<p>The Henry D. Clayton House is a historic plantation house in Clayton, Alabama, United States, most notable as the birthplace and childhood home of Henry De Lamar Clayton, Jr. , a legislator and judge. Clayton came to prominence while serving in the United States Congress as the author of the Clayton Antitrust Act of 1914. This act prohibited particular types of conduct deemed not to be in the best interest of a competitive market. He was appointed a Federal District Judge in 1914, where he became recognized as an advocate for judicial reform.</p><br>
<h2>Description and history</h2><br>
<p>The Henry D. Clayton House is located approximately 1 mi from Clayton on a remnant of the former 1,000 acre Clayton Plantation. It is accessed via the original plantation drive, extending south from SR 30 at Clayton Street. The house is a -story wood-frame structure, with a gabled roof and clapboarded exterior. The main roof extends beyond the north facade to shelter a porch with square supports. A shed-roofed porch also extends across part of the house&#39;s rear, where it joins with the kitchen ell. Outbuildings in the plantation complex include a smokehouse, carriage barn, and a small cottage used by Henry Clayton Jr. as his office.</p><br>
<p>The house was built circa 1850 by Henry DeLamar Clayton, Sr., who served in the American Civil War as a general in the Confederate Army. It was the birthplace and childhood home of his son, Henry Clayton Jr. The younger Clayton studied law at the University of Alabama, and embarked on a political career in the Democratic Party in 1880. In 1910, as head of the House Judiciary Committee, he successfully prosecuted the impeachment of Robert W. Archbald, a Commerce Court judge accused of profiting from his position. His best-known accomplishment was the passage of the Clayton Antitrust Act, a significant amendment to the Sherman Antitrust Act.</p><br>
<p>The J. L. M. Curry House is a historic house and farm property near Talladega, Alabama. It was the home of Jabez Lamar Monroe Curry , a lawyer, politician, and educator who "did more than any one other man to encourage the expansion and improvement of the public school system and the establishment of training schools for teachers throughout the south. He was also largely responsible for convincing Southern legislators of the states&#39; responsibility for public education."</p><br>
<h2>Description and history</h2><br>
<p>The J.L.M. Curry House is located about 3 mi east of the center of Talladega, on the east side of Alabama State Route 21. It is a single-story wood-frame structure, roughly T-shaped, with wings extending to the sides and rear. Its front is defined by a full-width porch topped by a boxy parapet that obscures the gabled roof. The interior is simply finished, with modest vernacular trim. One room, which served as J.L.M. Curry&#39;s office, is lined with bookshelves.</p><br>
<p>The exact date of construction of the house is unknown. It was moved to this location about 1850, after Jabez Curry purchased it from his brother Jackson, the likely builder. The farm, then about 1,100 acre (now reduced to about 760 acre), served as Curry&#39;s home until 1865. Curry, a Georgia native educated at Harvard Law School, served in the state legislature and Congress prior to the American Civil War, during which he served in the Confederate Army. In 1881 he was chosen to serve as the southern agent for the Peabody Education Fund and in 1889 as an agent for the Slater Fund. Both of these charitable funds were established for the purpose of improving educational resources in the South during the post-Civil War period. As their agent, Curry was instrumental in the establishment of normal schools for teacher training, and for the establishment of new school networks across the south.</p><br>
<p>The former Curry property is privately owned.</p><br>
<p>The Film Center Building, also known as 630 Ninth Avenue, is a 13-story office building on the east side of Ninth Avenue between 44th and 45th Streets in the Hells Kitchen neighborhood of Manhattan in New York City. Built in 1928–1929, the structure has historically catered to businesses involved in film, theater, television and music and audio production. The building was designed in the Art Deco style, with Ely Jacques Kahn as the architect of record. The lobbys interior is a New York City landmark, and the building is on the National Register of Historic Places.</p><br>
<p>The Film Center Building occupies a rectangular site. Its facade is largely made of brown brick, with windows on all sides, although the ground story has a marble facade and the second story has a white-stone facade. The main entrance on Ninth Avenue leads to a rectangular vestibule, which in turn leads to the main lobby, an elevator lobby, and a passageway leading to a secondary entrances. The lobby&#39;s walls and ceilings resemble tapestries, while details such as stair risers, ventilation grilles, directory signs, and elevator doors were designed in a multicolored scheme. The upper stories contain offices, which were initially used largely by major film companies such as Metro-Goldwyn-Mayer. There were also nearly 100 film vaults, some of which have been converted to office space over the years.</p><br>
<p>In the 1910s and 1920s, New York City&#39;s film industry was centered around Times Square, prompting developer Abe N. Adelson to acquire a site for a film-distribution building in April 1928. Tenants began moving to the building in January 1929, coinciding with the construction of other film-exchange buildings in the immediate vicinity. The Film Center Building was sold at a foreclosure auction in 1936 and was subsequently sold again in 1950. By the mid-20th century, television and independent film producers began taking space there. The First Republic Bank bought the Film Center Building in 1968, and Newmark & Company acquired it in 1971. GFP Real Estate, which split from Newmark & Company, further renovated the Film Center Building in the 2010s.</p><br>
<h2>Site</h2><br>
<p>The Film Center Building is on 630 Ninth Avenue, on the eastern side of Ninth Avenue between 44th and 45th Streets, in the Hell&#39;s Kitchen neighborhood of Midtown Manhattan in New York City. The land lot is rectangular and covers about. The site occupies along Ninth Avenue and along both 44th and 45th Streets. The Film Center Building shares the city block with the Al Hirschfeld Theatre, a Broadway theater, and the Davenport Theatre, an Off-Broadway theater, to the east.</p><br>
<p>The site had historically been part of John Leake Nortons estate, which was split into multiple plots in 1825. John F. Betz of Philadelphia, whose family owned the John F. Betz & Sons Brewery, acquired part of Nortons estate in 1862, on the eastern side of Ninth Avenue from 44th to 45th Street. Five-story tenements were developed along the neighboring section of Ninth Avenue during the late 19th century. During the early 20th century, the area evolved into a hub for New York Citys film industry. At the time of the Film Center Buildings construction, it faced the Ninth Avenue elevated line of the New York City Subway.</p><br>
<h2>Architecture</h2><br>
<p>The Film Center Building was built in 1928–29 and was designed in the Art Deco style. Ely Jacques Kahn of the firm Buchman & Kahn was the architect of record. Edward Raymond McMahon of Buchman & Kahn was largely responsible for the overall design, though little is known about him. includes pre-Columbian influences. with on each story.</p><br>
<h3>Facade</h3><br>
<p>The structure was designed as a rectangular mass with minimal ornamentation. What sparse decoration the building had was concentrated on the lowest two stories. The north, west, and south elevations of the facade respectively face 45th Street, Ninth Avenue, and 44th Street. The Film Center Building&#39;s facade is divided vertically into eleven bays on Ninth Avenue and five bays each on 44th and 45th Streets.</p><br>
<p>The facade includes marble piers on the ground story, white stone on the second story, and brown brick on the other stories. the belt courses were an example of the simple geometric designs that Kahn used in his designs.</p><br>
<h3>Interior</h3><br>
<h4>Lobby</h4><br>
<p>The buildings lobby is a New York City designated landmark. According to the New York City Landmarks Preservation Commission, the decorative scheme of the lobby is "one of Kahns most striking interior designs". Just inside the Ninth Avenue entrance is a rectangular vestibule with a white ceiling. A plaster band, which consists of inverted stepped triangles, wraps across the ceiling and down both of the side walls. There are cast-metal ventilation grilles near the bottom of both walls, with horizontal and vertical geometric motifs. The vestibule&#39;s decorations were intended to resemble a tapestry.</p><br>
<p>Additional doors from the vestibule lead to the lobby, which has a gray wall and a multicolored floor with gray, ochre, and pink. A plaster band wraps around the ceiling and side walls of the lobby, similarly to in the entrance vestibule, and the decorations of the floors direct visitors to the elevators. The lobby contains various three-dimensional decorations related to theater, such as camera motifs and triangular projections. In addition, the lobby contains orange, yellow, and blue mosaics.</p><br>
<p>The elevator lobby contains light and dark horizontal stone bands on its walls. The elevator doors, mailbox, and tenant directory are designed in a modern style, with a multicolored scheme, although some of the elevator doors have been repainted. On the eastern wall of the elevator lobby is a multicolored mosaic. The ceiling of the elevator lobby contains a triangular decoration that blocks part of the mosaic, although it is unknown whether Kahn had intended for this to happen.</p><br>
<p>A wide hallway extends to the south of the main lobby. There is a smaller hall on the eastern side of this hallway, just south of the lobby. Next to this hall is a staircase with a green wall and red cylinders, similar to those in the main lobby; the design of the red cylinders resembles a tapestry. The hallway shifts southeast and then south, connecting to a secondary vestibule on 44th Street. This vestibule is designed in a similar manner to that on Ninth Avenue, with a similar plaster band, but is smaller than the Ninth Avenue vestibule.</p><br>
<h4>Upper stories</h4><br>
<p>In addition to housing film distribution companies, the building provided storage space for films, each storage vault had brick walls. The building had steel doors, which acted as fire curtains and would drop down if a fire was detected. Each vault contained 12 fire sprinklers; by the 2010s, modern fire standards only necessitated one sprinkler in each vault.</p><br>
<p>Over the years, some of the vaults have been converted to office space. Some of the chimneys have been sealed up after the corresponding vaults were demolished. The building also contained other facilities for film tenants, such as sound and processing laboratories; graphic art studios; and projection rooms.</p><br>
<h2>History</h2><br>
<p>In the 1910s and 1920s, New York Citys film industry was centered around Times Square, and major companies such as Loews Cineplex Entertainment and Paramount Pictures had their offices there. Nonetheless, many of New York Citys film exchanges occupied crowded offices at that time; according to The New York Times, this "created a situation that was causing concern to those responsible for the protection of the city from fire".</p><br>
<h3>Development and early years</h3><br>
<p>During the 1920s, Charles M. Steele negotiated with various film distributors to develop a headquarters away from the Theater District of Manhattan. The site, valued at $700,000, had been owned by the Betz family for over fifty years. Demolition of existing buildings began on April 11, 1928, and the R. H. Howes Construction Company began erecting the building on April 21. Half of the building&#39;s office space had been leased by December 1928, when space in the building had been leased to eight film exchanges.</p><br>
<p>The building was completed in January 1929, when MGM moved into the structure. Almost all of the office space, vaults, laboratories, and other rooms were occupied by large film companies. by that June, about 70 percent of the buildings office space had been leased. The buildings early tenants included First Division Pictures Inc., Educational Pictures, FBO Pictures, the Pathé Exchange, In addition, the ground story contained a Prudential Bank branch. The building was nearly fully occupied by 1930, when Meyer-Reiger Laboratories leased space on the second floor. Other space was leased to the National Screen Service, which occupied three stories, and to the Film Service Laboratories Inc. Within ten years of the Film Center Building&#39;s opening, it housed 70 distribution companies.</p><br>
<p>Some time after the Film Center Building opened, its owners obtained a second mortgage of $300,000. The buildings owners owed taxes to the New York City government by 1935. The Film Center Buildings owners proposed reorganizing the building in early 1936,</p><br>
<h3>1940s to 1970s</h3><br>
<p>Walter Reade Enterprises acquired the property in early 1948, purchasing a majority of the stock in Film Center Inc. The building was refinanced in 1949 with a $1.5 million loan from Prudential Insurance. By the early 1950s, the tenants included RKO, Loew&#39;s, United Artists, Universal Pictures, Republic Pictures, and Monogram Pictures. The Film Center Building Corporation leased the building back for 14 years. The building had completely switched to AC power by February 1951.</p><br>
