbies feature Levanto marble walls. Other doorways leading from the lobby, as well as the fluted pilasters along the lobby&#39;s length, are also made of Levanto marble. The doors from the lobby are made of bronze, as are the capitals of the pilasters, which incorporate grape-and-vine motifs.</p><br>
<p>The lobby features inlaid bronze medallions in the floor, which depict the construction of the telephone system. The medallion on the eastern side depicts a female telephone operator, and that on the western side depicts a lineworker. Nine murals (five at the western entrance and four at the eastern entrance) demonstrate the ancient methods of communication. The three center murals depict modern communication. The chandeliers are suspended from motifs of "angelic figures".</p><br>
<h4>Other floors</h4><br>
<p>The Barclay–Vesey Building has five sub-basement levels, which house communications equipment. These circuits traveled as far north as 42nd Street. In emergencies, the 17th floor could provide services to the building&#39;s base. As built, the structure had a cafeteria and recreation rooms within one of its basements. These spaces contained trees and paintings. A mural, depicting a panoramic view of the Mediterranean from Spain, decorated one wall.</p><br>
<p>When the building opened, it contained an auditorium at ground level and a gymnasium at the ground-floor mezzanine. Each of these stories covered approximately 1 acre. The elevator lobbies on each floor were equipped with illuminated signs, indicating which sets of elevators served that floor. The 29th floor included New York Telephone&#39;s offices. The 29th-story corridors and anteroom had travertine stone floors, Levanto marble baseboards, Kato stone wainscoting, and plaster friezes and ceilings. White oak floors and curly maple paneling were used in the suite itself. The 31st floor contained an assembly room that could hold 6,500 workers. There was also a training school for workers.</p><br>
<p>The stories above the 10th floor have been converted into 157 luxury condominium units. There is a separate lobby for residents on the Barclay Street side, which connects to the original lobby. The building also contains an 330 ft2 wading pool and an 82 ft lap pool. Other features of the residential portion of the Barclay–Vesey Building include rooms for wine-tasting and billiards; music practice; a fitness center; a childrens playroom; and a residents lounge. There are also four residential terraces.</p><br>
<h2>History</h2><br>
<h3>Development</h3><br>
<p>The New York Telephone Company began to grow rapidly after World War I. An internal review of the organizational structure found that its New York City operations were housed in multiple buildings across the city and were thus inefficient. The site was chosen "because real estate values in that vicinity were much lower" compared to the area around Broadway, being relatively isolated from the rest of the neighborhood. The company owned the entire block by 1923, by which it had spent $1.5 million on acquisitions.</p><br>
<h4>Planning</h4><br>
<p>In April 1923, the company announced that it intended to build a new headquarters at a projected cost of $11.5 million. The structure was to house 6,000 employees from the companys six central offices, who would work with 120,000 telephones, as well as mechanical equipment to support the companys equipment. The initial design called for a height of 404 ft, with 680,000 ft2 of office space, and 38,000 ft2 of commercial ground-floor storefronts. In addition, the building would be erected with a steel-and-concrete frame, as well as facade trim made of limestone and buff-colored brick. who was then thirty-four years old and relatively inexperienced. At the time, construction was expected to be completed in July 1925.</p><br>
<p>Walker may have started planning the Barclay–Vesey Building in 1921. He wished to create a "strong corporate image" for the structure, According to S. F. Voorhees, an efficiently designed building on the site could not be taller than 43 stories. Voorhees&#39;s studies found that a 16-story building was most efficient in terms of "quantities of space", while a 29-story building would have the lowest construction costs per square foot. The latter calculation also allowed the architects to determine how many basement stories were required.</p><br>
<p>Walker tested out different architectural styles, such as the Gothic and Italian Renaissance styles, before settling on a "modernistic" Art Deco style.</p><br>
<h4>Construction</h4><br>
<p>Demolition of existing buildings on the site commenced in May 1923, Work on the foundation began on June 20, 1923. Each caisson measured 8 ft thick by 40 ft long and was sunk to a depth of 55 to 75 ft.</p><br>
<p>During construction, almost 700 workers were employed for the project at any given time; tradesmen, such as plumbers and electricians, worked with concrete and steel contractors in overlapping shifts, in order to reduce delays. The superstructure incorporated 20,000 ST of steel across its above-ground and below-ground sections, and the builders used six derricks to lift the girders from the street. Four temporary stairways, each containing 351 steps, were built to facilitate the construction of the upper floors. The floor arches were built starting in October 1924; on average, one floor was completed per week. and the last brick was laid that September. The New York Building Congress gave craftsmanship awards to several workers to celebrate the buildings completion. New York Telephones vice president James S. McCulloh placed both the first and the last rivets.</p><br>
<p>The first employees moved to the building on February 19, 1926. All construction was completed by June 1926. However, the New York City Department of Buildings did not declare the building to be completed until April 1927.</p><br>
<h3>20th-century use</h3><br>
<p>New York Telephone originally had four dial telephone exchanges at the Barclay–Vesey Building. Two additional exchanges were activated in 1928, which would be able to serve 125,000 additional subscribers; at the time, Lower Manhattan was one of the busiest telephone districts in the world.</p><br>
<p>In 1970, the company signed an agreement to move its executive offices to 1095 Avenue of the Americas, a proposed 53-story speculative development near Bryant Park in Midtown Manhattan, which would be larger than the existing West Street offices. Two years later, the New York Telephone offices had moved out of the Barclay–Vesey Building, though the switching offices remained. Improvements in technology resulted in the invention of smaller telephone equipment, leading to an increase in available office space at the Barclay–Vesey Building. By the 1990s, some office workers were moving back into the Barclay–Vesey Building.</p><br>
<p>The exteriors and ground-floor lobbies of the Barclay–Vesey Building and two other telecommunications buildings were designated city landmarks by the New York City Landmarks Preservation Commission in 1991. New York Telephone supported the designation, and the companys own media had previously described the building as a "landmark". The building became the headquarters of Bell Atlantic following Bell Atlantics 1997 merger with NYNEX. Subsequently, in 2000, the building became Verizon Communications&#39; headquarters after Verizon was formed from the merger of Bell Atlantic and GTE.</p><br>
<h3>21st-century use</h3><br>
<h4>Damage and restoration</h4><br>
<p>At the time of the September 11 attacks, the Barclay–Vesey Building was being renovated. As a result, underground cable vaults belonging to Verizon, along with other underground utility infrastructure, were heavily damaged from water and debris. The building received only moderate damage because its thick-masonry design gave the building added strength,</p><br>
<p>Tishman Realty & Construction, which had been planning work on the building prior to the attacks, did a quick assessment of the building in the days after the attack. William F. Collins AIA Architects was the lead architectural firm working on the restoration, The Excalibur Bronze Foundry and Petrillo Stone were hired as specialists to restore the intricate ornamental detail in the facade and in the lobby. The facade restoration involved carving motif designs in the ornamental limestone, as well as installing of Indiana limestone and of Stony Creek granite. For the murals in the lobby, hypodermic needles were used to inject acrylic resin to restore the paint and plaster. On the executive office floors, workers restored the barrel-vaulted ceilings, plaster friezes, and other elements. Restoration of the building also involved replacing a corner column; A+ Construction of Rye, New York was responsible for this work. The building&#39;s 23 elevators were also upgraded; new fire alarms, building command systems, and chillers were installed; and restrooms were made accessible to those with disabilities.</p><br>
