<p>Old Main, Bethany College is a historic building group on the Bethany College campus in Bethany, West Virginia.</p><br>
<h2>History</h2><br>
<p>It was constructed from 1858–1871 on a design by architect James Keys Wilson with the firm of Walter & Wilson (with William Walter) and is an important surviving example of 19th-century Gothic Revival architecture. Wilson became a renowned architect in Cincinnati, Ohio.</p><br>
<p>Wilsons design was influenced by James Renwick Jr., whose office he studied in, and may have been modeled after Renwicks Smithsonian Museum (constructed 1845–1847) design. Wilson was in partnership with William Walter, an older architect, at the time of Old Mains construction but the design was most likely Wilsons "because his training had occurred during the increasing vogue of the Gothic style". William Kimbrough Pendleton, a faculty member and vice-president of Bethany College also had a role and contributed his practical knowledge of architecture with the supervision of construction and has been credited with responsibility for its placement on the crest of the hill as well as suggesting the arcade (architecture) on the back of the building. He may also have been responsible for the installation of firewalls, which permitted it to survive the 1879 fire that destroyed Society Hall.</p><br>
<p>The building was constructed from 1858 and 1871 and "represents" the college&#39;s "pivotal historical role as the headquarters of Alexander Campbell (1788–1866), a principal founder of the Christian Church (Disciples of Christ)." A 1909 photo shows the coal smokestacks on the roofline.</p><br>
<p>John F. Kennedy spoke at its Commencement Hall in 1960 during his presidential primary campaign that won West Virginia.</p><br>
<p>Old Main was declared a National Historic Landmark in 1990.</p><br>
<h2>Current use</h2><br>
<p>The Old Main building includes Commencement Hall, used for concerts, convocations, lectures, dramatic presentations, special functions, dinners, and other gatherings; Kirkpatrick Hall of Life Sciences, devoted to biology, microbiology, and botany laboratories, a greenhouse, faculty offices, a student library and conference room, a psychology computer laboratory, an experimental psychology laboratory, an animal research laboratory, a cold room for experiments, classrooms relating to the life sciences, a classroom for environmental science, and a student psychology lounge; the Media Center, used for administration, use, storing and dispensing of media equipment; the Academic Parlour, used for lectures, receptions, and special gatherings; the Trustee Board Room, used for board of trustees meetings; Trustee Hall of Fame Room, used for receptions; Office of the Vice President and Dean of Faculty, a suite of rooms to the left of the main entrance; Office of the President, a suite of rooms to the right of the main entrance; seminar rooms; webmaster information technology center; and classrooms, many of which are dedicated to professors, alumni, trustees, administrators. The first completed portion of Old Main, what college founder Alexander Campbell called the New Edifice, was Society Hall, which provided for the literary societies and their libraries, as well as a temporary chapel. It later burned in 1879.</p><br>
<p>Society Hall was ready for use at the opening of the 1858 session, and by the close of the year 1859, 150 feet of frontage of the New Edifice had been completed. Work continued until July 1862 when the finance committee of the board of trustees called a halt. The full length of the building was by then enclosed and roofed, excluding Commencement Hall, but the building was not finished inside. After the Civil War action was taken to complete the second wing of the building, which was to be used as a chapel. This became known as Commencement Hall at the time of its dedication in 1871.</p><br>
<p>The chapel was moved to the large central hall on the second floor after the central portion of the building was completed. Society Hall, comprising the east wing, burned in 1879 and was not rebuilt until 1911–12, when it was renamed the Earl W. Oglebay Hall of Agriculture. It was used as classroom and laboratory space for biology, chemistry, physics, and agricultural science and contained the offices of the president and dean. The top story included a museum, storage rooms, and bins for hybrid seeds and was used later for economics. An additional front entrance was added as a passageway between Oglebay Hall and the one-story connecting section adjoining it to the south. Students used the arcade (the Corridor), which was re-floored in 1937, for promenading and singing. Oral tradition asserts that Freshman Alley, which is located under the Corridor, was used to stable horses. Later it was used for a variety of functions, including a medical clinic, a library, and college storerooms.</p><br>
<p>The stone foundation for Commencement Hall was laid in 1860 and built between 1869 and 1871. Dedicated June 13, 1871, it was used as a gymnasium from 1890 to 1903, when it was converted into the Norman A. Phillips Dormitory for Men. In 1924 the hall was restored and an auditorium was added on the upper level with seating for 700. Thayer and Johnson were hired to be the architects on February 2, 1922, and the windows of Commencement Hall were remodeled in Gothic style.</p><br>
<p>Browne, Eichman & Dalgliesch of Charlottesville, Virginia submitted plans for the restoration of Commencement Hall on July 22, 1980, and it was restored to its original design with the removal of the intervening floor added in 1924, returning the building to its 1871 appearance. Between 1976 and 1984 restoration included work on the roof and exterior, restoration of Commencement Hall, installation of Alumni Walk in front of the building, restoration of classrooms, restoration of the Academic Parlour on the second floor, and of the office of the President. A formal dedication took place on November 9, 1984. Oglebay Hall of Agriculture was restored in 1998–1999 and renamed Kirkpatrick Hall of Life Sciences and dedicated October 21, 1999. Restoration of the Tower took place in 2000–2001, when the entire top of the tower was removed with a large crane and replaced at the conclusion of the restoration.</p><br>
<p>The landmarked area includes the building and the landscaped slope leading up to it. It is located on West Virginia Route 67 in Bethany, West Virginia.</p><br>
<p>Baltimore and Ohio Railroad Martinsburg Shops is a historic industrial district in Martinsburg, West Virginia. It is significant both for its railroading architecture by Albert Fink and John Rudolph Niernsee and for its role in the Great Railroad Strike of 1877. It consists of three contributing buildings, one of which is the oldest covered roundhouse in the United States. The presence of the Baltimore and Ohio Railroad Company in Martinsburg dates back to the late 1840s, when the first engine and machine shops were erected for the expanding company.</p><br>
<p>The shops were designated a National Historic Landmark and placed on the National Register of Historic Places in 2003. They are now managed by a local authority as an event venue.</p><br>
<h2>Antebellum history</h2><br>
<p>The Baltimore and Ohio Railroad (B&O) was founded on February 28, 1827. On May 21, 1842, the first steam locomotive arrived in Martinsburg and, later that same year, November 10, the first passenger train. The first roundhouse complex was constructed during 1848–1850.</p><br>
<h2>Civil War history</h2><br>
<p>When Virginia seceded from the Union in 1861, the regions social and government institutions were thrown in turmoil. The Civil War decimated both the region and Martinsburg, specifically because of the railroad yards. On May 22, 1861, Thomas "Stonewall" Jacksons troops stopped all trains going east at Martinsburg and Point of Rocks during the Great Train Raid of 1861. Once he determined that all of the trains that could be caught were in his trap, he blew up the bridges to the west and blew down rocks onto the tracks to the east, and pirating of the B&O equipment began. In total, 42 locomotives and 386 cars were stolen and destroyed, while miles of track, 17 bridges, 102 miles of telegraph wire, the "Colonnade" Bridge and the B&O roundhouse and machine shops were also destroyed.</p><br>
<p>On October 19, 1862, the roundhouse complex was burned by Confederate troops under Colonel Jackson.</p><br>
<h2>Postbellum history</h2><br>
<p>In 1866, the B&O began reconstruction of the site. From 1866 to 1872, the present roundhouse complex was re-built. Other major buildings that were built at this time were the West Roundhouse, East Roundhouse, Bridge & Machine Shop, and the Frog & Switch Shop.</p><br>
<p>On July 16, 1877, the first nationwide strike, the Great Railroad Strike of 1877, began when rail workers at Martinsburg started an action to protest pay cuts. After several unsuccessful attempts to quell the protests, Governor Henry M. Mathews called for federal troops. By the time these troops had restored order, the protest of the rail company had spread across the country.</p><br>
<h2>Modern history</h2><br>
<p>The Martinsburg shops were used until March 14, 1988 (a year after the B&O folded into CSX), when all local operations were transferred to other locations. On May 14, 1990, vandals set fire to wooden pallets in the East Roundhouse, nearly destroying the building. Only portions of the outer walls remain standing.</p><br>
<p>The Berkeley County Commission purchased the historic railroad property in February 1999 for $150,000 from CSX Transportation Inc. The property was transferred to the Berkeley County Roundhouse Authority in April 2000. The roundhouse authority, a public, nonprofit corporation was established by an act of the West Virginia Legislature in 1999. Efforts to preserve and redevelop the historic railroad site, which dates to the 1840s, is ongoing, but the buildings are open for public tours and can be rented for special events.</p><br>
<p>In 2001, the shop complex was designated as a National Historic Civil Engineering Landmark by the American Society of Civil Engineers. On July 31, 2003, the B&O Roundhouse was designated a National Historic Landmark and was placed on the National Register of Historic Places.</p><br>
<p>The Norris Geyser Basin Museum, also known as Norris Museum, is one of a series of "trailside museums" in Yellowstone National Park designed by architect Herbert Maier in a style that has become known as National Park Service Rustic. It is listed on the National Register of Historic Places, and is one of three parts of a National Historic Landmark, the Norris, Madison, and Fishing Bridge Museums, which were funded by Laura Spelman Rockefeller&#39;s grant of $118,000. Built 1929 - 1930, the Norris Museum is sited on a hill between the Porcelain Basin and the Back Basin of Norris Geyser Basin. Its central breezeway frames a view of the Porcelain Basin for arriving visitors.</p><br>
<p>The 94 ft by 20 ft museum consists of two rectangular sections divided by the breezeway, which is roofed by a prominent jerkinhead gable., framed in massive logs. The pavilions to either side are of shingle-coveredframe construction on a massive stone base. A stone and concrete terrace surrounds the building.</p><br>
<p>A nearby comfort station is included in the National Register nomination. It was probably built in the 1930s. With the construction of modern restroom facilities the one story log structure is now used as a bookstore operated by the Yellowstone Association.</p><br>
<p>The museum exhibits focus on geothermal geology, features of Norris Geyser and plant and animal life in thermal areas.</p><br>
<p>The Madison Museum is one of a series of "trailside museums" in Yellowstone National Park designed by architect Herbert Maier in a style that has become known as National Park Service Rustic. It was listed on the National Register of Historic Places in 1982, and is one of three parts of a 1987-declared National Historic Landmark, the Norris, Madison, and Fishing Bridge Museums. Built in 1929, the Madison Museum is the smallest of the three. It is sited on a small rise that overlooks the meadows and canyon of the Madison River, and still fulfills its function as an informal interpretive center.</p><br>
<h2>Design</h2><br>
<p>The T-shaped structure housed a ranger-naturalist in one wing and a small exhibit area in the other. The building rests on a rhyolite rubble base and is of frame construction, covered with shingles. The transition between stone and frame is marked by a log that serves as a transitional element. The roof is supported by heavy log columns and is itself framed in logs. The building was renovated in 1971 and converted to a single-room layout.</p><br>
<p>The museum was designed by National Park Service architect Herbert Maier and was funded by a portion of a $118,000 grant from Laura Spelman Rockefeller for educational projects in Yellowstone.</p><br>
<h2>The "Campfire Myth"</h2><br>
<p>The Madison site was claimed by Bumpus to be the site where "the Washburn Party, in 1870... resolved that this part of the public domain should be preserved inviolate." The building, neighboring National Park Mountain and the Madison site thus became something of a shrine to the creation of the national park idea. A south-facing window was fitted with a transparency depicting the imagined event, created by local photographer Jack Haynes. Annual re-enactments commemorated the Washburn creation event. By 1960 research by park historian Aubrey Haines made it clear that this "creation myth" was not accurate. The Park Service resisted the new research, putting up signs directing visitors to the Madison "Historic Shrine" and continuing to interpret the area as fundamental to the national park concept. Haines was transferred to another park and retired early. A twenty-year internal debate ended with Haines&#39; vindication and the Madison museum became a visitor information station, stripped of its shrine status.</p><br>
<p>The historic Brainerd Public Library is a Carnegie library built in 1904. The building is located at 206 7th Street North in Brainerd, Minnesota, United States, and is in the Classical Revival architectural style using granite and brick. The façade of the building features a portico with four columns holding up a pedimented gable. Although the building was originally a library, it later was used briefly as an antiques store, and is currently a law office.</p><br>
<p>The Brainerd Public Library is now located at 416 S 5th Street in a building constructed in 1986.</p><br>
<p>The Milaca Municipal Hall or Milaca City Hall, located at 145 Central Ave, South in Milaca, Minnesota, United States, was built using fieldstone, brick, and concrete. The building is a typical example of construction performed by the Works Progress Administration during the Great Depression. One hundred fifty-five workers and six superintendents labored to construct the flagstone-faced municipal hall. The building provided space for the fire department and village council in the back of the building, for a library in the south end, and a community kitchen to the left of the entry adjacent to a 200-seat auditorium. The American Legion had space in the basement. The facility was also available for use by church and service organizations. The building currently serves as the local museum and history center. Artwork was funded by the Federal Arts Project and executed by André Boratko.</p><br>
<p>Its National Register nomination in 1985 asserted the building is Moderne in style, although noting the use of fieldstone provides an Arts and Crafts character.</p><br>
<p>The Jenkins–DuBois Farm and Mill Site is located along Jenkinstown Road in Gardiner, Ulster County, New York, United States. It was started by settler Lambert Jenkins in 1793 with a stone house and mills on land part of the original Huguenot Patent owned by Louis DuBois of nearby New Paltz. The Jenkins–DuBois descendants still live on the land today.</p><br>
<p>It was added to the National Register of Historic Places in 2001.</p><br>
<p>Cripple Creek Historic District is a historic district including Cripple Creek, Colorado, United States and is significant for its gold mining era history. It developed as a gold mining center beginning in 1890, with a number of buildings from that period surviving to this day. A majority of the business district as it exists today was rebuilt after two devastating fires in April 1896. The mines in the area were among the most successful, producing millions of dollars of gold in the 1890s and supporting a population of 25,000 at its peak. It was declared a National Historic Landmark in 1961.</p><br>
<p>Many Cripple Creek buildings post-date the gold mining era. The district includes a number of structures that survive from that era:</p><br>
<p>The Midland Terminal Depot</p><br>
<p>Teller County Courthouse</p><br>
<p>The Imperial Hotel</p><br>
<p>The Old Homestead</p><br>
<p>St. Paul&#39;s Catholic Church</p><br>
<p>Mansard Roof House, on Warren Avenue</p><br>
<p>The El Paso County Hospital, a brick Greek Revival-style two-story building.</p><br>
<p>The boundary of the district is defined by high points around Cripple Creek to include the "natural setting reminiscent of the historic environment. Additionally, it encloses part of the extent of Poverty Gulch where some of the original ore discoveries were made as well as the County Hospital building which is located outside the town limits." (p. 10) It runs from the peak of Mineral Hill (elevation 10,255 feet) southwest to a peak (elevation 9,855 feet), then to northeast corner of Mount Pisgah cemetery, then south along the east border of the cemetery to its southeast corner, then southeast to the peak that is 1600 feet to the northwest of Signal Hill (at elevation 9731), then northeast to the summit of Globe Hill (elevation 10,436), then northwest to peak of Carbonate Hill (elevation 10,335), finally east back to the peak of Mineral Hill.</p><br>