<p>During the 1960s, the Film Center Buildings owners upgraded the elevators and renovated all of the office space, and they operated a 24/7 film-shipping facility for tenants. The buildings vacancy rate increased after numerous large film studios scaled back their operations during the 1950s. This prompted leasing agent Newmark & Company, to begin leasing space to television producers, as they required much of the same equipment that film producers did. To attract tenants, Newmark sent promotional brochures to all of the known television and independent film producers at the time.</p><br>
<p>The Film Center Building was again fully occupied by 1961. The buildings tenants during that decade also included Columbia Pictures, Universal Pictures, and Seven Arts Productions. Newmark acquired the building outright in 1971. By the mid-1970s, New York Citys film industry had become decentralized, and the surrounding neighborhood had begun to decline.</p><br>
<h3>1980s to present</h3><br>
<p>The New York City Landmarks Preservation Commission designated the Film Center Buildings lobby as an interior landmark in 1982, Jeffrey Gural of Newmark Realty said in the early 1990s that the Film Center Building was more than 90 percent rented. With the revival of the area around Times Square in the 1990s, smaller companies began relocating to buildings on the outskirts of the Times Square neighborhood, including the Film Center Building and the McGraw-Hill Building. Among the Film Centers tenants during the 1990s was the offices of off-Broadway theater Playwrights Horizons,</p><br>
<p>By the 21st century, the building&#39;s tenants included Big League Productions, as well as the Ambassador Theatre Group and 451 Media Group. In 2017, Newmark Holdings refinanced the building with a $75 million loan. GFP, which had split from Newmark, began renovating the building, including converting of film vaults to office space, as well as refurbishing the windows and bathrooms. The renovation included adding 220 windows, installing turnstiles in the lobby, and installing film-themed signs on each floor. Bricks from the old vaults were reused within the new office space.</p><br>
<p>Episcopal Church of the Nativity is a church in Huntsville, Alabama. It was built in the Gothic Revival style in 1859. It is noted as one of the most pristine examples of Ecclesiological Gothic architecture in the South. It is also one of the least-altered structures by architect Frank Wills and one of only thirteen surviving houses of worship designed by him in the United States. It was declared a National Historic Landmark in 1990.</p><br>
<h2>History</h2><br>
<p>The history of the present Episcopal Church of the Nativity begins in January 1856 when Henry C. Lay, the minister for the church, was in Mobile and saw the construction of Trinity Episcopal Church, designed by Frank Wills and Henry Dudley. Afterwards he chose the same firm to design the new sanctuary for his church, since the original building completed in 1847 was already inadequate for the congregation&#39;s needs. The vestry acquired two lots, adjacent to the original church, at the corner of Eustis Avenue and Green Street for $3,923 later in 1856.</p><br>
<p>A building committee worked over the three years to raise the necessary funds for construction by subscription, while construction progressed. They had hired a local builder, Hugh N. Moore, to construct the building. Because Moore was not familiar with certain techniques of construction for Gothic architecture, Lay wrote to Wills early in 1857 to request assistance and a Mr. Mason was sent to Huntsville to supervise the construction. Wills died in April of that year and his partner, Dudley, took over. Construction continued and by December 1858 the windows had been installed. The congregation held the first services in the building on the eve of Easter, 23 April 1859. The building was estimated to have had a total cost of roughly $37,565.</p><br>
<p>After decades of use, the church received a matching grant from Save America&#39;s Treasures for $432,216. The renovation was completed in 2011 and was the subject of the North American Copper in Architecture Award from the non-profit Copper Development Association. It consists of 22,500 custom hand-fabricated interlocking copper shingles, stylized to mirror Gothic Revival architecture.</p><br>
<h2>Architecture</h2><br>
<p>The building is Gothic Revival, in a Middle Pointed style inspired by 14th century English architecture. The church is built in brick and is an aisled nave-and-chancel structure with a monumental bell tower. The sanctuary measures 54 ft by 100 ft with the ridge-line of the roof 50 ft above the floor. The long sides of the building each feature six buttressed bays. Each bay contains a traceried window. The tracery produces a pair of trefoil-arch lancets topped by a quatrefoil. The front gable of the building features an 8 ft by 15 ft traceried window over the entrance. The three-stage bell tower is also buttressed and measures 18 ft square and 151 ft to the top of the octagonal spire. It features lancet and trefoil windows.</p><br>
<p>The interior is entered through double wooden doors that appear to be original to the building, set within a lancet arch. The interior walls are plastered brick; the floors are heart pine, covered with carpet. The ceiling is wood paneled, with the exposed structural oak timbers forming an arched pattern. The apse is a semi-octagonal projection with three large figural lancet windows that retain their original stained and painted glass. The apse ceiling is a ribbed segmental arch vault. The ribs are decorated and feature plaster boss caps at their apex.</p><br>
<p>St. Pauls Cathedral in Syracuse, New York is the seat of the Diocese of Central New York in the United States Episcopal Church. It was designed by Henry Dudley, who worked with Frank Wills until Wills early death in 1857.</p><br>
<p>The church is located at 310 Montgomery Street in downtown Syracuse.</p><br>
<h2>The White family</h2><br>
<p>The locally prominent White family was closely associated with St. Paul&#39;s since its founding. It was observed that "the name should always be woven into the history of St. Paul’s."</p><br>
<p>Horace White (1802–1860; banker and businessman) was a vestryman for over twenty years and warden, and is honored with a stained glass window on the south aisle</p><br>
<p>Clara Dickson White (1811–1882; wife of Horace) donated money for construction of the church tower. The church spire was dedicated in her honor.</p><br>
<p>Hamilton White (1807–1865; banker and brother of Horace) was a vestryman for many years and served on the building committee, and is honored by the White Memorial Chancel Window.</p><br>
<p>The spire and windows were dedicated in 1907 by Horace and Clara&#39;s sons Andrew Dickson White (1832–1918; co-founder and first president of Cornell University) and Horace Keep White (1835–1915; banker and head of a salt company).</p><br>
<p>Fort Mitchell Historic Site is a park and an archaeological site in Fort Mitchell, Alabama, that was declared a National Historic Landmark in 1990.</p><br>
<p>The Chattahoochee Indian Heritage Center has a ceremonial flame memorial to the Creek nation. Interpretive panels recount the history of the Creek War of 1836 and the subsequent forced removal of the Creek peoples along the Trail of Tears. The memorial is located adjacent to Fort Mitchell Historic Site.</p><br>
<p>The site also features historic burial grounds.</p><br>
<h2>History</h2><br>
<p>Fort Mitchell Historic Site represents three different periods of relationships of the Creek nation with the United States. The first Fort Mitchell, built in 1813 as an outpost during the Creek War and War of 1812, represents the military aspect of Manifest Destiny. It was named for David Brydie Mitchell, a governor of Georgia. The United States defeated the Red Sticks of the Creek Indian Nation, who comprised the majority of the population and had opposed American expansion in their territory. The Creek in defeat were forced to cede 21 million acres 85,000 km) of land in 1814 in Georgia and Alabama, affecting the Lower and the Upper Towns.</p><br>
<p>The second represents the Indian Factory, a trading post staffed by the assistant US Indian agent appointed by the government beginning in 1817, when the post was transferred from Fort Hawkins in Georgia. The trading factory operated until about 1820. A post office was operated here from 1818 to 1820 as well.</p><br>
<p>In 1821 Col. John Crowell was appointed by US President James Madison as US Indian agent to the Creek, to replace David Brydie Mitchell, who was pushed out for a scandal related to illegal smuggling of African slaves. John&#39;s brothers Thomas and Henry Crowell accompanied him to set up the agency. By 1825, Thomas was operating a tavern near the fort. That year, the US Army rebuilt the fort and staffed it with a garrison of the Fourth Infantry until 1840, after Indian Removal of the late 1830s.</p><br>
<p>The last period represents the Federal government&#39;s attempt to live up to its treaty obligations, including payment of annuities and supplies, recognition of sovereignty and other elements since the 19th century. Fort Mitchell was garrisoned during the Second Creek War (1836), which occurred in Alabama as the state tried to regulate Creek land allotments and freedom. After this, most Creek in Alabama were forcibly relocated to Indian Territory. Those who stayed in the state had to give up tribal membership; they were considered state and US citizens.</p><br>
<p>In 1971 professional archeological excavations were undertaken at the former fort, of which only ruins remained. Among the findings were gravesites, remains of a hospital, the old fort, outbuildings, offices, barracks, and storage rooms. The Alabama Archaeological Association published a 1974 report. In 1990 the site was designated as a National Historic Monument.</p><br>
<p>In 1987 the Department of Defense established the Fort Mitchell National Cemetery on this site for interment of United States veterans from the Southeast and Gulf Coast.</p><br>
<p>Fort Toulouse and Fort Jackson are two forts that shared the same site at the fork of the Coosa River and the Tallapoosa River, near Wetumpka, Alabama.</p><br>
<h2>Fort Toulouse</h2><br>
<p>Fort Toulouse (Muscogee: Franca choka chula), also called Fort des Alibamons and Fort Toulouse des Alibamons, is a historic fort near the city of Wetumpka, Alabama, United States, that is now maintained by the Alabama Historical Commission. The French founded the fort in 1717, naming it for Louis-Alexandre de Bourbon, comte de Toulouse. In order to counter the growing influence of the British colonies of Georgia and Carolina, the government of French Louisiana erected a fort on the eastern border of the Louisiana Colony in what is now the state of Alabama.</p><br>
<p>The fort was also referred to as the Post of the Alabama, named after the Alabama tribe of Upper Creek Indians, who resided just below the confluence of the Coosa and Tallapoosa rivers on the upper reaches of the Alabama River.</p><br>
<p>The number of troops in garrison varied between 20 and 50 French Colonial Marines. Living and working at the fort, the Marines traded extensively with the local Creek Native Americans and cultivated friendly relations with them. The French would trade European goods such as Flintlock guns, ammunition, and gunpowder, iron tools, knives, glass beads, copper pots, and wool blankets in exchange for local food stuffs, fur and deerskins. According to tradition, the French commander Captain Jean Baptiste Louis DeCourtel Marchand married the high-status Creek woman Sehoy in about 1720. Later generations of Sehoys descendants include the Creek chiefs Alexander McGillivray, and William Weatherford, who inherited their status in the matrilineal tribe from their mothers clans.</p><br>
<p>Due to the poor living conditions at the fort, which was neglected by the French government, the troops mutinied in 1722. They killed Captain Marchand and captured the other officers, tying them up before leaving the fort. The imprisoned officers managed to escape, and with the help of nearby Creek, they captured the mutineers and sent them to Fort Conde in Mobile for punishment.</p><br>
<p>In 1735, the British built Fort Okfuskee further up the Tallapoosa River at Okfuskee to compete with French trade at Fort Toulouse. Fort Okfuskee was garrisoned by the Province of Georgia from 1735 to 1743 and by the Province of South Carolina from 1744 to 1745. Pierre de Rigaud, marquis de Vaudreuil-Cavagnial, the Governor of French Louisiana, demanded that the commandant of Fort Toulouse notify the Abihka and Tallapoosas that the French would withdraw trade from Fort Toulouse if they did not refuse to help build and destroy any constructed portions of South Carolina&#39;s Fort Okfuskee.</p><br>
<p>By the early 1740s, conditions had improved at the fort. Many soldiers had married French women from Mobile or intermarried with the local Creek. They and other settlers developed numerous farms nearby, which led to improved food supplies. The humid climate caused deterioration of the fort by the late 1740s, and the French planned for a third fort to be built. Under the direction of Captain Francois Saucier, soldiers finished the reconstruction of Fort Toulouse about 1751. It cost nearly half of the military budget for the whole Louisiana colony.</p><br>