<p>Restoration of the building took three years, at a cost of $1.4 billion. The restoration was complete by late 2005. the operations hub was relocated to Verizon&#39;s campus in Basking Ridge, New Jersey.</p><br>
<h4>Partial sale and residential conversion</h4><br>
<p>The building was partially flooded by storm surges from Hurricane Sandy in 2012, which seeped into the basement levels, took all except one of the elevators out of service, and damaged the lobby murals. The next year, Verizon sold off the top floors to developer Ben Shaoul, the head of Magnum Real Estate. Verizon retained the 28th and 29th floors as well as the ground through 10th stories. In conjunction with this sale, Verizon moved 1,100 employees to Downtown Brooklyn and relocated others to 1095 Avenue of the Americas. To prevent against future flood damage, Verizon installed a storm surge barrier in front of the building.</p><br>
<p>Following Verizons sale of the top floors, it was announced that Magnum Real Estate would convert the upper floors to a condominium complex known as 100 Barclay. Shaoul and the CIM Group obtained a $390 million loan in February 2015 to help finance the project. The partners added 157 units to the Barclay–Vesey Building and placed the first condos for sale in early 2016. However, 100 Barclays residential units remained largely unoccupied by 2019, leading Magnum Real Estate to reduce the penthouse&#39;s asking price from $59 million to $39 million. To fill up the unused units, Magnum Real Estate started advertising to renters.</p><br>
<h2>Critical reception</h2><br>
<p>The Barclay–Vesey Building received much positive acclaim when it was completed. New York Telephone dubbed the headquarters "a symbol of service and progress", Joseph Pennell called the building "the most impressive modern building in the world", The New York Herald, New York Tribune wrote: "The architects deserve our thanks for their trust in the fundamental qualities of design." The building was on the frontispiece of the English version of Toward an Architecture by Le Corbusier, such was its stature. These favorable reviews have continued through the 21st century: the 2009 Guide to New York City Landmarks described the building as "one of the most significant structures in skyscraper design".</p><br>
<p>The design received awards from civic groups as well. In February 1927, the Architectural League of New York awarded Walker a gold medal of honor for the design, lauding its "quality of excellence" and saying that "A result has been achieved expressive of a high degree of skill and good taste in both general mass and in interesting detail." That October, the Broadway Association gave the New York Telephone Company an award for the Barclay–Vesey Building, calling it a "contribution to civic advancement."</p><br>
<p>Praise also focused on specific elements of the Barclay–Vesey Building. The architect Harvey Wiley Corbett said that the ornamental program was "straightforward and appropriate and eminently right". Mumford wrote that the building was "perhaps the first large structure" besides Chicagos Auditorium Building to "carry through with a significant scheme of decoration", in particular praising the lobby as "a gay efflorescence of remarkably good decoration". Similarly, Hamlin wrote that the lobby "proves that as beautiful a richness of color and form can be obtained freely and non-stylistically as in any of the historical styles". Following the September 11 attacks, Verizons corporate-real-estate manager praised the Barclay–Vesey Building&#39;s resilience, referring to the building as a "tank".</p><br>
<p>Some parts of the design were also criticized. In 1991, New York Times architectural writer Phillip Lopate stated that "the corporate publicity aspects of the Barclay–Vesey lobby seem, by todays standards, overdone and kitschy" compared to Walkers later 60 Hudson Street commission, which was austere.</p><br>
<p>Glen Echo is a neighborhood located in the far northern part of the University District in Columbus, Ohio. The area was listed on the National Register of Historic Places in 1997. The name Glen Echo refers to Glen Echo Ravine, which runs along the northern edge of the neighborhood. Principal streets in the area are Glen Echo Drive, Summit Street, Glenmawr Avenue, North Fourth Street, Arcadia, Cliffside Drive, and more. One street, Parkview Drive, was platted in the ravine basin, but was later abandoned.</p><br>
<p>The district originated in 1909 when the Columbus Real Estate and Improvement Company platted 47 acre as "Indianola Park View" for a planned residential subdivision and a part of the Glen Echo Ravine was delineated as a park, the first such donation to the city of Columbus by a real estate developer. The wooded Glen Echo Ravine significantly influenced the original layout, design, and overall character of the district. The neighborhood&#39;s developer was also involved with the development of Walhalla Ravine and Eastgate. Prior to its development, the area was considered for a major hospital; however, those plans were abandoned.</p><br>
<p>A 1909 Ohio State publication described the new north side park as a place of beauty where large oak and elm trees shaded a wading pond, five small lakes connected by a single stream, rustic benches, foot bridges and springs lined with cobblestones. Glen Echo&#39;s picturesque environs hosted picnic dinners, equestrians and motorists who enjoyed this oasis of greenery. In 1910 the development was annexed to the City of Columbus and in 1912 Glen Echo Park was dedicated to the city.</p><br>
<p>Most of the homes in the Glen Echo neighborhood were built between 1909 and 1943 and include American Craftsman style bungalows, Shingle Style, Tudor Revival and Colonial Revival, many with front and/or sleeping porches. Most homes, however are not "high style" structures, and would be classified as either traditional American Foursquare or American Vernacular in style. The homes are a mix of single and double units with a high home-owner occupancy rate. Grassy boulevards are features of Glenmawr Avenue and North Fourth Street; these elliptical islands are classified as parks with the Columbus Department of Recreation. Stone stanchions and street furniture are a hallmark of Glenmawr Avenue. The 1997 listing of the neighborhood on the National Register of Historic Places was made based on the neighborhood&#39;s overall fabric as a middle class development, rather than as a collection of high style architecture.</p><br>
<p>Homes in the neighborhood are kept in good repair. Residents have attempted to distance themselves from the now defunct Glen Echo South Civic Association. A move by some residents put the question of the neighborhood&#39;s leaving the University District up for discussion; however, the city of Columbus does not have a mechanism for detaching neighborhoods from one area Commission and reattaching that area to another commission. The neighborhood is currently working on creating an active civic association (Glen Echo Neighbors Civic Association or GENCA). Monthly GENCA governance meetings open to the public are held at 4pm on the Second Saturday of every month at the Glen Echo Presbyterian Church on Cliffside Drive.</p><br>
<p>The three interpretive signs located in Glen Echo Park along the vacated Parkview Drive provide walkers with insights into the history of the park.</p><br>
<p>Each year, Glen Echo Neighborhood is featured on Columbus Landmarks Foundation Walking Tour.</p><br>
<p>Millington is a village within the town of East Haddam, Connecticut, United States. Millington lies halfway between East Haddam center and Salem center. It is the section of East Haddam that is the closest to Devils Hopyard State Park. The village is connected to East Haddam Center and to Devils Hopyard State Park by a series of secondary roads that are maintained by the state. The road is given an unsigned designation "Special Service Road 434", which runs on Mount Parnassus Road, Millington Road, Haywardville Road, and Hopyard Road.</p><br>
<p>Millington includes the Millington Green Historic District which was listed on the National Register of Historic Places in 1996.</p><br>