<p>State Highway 67 is the principal road through the area.</p><br>
<p>The Beth Eden Chapel is a historic church near the junction of Naskeag Point Road and Stubbs Drive in Brooklin, Maine. Built in 1900, this Late Victorian wood-frame church was the first to be built in the Naskeag Point area. Although it was built by a Methodist congregation, it was open to the use of all denominations. The building was listed on the National Register of Historic Places in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Beth Eden Chapel is a modest single-story wood-frame structure, with a gable roof, clapboard and shingle siding, and a granite foundation. A square tower housing the entrance and a belfry projects from the right front of the building. The front-facing gable end and the second stage of the tower share design features, notably a decorative diamond and a flaring of the siding. The third stage of the tower houses the belfry, and is decorated with wave-cut shingles. The tower is capped with a pyramidal roof and finial. The building&#39;s corners are decorated with pilasters, and its side elevations are uniformly three bays with windows. The sanctuary inside has a coved plaster ceiling.</p><br>
<p>The church was apparently built in 1900 on land acquired by the trustees of the local Methodist congregation in 1884. Deeds note that a building already stood on the land; it is not clear if any part of this building is a surviving element of the earlier structure. The church was consecrated in December 1900 for use by any Christian denomination. The church is one of three historic churches in Brooklin, and is the only one with distinctive late Victorian architecture.</p><br>
<p>The E. B. White House is a historic house on 470 Bay Road in Brooklin, Maine, United States. This well-preserved 18th-century farmhouse was home for many years to author E. B. White , and is where he wrote a number of his important works. The farm was the inspiration for one of his best-known works, Charlotte&#39;s Web. The house was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The White House is set on the east side of SR 175, overlooking Allens Cove at the southern end of Blue Hill Bay on Brooklins east side. The main house is a -story wood-frame structure, with end chimneys, clapboard siding, and a granite foundation. Its main entrance is centered on the west-facing front, and has a Greek Revival surround, with flanking pilasters and an entablature above. An ell extends to the rear of the house (toward the water), which is connected it to a barn via a narrow hyphen.</p><br>
<p>The house was built in about 1795 for William Holden by Captain Richard Allen, a local housewright, and is one of the oldest buildings in north Brooklin. This house was purchased in 1933 by E. B. White for use as a summer residence. In 1937 White made alterations to the house so that it could be occupied year-round; the houses chimneys date from this period. White was a noted writer and essayist, writing for The New Yorker and Harpers Magazine, and producing two well-known childrens books, Stuart Little and Charlottes Web, as well as an updated edition of The Elements of Style, a writer&#39;s guide. White was awarded the Presidential Medal of Freedom and a Pulitzer Prize for his work.</p><br>
<p>White was a private person, and did not advertise the location of his home while he was alive. In 1977, he convinced an interviewer to report that "he lives in a New England coastal town, somewhere between Nova Scotia and Cuba". The farm on this property was the inspiration for Charlotte&#39;s Web.</p><br>
<p>Beaver Meadows Visitor Center, also known as Rocky Mountain National Park Administration Building, is the park headquarters and principal visitors center of Rocky Mountain National Park in central northern Colorado. Completed in 1967, it was designed by Taliesin Associated Architects, and was one of the most significant commissions for that firm in the years immediately following the death of founder Frank Lloyd Wright. It was also one of the last major projects completed under the Park Service Mission 66 project. It was declared a National Historic Landmark in 2001.</p><br>
<h2>Description and history</h2><br>
<p>The Beaver Meadows Visitor Center is located on the south side of United States Route 36 near the principal eastern entrance to Rocky Mountain National Park. As seen from visitor (north) side, the building presents as a single-story structure, but is actually two stories owing to the sloping terrain on which it is built. It is a rectangular structure, built with a steel frame and cast concrete panels, into which slabs of sandstone have been embedded. The upper level framing has Cor-Ten steel set in a zigzag pattern inspired by Native American artworks. The building&#39;s eastern end is devoted to visitor facilities, including a lobby, amphitheater, and shop, with an inside observation area and outside balcony providing views of the Rocky Mountains. The western end houses park offices in a modular design with movable partitions.</p><br>
<p>Rocky Mountain National Park was founded in 1915. As part of the Park Services Mission 66 program to revitalize the nations park system, the Park Service hired the firm of Taliesin Associated Architects in 1964 to design a new visitors center for the park. Construction began in 1965 and was completed in 1967. The building has been relatively little altered since then: the shop occupies a former lobby area that included benches and a fireplace, and changes in equipment for the theater necessitated the closure of a balcony entrance.</p><br>
<h2>Map</h2><br>
<p>The Spanish Military Hospital Museum is located at 3 Aviles Street, St. Augustine, Florida. The museum covers the Second Spanish Period  medical practices. The museum is open seven days a week from 9 am to 5 pm. Tours start on demand throughout the day and cover a surgical demonstration, apothecary demonstration, and tours of a medicinal herb garden.</p><br>
<h2>History</h2><br>
<p>During the British occupation of St. Augustine 1763-1783 a Scottish carpenter named William Watson purchased and remodeled the building into a dwelling. The hospital was a three part facility consisting of Hospital West (constructed in the First Spanish Period), Hospital East (constructed during the British Period) and the Apothecary in the William Watson House (constructed in the British Period). These three parts plus their outbuildings and gardens functioned as a hospital complex during the Second Spanish Period. Aviles Street (which runs between the two wings of the hospital) was called Hospital Street until it was renamed in 1924.</p><br>
<p>The hospital was strictly a military facility; only military were treated there and only military personnel worked on the staff.</p><br>
<p>Hospital West burned in 1818 and the remaining parts of the hospital stayed in operation until two years into the American Territorial Period and officially closed down in 1823. Hospital East was destroyed in the fire of 1895. The Watson House still stands today.</p><br>
<h2>Reconstruction</h2><br>
<p>Early in 1966, the St. Augustine Historical Restoration and Preservation Commission (later renamed the Historic St. Augustine Preservation Board) reconstructed the Spanish Military Hospital as it appeared in the 1790s on its original foundations. Upon its completion, a suggestion was made by Dr. William M. Straight, historian of the Florida Medical Association, that the building be utilized as a medical museum. The idea was enthusiastically received by the commission, and plans were accordingly drawn. A local coordinating committee, headed by Dr. James DeVito, was appointed and funds sought from the Medical Association&#39;s membership beginning in 1967. The reconstructed Hospital East building was dedicated and opened to the public in 1968. Shops now exist on the lot where Hospital West was located.</p><br>
<h2>Museum</h2><br>
<p>The reconstructed Hospital East building was opened in 1968. On the second floor, the Medical Museum was dedicated and opened to the public in July 1973. It was jointly sponsored by the Florida Medical Association, its Woman&#39;s Auxiliary, and the Historic St. Augustine Preservation Board and included exhibits about medical history. However, due to costs, the building was closed in 1977. The property was leased for commercial purposes until 1990, when the Historic St. Augustine Preservation Board reopened the museum on July 20 as part of the Restored San Agustín Antiguo living history program. Today, the building is owned by the State of Florida, managed on its behalf by the University of Florida, and operated by a private business. Tours recreate the hospital practices of the late 18th century. They include a full surgical demonstration of procedures done at the time, an apothecary demonstration discussing the medicines used and their manufacture, and a tour of the medicinal herb gardens.</p><br>
<p>The Northern Pacific Railroad Shops Historic District, located in Brainerd, in the USA state of Minnesota is a set of buildings built by the Northern Pacific Railroad and later listed on the National Register of Historic Places.</p><br>
<p>It was built in 1882 using stone, brick, slate, concrete, and asphalt. The buildings were designed and built by the railroad to construct and repair equipment.</p><br>
<p>The buildings were listed on the National Register of Historic Places in 1989.</p><br>
<p>Two Harbors station is a historic train station located on Sixth Street in Two Harbors, Minnesota. The station was built in 1907. The large two-story depot was the third depot on the site. The Minnesota Iron Company developed the Duluth and Iron Range Railroad in 1883, laid out the town of Two Harbors in 1885, and built depots to conducts its business. When the rail line was completed to Duluth, it was used as a transfer point for passengers, lumber, and mining supplies. When passenger service ended in 1961, the depot was donated to Lake County. The building was listed on the National Register of Historic Places in 1983 as the Duluth and Iron Range Railroad Company Depot.</p><br>
<h2>Lake County Historical Society Depot Museum</h2><br>
<p>The Lake County Historical Society now uses the building as the Lake County Historical Society Depot Museum. Exhibits focus on the pioneer history of Lake County. Displays include early Native Americans, local mining and logging industries, the railroad, military service, children&#39;s toys and dolls, butterflies, and local personal collections.</p><br>
<p>The John Dwan Office Building, located at 201 Waterfront Drive in Two Harbors, Minnesota, in the United States, is a historical building and now a museum for 3M.</p><br>
<h2>History</h2><br>
<p>The building was the location where John Dwan, a Two Harbors attorney drew up the incorporation papers for the Minnesota Mining and Manufacturing Company (now 3M) in 1902. The new companys vision was to mine and process corundum that the founders believed was plentiful on Lake Superiors north shore. The company nearly went bankrupt, because the mineral they were mining was useless as an abrasive and the high humidity at Lake Superior wreaked havoc with their adhesive process. Nevertheless, the company survived by receiving financial support from Lucius Pond Ordway, moving to Saint Paul, and changing its focus to manufacturing of abrasives with imported materials.</p><br>
<h2>3M Birthplace Museum</h2><br>
<p>The 3M Birthplace Museum, also known as the 3M Museum run by the Lake County Historical Society, features exhibits on the companys beginnings as the Minnesota Mining and Manufacturing Company, its early products such as sandpaper and Scotch Tape, and its later innovations such as Post-it Notes and Scotchgard. The museum also includes a recreated attorneys office from the early 1900s, a history of the company with photos, artifacts, and documents, and a laboratory exhibit. It also features a recreation display of an early lab, typical of 3M research and development work. Visitors can also do hands-on interactive programs and learn about the latest technology applications. The 3M Company has provided over $100,000 in grants for renovation work to the building.</p><br>
<p>The Alwyn Court, also known as the Alwyn, is an apartment building at 180 West 58th Street, at the southeast corner with Seventh Avenue, in the Midtown Manhattan neighborhood of New York City, United States. The Alwyn Court was built between 1907 and 1909 and was designed by Harde & Short in the French Renaissance style. It is one of several luxury developments constructed along Seventh Avenue during the late 19th and early 20th century.</p><br>
<p>The building is thirteen stories tall. Its facade is clad with elaborate terracotta ornamentation in the Francis I style, with a main entrance on Seventh Avenue and 58th Street. Inside is an octagonal courtyard with a painted facade by artist Richard Haas, as well as a location of the Petrossian caviar bar. The Alwyn Court was originally built with twenty-two elaborately decorated apartments, two on every floor, which typically had fourteen rooms and five bathrooms. The interior was subdivided into 75 apartments in 1938.</p><br>
<p>The Alwyn Court was named after Alwyn Ball Jr., one of the buildings developers. Despite a fire shortly after its opening, the Alwyn Court quickly became one of New York Citys most expensive apartment buildings. During the early 20th century, ownership changed several times. By the 1930s, the last luxury tenant had moved out, and the building&#39;s interior was completely rebuilt. The Alwyn Court was made a New York City designated landmark in 1966, and added to the National Register of Historic Places in 1979. The building was renovated and converted to cooperative apartments in 1980, and the facade was restored in the late 1990s and early 2000s.</p><br>
<h2>Site</h2><br>
<p>The Alwyn Court is at 180 West 58th Street, on the southeast corner with Seventh Avenue and one block south of Central Park, in the Midtown Manhattan neighborhood of New York City, United States. The site covers 12,525 ft2, with a width of 100 ft on Seventh Avenue and a depth of 125 ft on 58th Street. The Alwyn Court occupies 9,500 ft2, or about three-quarters of its lot.</p><br>
<p>The Alwyn Court shares the city block with The Briarcliffe to the south and 165 West 57th Street and One57 to the east; it is cater-corner from 200 Central Park South to the northwest. It is also near the Saint Thomas Choir School and the American Fine Arts Society (also known as the Art Students League of New York building) to the west; the Osborne Apartments and the Rodin Studios to the southwest; Carnegie Hall to the south; Hampshire House to the northeast; and the New York Athletic Club and Essex House to the north.</p><br>
<h2>Architecture</h2><br>
<p>The thirteen-story Alwyn Court is 149 ft tall, with twelve full stories and a smaller penthouse. The Alwyn Court was erected by the Hedden Construction Company. Although the interior and main entrance have been altered, almost all of the facade remains intact.</p><br>
<h3>Facade</h3><br>
<p>In contrast to many luxury apartment buildings erected at the beginning of the 20th century, which contained ornate detailing mostly on the bottom and top stories, the Alwyn Court&#39;s decoration is spread throughout all parts of the facade. The Alwyn Court uses terracotta because, at the time of its construction, it cost one-third as much as other material such as stone. Since it was possible to reuse the molds that were used to bake the terracotta, the amount of decoration was limited only by the number of unique designs.</p><br>
<p>The Alwyn Court&#39;s twelve-story facade is divided into three horizontal sections: a four-story base, a five-story shaft, and a three-story crown. These sections are separated by large decorative bands. The northern facade, on 58th Street, is divided vertically into five bays while the western facade on Seventh Avenue is subdivided into four bays.</p><br>
<p>The northern and western facades are joined by a rounded corner, which contains an ornately detailed, recessed entrance archway. The corner entrance served as the Alwyn Courts main entrance before the buildings renovation in 1938, when the ground-floor corner space was reconfigured into retail space. The modern-day main entrance is on Seventh Avenue, closer to the elevators than the original corner elevators.</p><br>
<h3>Interior</h3><br>
<p>As the Alwyn Court&#39;s construction predated fire codes, there were no fire escapes, and only minimal space for a single staircase on each floor. The staircase created a potential fire chimney, being open to the entire building. However, the building did contain fireproof materials such as brick exterior walls, as well as concrete floors, walls, and partitions. Each story has ceilings 10.5 ft tall. In addition, the basement contained a wine vault for each tenant. The original design contained two passenger elevators and a service elevator. The staircase and elevators originally opened onto the southeastern corner of the atrium.</p><br>
<h4>Lobby and atrium</h4><br>
<p>The main lobby on Seventh Avenue, created in 1938, replaces the original lobby at the corner of Seventh Avenue and 58th Street. It contained peppermint-green walls with white plaster ornament, as well as a foyer with glass doors. The lobby contained ornamentation themed to music, including a red-marble mantlepiece in the foyer with carvings of pipes, horns, and violins, as well as lighting fixtures shaped like lyres.</p><br>