<p>In 1763 the Treaty of Paris ended the French and Indian War. As the French had been defeated by the British and ceded their territory, the French garrison spiked their cannons and left for New Orleans and an eventual return to France for some. The British chose not to occupy the Fort, which eventually collapsed into decay. In 1776 the naturalist William Bartram noted visiting the area while studying local flora and fauna.</p><br>
<h2>Fort Jackson</h2><br>
<p>In the midst of the War of 1812, an 1813 civil war in the Creek Nation led to an invasion by Americans from Tennessee, Georgia, and Mississippi Territory. In the ensuing Creek War of 1813–1814, General Andrew Jackson commanded the combined American forces of Tennessee militia, USA regulars, and Cherokee and Creek Indian allies. Jackson defeated the Red Stick Creeks at the Battle of Horseshoe Bend in 1814, and afterwards initiated construction of a fort atop the site of the old French fort at the confluence of the Coosa and Tallapoosa rivers. The fort was intentionally built near the sacred Creek site known as the Hickory Ground. Jackson then temporarily traveled to Washington and in his absence, the fort was named "Jackson" in his honor. After Jackson&#39;s return, he imposed the Treaty of Fort Jackson upon both the Northern Creek enemies and the Southern Creek allies, wresting 20,000,000 acre from all Creeks for white settlement.</p><br>
<p>The site was declared a National Historic Landmark in 1960.</p><br>
<p>During the American Bicentennial in the mid-1970s an attempt was made to reconstruct Fort Toulouse, however the replica was incorrectly built upon the outline of the much larger Fort Jackson.</p><br>
<h2>Fort Toulouse-Fort Jackson State Historic Site</h2><br>
<p>The site was declared a National Historic Landmark by the Department of Interior in 1960. During the American Bicentennial, local groups supported reconstruction of Fort Toulouse. But the replica was incorrectly built upon the outline of the much larger Fort Jackson rather than the historic French fort.</p><br>
<p>In the 1980s the park was acquired by the Alabama Historical Commission. It dismantled the incorrect replica and constructed a replica of Fort Toulouse near its original site. This will allow for a future reconstruction of Ft. Jackson on its site (occupied successively by the two forts). Archeological excavations have been continuing at the site, supervised by Dr. Craig Sheldon of Auburn University at Montgomery.</p><br>
<p>The Fort Toulouse-Fort Jackson State Historic Site has living history programs to portray and interpret the lives of the Creek inhabitants, the French colonists and the USA military troops associated with the War of 1812. The fort is located southwest of Wetumpka, off of USA Highway 231.</p><br>
<p>The site also features the Taskigi Mound or "Mound at Fort Toulouse – Fort Jackson Park" (1EE1) a prehistoric South Appalachian Mississippian culture palisaded village with a central plaza area, and a rectangular platform mound. The mound is one of the locations included on the University of Alabama Museums "Alabama Indigenous Mound Trail".</p><br>
<p>The William Bartram Arboretum is an arboretum located at 2521 Fort Toulouse Road, near Wetumpka, Alabama, in the United States. In the 1980s the park became a property of the Alabama Historical Commission and the incorrectly built fort was dismantled and recycled to partially construct a "correct" replica of Ft. Toulouse adjacent to the original site, allowing for a future reconstruction of Ft. Jackson on the actual site once occupied by both forts.</p><br>
<p>Government Street Presbyterian Church in Mobile, Alabama is one of the oldest and least-altered Greek Revival church buildings in the United States.</p><br>
<h2>History</h2><br>
<p>The Government Street Presbyterian Church congregation was formally organized in 1831. It initially met in a frame building on Government Street. A lot at the corner of Government and Jackson Street was purchased for $10,000 in the spring of 1835. Local millionaire and church trustee, Henry Hitchcock, ran an ad in the Mobile Daily Register in December 1835 that advertised for builders. Hitchcock served on the church&#39;s building committee and financed much of the construction to come. The drawings and specifications had already been provided by Gallier and Dakin.</p><br>
<p>Construction of the new brick edifice commenced on February 13, 1836. The masonry had been completed by March 1837, with one of the architects, Charles Dakin, being married within the sanctuary on March 22, 1837. In June that year the newspaper announced that pews were now being rented. The construction costs eventually totaled $60,000, with $40,000 of that having gone to the mason, Thomas James.</p><br>
<p>A cypress floor was installed over the existing stone floor in the basement level in 1869. In 1893 the pulpit was altered and the doors were removed from the pews. In 1898 electric lighting was introduced, replacing the gas fixtures.</p><br>
<p>In 1902 a building committee was formed to explore adding more space to the church for a Sunday School. Architects F. Lockwood and Walter Seymour were hired in June 1903 to design an addition. The new addition was finished in 1905 and crossed the back of the existing structure, forming a T-shape. It matched the existing structure in detail and scale. The new construction cost around $12,000. The main sanctuary windows of clear glass were replaced with stained glass at this time.</p><br>
<p>A hurricane in 1916 caused $2500 in unspecified damages, and it was decided at that time to further enlarge the rear portion of the church. This time the architect was C. L. Hutchinson. He added two bays to the north at a cost of $20,000. The main sanctuary was renovated in 1950 with modern lighting and the addition of a glass vestibule just inside the main entrance. The interior was painted and the pews reupholstered in 1976.</p><br>
<h2>Design</h2><br>
<p>Although records do not indicate which architect was responsible for individual portions of the building, consensus among scholars usually credits the exterior design to James Gallier and Charles Dakin, with the interior credited to the Dakin brothers. The influence of the Town and Davis school on Gallier and the Dakins is evident in the exterior design, with Government Street Presbyterian being extremely similar to Town and Davis&#39; Washington Street Methodist Episcopal Church, completed in 1832 in Brooklyn, New York.</p><br>
<p>The exterior is brick with a stucco finish, intended to have an ashlar appearance. The front elevation features one of the earliest surviving American examples of a distyle in antis portico. The side elevations feature bays with full-length windows, divided by pilasters. The structure is one story over a raised basement with granite foundations and steps, the granite having arrived from New England aboard the Comet on September 26, 1836.</p><br>
<p>The interior is notable for the fact that the original Greek Revival design is fully intact with very little alteration. Three entrances lead from the portico into the sanctuary, the southern main doors open directly into the main vestibule, the eastern and western doors both open into side stairway vestibules that access the sanctuary and upper gallery. The sanctuary has two aisles and retains the original pews. The U-shaped gallery is supported by fluted Corinthian columns of a Tower of the Winds design. The gallery balcony features a Greek key molding topped with rosettes and appears, as does most of the interior, to be based on a design from Minard Lafever&#39;s Beauties of Modern Architecture. Behind the altar is a pylon-like screen with an engaged Corinthian tetrasyle topped by ante-fixae, similar in design to the Choragic Monument of Lysicrates. The ceiling is coffered in a diagonal, diamond pattern.</p><br>
<h2>Organ</h2><br>
<p>In the year 2000, the church underwent a major renovation of the facility. During this time, an organ committee was formed to consider replacing the failing 1903 Estey organ. The committee selected the European builder Rieger-Kloss of Krnov, Czech Republic to build a new instrument capable of leading congregational and chorale singing, and recital and performance of any literature written for organ. The result is a 62-rank instrument over six divisions: great, swell, positiv, grand choir, en chamade, and pedal. Controlled by a four-manual and pedal detached English console, the organ was designed to match the architectural and aesthetic properties of the sanctuary. It is situated in the south gallery among three cabinets with the central cabinet containing the positiv division in the German-baroque voicing and style, with the diatonic 8 and 16 en chamade residing atop the case. The console is positioned center and forward the central case and is on a moveable platform. In 2018, the organ console technology was updated and expanded to include harpsichord and carillon stops. The organ is made available to organists and students wishing to rehearse by contacting the church office. The official information may be found.</p><br>
<h2>The church today</h2><br>
<p>is part of the Presbyterian Church (USA), in the Presbytery of South Alabama. It is a congregation of over 480 members. The church has worship services, Christian education, music and fine arts, and urban ministries. The church also hosts a weekly lunch and lecture forum for the local community and an annual memorial lecture series. Church members serve downtown Mobile through such ministries as Coffee Club, which has served daily breakfast to the homeless for 22 years, Meals on Wheels, Adopt-A-School, and as a member church of the Interfaith Hospitality Network. During the summer, the church runs an urban mission camp at its Baytreat Lodge facility.</p><br>
<p>The Josiah Bartlett House is a house in Kingston, New Hampshire. The -story wood-frame house is located on Main Street, opposite Town Hall. The main block of the house, five bays wide and three deep, was built in 1774 by USA Founding Father Josiah Bartlett, replacing a house which was destroyed by fire. During the first decades of the 19th century, Greek Revival styling was added to the house, as was a two-story addition to the rear. The Greek Revival elements include large corner pilasters, projecting lintels over some of the windows, and the front door surround, which has pilasters and a cornice.</p><br>
<p>The house was declared a National Historic Landmark in 1971, for its association with Bartlett.</p><br>
<p>Joy Farm, also known as the E. E. Cummings House, is a historic farmstead on Joy Farm Road in the Silver Lake part of Madison, New Hampshire. It was designated a National Historic Landmark in 1971 in recognition for its place as the longtime summer home of poet E. E. Cummings .</p><br>
<p>Cummings&#39;s parents purchased the farm, which is located near Silver Lake, in 1899 from Ephraim Joy. His mother deeded him the farm in 1929, and he spent time there every summer until his death in 1962. He was at the farm in September 1962 when he had a stroke; he died at the hospital in North Conway the next day.</p><br>
<p>The property includes a house and barn, as well as a small, two-story octagonal tower. The main house is a 1-1/2 story building consisting of four bays, of which the rightmost is set back. The house has a side-gable roof, which has been modified to accommodate a deck above the rear half. The front of the main block has five bays on the first level, with paired sash windows flanking a center entry. The entry has sidelight windows, and is sheltered by a porch deck that is accessible from the middle gable of three gable dormers that line the main block&#39;s upper level. This deck, like that above the rear of the house, is lined with a railing consisting of posts connected by top rails and lower rails forming an X. The barn stands just north of the house.</p><br>
<p>Salmon P. Chase Birthplace was the birthplace and childhood home of Salmon P. Chase. It is located about 8 mi north of Claremont on New Hampshire Route 12A. The -story wood-frame house was built c. 1790, and is a multi-section structure in an L shape. The main block is five bays wide and two deep, with a centered entry that has Greek Revival pilasters on the central entry and on the corners. This block faces west, and two narrower sections extend east from the rear. The first of these sections is also stories, with two chimneys. The easternmost section is stories, and was originally connected to a barn. The house is believed to be well-preserved, but there is no documentary evidence of its appearance in the early 19th century, and it is known to have been moved across the street from its original site in about 1848.</p><br>
<p>The house&#39;s significance arises because it is the only known building associated directly with the life of Salmon P. Chase (1808–1873). Chase was born in this house, and lived here until he was eight, when he was sent to live with relatives in Ohio after his father died. Chase had a long and distinguished legal and political career, serving as Governor of Ohio and contending with Abraham Lincoln for the 1860 nomination as the Republican Party candidate for president. Lincoln appointed Chase to be Treasury Secretary, a post he held during the American Civil War, and from which he strongly advocated abolitionist positions as a Radical Republican. Lincoln appointed Chase Chief Justice of the United States Supreme Court in 1864, a post he held until his death.</p><br>
<p>The house was declared a National Historic Landmark, and listed on the National Register of Historic Places, in 1975. The home is currently operated as a bed and breakfast – the Chase House Inn.</p><br>