<p>The village is the site of the Millington Green, a small triangular town green in the center of the village at the junction of Millington, Haywardville, and Tater Hill roads. The Green contains a flagpole, bench, and perennial flower garden and is surrounded by several historic houses, including the Daniel Bulkeley House (built in 1792), the 10th District Schoolhouse (built in 1854), the Millington Green Parsonage (built in 1854), the Julius Schwab House (built in 1950 but incorporating a schoolhouse from 1756), and the Ebenezer Dutton House (built in 1766).</p><br>
<p>Millington was first settled in 1704 by Jonathan Beebe of New London. An ecclesiastical society separate from Haddam (East Haddam was then part of Haddam) was granted in 1733. The congregational church was organized in 1736 and a meetinghouse constructed on the Green in 1740. The village became a training area for the local militia during the Revolutionary War. The village never recovered from a depression following the War of 1812 and is now a rural residential neighborhood.</p><br>
<p>Poquetanuck is a village in the town of Preston, Connecticut, United States, located near the banks of a bay known as Poquetanuck Cove that opens to the Thames River. The village includes the National Register of Historic Places -listed Poquetanuck Village Historic District.</p><br>
<h2>History</h2><br>
<p>Historically, Poquetanuck was one of three distinct settlements in the town of Preston, the others being Preston City and Long Society. The village of Poquetanuck was the site of shipbuilding activity.</p><br>
<p>The historic district was listed on the National Register of Historic Places on August 22, 1996. It includes representations of Colonial, Mid 19th Century Revival, and Late Victorian architectural styles. At the time of the 1996 listing, there were 39 contributing buildings, two other contributing structures, and one contributing site in the district.</p><br>
<p>One contributing property in the historic district is a home built in 1754 by sea captain William Gonzales Grant which currently houses a bed and breakfast inn.</p><br>
<p>Route 2A, a two-lane undivided highway, passes through Poquetanuck. Increased traffic volumes on this road, attributed to the nearby Foxwoods and Mohegan Sun casinos, are considered to be a threat to the historic character of the village.</p><br>
<p>A 234 acre tract with about one mile of shore frontage on Poquetanuck Cove belongs to The Nature Conservancy, which maintains it as Poquetanuck Cove Preserve.</p><br>
<p>The Main Street Historic District in Tampico, Illinois, United States, is a historic district notable as home to the birthplace of Ronald Reagan. The district includes the late 19th century collection of buildings that comprise Tampico&#39;s central business district; among them are two apartments that the Reagan family occupied in the early 1900s. The buildings in the district went through several periods of rebuilding during the 1870s due to major fires and a tornado. The district boundaries encompass the 100 block of Main Street and exclude properties that do not date from the historic period.</p><br>
<p>The historic district represents an intact commercial district representative of rural, small town Illinois. The buildings present a cohesive architectural unit; each building within is dependent on the others for its significance. The district&#39;s contributing properties are divided into two major categories, "contributing structures" and "significant structures." Both commercial buildings that the Reagans occupied second floor apartments in are listed as "significant." The Main Street Historic District was added to the USA National Register of Historic Places in 1982.</p><br>
<h2>History</h2><br>
<p>Tampico, Illinois, in southeastern Whiteside County, was founded in 1858 but settlers did not arrive in earnest until 1871, partially due to the swampy nature of the terrain. After the Chicago, Burlington and Quincy Railroad constructed a line through Tampico in 1871 growth was rapid but faced a series of major setbacks. In 1872, 1874 and 1876 the village was struck by major fires which required the repeated rebuilding of the town&#39;s central business district along Main Street. A tornado destroyed about 40 buildings in 1874, adding to the headache caused by the fires. As a result of the repeated rebuilding, all buildings along Main Street built after 1876 are constructed from brick.</p><br>
<p>Between 1896 and 1905 the Main Street district in Tampico went through a building boom. Many agriculturally oriented industries located in Tampico during this time period. The construction of the Hennepin Canal from 1899 to 1907 also contributed to the influx of new buildings in Tampico and during the period of construction five new buildings were added to Main Street. It was in 1906 that the family of Ronald Reagan moved into the district, occupying the apartment on the second floor of the building at 111 Main Street. They would live in other locations in Tampico, move elsewhere, and eventually briefly return to the village and occupy another second floor apartment within the district.</p><br>
<p>Modern Main Street (Illinois Route 172) in Tampico has fewer buildings and less density than it did during the peak of its historical significance from 1871 to 1920. Fires and new construction are to blame, in part, for this situation. Despite fewer buildings, the row of commercial buildings along the east side of Main Street is illustrative of the former density of the district.</p><br>
<h2>Boundaries</h2><br>
<p>Historically, the central business district in Tampico stretched one block, the 100 block, of Main Street, which extended from Market Street on the north to the Chicago, Burlington and Quincy tracks on the south. The boundaries of the historic district mostly overlie the traditional boundaries of the central business district. The district boundaries exclude properties that are not part of the historic period. In addition, the boundaries exclude residential properties.</p><br>
<p>The northern boundary of the historic district, near Market Street, was drawn to include the properties at 106 and 107 S. Main while excluding a lot, vacant at the time of the district&#39;s inclusion on the National Register, and a new building. The southern border was drawn along Pig Alley and designed to exclude a non-historic grain elevator near the railroad tracks.</p><br>
<h2>Architecture</h2><br>
<p>The buildings in the Tampico Historic District all have a uniform setback, save the neo-Colonial, 1970s-era bank building. All but one of the district&#39;s buildings stand two stories, contributing to a uniform architectural rhythm and harmony. Land use within the district boundaries is strictly commercial and the architecture of the buildings reflect that use. The most architecturally significant structures in the district are part of an integrated, cohesive unit. Their significance is dependent upon each other, thus, the removal of any one of the buildings would reduce the integrity of the other buildings.</p><br>
<h2>Properties</h2><br>
<h3>Contributing structures</h3><br>
<p>The three buildings considered contributing structures, while dating from the period of historical significance for the district, have been extensively altered. In addition, all three buildings are free-standing structures and thus, not integrated into the whole of the visual harmony found in the significant structures. The three altered buildings are located at 106, 110 and 131 South Main Street.</p><br>
<p>The building at 131 Main, on the east side of the street, was originally constructed in 1873 and formerly owned by the Glassburn Lumber and Feed company. The west facade of the building has been altered by the addition of a new storefront and a pseudo-mansard roof. The structures at 106 and 110 Main are connected by a single-story structure between them. 106 S. Main Street was constructed in 1873 and features a false-front with a parapet that hides its gable roof. The building formerly housed a millinery and a beauty shop and its front (east) facade has been significantly altered. At 110 S. Main Street is a 1905 two-story brick building originally used as a grocery store. The building, which has been used by the Masonic Lodge, has had part of its cornice removed and replaced by a shingled canopy.</p><br>
<h3>H.C. Pitney Variety Store</h3><br>
<p>The building known as the H.C. Pitney Variety Store consists of two store fronts, and was erected by Ray McKenzie in 1900. The H.C. Pitney Variety Store occupied the property, under various owners, from 1911 until 1920. H.C. Pitney owned the store from 1911 until 1914, when he sold it. The H.C. Pitney Variety Store is most notable for its upstairs tenants from 1919 to 1920. During this period, H.C. Pitney operated the building as the H.C. Pitney Variety Store, and the second-floor apartment was occupied by the family of 40th USA president Ronald Reagan.</p><br>