<p>The atrium at the center of the building is octagonal, with four longer sides parallel to the main dimensions of the building, as well as four chamfered corners. The atrium was originally an air shaft, with 286 frosted windows overlooking it. Between 1979 and 1981, the air shaft was covered with a skylight. The courtyard was landscaped with a fountain and trees, becoming an enclosed atrium. The mural, painted in several hues of tan, depicts imitation architectural detail resembling the facade of the exterior.</p><br>
<h4>Apartments</h4><br>
<p>The Alwyn Court originally had up to 22 apartments, two each on the first through eleventh floors; several residents combined multiple apartments. One of the units on each floor would occupy the southern and western sides of the floor, while the other unit would occupy the northern and eastern sides. but some units contained up to 34</p><br>
<p>The apartments had rooms of up to 18 by. Harde and Short were particularly proud of the Alwyn Court&#39;s floor layouts, threatening to sue architects who copied their floor plans.</p><br>
<p>The apartments were decorated throughout with carved woodwork and bronze-and-iron light fixtures, as well as ornamental plaster and imitation Caen stone by McNulty Brothers. Other suites included ball-gown closets and dressing closets with mirrors on the doors. In addition, there were wood-burning fireplaces and vacuum-cleaning systems. The twelfth floor contained 34 rooms used as servants&#39; quarters. Each of the apartments originally could function with just three to five servants, in contrast to traditional mansions of the same size that required twice as many staff.</p><br>
<p>During its 1938 renovation, the Alwyn Court was divided into 75 apartments. Each floor typically had six units, and a penthouse story contained three additional apartments. The apartments contained between three and five rooms apiece. Each unit also contained bathrooms and dining galleries, while the penthouses have roof terraces and solariums. Twelve apartments, at the rounded corner, were fitted with large oval living rooms, while some of the units contained large fireplaces. Because the atrium was still an air shaft at the time of the renovation, none of the major rooms of each apartment face the atrium. Following the 1980s renovation, these units were turned into cooperative apartments. The Alwyn Court also contains storage units, a bike room, and a laundry room for residents.</p><br>
<h2>History</h2><br>
<p>During the early 19th century, apartment developments in the city were generally associated with the working class, but by the 1870s, apartments were also becoming desirable among the middle and upper classes. Furthermore, by the beginning of the 20th century, there were some housing cooperatives in the city that catered specifically to artists, including at 130 and 140 West 57th Street, as well as on 67th Street near Central Park. The original concept for the Alwyn Court also called for it to be an artists&#39; cooperative.</p><br>
<h3>Construction</h3><br>
<p>Stuyvesant Co-operative Buildings, a company founded by artist Walter Russell, purchased the lot at the southeast corner of 58th Street and Seventh Avenue for $500,000 in the first week of June 1907. Russell planned to build a twelve-story apartment house on the site in conjunction with developer Alwyn Ball Jr., the buildings namesake. By the next month, the Alwyn Court Corporation had been created to construct the building, and Harde and Short had been selected as the architects. According to E. S. Barlow, a leasing agent who was associated with the Alwyn Court for over three decades, Russell and Ball had originally wanted to select Radcliff & Kelly for the buildings design, but selected Harde and Short because of their expertise in designing previous apartment houses. Harde and Short submitted construction plans to the New York City Department of Buildings in October 1907.</p><br>
<p>The Alwyn Courts construction was delayed slightly by a carpenters strike against the Hedden Construction Company. The building was nearly completed by September 1909, when the Fifty-Eighth Street and Seventh Avenue Company was formed to operate the apartments. By then, Russell was no longer involved with the Alwyn Court, having gone bankrupt the previous year. In March 1910, with the building still mostly unrented, a fire broke out in an empty apartment on the tenth floor, causing $150,000 worth of damage when it spread to three other floors. The superstructure was undamaged, and the building was quickly repaired.</p><br>
<h3>Rental apartment building</h3><br>
<h4>Early years</h4><br>
<p>The Alwyn Court had become one of the citys most expensive apartment buildings by late 1910. and the building itself was billed as "an up-to-date House of Select Residences&#39;". The standard apartments were rented for between $6,500 and $10,000 a year (equivalent to $– in ), while larger apartments cost as much as $22,000 annually (equivalent to $ in ). Initially, all leases ran for at least three years. According to the architectural historian Andrew Alpern, at the time, the average New Yorker could live comfortably within the city even if they spent only $2,000 annually (equivalent to $ in ).</p><br>
<p>Soon after the Alwyn Courts opening, one tenant requested that the buildings owners merge two of the apartments to create a duplex. Following the success of this duplex conversion, the Alwyn Courts owners decided to merge additional apartments and rent them out at higher rates. At the time, the building was still considered one of New York Citys "most imposing apartment houses".</p><br>
<h4>Mid-20th century modifications</h4><br>
<p>By the mid-1930s, the city&#39;s architectural and social landscape had changed, and the Alwyn Court was no longer in a desirable part of town. With the Great Depression ongoing, it was no longer feasible for the building to retain such large apartments.</p><br>
<p>The Drydock Savings Bank decided to remodel the interiors in 1938, The renovation was designed by Louis S. Weeks and carried out by Ellinger Construction Corporation. Edgar Ellinger of the Ellinger Construction Corporation suggested demolishing the interiors while retaining the facade ornament. The main entrance had to be relocated as well. The cornice and balustrade atop the building were also taken apart, and the rooftop units, once used by servants, became penthouse apartments.</p><br>
<p>Two-thirds of the 75 newly subdivided apartments were rented by August 1938, and all apartments had been rented by the following October. The building earn about $137,000 a year in rental income at the time, The Alwyn Court&#39;s success was attributed to the fact that the rooms were typically larger than in other apartment buildings, and most tenants did not require the large 14-room spaces of the original design. By the 1970s, the building had again become dilapidated, and rent control regulations made it difficult for the building to turn a profit.</p><br>
<h3>Cooperative conversion</h3><br>
<p>During the late 1970s, David Walentas bought the Alwyn Court for $2 million in cash. As part of the cooperative conversion, the central air shaft was converted into an atrium, and a skylight was installed over it. During the conversion, the facade was also cleaned and restored by Beyer Blinder Belle, while Richard Haas painted the atrium mural. The ground-floor stores were converted to an upscale restaurant. The conversion was completed in August 1980. By the following May, two of the converted cooperative apartments had sold for $175,000 apiece, compared to the rent-controlled units, which were internally valued at between $35,000 and $60,000.</p><br>
<p>The rent-controlled tenants were slated to be evicted under Walentass original plan. Following tenant outcry and several lawsuits from both Walentas and the tenants, he changed the plan to allow rent-controlled tenants to remain after the conversion, provided that the Alwyn Court was their primary residence under New York rent control law. The Petrossian caviar bar opened in the buildings base in 1984. The facade was still in poor shape: by 1997, pieces of terracotta were falling from the facade, prompting the owners to install a protective shed over the sidewalk. The facade was subsequently renovated. The New York Landmarks Conservancy awarded the facade&#39;s restoration a Lucy G. Moses Preservation Award in 2002. Further facade renovations were conducted in 2005.</p><br>
<p>By the early 21st century, the Alwyn Court had regained a status as a luxury apartment building. It had become part of Billionaires Row, an area with several residential skyscrapers marketed for the ultra-wealthy. In 2013, during the construction of the neighboring One57 on Billionaires Row, the Alwyn Court was forcibly evacuated because One57s builders were replacing a damaged crane. The Alwyn Courts cooperative board attempted to block the forced evacuation, but the crane was eventually hoisted after the board signed an agreement with One57&#39;s developer, Extell Development Company. Another renovation was undertaken starting in 2019.</p><br>
<h2>Notable residents</h2><br>
<p>Upon the Alwyn Court&#39;s opening in late 1909, its first tenants included United Cigar Stores president Jacob Wertheim, as well as Steinway & Sons president Frederick Steinway. Later in the 20th century, residents included actor Darren McGavin, actor Rita Gam, and lawyer Louis Nizer. Actors Natasha Richardson and Liam Neeson, as well as Joan Didion and John Gregory Dunne, also lived at the building. In the early 21st century, the Alwyn Court was home to residents including actress Jessica Hecht and her director husband Adam Bernstein, as well as actor Richard Thomas.</p><br>
<h2>Critical reception</h2><br>
<p>The Alwyn Courts facade has generally been positively reviewed throughout the buildings history. Shortly after the buildings completion, Architects and Builders Magazine described the facade as "an incrustation of terra cotta, a filigree of fine ornament on every pilaster, soffit and mullion". An Architecture magazine critic said in 1910, "The design, if made by a pastry cook, would be of the highest excellence, but it can hardly be considered at all in the light of architecture...", stating that the design "defies description". In a 1976 article, The New York Times stated the Alwyn Courts "distinction resides in its extraordinary terra cotta ornamentation".</p><br>
<p>Modern criticism has also been positive. Architectural writer Elizabeth Hawes wrote in 1993 that the structure was a "great architectural pile designed to impress even the affluent and worldly-wise", Architecture critic Carter Horsley, writing in the early 21st century, referred to the Alwyn Court as New York City&#39;s "most ornate building" and stated that its history was a "story of riches to rags and back". In 2020, the Times described the building as "extravagantly ornate", contrasting with the "kind of grand but dour" Osborne Apartments across the street.</p><br>
<p>Dexter Cabin was the Leadville, Colorado home and hunting lodge of James V. Dexter, a mining investor and businessman. Although it is a cabin, the interior has been described as "surprisingly plush," "elegantly finished," and "incredibly ornate.".</p><br>
<p>It is a Colorado State Historic Site and is operated as a museum by the state under History Colorado, together with Healy House. The two are located within the Leadville Historic District, which is itself a National Historic Landmark. Dexter Cabin was moved to its present location next to Healy House.</p><br>
<p>Dexter Cabin was listed on the National Register of Historic Places in 1970.</p><br>
<p>The Leadville Historic District is in the mining town of Leadville, Colorado. The National Historic Landmark District includes 67 mines in the mining district east of the city up to the 12,000 foot  level, and a defined portion of the village area. It was designated in 1961. Then, when the National Register of Historic Places  program was started in 1966, Leadvilles National Historic District was included in its first days listings, along with all other existing National Historic Landmarks. The NRHP district was later expanded, adding a number of structures along the Harrison Avenue corridor, and making them eligible for historic preservation grants and tax subsidies, too.</p><br>
<h2>Buildings</h2><br>
<p>Principal historic buildings in the district are: Tabor Grand Hotel, St. George&#39;s Church, Temple Israel, Annunciation Church, Tabor Opera House, City Hall, Healy House, Dexter Cabin, Engelbach House, and Tabor House, as well as mining structures and homes of miners, merchants, and businesspeople. Structures built after 1917 are considered non-contributing.</p><br>
<h2>Boot Hill Cemetery</h2><br>
<p>Leadville was the site of a Boot Hill Cemetery, which is perhaps the "most documented" of those in the Old West.</p><br>
<p>According to an eyewitness:</p><br>
<p>"At the foot of Chestnut street, a little distance from the Leadville Smeltering Company&#39;s works, in an acre plot of ground unfenced, and with the carbonate-like earth thrown up into little heaps. On a closer inspection, the stranger will see that many of these carbonate mounds are marked by pieces of boards, slabs and sticks. Two or three have marble slabs and as many more are marked by pine boards painted in imitation of marble.... barren red clay-colored plot no flowery lawns, spouting fountains, shady nooks, grassy plats, nor artistically carved marble.... A worse or less inviting spot for the repose of the dead could not have been found within the environs of our city. Here all the vast transportation of a great mining camp passes in daily bustle and confusionis, and the sleep of our dead forever disturbed by the oaths and the black snake of the irreverent freighter."</p><br>
<h2>Historic structures in Leadville</h2><br>
<p>The National Register of Historic Places is the official list of the Nations historic places worthy of preservation. Authorized by the National Historic Preservation Act of 1966, the National Park Services National Register of Historic Places is part of a national program to coordinate and support public and private efforts to identify, evaluate, and protect America&#39;s historic and archeological resources.</p><br>
<p>Healy House Museum was the Leadville, Colorado home built in 1878 by mining engineer and city father August R. Meyer for his bride, Emma. It was purchased in 1888 by Daniel Healy , who operated a boarding house with his cousin Nellie Healy. An immigrant from Ireland, Healy served Leadville as a mail carrier and later assistant postmaster. He subsequently started several successful businesses and represented Leadville in Colorado&#39;s state legislature from 1903 to 1905.</p><br>
<p>After Daniel Healy had died in 1912, the house was given to his sister, nieces, and cousin Nellie Healy. Nellie continued to live in and operate the boarding house until 1936. She donated the house to the historical association in 1936 under the condition that the house be used to benefit the city. In 1938, Clara Gaw Norton oversaw restoration work at the house paid for through grant money from the Boettcher Foundation. Norton hoped to turn the Healy House into the city&#39;s first history museum.</p><br>
<p>Healy House was listed on the National Register of Historic Places in 1970.</p><br>
<p>Currently it is a Colorado State Historic Site and is operated as a Victorian era museum by the state under History Colorado, together with Dexter Cabin. The two are located within the Leadville Historic District, which is itself a National Historic Landmark.</p><br>
<p>The restored house serves as an example of the "Elegant Eighties".</p><br>
<p>The Parker Cleaveland House is a historic house at 75 Federal Street in Brunswick, Maine. It was the home, from 1806 to 1858, of Parker Cleaveland , a mineralogist and a professor at nearby Bowdoin College. While he was a professor at Bowdoin College, Cleaveland conducted some of the earliest studies of mineralogy in the United States. His 1816 work Elementary Treatise on Mineralogy and Geology, which included a volume on types and localities of American minerals, became the standard textbook on the subject in American higher education and the model for future mineralogy scholarship and publications.</p><br>
<p>The house was listed on the National Register of Historic Places and declared a National Historic Landmark in 2000 for its association with Cleaveland. It is now owned by Bowdoin College, and serves as the president&#39;s house.</p><br>
<h2>Description and history</h2><br>
<p>The Cleaveland House is a two-story wood-frame structure with a hip roof and a granite foundation. It is a typical connected homestead, with a rear ell connected to a carriage house via an open garage. Its main facade, facing west, is five bays wide, with a center entrance flanked by pilasters and topped by a semi-elliptical fanlight louver and entablature with cornice. A secondary entrance on the south-facing facade has a small hood. The interior has fairly typical middle-class woodwork of the period, with the finest elements found in the central hall and the northwest parlor. The connecting ell is a 1950s-60s replacement for an older ell.</p><br>
<p>The house was built in 1805-06 by a local master builder, Samuel Melcher, for Parker Cleaveland, who had arrived in 1805 to begin his long career at Bowdoin College. The size and scope of the house eventually forced Cleaveland to sell the house to the college, which first leased it back to him, and then allowed him to live in it rent-free until his death in 1858. It was then purchased from the college by Cleaveland&#39;s son-in-law, Peleg Chandler, and it remained in the Chandler family until 1951. The house was reacquired by the college, and now serves as the official residence of its president.</p><br>