<p>The American Eagle, originally Andrew and Rosalie, is a two-masted schooner serving the tourist trade out of Rockland, Maine. Launched in 1930 at Gloucester, Massachusetts, she was the last auxiliary schooner  to be built in that port, and one of Gloucester&#39;s last sail-powered fishing vessels. A National Historic Landmark, she is also the oldest known surviving vessel of the type, which was supplanted not long afterward by modern trawlers.</p><br>
<h2>History</h2><br>
<p>Andrew and Rosalie was built in 1930 by the United Sail Loft Company in Gloucester, for Patrick Murphy, a local fishing master, and was named for his children. The ship was used in fishing operations by his family until 1941, when it was sold to the Empire Fish Company, who renamed her American Eagle. They converted her for use as a trawler, a role she served, mainly under the ownership of the Piscitello brothers, until 1983.</p><br>
<p>She was purchased in 1984 by John Foss, who had recently restored the Lewis R. French (also a National Historic Landmark), and was restored at the North End Shipyard at Rockland, Maine. Foss rebuilt her for the cruise ship trade, and she now spends summers cruising Penobscot Bay in Maine on 3-7 day cruises, though she generally takes one longer cruise per year to places like Grand Manan Island in Canada. She is one of the few schooners in Maine that go on longer cruises, and one of the few that go offshore looking for whales. She also generally returns to Gloucester every year.</p><br>
<p>American Eagle was listed on the National Register of Historic Places in 1991, and was declared a National Historic Landmark in 1992. She is the sole surviving representative of the transitional period between traditional sail-powered fishing vessels and more modern trawlers, having been built about the same time as the Gertrude L. Thebaud, a sailing schooner.</p><br>
<p>The historic ship ran aground August 3, 2016 in Somes Sound, Mount Desert, Maine during a windjammer regatta. 25 passengers were evacuated with the crew remaining aboard to await high tide to refloat the ship.</p><br>
<h2>Description</h2><br>
<p>American Eagle is a single-deck two-masted schooner, measuring 76.4 ft in length between the perpendiculars, and a total length of 90 ft. Her beam is 19.3 ft, and her hold depth is 10 ft. She is registered at 70 gross tons and 47 net tons, displacing 118 tons. The frame and planking are oak, the ceiling is fir, and the decking is pine. She currently has a schooner rigging, although she did not for much of her fishing career. The hold has been fitted with fourteen double-occupancy passenger cabins.</p><br>
<p>The Great Northern Railway Buildings are a set of five building complexes in or near Glacier National Park in Montana. They were built by the Great Northern Railway during the period of the park&#39;s founding to provide a unified tourist experience to visitors to the park, using the Swiss chalet as a building model. The building complexes, each separately listed on the National Register of Historic Places, are:</p><br>
<p>Belton Chalets</p><br>
<p>Granite Park Chalet</p><br>
<p>Many Glacier Hotel</p><br>
<p>Sperry Chalet</p><br>
<p>Two Medicine General Store</p><br>
<p>Four of these complexes were declared a discontiguous National Historic Landmark District in 1987, notable as the largest such concentration of Swiss chalet architecture in the country. In May 2000, the designation was amended to include the Belton Chalets, which differs from the other buildings in being located just outside the park.</p><br>
<h2>History</h2><br>
<p>Glacier National Park was founded in 1910. Its creation received significant support from the Great Northern Railway, which passed just south of the park, and which stood to benefit from increased tourist traffic on its line, following similar railroad-related developments at Grand Canyon National Park and Yellowstone National Park. In order to present a unified yet flexible tourist experience, the railroad partnered with the National Park Service to provide infrastructure both inside and outside the park to serve a variety of tourist needs.</p><br>
<p>The services the Great Northern sought to offer ranged from elegant hotel accommodations to a rustic and somewhat rough backcountry experience. Their buildings were unified by the use of a single architectural style, the Swiss chalet, which railroad president Louis W. Hill adopted from the European mountain experience. Granite Park Chalet and Sperry Chalet, built in 1914, are examples of backcountry accommodations built by the railroad. The Many Glacier Hotel, completed in 1915, was the centerpiece, a large and grand hotel with elegant amenities. The Two Medicine General Store is a surviving remnant of a mid-sized lakeside hotel built on the shores of Two Medicine Lake; one of its two rustic log chalet structures has been demolished, and the other now serves as a general store.</p><br>
<p>The Great Northern also built service areas just outside the boundaries of the park. The Belton Chalets, built in 1910-11, were among the first buildings the company built for this effort, and were located at what was then the main station for accessing the park. The Glacier Park Lodge was built in 1913 to serve visitors approaching from the east.</p><br>
<p>When the National Historic Landmark District was designated in 1987, it was restricted to properties located in the park bounds. The National Park Service at the time noted the significance of the Belton Chalets and the Glacier Park Lodge, recommending that they be analyzed for inclusion in the landmark designation, since they appeared to be eligible. As a result, the Belton Chalets were included in a 2000 amendment; the owners of the Glacier Park Lodge declined participation.</p><br>
<p>The Butte–Anaconda Historic District is a National Historic Landmark  that spans parts of Walkerville, Butte and Anaconda, Montana, United States. It has the most resources of any USA National Historic Landmark District.</p><br>
<p>It was declared an NHL in 1961, when it focused only on Butte.</p><br>
<p>In 2006, the district was expanded significantly to include parts of Walkerville and Anaconda, as well as the bed of the Butte, Anaconda and Pacific Railroad. The expanded district covers 9,774 acres (39 km) with nearly 6,000 contributing properties of historic significance.</p><br>
<p>New Yorks Adirondack Park and Alaskas Cape Krusenstern Archeological District are much larger by area, but may contain fewer contributing elements.</p><br>
<h2>Significance</h2><br>
<p>The districts national significance relates to its long history of copper production as well as to its role in the development of the labor union movement in the United States. As the source of nearly one-third of all the worlds copper in the early 1900s, Butte&#39;s mines provided one of the metals that were critical to American industrialization.</p><br>
<p>Walkerville represents some of the earliest mines in the district and preserves the early mining camp flavor present in the 1890s to 1910s. Butte itself is an urban metropolis where industrial relics such as mine yards and head frames are juxtaposed with a wide variety of residential and business structures. Anaconda was created as a company town that contained the smelters for Butte&#39;s ore. The Butte Anaconda and Pacific Railroad, connecting Butte and Anaconda, is a designated part of the expanded National Historic Landmark District.</p><br>
<p>Known as the "Gibraltar of Unionism", Butte saw the early development of a mine workers union in 1878. The Butte unions members were at the forefront of creating the Western Federation of Miners as well as the Industrial Workers of the World and later the Congress of Industrial Organizations (CIO). Labor strife in Butte from 1914 to 1920 served as a model for corporate and union activities across the nation. Important factors in this labor history include the murder of Frank Little and the Anaconda Road Massacre. Events in Butte shaped the attitudes of politicians, including Burton K. Wheeler, long-time USA senator from Montana.</p><br>
<p>The Matthew Thornton House is a historic house and National Historic Landmark in Derry, New Hampshire. It was from 1740 to 1779 the home of Matthew Thornton, a Founding Father and signer of the USA Declaration of Independence.</p><br>
<p>The main block of the house has a roughly square footprint and has the classic New England saltbox shape. It is five bays wide and two deep, with a steeply-sloping leanto section to the north (rear). In the 19th century Greek Revival trim details were added, including wide pilasters at the corners, and a portico sheltering the front entry. The first-floor windows are topped by decorative cornices. A single-story ell projects from one side of the rear, giving the house an L shape; this wing was built to house more modern kitchen facilities and servants facilities. The interior plan of the main house is a typical center-hall plan, with four rooms on each floor. The houses chimneys were replaced in the 19th century with smaller ones. The house was declared a National Historic Landmark in 1971, and was listed on the National Register of Historic Places.</p><br>
<p>Matthew Thornton was born in Ireland, probably in 1714, and came to North America with his parents in 1718. He trained as a doctor, opening his practice in Derry in 1740. He entered New Hampshire provincial politics in 1758, serving in the assembly until 1775, when a provisional assembly took over governance. Thornton helped draft a new state constitution, and was elected to the Second Continental Congress in 1776. He served there for one year, signing the Declaration of Independence even though he did not take office until November 1776. In 1780 he moved to Merrimack, where he remained active in state politics. He died in 1803, and is buried in the Signer&#39;s Cemetery, near his Merrimack home; the cemetery and Merrimack house are also listed on the National Register.</p><br>
<p>The Warner House, formerly known as the MacPheadris–Warner House, is a historic house museum at 150 Daniel Street  in Portsmouth, New Hampshire, United States. Built 1716–1718, it is the oldest, urban brick house in northern New England, and is one of the finest early-Georgian brick houses in New England. It was declared a National Historic Landmark in 1960, and is listed on the National Register of Historic Places.</p><br>
<p>The Warner House is a -story brick structure, with walls 15 in thick laid in Flemish bond. A belt course separates the two main floors, and the slightly overhanging cornice is studded with modillions. It now has a gambrel roof; this is a later modification to what was originally a pair of side gable pitches with a deep valley between them. At the break line in the gambrel there is a low balustrade. The cupola was listed in the original 1716 bill by John Drew, master-builder. The interior of the house follows a typical Georgian four-room plan, with an added kitchen wing in the rear. The walls of the central hall and stairway are decorated with four murals that are the oldest, extant Anglo-American wall murals in the country.</p><br>
<p>The house was built for Capt. Archibald Macpheadris, a Scots-Irish sea captain who settled in Portsmouth. He married Sarah Wentworth, daughter of John Wentworth (Lieutenant-Governor). Macpheadris died in 1729, and the house passed to his wife and children.</p><br>
<h2>The Governor&#39;s Mansion</h2><br>
<p>In 1737, Sarah Wentworth Macpheadris married George Jaffrey, a wealthy Portsmouth merchant and business associate of Archibald Macpheadris. Sarah and her 14-year-old daughter, Mary, moved to the Jaffrey Mansion, a few houses up Daniel Street. Sarahs brother Royal Governor Benning Wentworth of the Province of New Hampshire then occupied the Warner House for nearly 20 years and used it as the Governors Mansion. Eventually, Benning removed to his country estate in Little Harbor now known as the Wentworth-Coolidge Mansion. Reportedly, he left a few broken windows at the Warner House and never paid his sister rent.</p><br>
<h2>Family occupancy</h2><br>
<p>Macpheadriss only surviving child was Mary Macpheadris Osborne. In 1760, the recently widowed heiress married Jonathan Warner, a Portsmouth merchant and widower of her deceased cousin, Mary Nelson Warner. Jonathan Warner brought eleven-year-old daughter Mary "Polly" Warner, his only child, to live in the house. The house was remodeled to suit the fashionable tastes of Jonathan Warner. Until 1932, the house remained in the hands of Warners family descendants. From the 1880s until the late 1920s the descendants used the Warner House as a summer residence.</p><br>
<h2>Warner House Association</h2><br>
<p>When offered for sale in the early 1930s by descendants, the house was threatened with demolition when an oil company offered to buy the property to erect a gas station. A group of local early preservationists led by Edith Greenough Wendell set out to stop the destruction. In 1931, the Warner House Association was established, and during the Great Depression, the Association was able to accomplish an extraordinary feat and raise the necessary funds ($10,000) to purchase the house in March 1932. A few months later, the historic house museum opened with little to no furnishings. Over time, many of the original family furnishings have returned to the house. Although the early Association originally sought to interpret the property from the Macpheadris era to its original Georgian height (c. 1762), the modern Association details its earliest to its latest days of private ownership up to and including the early Association interpretation.</p><br>