<p>The building is part of a two-story commercial block along Main Street, and is attached to the building next to it. Of the two structures in the block the Pitney Store is the newest, the other building was built a year earlier. The two-story brick building features a metal cornice and two storefronts listed at different addressed. The first store front, at 124 Main Street is 3 bays wide and the second, at 122 Main Street, is 4 bays wide.</p><br>
<h3>Ronald Reagan Birthplace</h3><br>
<p>The building known as the birthplace of 40th USA president Ronald Reagan was constructed in 1896 for G.W. Stauffer by Fred Harvey Seymour and later became known as the Graham Building. It was built in 1896 and housed a tavern from that time until 1915. On February 6, 1911, the 40th president of the United States, Ronald Reagan, was born in the apartment above the bakery/restaurant, which later became the site of the First National Bank. The Reagans would move out of the apartment and into a house on Glassburn Street in Tampico a few months after Ronald was born.</p><br>
<p>Architecturally, the two-story brick building is similar to its neighboring buildings. It is brick, two stories tall, has three second-story windows and a cornice. Only the areas oldest buildings differ from the Reagan Birthplaces metal cornices and flat-headed windows. The building&#39;s first-floor interior has been restored as the First National Bank, which occupied the property from 1919 to 1931. On the second floor the apartment has been restored to the period when Reagan was born. The site offers tours to the public and is listed as a "significant" contributing property to the historic district.</p><br>
<h3>Significant structures</h3><br>
<p>The contributing properties in the Main Street Historic District are classified into two categories, "significant" and "contributing". Significant structures are those with architectural or historical distinction, 10 of the 14 buildings remaining within the district are classified as significant. The significant structures are grouped into two sets, one consists of the buildings from 107 to 119 Main Street (along the east side of the street) and the second of buildings from 122 to 126 Main Street (west side of street).</p><br>
<p>The first group of significant structures are along the east side of Main Street and addressed from 107 to 119. 107 S. Main Street was constructed for Susie Slippell in 1903 and once housed a harness shop. The next building, 109 Main, was built in 1898 by J.J Blietz, it held the Elmdorf Grocery and Meat Market. The building adjacent the former meat market is the Ronald Reagan Birthplace. 113 and 115 Main were built simultaneously in 1900, and share a wall. 113 Main is the current home to the Ronald Reagan Gift Shop and was originally constructed by Fred Seymour for use as the Seymour Grocery Store. The building at 115 was built for M.R. Lyon and has been in use as a funeral home since 1903.</p><br>
<p>The structures at 117 and 119 are the oldest brick buildings in the historic district and were built in 1877 following the last major fire. 117 Main, built for J.C. Paice, has housed a grocery store, meat market, and variety store, and retains its original cast iron storefront. The building at 119 Main was erected for Ruben Davis. It was damaged by fire in 1980 but has since been repaired.</p><br>
<p>The second group of significant structures are found on the west side of Main Street from 122 to 126. The two storefronts at 122 and 124 Main are the H.C. Pitney Variety Store. The adjacent structure was built in 1899 for A.J. Glassburn, son of town founder John Glassburn. The building housed the Tampico State Bank from 1899 to 1931 with A.J. Glassburn as its president. Glassburn also served as mayor of Tampico during three periods, 1882–1885, 1887–1893, and 1901–1902. After 1931 the building housed another bank and a lumber and hardware store.</p><br>
<h2>Significance</h2><br>
<p>The Main Street Historic District in Tampico, Illinois is most significant in two areas. First, the district represents an intact example of a central commercial district in a rural Illinois town. Second, the birthplace of the 40th president of the United States, Ronald Reagan, is located within the districts boundaries. These reasons contributed to the historic districts listing on the USA National Register of Historic Places on 3 June 1982.</p><br>
<p>The Howland Cultural Center, formerly known as Howland Library, is located on Main Street  in Beacon, New York, United States. It is an ornate brick building designed by Richard Morris Hunt in the 1870s. In 1973 it was listed on the National Register of Historic Places.</p><br>
<p>Hunt was commissioned by his brother-in-law, Joseph Howland, to design a home for a subscription library he donated to the city. The completed building has much in common with the Stick style summer homes in Newport, Rhode Island, that Hunt designed at this early stage of his career. Some of its design elements have been compared to Norwegian vernacular architecture. The interior was not complete in its current form until almost the end of the century. Except for some upgrades to its utilities, it has remained largely intact since then.</p><br>
<p>Throughout the 1920s it was one of only two remaining public subscription libraries in the state. In response to a donor&#39;s bequest, the library became free at the end of that decade. Almost 50 years later, the library moved out when it outgrew the building. Since then it has been used as a cultural center, hosting various visual and performing arts events.</p><br>
<h2>Building</h2><br>
<p>The building is located at the east end of downtown Beacon, at the corner of Main Street and Tioronda Avenue, just west of where Churchill Street forks off to cross Fishkill Creek. The blocks to the west and north are urban and densely developed with larger mixed-use buildings, on the south side of the street. A large church is just across Tioronda from the Howland.</p><br>
<p>To the south, across Van Nydeck Avenue, is a mostly wooded area with a few houses. The Madam Brett Homestead, a 1709 stone house also listed on the Register, is near the west end of the block. Another listed building, Beacon&#39;s post office, is a block and a half west along Main Street.</p><br>
<h3>Exterior</h3><br>
<p>The building itself is a two-story three-by-five-bay brick structure on a foundation of bluestone and granite quarried at nearby Breakneck Ridge. Its first story is faced in brick; the second in polychrome fishscale shingles. Atop is a six-gabled roof covered in Delaware slate pierced by a brick chimney on the west side.</p><br>
<p>On the first story the foundation is capped with a granite water table. The east (front) face has arched double two-over-two double-hung sash windows and central main entrance are set in slightly recessed arched panels trimmed with patterns of black and buff brick. The tops of the panels are corbelled. Narrow side panels between the window panels and corners have a simple cross design in black and buff brick corresponding to the top of the window arches.</p><br>
<p>Six wooden pillars flanking the main entrance support a projecting bay on the second story, with a small hood sheltering the entrance steps. The second story as a whole is set off from the lower level by another water table. Its windows are narrow, tall two-over-two double-hung sash above fluted panels. They extend above the roofline, where they are topped with hipped roofs giving them the appearance of dormers. Wood painted red trims the shingles.</p><br>
<p>The central window has tall, narrow, two-over-four double-hung sash. Its face has a half-timbered appearance, although the section on either side of the windows is faced in clapboard rather than stucco. Above it is a two-paned semicircular lunette window. The bay is topped with a steeply pitched gabled roof and finial.</p><br>
<p>On the side elevations, there are two two-over-two double-hung sash windows in the east bays with a similar treatment as the front windows. Two gables pierce the south face. The smaller one on the north has two-over-two double-hung sash with another half-timbered face in the gable. Its larger counterpart on the south has a large paired window of one-over-one double-hung sash with smaller flanking windows. Above it is a tympanum set with intricate tracery. A similar window is located opposite; it has no smaller window closer to the east.</p><br>
<h3>Interior</h3><br>