<p>Parker Cleaveland was born in Massachusetts, educated at Dummer Academy and Harvard College, and taught briefly at Harvard before he was hired by Bowdoin as a professor of math and natural philosophy. Cleaveland expanded the curriculum to include chemistry and mineralogy, and it is in this area that he made his greatest impact. Although he was not educated in the study of minerals, this became his major area of research, and in 1818 published his groundbreaking Elementary Treatise on Mineralogy and Geology, the first American volume on mineralogy, and the first published anywhere to include descriptions of North American specimens. His expanded second edition became an internationally recognized authority on the subject, and set the standard for later works on the subject.</p><br>
<p>His home, where he died in 1858, was listed on the National Register of Historic Places and designated a National Historic Landmark in 2000. The house is also a contributing resource to the Federal Street Historic District, an area of well-preserved 19th-century houses in Brunswick. Massachusetts Hall at Bowdoin College is also listed on the National Register in part because of its associations with Cleaveland.</p><br>
<p>Summit Avenue is a street in St. Paul, Minnesota, United States, known for being the longest avenue of Victorian homes in the country, having a number of historic houses, churches, synagogues, and schools. The street starts just west of downtown St. Paul and continues four and a half miles west to the Mississippi River where Saint Paul meets Minneapolis. Other cities have similar streets, such as Prairie Avenue in Chicago, Euclid Avenue in Cleveland, and Fifth Avenue in New York City. Summit Avenue is notable for having preserved its historic character and mix of buildings, as compared to these other examples. Historian Ernest R. Sandeen described Summit Avenue as "the best preserved example of the Victorian monumental residential boulevard."</p><br>
<p>Summit Avenue is part of two National Historic Districts and two City of Saint Paul Heritage Preservation Districts. The National Historic Districts are the Historic Hill District, an irregular area roughly bounded by Lexington Avenue, Portland Avenue, Dale Street North, Marshall Avenue, Pleasant Street, and Grand Avenue (exclusive of the area within the Woodland Park Historic District), and the West Summit Avenue Historic District, a narrow area running from Oxford Street South west to the Mississippi River along Summit Avenue. The city districts are Summit Hill, also known as Crocus Hill, a triangular region from Lexington Avenue on the west, Summit Avenue on the north, and the bluffs (just north of Interstate Highway 35E) on the south, and Ramsey Hill, the area bounded by Summit Avenue, Dale Street, Interstate Highway 94, and a line running north from the Cathedral of St. Paul. Most of the houses in this district are large, distinctive houses built between 1890 and 1920.</p><br>
<p>Summit Avenue was named one of 10 "great streets" nationally by the American Planning Association in 2008.</p><br>
<h2>History</h2><br>
<p>The history of Summit Avenue dates back to the early 1850s, when Saint Paul was in its infancy. Mansions were starting to appear on top of the hill in the earliest days of the city. An 1859 photograph by Joel Whitney shows six houses on the hill. Edward Duffield Neill owned the first house on Summit Avenue, in a location now occupied by the James J. Hill House. Continuing westward, the photo shows the houses of William and Angelina Noble, Henry F. Masterson, Henry Mower Rice, Henry Neill Paul, and David Stuart. The Stuart house, at 312 Summit Avenue, is the only one of these still standing, making it the oldest remaining house on Summit Avenue and one of the oldest in St. Paul.</p><br>
<p>Development was slow during the American Civil War and afterward, but the district began to grow in the 1880s. City water service was provided in 1884, and a cable car line built on Selby Avenue in 1887 provided improved access to downtown. In 1890, the city&#39;s first streetcars began operating on Grand Avenue, just south of Summit, and the Hill District became a fashionable place to live.</p><br>
<p>The district began to decline in the 1930s as many old mansions either turned into rooming-houses or went vacant for many years. The housing stock was not decimated by commercial development pressure, as the bluffs separating the Summit Avenue area from downtown St. Paul made it difficult for downtown to expand into the area. The area began to turn around in the 1960s and 1970s, as young couples discovered that the Victorian homes could be purchased affordably and could be restored over time. Neighborhood associations also formed and helped with preservation efforts.</p><br>
<p>Summit Avenue originally began at North Robert Street but much of Summit Avenue in the Capitol Heights area was removed with the expansion of the State Capitol Mall and the construction of Interstate 94. The remaining section of Summit Avenue in that area between Cedar Street and North Robert Street was renamed Thirteenth Street and was itself later renamed Columbus Street in 1953.</p><br>
<h2>Criticisms</h2><br>
<p>Frank Lloyd Wright, noted as "the greatest American architect of all time" by AIA, claimed that Summit Avenue is "the worst collection of architecture in the world." This was in part due to the imposing scale of the buildings, but mainly because Summit Avenue architecture copied design styles from Europe, rather than attempting to find an original American aesthetic. F. Scott Fitzgerald disliked Summit Avenue as well, stating that Summit Avenue is “a mausoleum of American architectural monstrosities.”</p><br>
<h2>Architecture</h2><br>
<p>The earliest residences constructed on Summit Avenue were primarily constructed in a style commonly referred to as the “Italian Villa”. The “Italian Villa” or “Italianate” style was a popular style in the 1860s and 1870s and was part of the picturesque movement, which rebelled against the wide usage of classical forms in architecture. Italianate buildings in particular were largely inspired by medieval farmhouses in the Italian countryside. Residences in this style are usually characterized by low-pitched roofs often topped with cupolas, eaves decorated by brackets, and round-headed windows with decorative moldings. Most Italianate buildings also feature a square tower and are irregular and asymmetrical in shape. The earliest residence constructed on the bluff overlooking St. Paul was the house of Edward Duffield Neill and although it was razed in 1886 surviving photographs show that the bracketed limestone house was built according to this style. Another early house, the 1863 Emerson House at 378 Summit, was also built in this style and its facade was quite similar to that of the Neill House, with limestone walls and fashionably ornate window hoods. A house originally constructed in 1875, the Cutler House at 360 Summit, was originally constructed in the Italian Villa style and historic photographs show that it featured brick-veneered walls, a three-story tower, and a mansard roof. However, ten years later this style was no longer considered fashionable and the house was then updated to adhere more to the then-popular Queen Anne style. Six feet were added to three sides of the houses and the roofline was completely changed so that the remodeled house looked completely unrecognizable from its original Italian Villa design. However, perhaps the most characteristic example of Italianate architecture on Summit Avenue is the 1863 Burbank–Livingston–Griggs House, with its distinctive arched bay windows, bracketed cornice, and glass-enclosed cupola on the roof.Sandeen, Ernest Robert, et al. St. Paul&#39;s Historic Summit Avenue. University of Minnesota Press, 1978.</p><br>
<p>Another popular style in the early years was the opulent Second Empire Style, which derives its name from the reign of Napoleon III of France (1852-1870). This style, based on Parisian buildings, was very similar in style to the Italianate but featured a distinctly different roof style. This most defining characteristic was the pyramidal mansard roof, inspired by those of 17th-century French architect Francois Mansart. Summit Avenue once possessed a very fine Second Empire style home, the Kittson Mansion, which occupied the spot of the current Cathedral of Saint Paul. Before the construction of the James J Hill House in 1891, this was the grandest house in Minnesota and was exemplary of the Second Empire style with its opulent details such as scrollwork and stained glass windows, and distinctive mansard-roofed tower.</p><br>
<p>After the Italianate style, the next style to become widespread on Summit Avenue was the Queen Anne style. Its name is misleading as although named “Queen Anne” it bore no real resemblance to early 18th-century British architecture. Instead, this style was fantastical in appearance featuring columns and pediments, peaked, high-pitched roofs, and profuse decorative elements such as dormer windows, gables, bays, porches, balconies, and turrets. In addition, this style almost always includes a wrap-around porch and either a round or polygonal corner tower coming out of the spire-like roof. Such houses were constructed using materials such as stone, slate, brick, wood, shingles, and half-timbering. Summit Avenue’s lost 1882 Barnum House once exhibited a transition from the aforementioned Italianate style to that of the newer Queen Anne. It featured characteristics of both styles such as typically Italianate porch detailing, windows and bracketing while also having a roof, balconies, and turrets that adhere more to the new style. Summit Avenue contains many houses built in the purely Queen Anne style such as the castle-like red brick Driscoll House with its conical turret and high-pitched roof spotted with many dormers and chimneys. The beautifully painted wooden “fairytale” residence at 513 Summit was also constructed in this style and features a large porch and a fanciful turret. One of the best-preserved Queen Anne Style houses on the Avenue is the Shipman-Greve House at 445 Summit. This unique limestone house exhibits half-timbering and decorative Japanese-inspired latticework on the porch. A variant of the Queen Anne style commonly known as the “Shingle Style” can be seen in Summit’s 1884 Noyes House. This Shingle Style was similar to the Queen Anne but was constructed with wood shingling on every surface, giving these buildings an irregular texture.</p><br>
<p>Another popular style of architecture on Summit Avenue was the “Romanesque Revival”. This style was characterized by powerful medieval design motifs, particularly inspired by those of the Romanesque period (800-1150). Such medieval-inspired elements often include corner towers, steeply pitched roofs, and heavy arches around doorways and windows, making these buildings often resemble a medieval fortress. Buildings in this style were always built in brick or stone, usually roughly finished, and massive in construction. The largest and most well-known house on Summit Avenue, the James J Hill House, adheres to this style. The Hill House was built in 1891 for prominent railroad businessman James J Hill, who was key in the development of the American Northwest. Its architecture reflects the distinctive work of architect Henry Hobson Richardson whose style, though historically inspired, was very versatile and stressed utilitarianism, coherence, and greater simplicity. Many common features of this uniquely American Richardsonian Romanesque are featured in the Hill House such as rough red sandstone masonry, heavy round arches, and a slate roof, all built on a massive scale. However, the Hill House exhibits more delicate elements as well such as its skylights and Tiffany stained glass windows, showing an interesting contrast. The Wilder Mansion that once stood at 226 Summit could similarly be classified as Romanesque Revival in style but it did not resemble the Hill House. Compared to the eclectic and rough Hill House it was much more in keeping with the picturesque movement and adhered more to historic European styles than American utilitarianism. However, the Lightner House at 318 Summit is more similar to the Hill House and exhibits features such as large blocks of rough stone and a strong entrance arch that reflect the distinctive buildings of Richardson. The 1887 Rugg House is also Romanesque but not quite so simple with its horizontal dark-colored brickwork, peaked tile roof, and entrance arch decorated with carved sculptures.</p><br>
<p>Those who built homes on Summit Avenue at the turn of the century wanted to exude a certain sense of culture, and employed the Beaux-Arts style based on an appreciation of the tradition of European architecture. On Summit Avenue the most popular form was the Italian Renaissance palazzo style, like the 1894 Scott residence at 340 Summit, which resembles a Renaissance palace. Another example of the Beaux-Arts style on Summit Avenue is the Davidson House at 344 Summit which features a design based on Elizabethan English manor houses. Notably, instead of merely copying a 16th-century building the European tradition has been adapted in this case to suit a modern construction. However, perhaps the most prominent example of the Beaux-Arts style on Summit Avenue is not a house at all, but the Cathedral of Saint Paul. The Cathedral stands at one end of the Avenue, near the Hill House, and was designed by Emmanuel Masqueray, a former student at the Ecole des Beaux-Arts. Its design was heavily modeled on the baroque St. Peter’s Basilica in Vatican City and follows the traditional Greek Cross floor plan with many baroque-inspired flourishes. The Cathedral’s most distinctive characteristic is its 306 and a half-foot dome, inspired by those of Bramante and Michaelangelo.</p><br>
<p>In addition to houses inspired by classical and medieval buildings Summit Avenue also featured residences that drew on historically English styles such as the Georgian and Tudor. Summit’s Georgian Revival houses drew on inspiration from 18th-century English architecture and were characterized by red brick two-story symmetrical facades, with equal numbers of windows on each side and flat roofs decorated with balustrades. One example of the Georgian style is the Boeckman House at 366 Summit which features eight decorated chimneys, decorative cornices, a steeply pitched slate roof, and an entrance pavilion with a segmental arch. Another residence that reflects this style is the former house of James J Hill’s son, Louis Hill. It is distinguished by a classical style portico on its front facade with ionic columns and decorative carvings reminiscent of neoclassicism. On Summit Avenue the houses constructed in the Tudor style were not simply replicas of historical buildings but instead modern buildings featuring Tudor style elements. These Tudor elements often included decorative half-timbering, gables, prominent chimneys, patterned brickwork, and medieval-inspired steeply pitched roofs. One of the first houses to be built in the Tudor Villa style on Summit Avenue was the 1909 Lindeke House at 345 Summit. It is notable for having a brick first story while the contrasting upper two stories are instead of stucco-and-beam construction. At 807 Summit stands another Tudor-style residence, this one too with unusual brick and half-timbered stories and a distinctively unbalanced facade, in stark contrast to the symmetry of the Georgian Revival.</p><br>
<p>While other houses continued to draw inspiration from history a comparatively more modern style also took root on Summit Avenue, the Rectilinear Style. In this style, the architectural form moves away from previous irregular and fantastical forms and towards a more rectangular shape. Houses of this style often feature elements such as overhanging eaves and casement windows but have little applied ornamentation and are relatively unpretentious when compared to other styles. The Dittenhofer house at 705 Summit exhibits a move towards the Rectilinear style in its symmetry and blockish shape but cannot escape historicism in its medieval-inspired elements such as Gothic-like arched windows that were once fitted with stained glass. The 1912 Beebe House in comparison is much simpler and thoroughly unpretentious in its appearance, looking almost insignificant compared to the other grand houses on the avenue. The Beebe House features no ornamentation but includes extended eaves and windows arranged in banked groups, elements also distinctive of the famous Prairie Style which was soon to become a variant of the Rectilinear.</p><br>
<h2>Notable buildings</h2><br>
<p>These buildings are listed in numerical address order.</p><br>
<h3>National Historic Landmarks</h3><br>
<p>Three buildings on or near Summit Avenue are National Historic Landmarks (NHLs).</p><br>
<p>James J. Hill House, 240 Summit Avenue</p><br>
<p>F. Scott Fitzgerald House, 599 Summit Avenue</p><br>
<p>The Frank B. Kellogg House, 633 Fairmount Avenue, is just south of Summit Avenue</p><br>
<h3>National Register of Historic Places</h3><br>
<p>A number of buildings on Summit Avenue are listed on the National Register of Historic Places (NRHP).</p><br>
<p>Cathedral of Saint Paul, 201 Summit Avenue</p><br>
<p>Burbank–Livingston–Griggs House, 432 Summit Avenue</p><br>
<p>Minnesota Governor&#39;s Residence, 1006 Summit Avenue</p><br>
<p>Pierce and Walter Butler House, 1345-1347 Summit Avenue</p><br>
<p>Dr. Ward Beebe House, 2022 Summit Avenue</p><br>
<h3>Other notable buildings</h3><br>
<p>Other buildings include:</p><br>
<p>University Club of St. Paul, 420 Summit Avenue</p><br>
<p>Germanic-American Institute, 301 Summit Avenue</p><br>
<p>Mitchell Hamline School of Law, 875 Summit Avenue</p><br>
<p>Macalester College, various buildings between Snelling Avenue and Cambridge Street</p><br>
<p>University of St. Thomas, various buildings between Cleveland Avenue and Cretin Avenue</p><br>
<p>Saint Paul Seminary, 2260 Summit Avenue</p><br>