<p>The Moffatt-Ladd House, also known as the William Whipple House, is a historic house museum and National Historic Landmark in Portsmouth, New Hampshire, United States. The 1763 Georgian house was the home of William Whipple , a Founding Father, a signer of the Declaration of Independence and Revolutionary War general. The house is now owned by the National Society of Colonial Dames in New Hampshire, and is open to the public.</p><br>
<p>Among the contents are Whipple&#39;s sword and other personal items, along with a portrait of him. Outside is a horse chestnut tree that Whipple planted in 1776 with seeds that he brought back from Philadelphia. The house was declared a National Historic Landmark in 1968.</p><br>
<h2>Description</h2><br>
<p>The house is an imposing three-story wood-frame structure, set on a rise overlooking the old part of Portsmouth Harbor. It is roughly square, measuring about 42 ft on each side, with a hip roof. The exterior is covered in wood clapboards, with quoins at the corners. There are three chimneys, located at the sides of the house. The main facade is five bays wide; its windows on the first two levels are topped by segmented arch pediments, while the third level windows, which are smaller, butt against the roof cornice in Federal style. The roof topped by a flat widow&#39;s walk surrounded by a low balustrade with urn finials. The urn finials also appear on the fence that sets the house off from the street. The property includes a small office building dating to 1810.</p><br>
<h2>History</h2><br>
<p>The house was built in 1763 by John Moffatt, one of the wealthiest men in colonial New Hampshire, and given to his son Samuel as a wedding present the following year. The elder Moffatt repurchased the house from his son in 1768, and lived there with his daughter Catherine and her husband, Wiliam Whipple, until his death in 1785. The property was entailed by Moffatt to Samuels descendants, who acquired control of the property after legal disputes in 1818. The house passed the following year to Maria Tufton Haven Ladd, one of Samuels granddaughters.</p><br>
<p>Maria Ladds son Alexander Hamilton Ladd occupied the house until his death in 1900, and was responsible for establishing the propertys fine gardens. His children donated the house to the National Society of Colonial Dames in New Hampshire in 1911.</p><br>
<p>The house was declared a National Historic Landmark in 1968, and listed on the National Register of Historic Places.</p><br>
<h2>Photo gallery</h2><br>
<p>Moffatt-Ladd House postcard.jpg1915 postcard</p><br>
<p>The Moffatt-Ladd House, Portsmouth, NH.jpg1905 photo of the Moffatt-Ladd House</p><br>
<p>The Wentworth-Gardner House is a historic mid-Georgian house built in 1760 and located at 50 Mechanic Street in Portsmouth, New Hampshire, United States. The house is operated as a museum by the Wentworth-Gardner Historic House Association. It is one of the finest extant examples of high-style Georgian architecture in New England, and played a role in the architectural preservation movement of the early 20th century. It was declared a National Historic Landmark in 1968.</p><br>
<h2>Description and history</h2><br>
<p>The Wentworth-Gardner House is a -story wood-frame house that was built in 1760 by Mark Hunking Wentworth, one of New Hampshire&#39;s wealthiest merchants and landowners, as a wedding present for his son Thomas. The exterior of its main facade is flushboarded with corner quoining, giving it the appearance of masonry construction. The side walls, and those of the rear ell, are clapboarded. The main facade is five bays wide, with its center entry framed by a Colonial Revival surround added during restoration in 1916–18 by Wallace Nutting. It has a hip roof, with a modillioned cornice. Three dormers pierce each of the front and rear elevations, with the central dormer featuring a segmented-arch pediment, while the flanking ones have triangular pediments.</p><br>
<p>A Salem shipmaster and merchant; the autobiography of George Nichols (1921) (14592810158).jpgCirca 1921</p><br>
<p>PortsmouthNH WentworthGardnerHouse.jpgThe house in 2013</p><br>
<p>Portrait of Thomas Wentworth by Joseph Blackburn, San Diego Museum of Art.JPGPortrait of Thomas Wentworth by Joseph Blackburn</p><br>
<p>The interior of the house follows a typical Georgian central-hall plan, with four rooms on each floor, two on either side of the central hall, all having access to one of the two interior chimneys. The hall is particularly broad and elegant, featuring an elliptical arch with keystone, supported by Doric columns. The cornice is particularly elaborate, with modillions and egg-and-dart molding. The stairs rise on the left-hand side, with elaborate turned balusters, and panelled and scrolled step ends. The upper hall continues the rich decorative woodwork found in the lower hall, with Ionic pilasters and a molded architrave.</p><br>
<p>The southeast front parlor is the finest room in the house, with a fireplace surround highlighted by full-height Corinthian pilasters and a wooden entablature. All of the downstairs rooms have detailed woodwork in the cornice, panelled folding shutters that can be recessed into deep window jambs, and tile surrounding the fireplace.</p><br>
<p>The dining room, located on the first floor in the southwest corner of the house, contains circa 1818 handblocked wallpaper from the Joseph DuFour Company in Paris, France. This wallpaper depicts a Greek festival called La Festival Grecque. The wallpaper is not original to the house, and was installed by Wallace Nutting during his renovations.</p><br>
<p>Wallace Nutting, an antiquarian, purchased the house in 1916, and undertook its restoration. In 1918 he sold it to the Metropolitan Museum of Art, which considered moving it to New York City for display, but this plan was eventually abandoned in favor of in situ preservation.</p><br>
<p>The house was declared a National Historic Landmark in 1968.</p><br>
<p>The home&#39;s first resident, Thomas Wentworth, received the house as a wedding present from his parents when he married Anne Tasker, who was from Marblehead, Massachusetts. Thomas received his degree from Harvard in 1761 and made his living as a merchant like his father. Only a few years after moving into the house, Thomas died of an illness in 1768, leaving behind his wife and five children.</p><br>
<h2>Museum</h2><br>
<p>This house is normally open for tours Thursday-Monday between mid-June and mid-October; admission is charged. The Wentworth-Gardner House is available for wedding photography.</p><br>
<p>The Wentworth Lear Historic Houses  are a pair of adjacent historic houses on the south waterfront in Portsmouth, New Hampshire. Both buildings and an 18th-century warehouse were owned by the Wentworth Lear Historic Houses and were operated as a house museum. Only the Wentworth-Gardner house is a museum. They are located at the corner of Mechanic and Gardner Streets. The two houses, built c. 1750–60, represent a study in contrast between high-style and vernacular Georgian styling. The Wentworth-Gardner House is a National Historic Landmark, and the houses are listed as the Wentworth-Gardner and Tobias Lear Houses on the National Register of Historic Places.</p><br>
<h2>Tobias Lear House</h2><br>
<p>The Tobias Lear House is a -story wood-frame structure built c. 1750. It has clapboard siding, a hip roof with pedimented gable-roof dormers, and interior chimneys. Its main facade is three bays wide, with a central entry framed by pilasters and topped by a triangular pediment. The house has only modest woodwork detailing, both on its inside and outside.</p><br>
<p>The house was built by Tobias Lear, a merchant and ship&#39;s captain. His son, also named Tobias Lear, was private secretary to President George Washington, and hosted Washington in this house during his visit to Portsmouth in 1789. The house was sold out of the Lear family in 1861, and acquired in 1917 by architectural preservationist Wallace Nutting. It was later purchased by the Society for the Preservation of New England Antiquities (SPNEA, now Historic New England), who transferred it to its present owners in 1940.</p><br>
<h2>Wentworth-Gardner House</h2><br>
<p>In contrast to the Lear Houses modest styling, the Wentworth-Gardner House exemplifies high-style Georgian architecture, and is further notable for the role it played in the early years of the architectural preservation movement. This -story wood-frame house was built in 1760 by Mark Hunking Wentworth, one of New Hampshires wealthiest merchants and landowners, as a wedding present for his son Thomas. The exterior of its main facade is flushboarded with corner quoining, giving it the appearance of masonry construction. The side walls, and those of the rear ell, are clapboarded. The main facade is five bays wide, with its center entry framed by a Colonial Revival surround added during restoration in 1916–18 by Wallace Nutting. It has a hip roof, with a modillioned cornice. Three dormers pierce each of the front and rear elevations, with the central dormer featuring a segmented-arch pediment, while the flanking ones have triangular pediments. The interior is richly decorated with woodwork, particularly in the central hall and the public rooms.</p><br>
<p>Wallace Nutting purchased the house in 1916, and undertook its restoration. In 1918 he sold it to the Metropolitan Museum of Art, which considered moving it to New York City for display, but this plan was abandoned in favor of in situ preservation. The house was administered by SPNEA until it was turned over to the present owner in 1940. The house was declared a National Historic Landmark in 1968.</p><br>
<h2>Museum</h2><br>
<p>The Wentworth-Gardner Mansion is open for tours Thursday-Monday between June and October; admission is charged, which includes the mansion and the 18th-century warehouse. The museum is also available for wedding & special occasion photography.</p><br>
<p>Temple Freda, built in 1912, is a former synagogue in Bryan, Texas, in the United States. The building was added to the National Register of Historic Places on September 22, 1983.</p><br>
<h2>History</h2><br>
<p>Temple Freda, a part of Brazos County, Texas history, is one of the three oldest religious buildings still in use in Bryan, along with St. Andrews Episcopal Church and St. Anthonys Catholic Church. Temple Freda is named for Ethel Freda Kaczer (1860–1912). Her husband, Benjamin Kaczer (1850–1938), was president of the community when the synagogue was built. The temple is unique for a Jewish place of worship in that it is named after a woman.</p><br>
<p>Since 1982, Texas A&M University&#39;s Center of Heritage Conservation has focused on the history of Temple Freda as one of its historical projects. The temple structure is built in Greek Revival style and also exhibits Classical Revival style with Beaux-Arts architecture elements.</p><br>
<p>The building began to decline after World War II when worshippers began migrating over to the newer student-oriented Hillel synagogue in College Station. In 2013, a group of citizens from Bryan, Texas joined together to restore the deteriorating building. The City of Bryan became acting custodian over the restoration project. It was determined that after restoration, the building would not be used as a religious facility rather it will be used for community activities such as weddings, small receptions, educational activities and the like.</p><br>
<h3>Texas A&M Hillel</h3><br>
<p>In 1958, Texas A&M Hillel opened up a building in College Station, Texas. During this period, some members of Temple Freda in Bryan, Texas left to attend services at the Hillel Foundation building in College Station. Presently, Temple Freda&#39;s Torah is under the care of Texas A&M Hillel.</p><br>
<h3>Congregation Beth Shalom</h3><br>
<p>In 1968 Congregation Beth Shalom in Bryan, also called the Jewish Congregation of Bryan-College Station, was formed to serve the Jewish community of the Brazos Valley. It included many former members of Temple Freda. Presently Temple Freda&#39;s Cemetery is under the care of Congregation Beth Shalom.</p><br>
<h2>Architecture project</h2><br>
<p>Since 1982, Texas A&M University&#39;s "Center of Heritage Conservation" has focused on the history of Temple Freda as one of its historical projects. The temple structure is built in Greek Revival style and also exhibits Classical Revival style with Beaux-Arts architecture elements. Temple Freda is associated with the Jewish cemetery "Temple Freda Cemetery" and is also a part of the National Register of Historic Places of Texas.</p><br>
<p>Belmont Mansion, also known as Acklen Hall, and originally known as Belle Monte, Belle Mont or Belmont, is a historic mansion located in Nashville, Tennessee. It was built by Joseph and Adelicia Acklen to serve as the center of their 180-acre summer estate in what was then country outside the city, and featured elaborate gardens and a zoo. They lived much of the rest of the year on her plantations in Louisiana.</p><br>
<p>The estate was sold in the late 19th century and since 1890 has been used for educational functions. It was first used as a girls academy, then as the first building of what became Belmont College and now Belmont University. Today it is operated as a museum. It was listed on the National Register of Historic Places in 1971.</p><br>
<h2>History</h2><br>