<p>The interior of the building is a large open space. Floors are of English cane felt overlaid with hemlock, to dampen sound, and topped with strips of Georgia pine.</p><br>
<p>Other rooms include a small entryway on the first floor and two small offices. On the second floor are three small rooms. They were originally the librarian&#39;s apartment, but are now also used as offices.</p><br>
<h2>History</h2><br>
<p>Joseph Howland, a Civil War general and former New York State Treasurer whose Tioronda estate was a mile (1.6 km) south of the buildings location in what was then the village of Matteawan, commissioned the building from his brother-in-law, Richard Morris Hunt, late in 1871. At the beginning of the next year, a general meeting was held for all those interested in establishing a subscription library. By August the building was complete, and the library opened with a formal ceremony at which Howland transferred the building to the librarys board of trustees.</p><br>
<p>Hunt&#39;s building followed contemporary architectural styles similar to those of the cottages he was building for wealthy vacationers in Newport, Rhode Island. It most clearly reflects the polychrome and Picturesque modes. The woodwork around the main entrance also shows hints of the emerging Stick style; there was one more at the gables, but it has been lost.</p><br>
<p>It was one of the last libraries to use natural light for its reading room. The original 2,200-volume collection grew quickly, as did the membership. In 1887 electric lighting replaced the original gas lamps. Seven years later, more space was needed, and the upper gallery was added, the last significant change to the building. Some alterations have also been made to the heating system over the years.</p><br>
<p>Even after the village of Matteawan, where it was located, merged with nearby Fishkill Landing at the beginning of the 20th century to become todays city of Beacon, the library remained subscribers-only. In the late 1920s, when it was one of only two such libraries remaining in the state, a wealthy local resident made a bequest to the library on the condition that it become a free public library. That began in 1929, essentially making it the citys library.</p><br>
<p>In 1942, Nancy Lamont, the second librarian, left the position. She and her predecessor had served a combined 70 years. The library continued to serve the city and its residents from the building until the 1970s, when the growth of the former outpaced the capacity of the latter. In 1976 the library moved to a vacant department store building two blocks west along Main, where it has remained, still called the Howland Library.</p><br>
<p>After the library moved out, the Howland Cultural Center was established to keep the building in use and preserve it. It hosts a variety of visual and performing arts events, as well as public and community meetings. It rents out the building for some events, mostly similar to those it stages itself but also including small weddings.</p><br>
<p>In 2007, the center installed geothermal heating to cut its energy costs and reduce the use of fossil fuels. A system using water in vertical pipes to be dug 250 feet (76 m) into the earth beneath the center will both heat and cool the building. It heats the building with up 70% more efficiency and cools up to 40% more efficiently. In addition it is quieter, enhancing the building&#39;s acoustics.</p><br>
<p>Shushan Bridge is a covered bridge over the Batten Kill in the hamlet of Shushan in Washington County, New York, near Vermont. It is one of 29 surviving historic covered bridges in New York State and one of 4 surviving in Washington County.</p><br>
<p>It was built in 1858 by builder Milton Stevens.</p><br>
<p>Town and Howe truss designs were patented by Ithiel Town in 1820 and William Howe in 1840, respectively. The Shushan Bridge employs "the patented Town lattice truss, consisting of top and bottom chords of laminated wood plank, and a web of diagonal wood planks connected by wood trunnels at each point of intersection".</p><br>
<p>It was individually inventoried by the New York State Office of Parks, Recreation and Historic Preservation in 1977.</p><br>
<p>It is one of four Washington County covered bridges submitted for listing in the National Register of Historic Places in one multiple property submission. The others are the Buskirk Bridge, the Rexleigh Bridge, and the Eagleville Bridge. All four were listed on the National Register of Historic Places on March 8, 1972.</p><br>
<p>The Shushan bridge was closed to traffic in 1962, and was left abandoned for 10 years, then saved by local preservation efforts. Now it is operated as a seasonal museum.</p><br>
<p>Camp Tosebo, on the south shore of Portage Lake in Onekama Township, Michigan, was established in 1912 by Noble Hill, the headmaster of the Todd Seminary for Boys in Woodstock, Illinois, as one of the first summer camps in the United States. The name of the camp is an acronym derived from the school&#39;s name, TOdd SEminary for BOys, and meant to sound like a Native American Indian word. The camp was listed on the National Register of Historic Places in 2000.</p><br>
<h2>History</h2><br>
<p>Portage Lake was first developed in the 1840s, when a sawmill was constructed near the old lake outlet. Lumbering was the principal industry until the 1880s, but the summer resort industry quickly developed in its wake. The Red Park resort, occupying part of the current Camp Tosebo, was developed in 1895 by Cleveland G. Davis. Red Park included a dance pavilion, now the Camp Tosebo Clubhouse, and numerous cottages nearby. In 1901, Noble Hill constructed a cottage in the area. Hill was a pioneer in progressive education as a teacher and then headmaster and owner of the Todd Seminary for Boys. Davis intended to continue the development of the resort, but by 1912, the area was in decline due to competition from other resorts in the area.</p><br>
<p>Noble Hill opened Camp Tosebo in 1912 on property near his cottage as an extension of the Todd Seminary for Boys school program. The program immediately flourished, and in 1914 Hill purchased the former Red Park dance pavilion and its associated property. Hill hired Charles A. Anderson of Manistee as a general contractor to transform the pavilion into a clubhouse. Tents were used to house the boys initially; by the 1920s the smallest boys stayed in a cabin. Camp Tosebo soon had tennis courts, an arts and crafts shed, shower facilities, and other outbuildings.</p><br>
<p>Orson Welles attended the Todd Seminary for Boys, and in 1932 visited Camp Tosebo.</p><br>
<p>Noble Hill, and later his son Roger Hill and daughter Carol Hill Taylor Fawcett, continued to run the camp even after the Todd Boys School closed in 1954. However, in 1962, the camp passed out of their ownership. It continued to operate as a boys&#39; summer camp under the name "Camp Tosebo" until 1978. The camp was re-imagined as a bed-and-breakfast,</p><br>
<h2>Description</h2><br>
<p>Camp Tosebo is located in a wooded area on the shore of Portage Lake. It contains the former campground in an open field and a number of late 19th century and early 20th century buildings. The most significant of these are the Camp Tosebo Clubhouse, the Trunk House, and the Welcome House. Other structures include a Shower House, toilet,</p><br>
<p>craft house, bunkhouses, boat house, and three more cottages.</p><br>
<p>The Camp Tosebo Clubhouse is a two-story balloon-framed structure combining an Arts and Crafts style with late Victorian and Stick Style elements. It has a cross-gable and hip roof with a central cupola, and a hip roof front porch, and is clad with clapboard siding. Much of the clubhouse was recycled from the 1895 Red Park dance pavilion.</p><br>
<p>The main portion of the clubhouse measures 40 feet by 60 feet. A 12 foot by 60 foot flat-roofed addition to one side was completed in 1912. A poured cement basement was added to the structure in 1995/96. The interior of the Clubhouse originally contained the camp dining room, kitchen, pantry, recreation rooms, and a sitting room on the first floor, with bedrooms and bathrooms on the second floor. Recent renovations converted the upper floor into nine guest rooms and seven baths.</p><br>
<p>The Trunk House is a two-story balloon-framed rectangular structure, constructed in 1916, with a hip roof. It is covered with horizontal wooden weatherboarding and has one-over-one double-hung windows. It measures 32 feet by 22 feet.</p><br>
<p>The Welcome House, or Fred W. Cron Cottage, us a two-story L-shaped balloon-framed cottage with a gable roof. Fred Cron was a Manistee dealer in furniture and carpeting, and constructed this cottage as one of the first on Cleveland G. Davis&#39;s Red Park Resort. The cottage was built in 1896, and Noble Hill purchased it in 1927.</p><br>