<p>The Burnquist House, 27 Crocus Place</p><br>
<p>Mount Zion Temple, 1300 Summit Avenue</p><br>
<p>The Scottish Rite Cathedral in Indianapolis, Indiana is a historic building designed by architect George F. Schreiber and located in downtown Indianapolis. It is owned by the Valley of Indianapolis Scottish Rite, an affiliated body of Freemasonry. It was built between 1927 and 1929 at the cost of $2.5 million. The cathedral is one of the largest Masonic buildings in the world and the largest Scottish Rite building anywhere. It has been described as one of the finest examples of Neo-Gothic architecture in the United States.</p><br>
<p>In a 1996 poll, the Indianapolis Business Journal found the cathedral to be the most popular historic building in the city, and the second favorite building of any type. In recent years it has received about 100,000 visitors a year. The Cathedral makes up a triad of major Masonic landmarks in downtown Indianapolis, consisting of itself, the Indianapolis Masonic Temple to its south, and the Murat Shrine Center on Alabama Street.</p><br>
<h2>Design</h2><br>
<p>Every dimension of the structure (in feet) is evenly divisible by three (reflecting the three degrees in Freemasonry), with many also being divisible by 33 (reflecting the degrees a member of the Scottish Rite can achieve). The dominant feature of the exterior is the ‘Singing Tower’ which rises 212 ft and contains the cathedral&#39;s carillon. The carillon consists of 54 bells collectively weighing 56,372 pounds, making it one of the largest in the United States. The top of the tower is ornamented with 12 fleur-de-lis, which from the sidewalk appear to be passion crosses. The four lobes of these fleur-de-lis extend to the north, south, east, and west, again symbolizing the universality of Masonry.</p><br>
<p>The sculptured figures over the main entrance on the buildings east side at the base of the tower depict King Solomon of Israel, Hiram I King of Tyre, and three condemned stonemasons from Solomons Temple. According to Masonic lore, these ruffians murdered King Solomon&#39;s master builder, Hiram Abiff, at the completion of the erection of the Temple at Jerusalem. Other stone carvings depict various aspects of the Scottish Rite, and its motto, “Spes Mea In Deo Est” (My hope is in God), is carved into the limestone lintels above the doors.</p><br>
<p>At the eastern and southern entrances to the cathedral, large bronze medallions are set into travertine marble floors. The detailed ornamentation of these embellished centerpieces display the 12 signs of the zodiac and the four principal degrees of the Scottish Rite. Together they represent the universality of the Masonic fraternity.</p><br>
<p>Throughout the cathedral are over 100 stained glass windows (actually painted glass) that depict the three craft lodge degrees of Masonry, the degrees of the Scottish Rite, symbols of York Rite Freemasonry, plus images of liberal arts, sciences, and even technology of the 1920s at the time of its construction.</p><br>
<p>The ballroom is constructed with a floating floor, where the entire floor is laid on felt cushions. This type of construction, also known as a sprung floor, provides give to the floor which tends to relieve dancers&#39; feet.</p><br>
<p>The theater stage features more than 50 hand-painted scenic backdrops for various scenes of the 29 Scottish Rite degree presentations. They are operated by 12 miles of rope. The proscenium arch of the stage is 38 feet wide and 28 feet high. The architecture is Cathedral Gothic, sometimes referred to as Medieval Gothic, and was patterned in large part after the details of the Cologne Cathedral. The woodwork, panels, and trim are Russian curly oak. The wall panels are embellished in Gothic motif and are shaded from dark near the floor to lighter toward the ceiling. These symbolize how Scottish Rite teachings bring its members from darkness to light. The carvings on the trusses and woodwork were created by the sons of Anton Lang who was famous for playing the part of Christ in the passion play at Oberammergau, Germany. The four robust cherubs on each side of the theater and the two on either side of the stage holding plaques to their breasts are symbolic references to the Ten Commandants. About 1,100 persons can be seated in the theater and another 200 on chairs on the floor in the arena area.</p><br>
<p>The Valley of Indianapolis is the only Scottish Rite Valley in the nation with an orchestra in residence, the Scottish Rite Orchestra, conducted by Ill. Jeffrey S. Warbinton, 33˚. The orchestra was founded in 1946 by Fabien Sevitzky, then conductor of the Indianapolis Symphony Orchestra.</p><br>
<p>Indiana&#39;s Scottish Rite Masons are a part of the Ancient Accepted Scottish Rite Northern Masonic Jurisdiction.</p><br>
<p>The downstairs features the Double Eagle Cafe which is open to the public on weekdays for lunch. Guided tours of the cathedral are available on Tuesday through Friday from 10:00 AM to 2:00 PM.</p><br>
<p>The Woodbury Fisk House is a historic house in the Marcy-Holmes neighborhood of Minneapolis, Minnesota, United States, built in 1869. It was listed on the National Register of Historic Places in 1983 for its local significance in the theme of architecture. It was nominated for being the most elaborate example of Italianate architecture—and one of the style&#39;s most intact specimens—in the city of Minneapolis.</p><br>
<h2>Description</h2><br>
<p>The Woodbury Fisk House rises two stories on a corner lot. It is constructed of buff-colored brick upon a limestone foundation topped with a water table. The original wing is L-shaped. An addition projecting to the rear also contains two stories but is 8 ft shorter. The addition is similar in style and material to the main section, suggesting it was built fairly soon after the original construction. A third, more recent addition at the rear is a one-story frame garage.</p><br>
<p>Elements of Italianate style include the extended eaves supported by prominent brackets, hooded arch windows, and an ornamented porch. In the case of the Woodbury Fisk House, the eaves are supported by scrolled brackets emerging in pairs from a dentilated and panelled cornice. The moulded window hoods are fairly simple on the first floor but sport a center crest and carved leaf design on the second. The arches, however, have been infilled following the installation of modern rectangular windows.</p><br>
<p>Both street-facing façades have ornamented porches conjoined to a projecting bay with tall, narrow windows. The front porch is open while the side porch is screened in. Both have arch supports with ornately carved spandrels and balusters. The main entrance consists of double doors topped with a stained glass transom window. The front yard features two mulberry trees.</p><br>
<h2>History</h2><br>
<p>Woodbury Fisk (1826–1889) was born in Warner, New Hampshire. He came to Minnesota in 1855 or 56 with John S. Pillsbury and Thomas F. Andrews, friends who would each marry one of Fisks sisters. Fisk and Pillsbury initially established themselves in business supplying hardware to the lumber industry, prospering enough by 1869 that Fisk could commission this house. With a third partner, the two men later founded the flour milling company of Pillsbury, Crocker, and Fisk.</p><br>
<p>Fisk married and had three daughters. In November 1888 he was beset by an outbreak of carbuncles, which reportedly sapped his formerly robust health. Fisk died in the house on January 18, 1889, mere days after his 63rd birthday. An obituary read: "though of quiet and unostentatious manner, he was a man whose good humor and hearty cheerfulness were felt wherever he went."</p><br>
<p>Historian Roger G. Kennedy discusses the house in his 2006 book Historic Homes of Minnesota but identifies it as the home of Hennepin County sheriff John A. Armstrong (1831–1878).</p><br>
<p>The George Rogers House is a historic house at 76 Northwest Street in Portsmouth, New Hampshire. Probably built about 1839, it was home to a prominent local brickmaker, and forms a significant part of the landscape around the adjacent Richard Jackson House . The house was listed on the National Register of Historic Places in 1976. Although it is owned by Historic New England, it is not open to the public, unlike the Jackson house, also owned by Historic New England.</p><br>
<h2>Description and history</h2><br>
<p>The George Rogers House is located in what is now a residential enclave on the north side of Portsmouth&#39;s North Mill Pond, bounded by Maplewood Avenue and the USA Route 1 Bypass. It is set on the south side of Northwest Street, just east of the Richard Jackson House, and faces south toward a small orchard and the former mill pond, with its back to the street. It is a -story wood-frame structure, with a gabled roof and clapboarded exterior. It is five bays wide and two deep, and is set on a brick foundation, with brick chimneys. The main entrance has simple molding, but is framed by pilasters and an entablature.</p><br>
<p>The two-story wood-frame house was built by George Rogers, on land originally subdivided by Nathaniel Jackson, owner of the Jackson House at the time. Rogers, a native of Eliot, Maine, operated a brickyard on the land he purchased from Jackson. There is some evidence that the brick used in this house, including some used as nogging, came from the Rogers brickyard, which began operations in 1839. The Society for the Preservation of New England Antiquities (now Historic New England) purchased the Jackson house in 1924, whose parcel was less than an acre in size. It acquired the Rogers house in 1959 to enlarge its holdings around the Jackson house and protect its setting.</p><br>
<p>Arlington is a historic Federal style house and outbuildings in Natchez, Mississippi. The 55 acre property, which includes three contributing buildings, was listed on the National Register of Historic Places in 1973.</p><br>
<h2>History</h2><br>
<p>Tradition maintains that Arlington was built by John Hampton White, a native of Elizabethtown, New Jersey, and his wife, Jane Surget White. The date that construction of the house began is murky. It is thought by scholars to have been built about 1819–20.</p><br>
<p>The architect of Arlington is unknown. Its design has historically been attributed to John Hampton White, but no documentation exists to validate the claim. What is documented is that Lewis Evans, a wealthy Natchez planter, purchased the land on which Arlington stands in 1806. Here he established a plantation and built a house. In 1814 he sold a portion of the plantation containing his house to Jonathan Thompson, a land speculator. Thompson then sold the Arlington property, including the house built by Evans, to Mrs. Jane Surget White in December 1818. Jane White was the daughter of Pierre Surget, a French emigrant at the head of one of Natchez&#39;s leading families.</p><br>
<p>The house later came into possession of S. S. Boyd and his descendants.</p><br>
<p>A photo of Arlington appears in Eudora Welty&#39;s Notes on River Country.</p><br>
<h2>Architecture</h2><br>
<p>Arlington has been considered by architectural historians to be "one of four important Federal Style villas which established the basic form for the later antebellum houses of Natchez." Situated atop a low natural hill, the red brick house is two full stories above a low basement. The exterior of the main block measures 64 x.</p><br>
<p>The front facade is five bays wide, with the three central bays fronted by a tetrastyle portico featuring four monumental Doric columns. The front doorways on both levels are trimmed with radiating brick voussoirs, with carved marble impost blocks and keystones. The openings are each filled by two sidelights with</p><br>
<p>decorative muntins, and a fanlight around a central door. All of the window openings are enhanced with carved marble sills and lintels.</p><br>
<p>The interior is divided on both main levels using a central hall plan, with two rooms to each side. The east side features a stair-hall, with a fanlight-topped doorway connecting it to the main hall. The Federal style woodwork of the interior is refined. Of special note are the carved overdoor panels.</p><br>
<p>Service wings lie to the rear of the main house. At the southeastern corner of the main house is an attached one-story brick wing. It is fronted by a porch with slender, turned columns. At right angles to the one-story wing is a detached, two-story,</p><br>
<p>brick outbuilding. It served as the kitchen and cook&#39;s quarters. Attached to</p><br>
<p>the rear wall of this outbuilding is a one-story, brick carriage house. A two-story barn is situated about 150 ft west of the rear courtyard, separated by a geometric boxwood garden.</p><br>
<p>During the mid-19th century, a full-width monumental portico was added to the rear. It features Doric columns matching those at the front and Greek Revival woodwork underneath. At this time a cast iron porch was added over a central doorway to the stair-hall on the east side of the house and the attached wing was reworked.</p><br>
<h2>Fire and aftermath</h2><br>
<p>Arlington suffered a disastrous fire on September 17, 2002, that destroyed the main roof and much of the second floor. A new roof was built through the efforts of the Historic Natchez Foundation shortly after the fire. Vandals subsequently broke many windows and destroyed or defaced much of the interior and exterior woodwork. Following a lawsuit filed by the Natchez Preservation Commission, the absentee owner was fined on December 2, 2009, in the municipal court of Natchez after being convicted of demolition by neglect.</p><br>
<p>Alcorn State University Historic District is a historic district on the campus of Alcorn State University in rural Claiborne County, Mississippi, northwest of Lorman. It includes Oakland Memorial Chapel, a National Historic Landmark and seven other buildings.</p><br>
<h2>History</h2><br>
<p>Rowan and Martin were two graduates who served as college presidents in the early 1900s and greatly improved the campus. L. J. Rowan was president from 1905 to 1911 and again from 1915 to 1934. J. A. Martin was president from 1911 to 1915.</p><br>
<h2>Buildings and sites</h2><br>
<p>It includes eight contributing buildings:</p><br>
<p>Administration Building (1928)</p><br>
<p>Harmon Hall (1929)</p><br>
<p>Lanier Hall (1939), Colonial Revival.</p><br>
<p>Oakland College, Greek Revival:</p><br>
<p>Belles Lettres ( 1855)</p><br>
<p>Dormitory No. 2 (c. 1855)</p><br>
<p>Dormitory No. 3 (c. 1855)</p><br>
<p>Oakland Chapel (c. 1838)</p><br>
<p>President&#39;s House (c. 1930)</p><br>
<p>The 1959 Library and Science Building is an intrusion in the district.</p><br>
<p>Ammadelle is a historic house at 637 North Lamar Boulevard in Oxford, Mississippi. Built in 1859, it is an Italianate mansion designed by Calvert Vaux, which he regarded as one of his finest works. It was designated a National Historic Landmark in 1974.</p><br>
<h2>Description and history</h2><br>
<p>Ammadelle is set on a landscaped 7 acre parcel on the west side of North Lamar Street south of its junction with Price Street. It is a red brick building, two stories in height, with white Italianate trim and black shutters. It has an irregular plan, with porches flanking a projecting central gabled entry pavilion. The porches, single story in height, have Italianate trim and low balustrades above. Windows on the second level are set in round-arch openings, with deeply projecting bracketed cornices above. The entry is recessed deeply within the pavilion, which has an open arch to the left porch.</p><br>
<p>The house was designed by Calvert Vaux in 1857, and construction of the building took place between 1859–1861. It resembles another Vaux design apparently never completed for E. S. Hall in Middletown, Connecticut, dating to earlier in his career.</p><br>
<p>Final details were incomplete when the American Civil War started, and the missing details (balconies across the rear, and a wine cellar) were never finished. Vaux was at the time of the commission just 34, and had recently struck out on his own after having worked with Andrew Jackson Downing, a major proponent of the Italianate style.</p><br>
<p>The house was built for Thomas E.B. Pegues. It has been very well preserved, with only minor alterations. Vaux&#39;s original plans are with the owner of the building.</p><br>
<p>The Lake County Courthouse and Sheriffs Residence, located at 601 3rd Avenue in Two Harbors, Lake County in the USA state of Minnesota was built in 1906. In 1888 a two-story brick sheriffs residence and jail was erected with an adjacent Queen Anne style courthouse. A 1904 fire destroyed the courthouse, but the jail and residence remained. The replacement building, designed in the Beaux Arts style by James Allen MacLeod, was built of brick and limestone, featuring quoin blocks, stone window surrounds with large keystones, dentil moulding, and four large columns supporting the entry overhang. The courtroom was topped with an open semi-circular dome covered with metallic scaled shakes. In 1945, the dome was enclosed from below. Axel Edward Soderberg was commissioned to paint murals depicting "Law and Justice", commerce, mining, and logging, at a cost of $1,500 in 1905. The jail and residence building were razed in the 1990s.</p><br>
<p>The Mille Lacs County Courthouse, located at 635 2nd Street Southeast in Milaca, Mille Lacs County in the USA state of Minnesota was built in 1923. It was designed by Minneapolis architects Croft & Boerner. The facade consists of Bedford limestone over reinforced concrete. A two-story entrance pavilion is topped with concrete "turnings" on the corners and a carved swag and wreath in the center. The windows are adorned with small balustraded balconies. The interior is finished with terrazzo floors and a Wright-inspired leaded glass skylight over the octagonal atrium. Marble steps rise from the front door to the first level and continue to the second floor. Red wood woodwork is used throughout the building. In 1978 the building was renovated by Johnson and Forberg Associates of Minneapolis.</p><br>