<p>In 1849, after the death of her husband, the infamous slave trader Isaac Franklin who bequeathed his slave-trading fortune to her, the extremely wealthy widow Adelicia (Hayes) Franklin married Joseph Alexander Smith Acklen, a young attorney from Alabama. They began construction of Belle Monte (Belmont) on 180 acre in Davidson County near the county seat of Nashville. It was completed by 1853 as an Italian villa-style summer home. Adelicia and Joseph used Belmont as a summer home. They lived the rest of the year on one of her seven Louisiana cotton slave plantations, which totaled 8,600 acre.</p><br>
<p>At Belmont Mansion, the Acklens built, furnished, and landscaped one of the most elaborate antebellum homes in the South, totaling 36 rooms and 19,000 ft&sup2;. The estate contained a variety of buildings, with the house situated at the top of the hill. Covered balconies with cast iron railing and trim surrounded the house to protect windows from the sun. Atop the house, a ten-foot octagonal cupola vented the house during the summer months. It was also used as an "astronomical observatory" used for viewing the stars, the estate and downtown Nashville.</p><br>
<p>Beside the house, there was a T-shaped guest house and art gallery. The south wing of the guest house contained guestrooms and a bowling alley. The art gallery had a corrugated glass roof and comprised the north wing.</p><br>
<p>The grounds included lavish gardens, conservatories, aviary, lake and a zoo. The conservatories housed tropical fruit and flowers, along with camellia japonica, jasmine, lilies, and cacti. The zoo featured bears, monkeys, peacocks, singing birds, a white owl, alligators from Louisiana, and a deer park.</p><br>
<p>Joseph and Adelicia had six children together, but their twins died of scarlet fever at the age of 2 in 1855. In 1863, Joseph died in Louisiana, where he was supervising their plantations during the Civil War. Adelicia secretly negotiated agreements with both Union and Confederate authorities to allow 2,800 bales of her cotton to be shipped to Liverpool, England, and sold for a total of $758,000.</p><br>
<p>Despite a two-week occupation by Union General Thomas J. Wood prior to the Battle of Nashville, Belmont Mansion and its contents went undamaged during the Civil War. Only the grounds, where 13,000 Union troops spent those first two weeks of December 1864, suffered damage.</p><br>
<p>Immediately following the war, Adelicia and her four surviving children traveled to Europe. While there, she continued amassing her large art collection, including five major marble statues by the most important American sculptors who were working in Rome. These included works by Randolph Rogers, William Henry Rinehart, Joseph Mozier, and Chauncey Ives. Four of these pieces remain in the mansion today. In France, Adelicia was presented at the Court of Emperor Louis Napoleon and his wife Empress Eugénie.</p><br>
<p>Months before her death, Adelicia sold Belmont and the surrounding land to Lewis T. Baxter for around $54,000. It was adapted and in 1890 opened as a womens academy and junior college. The school merged with Wards Seminary in 1913 and was renamed Ward-Belmont. The Tennessee Baptist Convention purchased the school in 1951, and developed a four-year, coeducational college, Belmont College.</p><br>
<p>It was developed as a university offering graduate programs and, in 2007, Belmont University separated from the Tennessee Baptist Convention. Today the mansion is owned by the Belmont Mansion Association and Belmont University. It is operated and preserved by the Belmont Mansion Association.</p><br>
<p>Gilt frame mirrors hang over marble mantels, reflecting the elaborate gasoliers and elegantly furnished parlors. Much of the original Venetian glass still adorns the windows, doors, and transoms of Belmont. The Grand Salon is considered by architectural historians to be the most elaborate domestic interior built in antebellum Tennessee. Now maintained as part of the university campus, the gardens contain five cast iron gazebos. The 105 ft water tower remains on the grounds and today serves as a Bell Tower for Belmont University.</p><br>
<p>Many notable visitors to the home include Mrs. James K. Polk, William Walker, Agustín de Iturbide, Dwight L. Moody, Thomas Huxley, and Octavia Walton Le Vert.</p><br>
<p>The Belmont Mansion was listed on the National Register of Historic Places in 1971.</p><br>
<p>The Boulder Bridge is a historic bridge located in the Washington, D.C. portion of Rock Creek Park, an urban national park listed on the National Register of Historic Places.</p><br>
<p>Boulder Bridge was constructed in 1902 and carries Beach Drive across Rock Creek, a tributary of the Potomac River. The reinforced concrete arch bridge was designed by architect W. J. Douglas and was built at a cost of $17,636.</p><br>
<p>Boulder Bridge and Ross Drive Bridge were added to the National Register of Historic Places on March 20, 1980. In addition, the bridges are contributing properties to the Rock Creek Park Historic District.</p><br>
<p>The Soo Line High Bridge, also known as the Arcola High Bridge, is a steel deck arch bridge over the St. Croix River between Stillwater, Minnesota and Somerset, Wisconsin, United States. It was designed by structural engineer C.A.P. Turner and built by the American Bridge Company from 1910 to 1911. The bridge was listed on the National Register of Historic Places in 1977 for its national significance in the themes of engineering and transportation. It was nominated for its exceptional dimensions, beauty, innovative engineering techniques, and importance to transportation between Minnesota and Wisconsin.</p><br>
<h2>History</h2><br>
<p>The bridge was the second bridge on a Wisconsin Central Railway line that connected Chippewa Falls, Wisconsin, with Minneapolis, Minnesota. The line was originally built in 1884. The crossing of the St. Croix River was difficult for the railway, since the original bridge across the river was very low and trains had to contend with steep grades on both sides of the river. This made it necessary to use helper engines and to make trains shorter. In 1909 the Wisconsin Central Railway built a higher bridge over the river. The bridge is 184 ft above the river and 2,682 ft long, with five steel arches towering above the river.</p><br>
<p>The Wisconsin Central Railway was leased by the Minneapolis, St. Paul and Sault Ste. Marie Railway in 1909. In 1961 the Minneapolis, St. Paul and Sault Ste. Marie Railway, Wisconsin Central Railway and the Duluth, South Shore and Atlantic Railway merged to form the Soo Line Railroad. After the Soo Line Railroad acquired the Chicago, Milwaukee, St. Paul and Pacific Railroad, it shifted Chicago–Minneapolis traffic to that railroads superior mainline. In 1987 the bridge and much of the Soo Lines track in Wisconsin became part of the new Wisconsin Central Ltd. The Wisconsin Central was acquired by Canadian National Railway on January 30, 2001.</p><br>
<p>The Highland Park Dentzel Carousel and Shelter Building is a carousel and building in Highland Park in Meridian, Mississippi. Manufactured about 1896 for the 1904 St. Louis Exposition by the Dentzel Carousel Company of Philadelphia, Pennsylvania, the carousel was sold and shipped to Meridian. Highland Park Dentzel Carousel has been in operation since 1909 and was declared a National Historic Landmark in 1987. It is the only remaining two-row stationary Dentzel menagerie in the world.</p><br>
<p>Its closest contemporaries both are held in Indiana. The Children&#39;s Museum carousel, also called The Carousel of Wishes and Dreams in Indianapolis, was probably manufactured pre-1900. It is not a pure Dentzel product, though; much of the original carousel has been modified from its original design. In Logansport, the Spencer Park Dentzel Carousel has been partially restored. It is dated between 1900 and 1903, although it may predate 1900 as well.</p><br>
<h2>The Carousel</h2><br>
<p>Meridian&#39;s Dentzel Carousel arrived in the city in 1909 and has since occupied the same location in Highland Park. Its house, also a National Historic Landmark, is the only remaining original carousel building built from a Dentzel blueprint.</p><br>
<p>The carousel building was closed from 1983 to 1984 for major restoration, performed by Ralph E. Young Contractor, Inc. The carousel animals were removed and placed in various local institutions while funds were raised.</p><br>
<p>From 1984 to 1995, the animals, chariots, and canvas oil paintings of the carousel were meticulously restored to their original beauty. Colors and designs were documented with careful color matching, tracing of designs, working drawings, and photographs showing where colors and designs originally occurred. The restoration was done by Rosa Ragan of Raleigh, N.C., one of the foremost restoration specialists in the USA</p><br>
<h2>The building</h2><br>
<p>Built from a Dentzel blueprint, the carousel&#39;s shelter building is a rectangular building approximately 70 x with board and batten siding. The exterior of the building is distinctive in appearance with a low, square, main block and a central section of octagonal roof with clerestory light windows. The clerestory is about 40 ft in diameter and lights the interior. Inside the building, the original mosaic tile floor with a large snowflake pattern in green, yellow, terracotta, and white is intact. The carousel house has recently (1983–84) been restored, using a combination of city funds via private donations from "Friends of the Carousel," grants, fund-raisers, city budgeted money, and a small National Park Service grant.</p><br>
<h2>Dentzel Carousels</h2><br>
<p>The Dentzels have been credited with essentially jump-starting the carousel industry in America. The family&#39;s work has been praised for the artistry of its carving and even described as "the finest built." This characterization especially applies to their work up to 1910. Some Dentzels of the time were as large as 54 ft in diameter carrying up to 72 animals and four chariots and contained animals such as cats, dogs, rabbits, goats, pigs, donkeys, kangaroos, giraffes, lions, tigers, deer, buffaloes, ostriches, and more.</p><br>
<p>Gustav A. Dentzel, a young German immigrant, began building carousels in Philadelphia, Pennsylvania in 1864. It is commonly believed that several parts for his first American carousel were imported from his father, Michael Dentzel, who manufactured carousels in Kreuznach, in present-day Germany. Gustav continued to construct and sell carousels in America until his death in 1908 in the Germantown section of Philadelphia. Gustavs two sons, William H. Dentzel and Edward P. Dentzel, continued their fathers craft after his death, keeping the business running in Philadelphia until 1928, when William died. Edward continued the business for a short while in California, but quickly gave up the craft after the stock market crash of 1929 and the Great Depression to build homes in Beverly Hills, CA.</p><br>
<p>In the early 1970s, Edwards son, William H. Dentzel II, developed and produced a line of childrens carousels finished in traditional Dentzel style with mirrors, artwork, lights and band organ music. He continued working in his grandfathers and fathers footsteps until his death in 1991.</p><br>
<p>William H. Dentzel III, William IIs son, and his three children, Zaryn, Sophia, and Noah, follow in the family tradition. David M. Dentzel, William IIIs younger brother, has also carved several large horses and menagerie animals. A Dentzel carousel from the closed Woodland Park is installed at Memorial Hall in Fairmount Park inside the new home of the Please Touch Museum in Philadelphia which opened in October 2008.</p><br>
<p>Highland Park is a historic park in Meridian, Mississippi, United States. Home to a museum honoring Jimmie Rodgers, a Meridian native, the site was listed on the National Register of Historic Places in 1979. The park is also home to the Highland Park Dentzel Carousel and Shelter Building, a National Historic Landmark manufactured around 1896 by Gustav Dentzel of Philadelphia, Pennsylvania. The historic carousel is the only two-row stationary Dentzel menagerie still in existence.</p><br>
<h2>History</h2><br>
<p>The history of Highland Park begins in the late 19th century when the area was used as the Meridian Fair and Livestock Exposition. The organization, which was influenced by Worlds fairs such as the 1893 Chicago Worlds Fair and Atlanta&#39;s International Cotton Exposition in 1895, was founded in 1904 by big names in Meridian such as Israel Marks, the Threefoot brothers, and the Rothenbergs. They acquired land in west Meridian but never made any plans of what to do with it. When the Fair and Exposition Corporation dissolved in 1906, ownership of the land was transferred to a non-profit trust. After a city Park Association was formed in 1908, the association was tasked with assembling property and developing initial plans for the park.</p><br>
<p>At the time Highland Park was designed, there was a national trend for streetcar pleasure parks, and electric railway companies wanted to increase their operations by owning or investing in these parks. The Meridian Light and Railway Company followed the national trend, building a rail line beginning at 8th Street and following 34th Avenue until it turned west between 19th and 20th Streets and continuing west into Highland Park. The platform for the streetcar line was located in the northeast corner of the park at the main entrance. A promenade connected the platform with a small pool, a carousel house, a large loveseat, a bronze statue honoring Israel Marks, and a gazebo. A sidewalk extended from the promenade to a dance pavilion, and another sidewalk connected the gazebo with a bandstand. South of this group was a lagoon, alligator pond, footbridge, and greenhouse. In the western section of the park, there were two picnic shelters, a small toilet facility, and a terraced amphitheater. The northern part of the park was originally meant for pedestrians while the southern part was reserved for those with horses.</p><br>