<p>The Clinton County Courthouse is a historic courthouse located at 50 North Jackson Street in Frankfort, Clinton County, Indiana, United States. The Clinton County Courthouse dates from 1882–1884. It was designed by George W. Bunting, who also designed courthouses in Anderson  and Franklin . The Clinton County Courthouse is a three-story, Second Empire style limestone building adorned with statuary and a 165-foot domed central tower with a clock. The courthouse cost $170,450 to build in 1882. The courthouse is still in use as the county courthouse.</p><br>
<p>A virtual duplicate of the Clinton Courthouse was built in Anderson, Indiana (razed) in red brick at the same time as the Clinton County Courthouse.</p><br>
<p>It was added to the National Register of Historic Places in 1978. It is located in the Frankfort Commercial Historic District.</p><br>
<p>Samara, also known as the John E. Christian House, is a house designed by Frank Lloyd Wright located in West Lafayette, Indiana. The home is an example of the Usonian homes that Wright designed. Samara was built from 1954 to 1956 and was still occupied by the original owner, John E. Christian, until he died on July 12, 2015.</p><br>
<h2>History</h2><br>
<p>In 1950 John and Kay Christian decided to build a home near Purdue University where they both worked, John as a pharmaceutical chemistry professor and Kay as the social director for the university. After much discussion, they decided that Wright was the architect who suited the ideals for their home. Not knowing how to proceed, John phoned Wright directly at his office and was surprisingly able to speak directly to the famed architect. Over the next six years they worked together both with meetings in West Lafayette, Indiana and at Taliesin, Wright&#39;s summer home in Spring Green, Wisconsin. The home was named after the samara, which Wright spotted on the property during his first visit. He worked a stylized design of chevron-shaped leaves throughout the design of the home including the clerestory windows, dining chairs and the living room rug.</p><br>
<p>The Christian family maintains the home according to the exacting specifications of its architect. As in many of the homes he designed, Wright specified or designed the entire environment, including the furniture, linens and landscaping. The Christians were not initially able to purchase all of the specified custom details; however, they made an agreement with Wright to continue adding to the home as their budget allowed.</p><br>
<p>The color palette of furniture and design details is brighter and more saturated than other examples of Wrights architecture. This was prompted by Kay Christian who requested brighter colors against Wrights wishes. Wright was finally convinced by his wife, Olgivanna Lloyd Wright, who insisted that she would help the Christians with the color design. The result was a palette of vibrant lime green, magenta, and purple combined with more subdued shades of orange, yellow, and beige (see image at left). The home was designated as a National Historic Landmark in 2015. The nomination form for the home provides a very detailed overview of the home with pictures and floor plans. It was featured in a mid-2015 exhibit at the Portsmouth Art and Cultural Center.</p><br>
<p>In 2020 $1 million in grants was acquired to make repairs.</p><br>
<p>Downsville Bridge is a wooden covered bridge over the East Branch of the Delaware River in the hamlet of Downsville in Delaware County, New York. Designed by Scottish immigrant Robert Murray, the bridge was built in 1854, and is a single span, timber and plan framed bridge. The bridge measures 174 ft long and 19 ft wide.</p><br>
<p>The bridge was listed on the National Register of Historic Places in 1999.</p><br>
<p>The Dayton Arcade is a collection of nine buildings in Dayton, Ohio. The Arcade is a historic, architecturally elegant complex in the heart of Daytons central business district. Built between 1902 and 1904, it was conceived by Eugene J. Barney of the Barney & Smith Car Company and consists of nine interconnecting buildings topped by a glass-domed rotunda, 70 ft high and 90 ft in diameter , below which two balconied upper floors circle the central enclave. As president of the Arcade Company, Barney made sure the Arcade had the latest innovations, including elevators, a power plant and a cold-storage plant. The architect was Frank M. Andrews, known also as architect for many of NCR&#39;s factory buildings  and the American Building  at Third and Main Streets in Dayton.</p><br>
<h2>Background</h2><br>
<p>The most notable building fronts are on Third Street. It is of Flemish façade design and is said to be patterned after a guildhall in Amsterdam, the Netherlands. It looks like typical old Dutch architecture. The Fourth Street and Ludlow Street facades are done in Italian Renaissance Revival with the Commercial Building anchoring the corner of the lot. The most interesting architectural feature is the great dome, which was 90 ft. across and 70 ft. high. The classic detailing usually found in such rotundas was replaced by detailing representing Ohio. The cornucopias are filled with fruit and vegetables from Ohio. There are festoons of oak leaves with acorns, ram heads, and garlands of grain. At each framing member of the dome are colorful turkeys.</p><br>
<p>The souvenir program book for the Arcade&#39;s grand opening says "The construction of the splendid group of buildings, known as the Arcade, was commenced on March 1st, 1902 and completed on March 1st, 1904. The Third Street Building has a frontage on the Third street of 66 feet and was built by Mr. M. J. Gibbons and The Dayton Arcade Company. The Office building has a frontage on Ludlow Street of 66 feet, and the Apartment Building has a frontage on Fourth Street of 200 feet. The buildings are of steel and concrete, have fireproof construction throughout, and possess every modern equipment and convenience. The elevator service is furnished by six Otis electric elevators, and the Power Building is equipped with a complete steam heating, electric light, and refrigerating plant of the most modern type. Through each building runs spacious arcades, richly constructed of marble and mosaic tile, converging into the Arcade Market House, which, with its magnificent glass dome and beautifully decorated galleries surrounding and overlooking the Market House, is unlike any building in this country; artistic in conception and perfect in execution."</p><br>
<p>Following Progressive Eras focuses on public health, the Dayton Arcade was constructed to be a clean and safe hub for food distribution. Originally, the main spaces were used for a major food market, with retail stores, offices, and apartments on the upper floors. Through the first four decades of the twentieth century, this super supermarket and retail center was one of Downtown Daytons prime attractions and destinations, offering the unusual in fruit and vegetables, seafood, baked goods, food specialties, meats and meat specialties, fresh-cut flowers, and assorted luxury items available in or out of season. It was coined in 1924 to be "The City Within a City" and said that one-sixth of the population of the city passed through the Arcade daily. If correct, that meant 29,000 people passed through every day.</p><br>
<p>The 1930s brought the Great Depression, and though the Arcade remained a fixture of the downtown commercial district, it still suffered as the city was hit hard economically. By 1940, there were only 25 merchants left, down 35 from the year prior. Dayton&#39;s industrial sector improved significantly during WWII and afterward, which directly correlated with the Arcade regaining strength. There was plenty of discretionary income which was now being spent at the "City Within a City". In 1952, the Arcade was sold to Robert Shapiro for $2.5 million.</p><br>
<p>The Arcade did see a decline with the construction I-75 and other interstate highways. I-75 and US 35 essentially severed West Dayton, a major hub of customers for the Arcade, from the rest of the city. This, along with the white population of Dayton moving to the suburbs in droves, saw the Arcade lose its major customer bases and soon fell into decline by the 1970s.</p><br>
<p>In 1974, the Arcade was placed on the National Register of Historical Places.</p><br>
<h3>1980s renovation</h3><br>