<p>Auburn is a Federal mansion in Duncan Park in Natchez, Mississippi. It was designed and constructed by Levi Weeks in 1812, and introduced academic Classical order architecture in the Mississippi territory. Its prominent two-story portico served as a model for the subsequent architectural development of local and nationally important mansions. It was declared a National Historic Landmark in 1974 and a Mississippi Landmark in 1984.</p><br>
<h2>Description</h2><br>
<p>Auburn is a two-story brick building, with a Palladio exterior and Regencia interior, constructed of a central core and flanking symmetrical wings. A four-column temple front adorns the center of the block, with modified Ionic columns supporting an entablature and fully pedimented gable. The gable has modillioned cornices and an oval window at its center. The main entrance is set in a segmented-arch opening along with flanking sidelight windows and a transom window above. Sheltered by the temple portico is a second floor balcony, which is accessed via a three sash window, the earliest of the type in the city.</p><br>
<h2>History</h2><br>
<p>In 1811, Lyman Harding, the first Attorney General of Mississippi, hired Levi Weeks, a young architect, to design and build the mansion. The original building was 60 ft by 45 ft with a two-story portico supported by four columns and includes an unusual floating spiral staircase between the first and second floors. Levi Weeks designed the house to be, in his words, the "most magnificent building in the state."</p><br>
<p>After Harding died in 1820, the building was bought by Dr. Stephen Duncan, who expanded the house to include two symmetrical wings, greatly expanding interior space. Duncan later abandoned the building amidst growing secession tensions just before the American Civil War, and the house was placed in the care of his descendants.</p><br>
<p>The building and 203 acre was donated by the family to the city of Natchez in 1911 and is now a historic house museum in a public park. The donation also included the Duncan family furnishings, which the city quickly and unfortunately sold. The grounds were converted by the City of Natchez into Duncan Park.</p><br>
<p>The Commercial Bank and Bankers House is an unusual combination building, housing both a bank premises and the principal bankers residence, at 206 Main Street and 107 Canal Street in Natchez, Mississippi. Built-in 1833, it is a remarkably high-quality and well-preserved example of Greek Revival architecture. It was designated a National Historic Landmark in 1974. The bank portion of the building, used for a time by a Christian Science congregation, is presently vacant, while the house portion is a private residence. Both the buildings have carved limestone used extensively, columns lintels, window sills, and the entire facia are all carved limestone with the walls being 20" thick brick construction with scored plaster to have the appearance of large limestone blocks.</p><br>
<h2>Description and history</h2><br>
<p>The Commercial Bank and Banker&#39;s House are a single structure that occupies what are now two separate properties. The two parcels form an L shape surrounding an unrelated commercial building at the southern junction of South Canal and Main Streets in downtown Natchez. The bank portion of the building presents its façade to Main Street, while the house presents a facade to South Canal Street, with an intervening front yard. The bank portion is a tall single story in height, with a facade of dressed marble. Its side walls, and those of the house, are finished in stuccoed brick. The bank facade has a Greek Temple projection, with four Ionic columns supporting a full entablature and gabled pediment. The columns are set on a low plinth, with side-facing stairs providing access to the main entrance.</p><br>
<p>The house facade is five bays wide, with a center entrance sheltered by a simpler portico. This one has two Doric columns supporting a detailed entablature, with a wrought iron balcony railing above. The house interior has some of the most impressive hand carved door surrounds and window surrounds in the US. It has 28" high baseboards and impressive large doors throughout. The rooms are large size for this time period.</p><br>
<p>The Commercial Bank was chartered in 1833, and this unique building was constructed soon afterward. it is said that he created this very impressive residence for himself and his family as a town house. Another interesting fact is it has italian marble mantles throughout the home both upstairs and down, unusual because the usual is to use wood mantles in the less public spaces.</p><br>
<p>The bank portion of the building has seen a variety of uses over its period of existence, including as a Christian Science center in the 1970s. It presently stands empty. The house portion is a private residence. which has in the past been a girls school and a boarding house for many years, by verbal tradition was enjoyed by Jesse James. It has had a complete renovation in 2021/2022.</p><br>
<p>Village Green, originally named Baldwin Hills Village, is a neighborhood at the foot of Baldwin Hills, within the city of Los Angeles, California. Village Green consists of a large condominium complex that is both a Los Angeles Historic-Cultural Monument and a National Historic Landmark. Designed in the late 1930s and completed by 1942, it is one of the oldest planned communities of its type in the nation. Village Green was named by The American Institute of Architects as one of the 100 most important architectural achievements in USA history.</p><br>
<h2>Geography</h2><br>
<p>Village Green is located between Obama Boulevard and Coliseum Street, and between Hauser Blvd. and slightly west of La Brea Avenue, in the northwestern South Los Angeles region. The Baldwin Village neighborhood is just east of Village Green and La Brea Avenue. The site design consists of outer vehicular circulation roads, with spur roadways between some of the buildings of the complex. At its center is an elongated oval greensward, lined and crossed by paved walkways. Smaller garden courts extend outward from the central area between the residence buildings. The spur roads provide access to garage buildings, which also historically housed access to common facilities such as laundry rooms. The residences are one or two story frame structures finished in plaster, with the living units organized so that the living room and master bedroom face one of the garden spaces.</p><br>
<h2>History</h2><br>
<h3>Origin</h3><br>
<p>The Baldwin Hills Village complex was built in 1942 as one of the most ambitiously planned communities in Los Angeles at the time, with 627 apartments grouped in buildings on a very large landscaped site. The Modernist Garden city style complex, which encompassed 627 units, was designed by architect Reginald D. Johnson, consulting architect Clarence S. Stein, with the firm of Wilson, Merill & Alexander, and landscape architect Fred Barlow, Jr. It also featured a mural by Italian-American artist Rico Lebrun. The units seldom have more than two bedrooms, and tend to attract seniors and younger professionals as residents. As one of the first such establishments, the Village Green was also designed with the requirements of car-owners in mind. The development "was designed with all the roads and garages confined to the edges of its eighty-acre expanse."</p><br>
<h3>Landmark status</h3><br>
<p>As Baldwin Hills Village, Village Green was declared a Los Angeles Historic-Cultural Monuments in 1977, listed on the National Register of Historic Places in 1993, and a National Historic Landmark historic district in 2001.</p><br>
<p>VillageGreen 2006 sm2509.JPG</p><br>
<p>The James J. Hill Center  was a privately funded business research library at 80 West Fourth Street in Saint Paul, Minnesota. On July 3, 2019, the library closed to the public citing unsustainable operating costs and needed capital improvements. Until 2019 it was open to the public and its resources could be used for free on site. In addition, the Center hosted business and social events in its historic reading room. On November 18, 2019, the center announced it had put the building up for sale. The library is part of the civic legacy of James J. Hill. In June 2021, the Minneapolis-based company First & First bought the building with the intent for it to be used as an event center.</p><br>
<p>The James J. Hill Center was completed after his death and funded by his widow, Mary T. Hill, and children Mary Hill, Rachel Hill Boeckmann, Clara Hill Lindley, Louis W. Hill, and Charlotte Hill Slade. It was added to the National Register of Historic Places in 1975.</p><br>
<p>Dunleith is an antebellum mansion at 84 Homochitto Street in Natchez, Mississippi. Built about 1855, it is Mississippi&#39;s only surviving example of a plantation house with a fully encircling colonnade of Greek Revival columns, a form once seen much more frequently than today. Now an inn and conference center, it was designated a National Historic Landmark in 1974. Currently the original horse stable serves as a fine dining establishment with a traditional English pub in the lower levels of the structure</p><br>
<h2>Description</h2><br>
<p>The 12 room main house sits on 40 acre along with several outbuildings including a carriage house, a dairy barn, a poultry house, and a three-story brick courtyard building that historically would have housed the kitchen, laundry and slave quarters. The main house has a Greek revival design and includes 26 Tuscan columns built of brick and stucco that completely encircle it. There are porches with distinctive wrought iron railings around the entire building on the first and second floor. The first floor includes windows similar to those in Monticello which would roll up to become doorways.</p><br>
<h2>History</h2><br>
<p>The previous building on this plantation, called Routhland, had been built by Job Routh in the 1790s and passed down to his daughter Mary Routh. When it was struck by lightning and burned down in 1855, her husband, General Charles G. Dahlgren rebuilt, creating the present structure. It was sold for $30,000 in 1858 (equal to $ today) to Alfred Vidal Davis who renamed it Dunleith.</p><br>
<p>The 1957 film, Raintree County was partly filmed at Dunleith, as was a portion of the 1974 version of Tom Sawyer and Huck Finn by Columbia Pictures, and an episode of Promised Land for CBS television in 1998.</p><br>
<p>Dunleith has been a historic house museum offering tours for hotel and restaurant guests as well as a historic inn since 1976 up until February 1, 2019 when was auctioned on the Adams County, Mississippi, courthouse steps due to bankruptcy. United Mississippi Bank which held the loan on the property took possession of it as there were no bids for the 4.7 million opening bid. It was used as a hotel, restaurant and event venue. The historic inn has 22 guest rooms divided amongst the main house, courtyard and dairy barn buildings. Multiple venue spaces accommodate a variety of purposes, including weddings, conferences, tour groups and reunions. The Castle Restaurant & Pub located in the former carriage house - constructed circa 1790 - served breakfast, lunch and dinner.</p><br>
<p>Among its notable occupants was John Roy Lynch, born a slave at Tacony Plantation in Louisiana and self-educated, who would go on to become the first African-American Speaker of the House of Representatives in the Mississippi State Legislature and one of the first African-American USA Congressmen. He studied law, authored several articles and books, and would serve in several appointed political and military positions during a long career. After his death in Chicago 1939 at the age of 92, Lynch was buried with military honors in Arlington National Cemetery, due to his service as a Congressman and military officer.</p><br>
<p>The Old Mississippi State Capitol, also known as Old Capitol Museum or Old State Capitol, served as the Mississippi statehouse from 1839 until 1903. The old state capitol was added to the National Register of Historic Places in 1969. In 1986, the structure was designated a Mississippi Landmark and became a National Historic Landmark in 1990.</p><br>
<h2>History</h2><br>
<h3>Construction</h3><br>
<p>Although construction was initiated in 1833, there were problems with the architect and substandard materials. The original architect, John Lawrence, was replaced in 1836 by William Nichols, who oversaw completion of the 3-story structure in 1840.</p><br>
<p>The exterior of the building was composed of brick, limestone, and stucco. A copper rotunda dome extended 94 ft above the first floor. Wood was the principal material used for construction of the building&#39;s interior, with the exception of brick partition walls and flagstones on the rotunda floor.</p><br>
<h3>Occupancy</h3><br>
<p>From 1839 until 1903, as Mississippi&#39;s statehouse, the old capitol was the site of several historical legislative events:</p><br>
<p>Passage of the Married Women&#39;s Property Act, the first law in any state to allow married women to independently own property, in 1839.Sandra Moncrief, "The</p><br>
<p>Mississippi Married Women&#39;s Property Act of 1839," Hancock County Historical Society,. Accessed 6 February 2024.</p><br>
<p>Passage of an ordinance of secession in 1861.</p><br>
<p>Constitutional Convention of 1865.</p><br>
<p>Constitutional Convention of 1868, recognizing African American political rights.</p><br>
<p>Restoration of white rule in 1875.</p><br>
<p>Constitutional Convention of 1890, under which Mississippi is still governed.</p><br>
<p>When construction of a newer state capitol was completed in 1903, the old capitol building was abandoned and remained so until 1916, when it was renovated for state office space.</p><br>
<p>By 1960, all state agencies had vacated the structure and it was again renovated to become the State Historical Museum in 1961.</p><br>
<p>In August 2005, winds from Hurricane Katrina peeled off sections of the old capitol&#39;s copper roof. About four weeks later, rain from Hurricane Rita infiltrated the building and damaged ceilings, walls, and ornamentation, as well as historical artifacts. Storm repairs and renovations were completed between 2007 and 2009, and the museum reopened to the public. The Old Capitol Museum is administered by the Mississippi Department of Archives and History.</p><br>
<p>The John Sullivan House is a historic house at 21 Newmarket Road in Durham, New Hampshire. A National Historic Landmark, it was the home of American Revolutionary War General John Sullivan , who later became President  of New Hampshire.</p><br>
<p>The house is a two-story L-shaped wood frame Georgian structure, with a central chimney and a gable roof. It was built sometime between 1729 and 1741 by Dr. Samuel Adams, and is located in the oldest portion of Durham, now a historic district. The main block is 38 ft wide and 28 ft deep, with an ell extending from its southwest rear that is 26 ft by 13 ft. The front entry, centered on the main facade, is sheltered by a portico that is an early 20th-century addition. The interior of the main block has three rooms separated by a short central hallway. The room to the left served historically as Sullivan&#39;s library, and while on the right are the parlor with the dining room behind. There are slave quarters in the rear. The ell contains the kitchen and a service stair. There are three bedrooms on the second floor, and one in the attic. There is much original woodwork dating to the 18th century.</p><br>
<p>John Sullivan was born in nearby Somersworth, and studied law. He settled in Durham to practice law in 1763, and purchased this house in 1763. It served as his home for the rest of his life, and he is buried in the family cemetery nearby. Sullivan was a vocal opponent of British rule in the colonies, and was elected to the First Continental Congress in 1774. In December of that year he led a raid on Fort William and Mary in which the colonial militia seized munitions stored there. He was appointed a brigadier general in the Continental Army in 1775, and served through the American Revolutionary War. He participated in the Siege of Boston, and was captured by the British in the 1776 Battle of Long Island. After being exchanged, he served in the Battle of Trenton, the Philadelphia campaign of 1777, the failed attempt to recapture Newport, Rhode Island, and the 1779 Sullivan Expedition, in which the Iroquois, who had largely sided with the British, were driven from upstate New York. Sullivan&#39;s actions and barbed personality made him enemies in Congress, and he resigned from the army late in 1779. He returned to New Hampshire, where he served as Attorney General 1782–86, and as President (the office now known as Governor) 1787–89. He chaired the state convention that ratified the United States Constitution.</p><br>
<p>The house was declared a National Historic Landmark in 1972. It is a private residence, and is not normally open to the public.</p><br>
<p>Broad Street Historic District in LaGrange, Georgia is a historic district. It includes the 1855-built Bellevue, an "outstanding example" of a high-style Greek Revival mansion which is a National Historic Landmark.</p><br>
<p>Post American Civil War architectural styles represented in the district include "eclectic Victorian styles", turn-of-the-20th-century Neoclassical and Georgian Revival styles and early-twentieth-century Tudor Revival and Craftsman/Bungalow styles".</p><br>