<p>A downtown monument honoring Frank M. Zehler, a fireman who died on duty in 1901, was relocated to the park in the 1920s from its original location at the intersection of 23rd Avenue and 4th Street in downtown Meridian. In the 1930s, two swimming pools were built on the site of the former dance pavilion, a one-story commercial building was added in the northwest corner of the park, and an arboretum was added by the amphitheater. The pathways in the park were paved in the 1940s, allowing vehicles to travel through the area. A small fighter jet was located in the park between the pools and the promenade in 1972. Also, a Parks and Recreation office, a museum honoring Jimmie Rodgers, a steam locomotive and caboose, children&#39;s playground equipment, and the Frank Cochran Center have been added since. Of the original features, all remain except the dance pavilion and greenhouse.</p><br>
<h2>Dentzel carousel</h2><br>
<p>The Highland Park Dentzel Carousel and Shelter Building was manufactured about 1896 for the 1904 St. Louis Exposition by Gustav Dentzel of Philadelphia, Pennsylvania. Meridian bought the carousel in 1909 and installed it in its house in the park. Its house, also in the National Historic Landmark listing, is the only remaining original carousel building built from a Dentzel blueprint.</p><br>
<p>While the carousel building was closed from 1983 to 1984 for major restoration, the carousel animals were removed and placed in various local institutions while funds were raised. From 1984 to 1995, the animals, chariots, and canvas oil paintings of the carousel were restored to their original appearance. The restoration was done by Rosa Ragan of Raleigh, North Carolina, one of the foremost restoration specialists in the country.</p><br>
<h2>Jimmie Rodgers museum</h2><br>
<p>The park houses a Jimmie Rodgers museum honoring the Meridian-born country legend and displaying the original guitar of the so-called "Singing Brakeman," along with other memorabilia of his life and career and various railroading equipment from the steam engine era – Meridians "golden age". In addition to the museum building itself, which was built in 1976, outside memorials honor the country star, and a vintage steam locomotive is displayed on a small section of railroad track, symbolizing Meridians strong ties to railroading history. The locomotive is a 1917 Baldwin steam locomotive from the Susquehanna and New York Railroad line. It was later used by the Meridian and Bigbee railroad, who donated it to the city in 1953 as a memorial to all deceased railroaders. The locomotive was moved to the park in 1970.</p><br>
<h2>Arts in the Park</h2><br>
<p>The park hosted the annual Arts in the Park festival from the festival&#39;s premiere in 1971 until 2006, when the Meridian Council of Arts decided to move the festival to Bonita Lakes, another location in Meridian. In 2009 the festival was combined with the Threefoot Arts Festival and moved to downtown Meridian to form the Threefoot Festival.</p><br>
<p>Arts in the Park, held on the first Saturday in April,</p><br>
<p>Evergreen Historic District is one of the oldest neighborhoods in Memphis, Tennessee.</p><br>
<h2>Geography</h2><br>
<p>The Evergreen Historic District is bounded on the South by Poplar Avenue from its intersection with East Parkway to Avalon Street. The district boundary then follows Avalon Street to Court Avenue. The district boundary then follows Court Avenue westward until its intersection with Stonewall Avenue. The district boundary then continues North on Stonewall until its intersection with Poplar, at which point in the west direction Poplar is again the Southern boundary until its intersection with Cleveland.</p><br>
<p>The Evergreen Historic District is bounded on the East by East Parkway, from the West by Cleveland Avenue, and from the North by North Parkway.</p><br>
<p>Properties on the North adjacent North Parkway, on the South adjacent Court Avenue between Avalon Street and McNeil Street, and properties on the South side of Poplar Avenue between Kenilworth Place and Cleveland are also included within the boundaries of Evergreen Historic District.</p><br>
<p>Evergreen is located in the area of Memphis known as Midtown. This area of the city includes Overton Park, which is one of the largest urban parks in the nation; it also includes the Memphis Zoo.</p><br>
<h2>Community</h2><br>
<p>Evergreen is unique to Midtown because there is a mix of old and new homes, due to the attempt to split the neighborhood, and Overton Park, in half to make way for Interstate 40 (see Sam Cooper Boulevard). The neighborhood was able to fight the interstate, and the case eventually went all the way to the USA Supreme Court, which ruled in favor of the neighborhood. Many of the homes were demolished, but in the early 90s, bids started and builders repatched the holes in Evergreen. Today, the neighborhood is listed on the National Register of Historic Places</p><br>
<p>The House on Ellicotts Hill, also known as Connellys Tavern, James Moore House, or Gilreath&#39;s Hill, is a historic house museum at 211 North Canal Street in Natchez, Mississippi. Built in 1798, it is the oldest surviving building in Natchez from its early territorial period. It was declared a National Historic Landmark in 1974 and a Mississippi Landmark in 2001.</p><br>
<h2>History</h2><br>
<p>The House on Ellicott Hill is a National Historic Landmark and important as a grand and rare surviving example of an early vernacular building form once typical of the Lower Mississippi Valley. Built between 1798 and 1801, the house is also one of the first buildings in the Mississippi Territory to exhibit the definitive characteristics of the Federal style.</p><br>
<p>The house features a distinctive roof shape created by surrounding shed roofs attached high on a central gable. This Anglo-American roof shape differs from the French Louisiana vernacular, where shed roofs extend from a central hipped roof. The Anglo House on Ellicott Hill relates to its French vernacular contemporaries in Louisiana in the use of bousillage, composed of mud and Spanish moss, in the exterior walls of the frame upper story. Construction details also document the early expansion of the house to the north and south and the early enclosure of a rear loggia.</p><br>
<p>Built into the side of a hill, the façade of the house is two-stories including a raised brick basement. On the rear elevation, where the basement is beneath ground level, the house reads as a single story. A dry moat across the rear provides light and ventilation for the basement rooms.</p><br>
<p>Eliza Baker in an 1805 letter home to New Jersey describes Natchez as having a number of houses that are similar in form, if not in scale, to the House on Ellicott Hill:</p><br>
<p>...the style which prevails... namely one-story, with this difference—that there is a lower story dug out of the side of the hill presenting two stories in front and but one in the rear... a long gallery or piazza, partly enclosed by Venetian blinds...</p><br>
<p>Buildings that were similar in form to the House on Ellicott Hill probably inspired English travel writer Fortescue Cuming, in Sketches of a Tour to the Western County, 1807–1809,</p><br>
<p>to write that he was “much struck with the similarity of Natchez to many of the smaller West Indian towns, particularly St. Johns Antigua…the houses all with balconies and pizzas.” He was not the only writer to relate the early architectural character of Natchez to the West Indies. This similarity is understandable since Natchez and the West Indies shared the same mixture of national influences, similar climate, and common trade interests.</p><br>
<p>The House on Ellicott Hill stands on property acquired as a Spanish grant in 1797 by Natchez merchant James Moore. Construction probably began after January 1798, when the site hosted an encampment of soldiers led by Major Isaac Guion, commander of the United States forces ordered to take possession of the Spanish posts east of the Mississippi. In addition, the hill was the site of the encampment of Andrew Ellicott, sent by President George Washington to survey the boundary of the new Mississippi Territory with Spain. According to Dr. William Morton ("Andrew Ellicott, Stargazer"), it was Ellicott who first raised the American flag from this hill, to which Spanish Governor Gayoso responded by aiming his forts cannon in its direction. A notice in Greens Impartial Observer, February 21, 1801, indicates that James Moore, by that date, is living on the property. An 1805 city tax roll documents the house as having a tax valuation of $8,000, second in value only to Texada, which was built ca. 1798, documented as the city&#39;s first brick house, and valued at $12,000.</p><br>
<p>The architectural integrity of the House on Ellicott Hill is outstanding, with few changes made after the 1820s. The house retains most of its original millwork, including the fan-lighted doorways of the front and rear elevations, which are arguably the earliest Mississippi expression of this common hallmark of the federal style. The interior millwork of the principal room is finely executed and includes a gouged-carved cornice and a matching pair of gouge-carved mantel pieces, one of which is original and the other a matching reproduction dating to the restoration. The room includes a regionally unique ceiling dome that provided extra height for a lighting fixture and was probably lined with tin to reflect light.</p><br>
<h2>Restoration</h2><br>
<p>The house was purchased in 1934 by the Natchez Garden Club and restored, since it was in a dilapidated condition. Architect Richard Koch worked to restore the house, rebuilding collapsing masonry, repairing carpentry and plasterwork, and restoring wood trim, among other things. At the time of the restoration, the house was believed to be a former tavern owned by Patrick Connelly, but later research by the Natchez Garden club revealed that the tavern was actually located one block southeast of the house on Ellicott&#39;s Hill.</p><br>
<p>Alterations to the house are primarily associated with the 1930s restoration, and include the redesign of the gallery staircase and the removal of the extension of the masonry basement wall that enclosed the northern end of the lower gallery to partially shelter the gallery staircase. Also, in typical Natchez fashion, the first flight of the dog-leg staircase originally abutted the front wall and extended across a window. The colonnettes on pedestals supporting the upper gallery and the slender turned columns of the lower gallery also date to the mid-1930s restoration. Pre-restoration photographs document crude replacements of both the gallery posts and balustrade.</p><br>
<p>The House on Ellicott Hill is open to the public as a house museum operated by the Natchez Garden Club, whose mid-1930s restoration marked the first time that an organization acquired and restored a historic building in Mississippi.</p><br>
<h2>In popular culture</h2><br>
<p>Opening screens of the 1951 film Show Boat were filmed at the home.</p><br>
<p>The I. T. Montgomery House is a historic house on West Main Street in Mound Bayou, Mississippi, United States. Built in 1910, it was the home of Isaiah Montgomery , a former slave of Jefferson Davis who was instrumental in founding Mound Bayou, one of the first economically successful towns established by freed slaves. It was declared a National Historic Landmark in 1976, and a Mississippi Landmark in 2003.</p><br>
<h2>Description and history</h2><br>
<p>The I.T. Montgomery House is located in an residential area south of the Mound Bayou town center, on the west side of South Main Avenue midway between Green Street West and West South Street. It is a two-story brick building, with a hip roof and an elevated brick foundation. It has a single-story porch extending across its front, with a hip roof supported by sloped square Doric columns set on brick piers. The porch is reached by a long stair with a right-angle turn. Sections project from several of the house&#39;s sides, capped by gables with deep eaves.</p><br>
<p>Isaiah Thomas Montgomery was a leading figure in the founding of Mound Bayou, one of Mississippis most successful communities established by slaves freed by the American Civil War. He and a cousin, both former slaves from the plantation of Confederate President Jefferson Davis, had been part of an unsuccessful attempt to establish such a community at one corner of Daviss plantation. After a railroad line was built through Bolivar County in the 1880s, this land, granted to the railroad, was considered a more suitable site for such a settlement. Montgomery was instrumental in recruiting settlers and helping to build the new community, which was given a town charter by the state in 1912. This house was built for Montgomery in 1910, and was his home until his death. After Montgomery&#39;s death in 1924 the home was used for nursers, teachers, and a private residence.</p><br>
<p>Jaketown Site  is an archaeological site with two prehistoric earthwork mounds in Humphreys County, Mississippi, United States. While the mounds have not been excavated, distinctive pottery shards found in the area lead scholars to date the mounds&#39; construction and use to the Mississippian culture period, roughly 1100 CE to 1500 CE.</p><br>