<p>In the late 1970s, investors began planning and implementing a major restoration of the Arcade. In May 1980, the newly refurbished Arcade was reopened as a retail shopping and food center. In its new guise as Arcade Square, the center offered a lively collection of boutique stores, restaurants, stores offering staples, kitchen apparel, books, and luggage, and a museum devoted to Coca-Cola. The Dayton Philharmonic, among other offerings, performed to holiday crowds from the vast floor below the Arcade rotunda. Given the general decline of retail activity and volume within the central business district, financial success gradually eluded Arcade Square, and it was closed to the public in 1990. Its final tenants still included its famous Arcade Seafood store and the last traditional dime store to operate in Downtown Dayton, McCrory&#39;s, both of which remained open for a time after the closure of the Arcade Square public spaces themselves.</p><br>
<p>An Ohio not-for-profit group, "Friends of the Dayton Arcade" was created to advocate for the Arcade Building. The group published a book in 2008 entitled, "The Dayton Arcade; Crown Jewel of the Gem City. " The former owner owes several hundred thousand in back taxes. This tax obligation was purchased by American Tax Funding. The sheriff&#39;s sale occurred on March 12, 2009, and the building was purchased by Dayton Arcade, LLC, for the minimum bid of $615,106.02. The new Arcade owners, Gunther Berg and Wendell Strutz said they would begin work on the Arcade in 6 months to restore the building to its former glory (with mixed-use developments - housing, offices, restaurants, and commercial space). Early estimates on the restoration totaled $30 million.</p><br>
<h2>Dayton Arcade Task Force</h2><br>
<p>Mayor Nan Whaley announced the formation in August 2014 of a Task Force to determine whether redevelopment is possible. The Task Force was composed of 12 prominent people from the Dayton area. In June 2015, Sandvick Architects and Jera Construction, Inc. announced that the Arcade was still structurally sound and made some initial redevelopment suggestions.</p><br>
<h3>"Dry and Stable" initiative</h3><br>
<p>In a 3-part series of videos the Urban Design Coordinator for the City of Dayton, discussed the steps being taken in Fall of 2015 toward bringing the Arcade back into productive use. The Dayton City Commission passed legislation in September 2015 for a $700,000 "Dry and Stable" initiative to be done on the Dayton Arcade to complete gutter cleaning and maintenance, securing any broken or missing glass frames, and fixing the mortar on some of the buildings where rain damage has eroded the mortar away. The initiative was intended to give the Arcade another three to five years of structural stability. The funds used to secure the building through this "Dry and Stable" initiative were placed as a lien on the Arcade and will be repaid to the city by future developers.</p><br>
<h4></h4><br>
<h4></h4><br>
<h4></h4><br>
<h2>2000s redevelopment</h2><br>
<p>Steve Petitjean, a senior vice president at Fifth Third Bank who is co-chairing the Arcade Task Force, stated that Miller-Valentine Group is providing $250,000 of the $700,000 needed for the "Dry and Stable" initiative, while the City of Dayton is putting up the remainder. Petitjean also mentioned that an out-of-state developer, now known as Cross Street Partners from Baltimore, Maryland is interested in the property. Initial estimates state that the mixed-use renovation of the Arcade may cost up to $60 million to complete. An article by Lewis Wallace at WYSO stated that "The hasn’t necessarily agreed to pursue that larger project, but these first steps are a glimmer of hope after a long time in limbo. "</p><br>
<p>According to Petitjean, Cross Street Partners and Miller-Valentine have collaborated on past projects and "bat 1,000" on redevelopment projects of local properties. It was also stated that the financing for the project will take some time - as much as three to five years before a project could be complete.</p><br>
<h3>Phase 1</h3><br>
<p>On January 28, 2016, the City of Dayton announced that a Memorandum of Understanding with the development team of Miller-Valentine Group and Cross Street Partners has laid the groundwork for the first stage of the redevelopment of the Dayton Arcade.</p><br>
<p>Planned funding for the project includes the application for nine percent competitive housing tax credits through the Ohio Housing Finance Agency. These funds are awarded to low-income housing projects, of which the planned artistic housing is a part. Additionally, state and federal historic preservation tax credit awards will be a crucial part of the plan. The developers successfully obtained $5 million in historic tax credits and $20 million in low-income housing credits for the first phase. Construction on phase one is set to begin early in 2018 and take 14–18 months to complete once all financing has been arranged.</p><br>
<p>Miller-Valentine And Cross Street Partners have updated their Phase 1 plans to include the renovation of the rotunda as well. It is estimated that the costs of the first phase will be between $56 million and $80 million. These new plans include space for a brewery and a coffee shop. Other amenities may include another cafe and a grocery store. The developers also revealed their plan to create 126 apartment units in the first phase of this project which have been outlined below:</p><br>
<h3>Phase 2</h3><br>
<p>Stage two of redevelopment has a planned budget of over $40 million and hopes to create pop up restaurants along the third street arcade on the first floor, house an unnamed office tenant on the second floor, and create 32 "micro-apartments" on the third through fifth floors of the Arcade and Gibbons annex portions of the building. The developers have applied for $4 million in historic tax credits to help fund the second phase after successfully obtaining $5 million in historic tax credits and $20 million in low-income housing credits for the first phase. In addition, the University of Dayton will relocate its Entrepreneurial center to the McCrory building, occupying all three floors.</p><br>
<h3>Waking the Giant</h3><br>
<p>A mini-docuseries aired on local WPTD PBS/Think TV entitled The Dayton Arcade: Waking the Giant, released in the fall of 2020, chronicles the history and redevelopment timelines to the 2021 reopening.</p><br>
<h2>Reopening</h2><br>
<p>After being mothballed, unused, and deteriorating, with many false starts and lackluster investment spanning well over thirty years the Dayton Arcade officially reopened to the public Aug. 6 and 7th, 2021 with a two-day Arcade Festival, held in conjunction with downtown Dayton’s Art in the City.</p><br>
<p>The event celebrates both the rebirth of the Dayton Arcade redevelopment as well as the revitalization of the Dayton arts community after a yearlong pandemic.</p><br>
<p>Dayton Arcade has residents for the first time since 1978. Tenants started moving into the arcade in early April 2021, and the Art Lofts initially received about 80 applications from potential tenants.</p><br>
<p>Four of the arcade’s nine interconnected buildings offer apartments: the Fourth Street building (39 units); the Lindsey building (36); the Ludlow building (21) and the Commercial building (14).</p><br>
<p>Seven apartments are market-rate units, the rest of the units are affordable housing that must meet income restrictions set by the USA Department of Housing and Urban Development (HUD). These are designed to appeal to artistic professionals, makers, and creative-class entrepreneurs, officials said.</p><br>
<p>The University of Dayton&#39;s major investment on the Dayton Arcade in a joint venture agreement with the Entrepreneurs’ Center have entered into a 10-year lease to become the anchor tenants for the Arcade with “The Arcade Innovation Hub Powered by PNC Bank,” a 95,000-square-foot space devoted to creativity and collaboration.</p><br>
<p>A grand opening virtual tour hearing the vision of community leaders and developer Cross Street Partners took place on Thursday, March 4. The Hub’s completion marks the first phase of a multi-year restoration of the 1904 landmark.</p><br>
<p>Startup Grounds, The Hub Powered by PNC’s new bistro featuring food from local underrepresented, minority-owned, and women-owned vendors, opened Sept. 16 2021 at the Dayton Arcade.</p><br>
<p>The Dayton Arcade&#39;s initial anchors also include Culture Works who moved into its new location in the spring of 2021. The group occupies 2,000 square feet of space on the second floor of the Arcade, with office windows looking out onto Ludlow Street and near the rotunda inside.</p><br>