<p>The Cragsmoor Historic District in a historic district that includes most of the Cragsmoor hamlet atop the Shawangunk Ridge in the Town of Wawarsing, part of Ulster County, New York, United States. It is roughly bounded by Henry, Cragsmoor and Sam&#39;s Point roads, a Y-shaped area of 3,620 acres . Within it are 168 buildings , 15 structures and 11 objects, all located amidst a quiet, heavily wooded ridgetop community. It was added to the National Register of Historic Places in 1996.</p><br>
<p>Many of the buildings in the district date to Cragsmoor&#39;s founding as an art colony in the late 19th century, when Edward Lamson Henry and some of his fellow painters visited what was then a small mountain hamlet for local loggers and grew enamored of the scenery. Many homes were designed by Frederick Dellenbaugh and Bert Goldsmith. George Inness, Jr. and Charles Courtney Curran were among the artists who lived and worked here.</p><br>
<p>Brown Chapel A.M.E. Church is a church at 410 Martin Luther King Jr. Boulevard in Selma, Alabama, United States. This church was a starting point for the Selma to Montgomery marches in 1965 and, as the meeting place and offices of the Southern Christian Leadership Conference  during the Selma Movement, played a major role in the events that led to the adoption of the Voting Rights Act of 1965. The nations reaction to Selmas "Bloody Sunday" march is widely credited with making the passage of the Voting Rights Act politically viable in the United States Congress.</p><br>
<p>It was added to the Alabama Register of Landmarks and Heritage on June 16, 1976 and later declared a National Historic Landmark on February 4, 1982.</p><br>
<p>The structure sustained significant damage from termites and mold while it was unoccupied during the COVID-19 pandemic, and it was included on the National Trust for Historic Preservations annual list of Americas 11 Most Endangered Places in 2022.</p><br>
<h2>Description</h2><br>
<p>The Brown Chapel A.M.E. Church is located northeast of downtown Selma, on the east side of Martin Luther King Jr. Boulevard between St. Johns Street and Clark Avenue. It is a large masonry structure, built out of red brick with white stone trim. Stylistically it is basically Romanesque Revival, built in the shape of a Greek cross with Byzantine influences. Its facade has its entries recessed behind an arcade of three rounded arches, and is flanked by a pair of square towers topped by octagonal lanterns and cupolas. The only major exterior alteration is a functional addition to the rear, housing kitchen and other facilities.</p><br>
<p>The church was built in 1908 to a design by A. J. Farley. Its congregation arose out of a combined African-American and white congregation of Methodists which separated by race in 1866. Its first sanctuary was built on this site in 1869. It is best known today for its role as the site of organizational meetings related to several major events in the Civil Rights Movement of the 1950s and 1960s. The Southern Christian Leadership Conference (SCLC), one of the principal organizations of civil rights activists, used the church as its Selma headquarters during protest activities organized in 1964 and 1965 that led to the eventual passage of the Voting Rights Act of 1965.</p><br>
<p>The Octagon House was a historic house at 120 Strawberry Hill Avenue, on the edge of the Glenbrook section of Stamford, Connecticut. It was one of a number of octagon houses in the United States, built during a fad in buildings of that shape from the late 1840s to the 1870s. The octagonal portion of the house was concrete, with external scoring to imitate ashlar. The use of concrete as a building material was also promoted by Orson Squire Fowler, the primary mover behind the octagon house fad.</p><br>
<p>The house was listed on the National Register of Historic Places in 1979. It was destroyed by fire in 1985.</p><br>
<p>The George and John R. Hunt Memorial Building, often referred to as just the Hunt Memorial Building, is the former Ellenville, New York, United States, public library. It is located on Liberty Square, at the juncture of Liberty Place and Canal Street , just across from the village&#39;s post office, another Registered Historic Place in Wawarsing.</p><br>
<p>It was built in 1917 as local headquarters for the Women&#39;s Christian Temperance Union (WCTU), with money from local benefactor John R. Hunt. His intention was that the building, designed by Frank Estabrook of Newburgh mostly in neoclassical style, would serve as both rented private office space to provide the building with income, and a public community center.</p><br>
<p>Despite some decline in the condition of the building, it continued to serve as one of the three anchors of the village&#39;s downtown through the middle of the twentieth century, along with the post office and the since-burned Wayside Inn. To make ends meet, the WCTU had to rent out not only the office space but to go into the function hall business, using the public space. When the public library moved to its current quarters in 1975, the building was left without a major tenant, though over the next 15 years there was occupancy by The Ellenville News (a weekly community newspaper, for two years), TreSource and Fiber Industries (sustainable wood and forestry products), and the Plush Factory (stuffed toys); structural problems such as leaky roofs and badly built partitions accelerated its decay. Urban renewal efforts in Ellenville and the decline of the regional economy made the neighborhood less vibrant.</p><br>
<p>The last major tenant, in the 1990s, was an appliance retailer. Howard Hellman, who had taken over ownership of the building, decided to donate it to the village in the hopes that it could find a buyer who could attract a mix of tenants and revitalize not only the building but downtown. These efforts proved as futile for the village as they had for Hellman.</p><br>
<p>Local preservationists were interested in saving the building, however, and formed the Hunt Memorial Preservation Committee to raise funds and coordinate restoration efforts. The village has created a Historic Preservation Committee and taken other steps required by the state to coordinate rehabilitation efforts. Current plans call for a mix of public and private funds to be used to restore the masonry and repair the roof and windows. A stained glass skylight that had become severely deteriorated has been repaired, but is being kept in storage for safekeeping until the main room ceiling is fully renovated. In 2005 it was listed on the National Register of Historic Places, as well as on the State of New York registry. It is located in the Ellenville Downtown Historic District.</p><br>
<p>The ultimate intent is to restore the building to the point where it can serve its original purpose as a mixture of private and public space, providing a spur to the revival of downtown Ellenville. It remains in sporadic use, mostly as the venue for community events, such as the annual Run Like the Wind 10K race, the annual Blueberry/Huckleberry Festival, a summer series of concerts (Music in the Square), and art exhibits. After a local insurance agency vacated an office in the rear of the building, the space was renovated for use by the Ellenville/Wawarsing Chamber of Commerce, which completed its move of its office from its previous site on Berme Road in early 2008.</p><br>
<p>In 2015, Ulster County gave the village of Ellenville a million dollars for various local projects after it was passed over by the state as a casino site following a 2014 amendment to the state constitution that allowed casinos at several state locations. Of that money, $100,000 was allocated to restoring the Hunt Building. A little over one-third was used to shore up the main portico, while the rest went to refinishing the interior, although two rooms remain to be redone.</p><br>
<p>The Hunt Memorial Building Commission, which the village set up to operate the building, installed a new roof and redid the flooring and the windows. It also found some intact furniture from the former Nevele resort just south of the village and put it in the building. Some of the utilities have been upgraded as well.</p><br>
<p>In 2017, the village board announced it was seeking a $1.2 million state grant which, in conjunction with $150,000 already secured through state senator John Bonacic, will allow it to finish renovating the first floor. When completed, it will have a commercial-grade kitchen. The goal is for the space to be able to serve as a shelter for up to 30 residents during emergencies.</p><br>
<p>Charles McLaran House, also known as Riverview and as Burris House, is a historic mansion at 512 Second Street South in Columbus, Mississippi. Built in 1847 for a major local landowner, it is a distinctive and particularly grand and well-preserved example of Greek Revival architecture. It was declared a National Historic Landmark in 2001.</p><br>
<h2>Description and history</h2><br>
<p>Riverview is located on a roughly 1 acre parcel, a reduced portion of its original lot, which occupied an entire city block bounded by First and Second Streets South, and by Fifth and Sixth Avenues South. The property originally housed a small estate, with a number of outbuildings accompanying the main house. Of these, only a single one remains. The propertys landscaping includes mature plantings, some of which may date to its early days. The main house is a basically square brick structure, 2-1/2 stories in height, with a raised basement and a low pitch hipped roof that has a large square cupola at its center. The house has two primary facades, one facing east to Second Street, and the other to the west toward the Tombigbee River. Each is five bays wide, with the center three bays fronted by massive two-story Greek temple fronts. These porticos have paneled square pillars, which rise to a modillioned and dentillated cornice. The interior is significantly more elaborate than the exterior, with elaborate high-quality plaster and woodwork details. The central hall has a grand spiral staircase that rises up to the cupola. Details from one of the parlors are direct copies from plates appearing in Minard Lafevers 1835 The Beauties of Modern Architecture.</p><br>
<p>The house was built in 1847 for Charles McLaran, a native of Alabama who was then one of the county&#39;s largest landowners. Its design is attributed to James Lull, a native of Vermont who came to Columbus in 1837. McLaran only lived in the house until 1856, when he moved to St. Louis, Missouri.</p><br>
<p>The Emerald Mound site , also known as the Selsertown site, is a Plaquemine culture Mississippian period archaeological site located on the Natchez Trace Parkway near Stanton, Mississippi, United States. The site dates from the period between 1200 and 1730 CE. It is the type site for the Emerald Phase  of the Natchez Bluffs Plaquemine culture chronology and was still in use by the later historic Natchez people for their main ceremonial center. The platform mound is the second-largest Mississippian period earthwork in the country, after Monk&#39;s Mound at Cahokia, Illinois.</p><br>
<p>The mound covers eight acres, measuring 770 ft by 435 ft at the base and is 35 ft in height. Emerald Mound has a flat top with two smaller secondary mounds at each end. It was constructed around a natural hill. Travelers in the early 19th century noted a number of adjoining mounds and an encircling ditch that are no longer present. This site once had six other secondary mounds which were lost due to the plowing of the surface of the mound. Emerald Mound was stabilized by the National Park Service in 1955. It was declared a National Historic Landmark in 1989. The mound is now managed by the Park Service&#39;s Natchez Trace Parkway unit, and is open to the public.</p><br>
<h2>Site prehistory</h2><br>
<p>Emerald Mound was constructed during 1250 and 1600 CE, and is the type site for the Emerald Phase (1500 - 1680) of the Plaquemine culture Natchez Bluffs chronology. It was used as a ceremonial center for a population who resided in outlying villages and hamlets, but takes its name from the historic Emerald Plantation that surrounded the mound in the 19th century. The large mound began as a natural hill, which was built up by workers&#39; depositing earth along the sides, reshaping it and creating an elongated, pentagonal-shaped, artificial plateau. Two smaller mounds sit on either end of the summit of the primary mound. The larger of the two sits at the western end, and measures 190 ft by 160 ft at the base and is 30 ft in height.</p><br>
<p>The summit of the mound is roughly 65 ft above the surrounding landscape. Early drawings suggest that six smaller mounds, three on either side, flanked the edges of the primary mound between the two secondary mounds, but were flattened by erosion and plowing in the 19th century. Originally a constructed ditch, part of the earthworks, encircled the entire complex.</p><br>
<p>Archaeologists believe that the Plaquemine culture builders were the ancestors of the historic Natchez, who inhabited the area and used Emerald Mound site as their main ceremonial center at time of first European contact. By the time of the La Salle Expedition of 1682, the tribe&#39;s main ceremonial center was located at the Grand Village of the Natchez or Fatherland site, 12 mi to the southwest. Emerald was abandoned during the French colonial period, and the hereditary chief lived at the Grand Village. The people of the tribe lived in a widely dispersed settlement pattern, mainly in small hamlets and on family farms. They periodically assembled at the ceremonial centers for religious and social events. This settlement appears to have been one of the last active expressions of the large platform mound-building culture along the Mississippi River.</p><br>
<h2>Archaeological excavations</h2><br>
<p>The site, originally known as the Selsertown site, derives its present name from the nearby antebellum-era Emerald Plantation. The first excavations took place in 1838, and were recorded by John C. Van Tramp in his book Prairie and Rocky Mountain Adventures, or, Life In The West. Measurements were taken, pottery and skeletons exhumed, and the investigators noted the eight secondary mounds and a large encircling trench. Over the intervening years, periodic excavations have taken place, most recently in 1972. Animal remains, ceramic fragments, tools, and the stratigraphy—all studied by National Park Service archeologists—offer a glimpse into the life of Emerald&#39;s ancient inhabitants.</p><br>
<p>The owners donated the site to the National Park Service (NPS) during the 1950s. Due to damage caused by erosion of the secondary mounds, the NPS restored the mounds and turfed the surfaces in the mid-50s. A trail and stairways were constructed from the parking lot adjacent to the mound, leading to the surface of the primary platform and to the tops of the larger of the secondary mounds. The staircases have since been removed.</p><br>
<p>The mound is listed on the Mississippi Mound Trail.</p><br>
<p>Grand Village of the Natchez , also known as the Fatherland Site, is a 128.1 acre site encompassing a prehistoric indigenous village and earthwork mounds in present-day south Natchez, Mississippi. The village complex was constructed starting about 1200 CE by members of the prehistoric Plaquemine culture. They built the three platform mounds in stages. Another phase of significant construction work by these prehistoric people has been dated to the mid-15th century. It was named for the historic Natchez people, who used the site in the 17th and 18th centuries.</p><br>
<p>In the early 18th century, when the historic Natchez people occupied the site, they added to the mounds.</p><br>
<p>The village was the Natchez tribes main political and religious ceremonial center in the late 17th and early 18th centuries, according to historical and archaeological evidence. It replaced the Emerald Mound site in this role. After suffering a military defeat by French settlers in 1730, the Natchez abandoned the site and moved away. In the early 19th century, the land was privately owned and cultivated as part of the Fatherland Plantation. Archaeological excavations started in 1930, and three mounds were found. (They had been partially buried by loess soils, with some erosion due to St. Catherines Creek.)</p><br>
<p>The site was declared a National Historic Landmark in 1964 and a Mississippi Landmark in 1985. The site is listed on the Mississippi Mound Trail.</p><br>
<h2>History</h2><br>
<p>Construction began at the site during the Anna phase of the prehistoric Plaquemine culture about 1200 CE. All of the varying soils used to build the mounds was carried by laborers by hand, probably in woven baskets. Skilled specialists knew how to use different soils to create the most stability. Later leaders directed additional work in the mid-15th century, in the Emerald phase of the Plaquemine culture. The site had three ceremonial platform mounds.</p><br>
<p>Between 1682 and 1729, the Natchez people used the village as their main ceremonial center, as noted in contemporary French accounts. The three mounds were used for major religious and political ceremonies. First called Mound A, B and C by researchers, they are now known as Abandoned Mound, Sun Mound and Temple Mound, respectively. The Sun and Temple Mounds have been excavated and reconstructed, while the Abandoned Mound has not.</p><br>
<p>From 1700 to 1730, the Natchez added more construction at Mounds B and C. On top of Mound B they built the residence of the Great Sun, the paramount chief of the tribe. Mound C was the platform for the Sun Temple, which included a charnel house for the remains of the Natchez elite. By the time of European contact, the Natchez were no longer using Mound A. Most of the Natchez people lived dispersed in small villages in the area and would gather for special occasions at the Grand Village. They were farmers and constructed permanent dwellings.</p><br>
<p>During this period, French settlers began to explore the region and establish settlements that gradually encroached on Natchez territory. Though relations were peaceful at first, the French colonists strained the resources the Natchez relied on for survival. Several episodes of violence in 1716 and 1723 created tension, although the Natchez made land concessions to the French.</p><br>
<p>The death of the Great Sun in 1728 contributed to social instability and tensions. His successor, the Young Sun, was more hostile to the French. In addition, the tribe was getting caught up in French and British rivalry in the region, each of which tried to maintain trade with the Natchez. In 1729, a pro-British group within the tribe attacked the French settlements at Fort Rosalie. The French retaliated with Indian allies and drove the Natchez out of the area. Some of the Natchez escaped and took refuge with other tribes, such as the Creek and Cherokee. After the French sold 300 Natchez survivors into slavery in the West Indies, the Natchez "ceased to exist as a cultural group."</p><br>
<p>In the late 19th century, researchers named the mound group after the Fatherland Plantation, established earlier that century on much of the site. Its owners had cultivated part of the area. When researchers later determined that this was the site called the "Grand Village of the Natchez" in French colonial records, they adopted that as the preferred name to honor the Natchez history at the site. Archaeological investigations and excavations at the site were conducted in 1930, 1962, and 1972 by the Mississippi Department of Archives and History (MDAH). Using evidence found in these, the state reconstructed mounds B and C to their original dimensions. Other institutions, such as the National Park Service, the University of Alabama, the University of North Carolina at Chapel Hill, and Harvard University&#39;s Lower Mississippi Survey have continued investigations alongside the MDAH.</p><br>
<p>The site is a national and state tourist attraction in Natchez. Managed by the state of Mississippi, the large property includes a museum, which holds numerous artifacts excavated from the site and an extensive collection of baskets made by area tribes, including native and European "grave goods" buried with the elite Natchez; a reconstructed Natchez house, based on historical and archeological evidence; picnic pavilion; and miles of nature trails. A mound area has been partially restored.</p><br>
<p>The Octagon, built in 1834, is a historic octagonal building and attached apartment block complex located at 888 Main Street on Roosevelt Island in New York City.</p><br>
<p>It originally served as the main entrance to the New York City Mental Health Hospital (also known as the New York City Lunatic Asylum), which opened in 1841. Designed by Alexander Jackson Davis, the five-story rotunda was made of blue-gray stone that was quarried on the island. The Octagon is the last remnant of the hospital, and after many years of decay and two fires, was close to ruin. After restoration, it has now been incorporated into the adjacent buildings to create a large apartment complex. Mistreatment of patients at the asylum was the center of the exposé by Nellie Bly in her 1887 book Ten Days in a Mad-House.</p><br>
<h2>History</h2><br>
<p>The structure was built as part of the New York City Mental Health Hospital in 1841 and was incorporated into the Metropolitan Hospital in 1894. The Octagon, as a Metropolitan Hospital building, closed in 1955, leaving the building abandoned. On March 16, 1972, despite its condition, it was added to the National Register of Historic Places.</p><br>
<p>The Octagon was the last remnant of the hospital, and after many years of decay and two fires, was close to ruin. In April 2006, after restoration, the renovated Octagon reopened as the lobby entrance to a pair of adjacent apartment buildings with 500 units in total.</p><br>
<h3>Sustainability</h3><br>
<p>The new apartment complex utilizes both solar panels and fuel cell installations. A 50 kW array of solar panels and a 400 kW fuel cell enable the building to generate more than 50% of its power. The fuel cell is a combined heat and power system that converts natural gas to electricity and heat via a combustion-free, electrochemical process. This system provides power and heat that meets the majority of the buildings energy demand, and the efficiency it achieves is higher than the energy received from the power grid. Not only does the system provide more efficient energy usage, the heat from the process is also used for the buildings space heating and domestic water requirements. Thus the Octagon is projected to reduce its carbon emissions by 790 metric tons annually.</p><br>
<p>The Octagon received the largest initial award of New York State Green Building Tax Credits and was recognized in the first New York City Green Buildings Competition with the "Green Apple Award" for leadership in applying sustainable design principles to residential development. In 2006, a newly constructed residential building was built on the site, modeled on the original structure. It received LEED Silver status from the USA Green Building Council in 2008.</p><br>
<p>468 NEW-YORK CITY ASYLUM FOR THE INSANE (WOMAN) BLACKWELL&#39;S ISLAND.jpgThe main building in 1893</p><br>
<p>Welfare Island Insane Asylum EAST SIDE HABS NY,31-WELFI,6-1.jpgRotunda as it appeared in 1970</p><br>
<p>Welfare island insane asylum STAIRCASE HABS NY,31-WELFI,6-4.jpgOriginal interior stairway, second floor</p><br>
<p>Nellie Bly-Mad-House-11.pngAs depicted in Ten Days in a Mad-House</p><br>
<p>The-octagon.jpgAppearance in 2017</p><br>
<p>The Chapel of the Good Shepherd is a historic Episcopal church at 543 Main Street on Roosevelt Island in Manhattan, New York City, New York, United States. Designed by architect Frederick Clarke Withers and built in 1888, it was originally an Episcopal chapel and is now the Good Shepherd Community Ecumenical Center, used for Episcopal worship services and by other groups.</p><br>
<h2>History</h2><br>
<p>The chapel was built in 1888, the cost of which was covered by a member of Grace Church Parish. The chapel&#39;s first minister was Rev. William G. French, who had been a missionary on the island for fifteen years prior.</p><br>
<p>The chapel was listed on the National Register of Historic Places in 1972, and was restored in 2003.</p><br>
<p>The John Paul Jones House is a historic house at 43 Middle Street in Portsmouth, New Hampshire. Now a historic house museum and a National Historic Landmark, it is where American Revolutionary War naval hero John Paul Jones, resided from 1781 to 1782 when it was operated as a boarding house. He also lived in a home in Fredericksburg, Virginia, on Caroline Street, owned by his brother.</p><br>
<h2>History</h2><br>
<p>The -story wood-frame house was built in 1758 by the master housewright Hopestill Cheswell, a successful African-American builder in the city. The house was built for Captain Gregory Purcell, who owned it with his wife Sarah until his death in 1776.</p><br>
<p>After Purcells death his wife took in boarders, until her own death in 1783. The American naval hero John Paul Jones rented a room at the widow Purcells during 1781–1782, while supervising construction of the ship America.</p><br>
<p>The house was declared a National Historic Landmark in 1972.</p><br>
<h2>Description</h2><br>
<p>The house is stories high, with a gambrel roof, and two chimneys projecting from the interior. A two-story addition to the northeast was added in the early 19th century. The five-bay main facade has a central entry topped by a segmented arch pediment, supported by flanking pilasters. The first floor windows of the main facade are topped by triangular pediments. The interior of the house follows a typical Georgian center-hall plan, with rooms flanking a central hall with stairs. To the left of the hall are a parlor in front, and a counting room or office in the rear, while to the right is a large dining room with what was originally the kitchen behind. Upstairs there are four bedrooms; that of Jones was in the southeast corner. The third floor has five bedrooms.</p><br>
<p>The downstairs rooms now contain museum exhibits, and the dining room has been decorated to early 19th-century taste. The house has belonged to the Portsmouth Historical Society since 1919, and is open to the public.</p><br>
<p>The Ladd-Gilman House, also known as Cincinnati Memorial Hall, is a historic house at 1 Governors Lane in Exeter, New Hampshire, United States. It is listed on the National Register of Historic Places and is designated a National Historic Landmark.</p><br>
<h2>History</h2><br>
<p>The home was built about 1721 by Nathaniel Ladd as one of the states first brick houses, and was subsequently clapboarded three decades later. The home was purchased in 1747 by Daniel Gilman, a prominent Exeter merchant. It served as the state treasury during the American Revolutionary War when two members of the Gilman family, Col. Nicholas Gilman and his son John Taylor Gilman, later the states governor, served as treasurers of the state. Also born in the house was Founding Father Nicholas Gilman, Jr., a signer of the United States Constitution and USA senator from New Hampshire.</p><br>
<p>The Ladd-Gilman House was declared a National Historic Landmark in 1973, principally for its association with Nicholas Gilman, Jr. It has been maintained since 1902 by the Society of the Cincinnati, in which organization the Gilman family took a prominent role.</p><br>
<p>In 1985, a Dunlap Broadside was discovered in the home&#39;s attic. The document is one of the first published copies of the Declaration of Independence, printed on the night of July 4, 1776. The Ladd-Gilman House and its grounds are now part of the American Independence Museum, which opened in 1991. The noted Dunlap Broadside is the centerpiece of the museum’s collection.</p><br>
<h2>Description and construction history</h2><br>
<p>The house is a rambling frame structure, consisting of a main block and a series of additions. The main block was originally built as a two-story brick structure. After Daniel Gilman purchased the house in 1747, it was extensively altered by Col. Nathaniel Gilman, his son. He removed the wall separating the two rooms on the right side, and built the two-bay addition beside it, knocking down the original house wall on that side, and then clapboarding the rest of the house to match the new work. A further addition, originally designed as a caretaker&#39;s residence, was added after the Society of the Cincinnati acquired the house in 1902. The interior portions of the main house feature original woodwork, including paneling, deep window seats, and fluted pilasters.</p><br>
<p>St. Marys Episcopal Church and Cemetery is a historic church and cemetery at 258 Concord Street, in the village of Newton Lower Falls, Massachusetts, United States. St. Marys Parish was formed in 1811. The church, built in 1813–14 and restyled in 1838, is the oldest church in Newton, and is a fine example of Gothic Revival/Federal style architecture. The cemetery, which dates from 1812, is the oldest non-government-owned cemetery in Newton. The property was listed on the National Register of Historic Places in 1980.</p><br>
<h2>Architecture and history</h2><br>
<p>St. Marys Church is set just north of Washington Street (Massachusetts Route 16) between Concord and Grove Streets. It is a single-story wood-frame building, with a gable roof, clapboard siding, and a brick foundation. Its square tower rises above a gabled entry pavilion that projects from the center of the west-facing facade. The pavilion has two entrances, each flanked by pilasters and topped by a Gothic-arched transom. A central window placed high has a trefoil pattern. Most of the buildings remaining windows are sash windows topped by half-round transoms. The tower rising above the pavilion begins with a square section with oculus windows on each side, topped by a smaller belfry with Gothic-arched louvers and a railing with pinnacled corner posts. These details are repeated at a smaller scale above the belfry. Notable features of the church interior are its original high box pews, choir loft and plain glass windows. The plain chancel was added in 1922.</p><br>
<p>The church was built in 1813–14, as a Federal style structure, and was extensively altered in 1838, lengthening it to the rear by 16 ft, and restyling the tower with Gothic features. In 1954 the tower was again rebuilt, removing Gothic features in a bid to return the church to a more Federal appearance. The land for the church was purchased by Samuel Brown, a wealthy Boston merchant who had established one of the paper mills in Newton Lower Falls, and he also donated funds toward the building&#39;s construction.</p><br>
<h2>Current status</h2><br>
<p>St. Mary&#39;s Episcopal Church serves Newton Lower Falls, Wellesley Hills across the Charles River and surrounding areas and is a parish in the Episcopal Diocese of Massachusetts. It holds two regular services on Sunday mornings and has a well-known choral music program. Its current rector is the Reverend Ann Bonner Stewart, succeeding the Reverend Doctor Paul Kolbet.</p><br>
<h2>Notable burials in churchyard</h2><br>
<p>Josiah Gardner Abbott, 1814–1891, member of the United States House of Representatives from Massachusetts.</p><br>
<p>Lewis Golding Arnold, 1817–1871, Civil War general.</p><br>
<p>Sarah Fuller, 1836–1927, founder of the Horace Mann School for the Deaf and Hard of Hearing</p><br>
<p>Zibeon Hooker, 1752–1840, Drummer at the Battle of Bunker Hill</p><br>
<p>Horatio William Parker, 1863–1919, American composer.</p><br>
<p>Charles Rice, 1787–1863, brigadier general in the Massachusetts Militia and Massachusetts state representative.</p><br>
<p>Old City Hall, also known as the Southern Market, is a historic complex of adjoining buildings in Mobile, Alabama, that currently houses the History Museum of Mobile. The complex was built from 1855 to 1857 to serve as a city hall and as a marketplace. It was declared a National Historic Landmark in 1973, as a rare well-preserved example of a 19th-century multifunction civic and commercial building.</p><br>
<h2>History</h2><br>
<p>The building was originally planned by the city in 1854 as the principal city marketplace for selling vegetables, meat, and fish. In February 1855 it was decided that the building would also house some of the municipal offices with approval on 1 June 1855 of $44,000 in municipal bonds to pay for construction. The architect for this initial building phase was Thomas Simmons James, a Mobile architect originally from Virginia. On 27 December 1855, while the new building was under construction, the existing city hall on Conti and Jackson Street burned. As a consequence, in May 1856, the city passed a resolution approving $40,000 to complete and expand the building with accommodation for the mayor, city clerk, city treasurer, and two city boards. Payment receipts indicate that the building was completed by 20 April 1857.</p><br>
<p>In 1910 the building was altered by architect William L. Denham. A new council chamber was added above a new second floor bridge connecting the front and back of the central sections. The original open passageway between the two central sections was enclosed to create an entrance lobby and the stairway was reoriented to the east wall of the lobby. The complex was altered again in the mid-1930s by architect Frederick W. Clarke. Most of the work involved infilling some of the formerly open spaces with interior spaces. Also, murals by John Walker depicting scenes from local Mobile history were painted at this time. The complex was damaged by Hurricane Frederic on 12 September 1979, causing the tenants at that time to vacate the building. It was later restored.</p><br>
<h2>Description</h2><br>
<p>The complex is Italianate style in design and comprises four rectangular sections connected by three arcaded passageways. The grouping is 244 ft wide on Royal Street, 275 ft long on Church Street, and the back is 213 ft wide on Water Street. The building is stucco over brick construction with wood trim and brackets.</p><br>
<p>The two central sections form a U-shaped mass, fronted on Royal Street and extend to Water Street. They are two floors in elevation on Royal Street and one floor in elevation on Water Street. This central section is crowned with a central octagonal cupola. The two annex wings are also two floors in elevation, although of lesser height than the central sections. The south wing annex is 30 ft wide by 275 ft long and faces Church Street. The ground floor of the south wing once housed stalls and shops for the market, but has since been altered to enclose the space. The north wing annex is 30 ft wide and is much shorter in length than the south wing. The north wall is attached to the neighboring Gulf Coast Exploreum.</p><br>
<h2>Museum</h2><br>
<p>Beginning in 1997 the building was renovated to house the History Museum of Mobile. An addition was added to the back of the building in 2000 to house the museum&#39;s permanent exhibits and staff offices. The museum was closed for repairs for approximately six months following flood damage from Hurricane Katrina in 2005.</p><br>
<p>The exhibits cover two large floors of the complex and chronicle 300 years of Mobile history. The museum normally has a six-month-long featured exhibit, special collections exhibits that are rotated periodically, and several permanent exhibits. The permanent exhibits include: the Old Ways New Days exhibit that explores Mobile&#39;s history from colonization to the present, and the Walls and Halls exhibit featuring furniture, antique silver, artwork, and other artifacts.</p><br>
<h2>Images</h2><br>