<p>Culture Works has been named the manager of the event space of the South Arcade, which includes the rotunda area and the tank space. The group is launching a subsidiary under the Culture Works umbrella to manage these event spaces called CW Events and a percentage of revenue will be reinvested into the arts community.</p><br>
<p>"This money will be used as a catalyst for arts and culture growth," said Executive Director Lisa Hanson. "This move helps us evolve our mission into multiple revenue streams and will help grow the arts as a key economic driver in the region."</p><br>
<p>The Contemporary Dayton joined Cultureworks and the University of Dayton as Arcade tenants officially opening its doors to its new home Friday, April 30, 2021, with a free opening party for the public. The Contemporary Dayton, also known as The Co, and formerly known as the Dayton Visual Arts Center, has nearly doubled in size to 6,224 square feet at the Dayton Arcade, with five galleries incorporated into the new space.</p><br>
<p>Arcade Dome Arches 1980.jpgA portion of the Dayton Arcade, seen just prior to its re-opening as Arcade Square, in 1980 (Photo: James M. Steeber)</p><br>
<p>Arcade Cornucopia.jpgDetail of a Dayton Arcade cornucopia, from 1904 (Photo: James M. Steeber)</p><br>
<p>Arcade Square 1981.jpgThe former "Gibbons Arcade" entrance on West 3rd Street in Dayton, shortly after renovation (Photo: James M. Steeber)</p><br>
<p>Dayton Arcade 4th Street Entrance in 1980.jpgDayton Arcade - West 4th Street Entrance, 1980 (Photo: James M. Steeber)</p><br>
<p>Dayton Arcade Post Card.jpgDayton Arcade Market Post card view from the 1920s</p><br>
<p>Arcade Square.jpgThird Street facade and entrance to "Arcade Square" as seen circa 1981 (Photo: James M. Steeber)</p><br>
<p>Third Street Arcade Building Dayton.jpgThe Gibbons Arcade Building (or Third Street Entrance), as seen at its opening, in 1902</p><br>
<p>Fourth Street Arcade Building Dayton.jpgThe Fourth Street Arcade Building, as seen at its opening, in 1904</p><br>
<p>Ludlow Street Arcade Building Dayton.jpgThe Ludlow Street Arcade Building, as seen at its opening, in 1904</p><br>
<p>Arcade Festival Cover - 1904.jpgSouvenir Program ("Programme") for The (Dayton) Arcade Festival - March 1904</p><br>
<p>The Elizabeth Cady Stanton House is a historic house at 32 Washington Street in the village of Seneca Falls, New York. Built before 1830, it was the home of suffragist Elizabeth Cady Stanton  from 1847 to 1862. It is now a historic house museum as part of Women&#39;s Rights National Historical Park. It was declared a National Historic Landmark in 1965.</p><br>
<h2>Description and history</h2><br>
<p>The Elizabeth Cady Stanton House stands in a quiet residential area of Seneca Falls, east of its downtown at the junction of Washington and Seneca Streets. It is a modest -story wood-frame structure, its L shape covered by gabled roofs and its exterior finished in wooden clapboards. The north wing, oriented with its gable to the street, is stories, while the south wing is a single story with an open porch extending across most of its width. The main entrance is located in the south wing near the junction of the two sections. The house is not architecturally distinguished. A small garage stands southeast of the house.</p><br>
<p>The property was purchased in 1836-1837 by Samuel and William Bayard, who bought the recently built structure from Colonel Wilhelmus Mynderse, who had founded Seneca Falls. In 1838, William and his family took out a mortgage on the property and were residing there. The Bayard family ran into financial difficulties and were sued several times in the early 1840s. In 1842, the house went up for public auction and was purchased by William A. Sacket and Robert L. Stevenson with a caveat that Bayard could redeem it within one year for the debts owed. Having failed to pay their debt, the property was conveyed in 1844 to William Pennington and the acquired by Elisha Foote Jr., in March. Foote was the husband of Eunice Newton Foote and had trained in law with Daniel Cady, Elizabeths father. Foote deeded the property to Elizabeths father in 1845, who in turn gave the property to his daughter in 1846.</p><br>
<p>The oldest portion of the house, the south wing, was probably built before 1830, with the north wing added by 1840. Henry and Elizabeth Cady Stanton lived in the house from 1847 to 1862. During this period, Elizabeth Cady Stanton was active in organizing the first United States convention on womens suffrage. Held in 1848, the Seneca Falls Convention resulted in the first major calls for women to be granted the right to vote. Stanton remained an influential figure in the womens rights movements of the 19th century until her death in 1902.</p><br>
<p>The house was acquired by the National Park Service in 1982 to become part of the Women&#39;s Rights National Historical Park. It then underwent restoration, removing alterations made after the Stantons sold the property and returning it to its appearance during their occupancy.</p><br>
<p>Buskirk Bridge is a wooden covered bridge that connects Washington County, New York on the north end to Rensselaer County on the south end and like the connecting roads and the fire station just south of it, is named after the hamlet on Rensselaer side at the junction of New York State Route 67. The bridge, which crosses the Hoosic River is one of 29 historic covered bridges in New York State. The bridge, service roads and hamlet all take their names from the local Van Buskirk family.</p><br>
<p>Town and Howe truss designs were patented by Ithiel Town in 1820 and William Howe in 1840, respectively. The Buskirk Bridge a Howe truss design, and was built to replace a previous Burr arch truss. It is perhaps the earliest Howe truss bridge that survives in New York State.</p><br>
<p>A topographic map of its location appears in its individual inventory document prepared by the New York State Office of Parks, Recreation and Historic Preservation in 1977.</p><br>
<p>It is one of four Washington County covered bridges submitted for listing in the National Register of Historic Places in a multiple property submission. The others are the Rexleigh Bridge, the Eagleville Bridge, and Shushan Bridge. All four were listed on the National Register of Historic Places on March 8, 1972.</p><br>
<p>The bridge continues in use for vehicles, and is maintained jointly by Washington County and Rensselaer County.</p><br>
<p>The Elihu Root House is a historic house on College Hill Road, on the campus of Hamilton College in Clinton, New York. Built in 1817, it was the home of American statesman Elihu Root  from 1893 until his death. It was designated a National Historic Landmark in 1972.</p><br>
<h2>Elihu Root</h2><br>
<p>Elihu Root was born and grew up in the immediate vicinity of this house, which became his home as an adult. He graduated from Hamilton College and the New York University School of Law. He served as both United States Attorney for the Southern District of New York and a delegate to the New York State Constitutional Convention. President William McKinley appointed him Secretary of War in 1899 and he continued in this capacity under Theodore Roosevelt. Root made many changes to the structure of the American Army, including the establishment of the USA Army War College and creation of the General Staff. Root was Secretary of State from 1905 to 1909. He was instrumental in improving relations with Japan and with Latin America during this time. Root also was an advocate of the World Court. He won the Nobel Peace Prize, in 1912. After leaving the cabinet, Root was a United States Senator from New York. He was a bitter critic of Woodrow Wilson.</p><br>
<h2>History</h2><br>
<p>The main part of the Federal style house was built in 1817 as a home for a Hamilton College professor. By the time Elihu Root purchased the house in 1893, there had been many additions and modifications to the structure. A long dormitory had been added during the house&#39;s stint as a college boardinghouse. Victorian porches and a staircase were added. The wing to the east was increased from one story to two. After Mr. Root acquired the house, he replaced the Victorian porches with ones more suited to the house. He also had built the portico on the east side of the house and servants quarters at the rear of the building. Mr. Root considered the house his home until his death in 1937.</p><br>
<p>It was listed to the National Register of Historic Places and declared a National Historic Landmark in 1972, at which time it was still owned by Root&#39;s descendants.</p><br>
<p>The Elihu Root House is located on the campus of Hamilton College, an institution with which Root was affiliated throughout his life. The house was acquired by Hamilton College in 1979.</p><br>