<p>The site was a complex regional trade center that developed and was inhabited much earlier, from 2000 to 600 BCE, during the Poverty Point culture within the Late Archaic period of the United States. This culture is seen in more than 100 sites on both sides of the Mississippi River, from present-day Louisiana to Mississippi; it also was linked to more distant areas through a trading network. The site has evidence of trade in raw materials and manufacture of finished items that were distributed through the network throughout the Eastern United States. The largest and most elaborate earthwork complex of the period is at Poverty Point, Louisiana.</p><br>
<p>The mounds were constructed as part of a later, succeeding culture, built to mark the political and religious center of a chiefdom. There would have been numerous elite residences nearby, as well as structures to support certain crafts. Because of its importance of a regional trade center of the Poverty Point culture in the Archaic period, and long human occupation, the site was declared a National Historic Landmark in 1990. The mounds are listed on the Mississippi Mound Trail. It is managed by the state of Mississippi. Mississippi Highway 7 is routed near the site, which is approximately seven miles north of Belzoni.</p><br>
<p>Artifacts found in the area near the site are featured on display in the Jaketown Museum in Belzoni. Dating of the artifacts has demonstrated that the Jaketown site was occupied by indigenous peoples from 1750 BCE to 1500 CE, making it one of the oldest continuously inhabited sites in the region.</p><br>
<p>Archeological investigations have found that the smaller mounds nearby were hundreds of years older than the surviving two; they were built by peoples of a preceding culture. They were destroyed by plowing and being razed for use as fill for road construction in the early 20th century. The largest platform mound at the site, Mound B, is 23 ft in height with a base of 150 ft by 200 ft. It has a projection on its eastern side that is thought to have been a ramp once used as a stairway. To its northwest is Mound C, another platform mound with a height of 15 ft.</p><br>
<p>Melrose is a 15,000 ft&sup2; mansion, located in Natchez, Mississippi, that is said to reflect "perfection" in its Greek Revival design. The 80 acre estate is now part of Natchez National Historical Park and is open to the public by guided tours. The house is furnished for the period just before the Civil War. Melrose was declared a National Historic Landmark in 1974.</p><br>
<h2>History</h2><br>
<p>John T. McMurran, a successful lawyer and planter who used the forced labor of enslaved people, had come to Natchez in 1824 or 1825 from Pennsylvania, and became a law partner of future Governor of Mississippi, John A. Quitman. McMurran married in 1831, Mary Louisa Turner, daughter of Edward Turner, a prominent Mississippi Supreme Court justice and first cousin to John Quitman&#39;s wife Eliza. After a tornado ravaged Natchez in 1840, John McMurran began planning a grand mansion on the outskirts of town, and hired Maryland architect, Jacob Byers, to design the house the McMurrans named "Melrose," after Melrose Abbey in Scotland, that they had visited previously. Melrose is the only building that can be definitely attributed to Byers. The McMurrans spared no expense as the windows, doors, cornice moldings, stairways and floors are made out of the finest woods. In 1865, John McMurran, hurting financially due to the American Civil War, and grieving from the deaths of their daughter and two grandchildren, sold Melrose to Elizabeth Davis, the wife of attorney and planter George Malin Davis. The couple planned on moving to Maryland, but John McMurran died in a steamboat accident in 1866.</p><br>
<p>Elizabeth and George Davis purchased Melrose in 1865 as a result of Union soldiers occupying their town home, Choctaw, during the Civil War. The Davis family rarely used Melrose and it remained unoccupied for most of the next four decades. The 1883 death of George Davis as well as his daughter, Julia, as a young woman left her six-year-old son, George Malin Davis Kelly, as heir to Melrose, Choctaw and the rest of the Davis property holdings in Natchez and Louisiana. Young George was sent to New York City to be raised by his maternal grandmother. Former Davis slaves, Alice Sims and Jane Johnson are credited with being the caretakers of Melrose during this time.</p><br>
<p>George Kelly married Ethel Moore in 1900 and the following year they returned to Natchez. They selected Melrose as their primary home and restored the home after its extended time of closure. Instead of remodeling, the couple decided to keep the house intact. Ethel Kelly also brought in furnishing from Choctaw to add to the furniture already existing at Melrose. The Kelly&#39;s resided in Melrose until 1975 when Ethel died.</p><br>
<p>John and Betty Callon purchased the property in 1976 as their personal home, and as a venue for lavish entertainment for their company, Callon Petroleum Company. The Callons retained the integrity of the house and grounds as they took preservation issues as part of their restoration process. As a result, hundreds of photographs were taken of the property and material samples were saved that are invaluable sources of information to curators today.</p><br>
<h2>Mansion and grounds</h2><br>
<p>The interior of the first floor is arranged around a central hall and consists of a dining room, drawing room, parlor, library, back hall, storage, and service rooms. The central and back hall provide a fine example of painted floor cloth that is original to the house, and another feature is the punkah found in the dining room. Interior doorways are framed by Ionic columns and sunburst-type woodwork above. The rooms also feature plaster ceiling medallions and solid pocket doors. Bedrooms, many with original furnishings, are found on the second floor. Above, Melrose possesses an unusually large widows walk.</p><br>
<p>The grounds feature outbuildings including the two storied kitchen and dairy buildings, octagonal cistern houses, a smoke house, a privy, one of the last remaining slave quarters in Natchez, a barn, and a carriage house.</p><br>
<h2>Tourism and legacy</h2><br>
<p>As Melrose was one of the most intact antebellum estates in the South, due to the fact that the McMurrans had sold their furniture with the house and subsequent owners did the same, the National Park Service purchased the estate in 1990. Melrose along with Fort Rosalie and the William Johnson House form the Natchez National Historical Park.</p><br>
<p>The Juan de Anza House , also known as the Casa de Anza , is a historic adobe house in San Juan Bautista, California. Built around 1830, Casa de Anza is a well-preserved example of residential construction from the period of Mexican California. It was declared a National Historic Landmark in 1970.</p><br>
<h2>History</h2><br>
<p>The house was probably built about 1835, during the period when California was part of Mexico, and after the Mission San Juan Bautista was secularized. Its construction methods clearly predate developments in the late 1830s, when American methods of frame construction began to be merged into the Mexican vernacular adobe style.</p><br>
<p>In the 1870s Francisco Bravo adapted the building for commercial use as a cantina, and it has generally been used for commercial purposes since then.</p><br>
<h2>Description</h2><br>
<p>Casa Juan de Anza is located in the downtown area of San Juan Bautista, at the southwest corner of Franklin and Third streets. It is a single-story adobe structure, built out of vertically placed wooden poles and mud bricks, with exterior and interior finishes of lime plaster.</p><br>
<p>It is covered by a low-pitch gabled roof with redwood shingles, which extends across an open veranda extending the width of the building, supported by simple square wooden posts. It has four bays on the front, three of which are occupied by doors or full-height windows. A wood-frame addition extends across the full width of the rear, covered by a shed roof. The interior has five rooms, some of which have 19th-century redwood floors.</p><br>
<p>The Canaan Union Depot, also known as the Union Depot, is located in Canaan Village, in the town of North Canaan, Connecticut, and is a former union station. It was built in 1872 at the junction of the Housatonic Railroad and the Connecticut Western Railroad which was acquired by the Central New England Railway.</p><br>
<h2>Architecture</h2><br>
<p>The station was located at the level junction between the two rail lines, making an almost right angle at 85 degrees right at the crossover. The angle of the building has a 3-story tower, at the top of which sat the electric telegraph operator. The two 90-foot (27-meter) wings of the building were occupied by the two railroad companies. The first floor of the station had a large restaurant that was especially important before the development of the dining car. Eventually, both the Central New England and the Housatonic Railroad became a part of the New York, New Haven and Hartford Railroad. The New Haven was later merged into the Penn Central Transportation.</p><br>
<h2>Decline</h2><br>
<p>The station had been a junction and transfer point for passengers shifting from north-south NYNHH trains (Berkshire Division) to east-west CNE trains (mainline: Campbell Hall to Springfield and Hartford). Passenger service on the CNE line through the station ended in 1927 when the NYNHH acquired the CNE.</p><br>
<p>The station was no longer used for passenger service after 1971 when the Penn Central ended its unnamed successor to the Berkshire train, and regular freight service on the line ended in 1974. The station then became a retail location, with a restaurant in the southeastern wing. When the railroad was reopened as the new Housatonic Railroad in 1980, the station was not repurchased, though the new company did maintain offices there for many years.</p><br>
<p>The station was added to the National Register of Historic Places in 1972,</p><br>
<p>More than half of the station — namely the southeast half — was destroyed by arson late in the evening of October 12, 2001. The Connecticut Railroad Historical Association purchased what was left in 2003, and the organization began to restore it. Part of the building shell and the tower were restored, but work then stalled for more than a decade due to red tape required to get grant money, and negotiations with the Housatonic Rail Road over safety issues. The project got back on track in 2014. The town of North Canann solicited bids for "Rehabilitation of the Union Deport Railroad Station" in August 2015.</p><br>
<h2>Rebirth</h2><br>
<p>In December 2018, the Great Falls Brewing Company opened in the refurbished depot.</p><br>
<p>In July 2021, the New England Accordion Connection & Museum Company moved to the refurbished station. Paul Ramunni, the owner and founder of the museum, originally created the collection in a house on his property in North Canaan in 2011. Between 1984 and 2002, Ramunni owned part of the station as housing for his CPA business, and he sold it after the 2001 fire. Ramunni offers tours, lessons, and even performs for his visitors. The collection of over 400 accordions is the largest privately owned collection of accordions in the world.</p><br>
<p>Monmouth is a historic antebellum home located at 1358 John A. Quitman Boulevard in Natchez, Mississippi on a 26 acre lot. It was built in 1818 by John Hankinson, and renovated about 1853 by John A. Quitman, a former Governor of Mississippi and well-known figure in the Mexican–American War. It is one of Natchez&#39;s grandest Greek Revival mansions. It was declared a Mississippi Landmark in 1986 It is now a small luxury hotel.</p><br>
<h2>History</h2><br>
<h3>John and Francing Hankinson</h3><br>
<p>The home was built by John Hankinson, a postmaster, lawyer and steamboat entrepreneur, during the depression that followed the War of 1812, and named after his home, Monmouth County, New Jersey. The mansion was a brick two-story in the Federal style, with a wide central hall with four rooms located off the hall on both floors. There was also a detached brick kitchen behind it, a garden house, and several outhouses. Hankinson and his wife died soon after completing the house and the house was sold at a public auction to Calvin Smith, who one year later sold the property to John Anthony Quitman, the future Governor of Mississippi.</p><br>
<h3>John and Eliza Quitman</h3><br>
<p>John Quitman, originally of New York City, was a partner in a successful Natchez law firm and married Eliza Turner, a member of one of the most prominent families in the city, being the niece of Edward Turner, a Mississippi Supreme Court judge. Quitman purchased Monmouth in 1826 for his wife and growing family. The house was extensively renovated by the Quitmans in 1853 in the fashionable Greek Revival style. The original brick was covered by stucco, scored to look like stone, and the portico was added to the front, along with the four square columns supporting it. Quitman also added the rear gallery and southeast wing of the house, along with a second story for the detached kitchen.</p><br>
<p>After Quitman died at Monmouth on July 17, 1858, and his wife died a year later, their five daughters and one son inherited the plantation. In 1862, when Natchez was attacked by the Union army during the American Civil War, most of the slaves fled. Most of Quitmans original possessions were either stolen in 1863, when the house was occupied by Union soldiers, or sold by Quitmans daughters in 1865 due to financial difficulty. The house was spared from further damage during the war, as the daughters befriended a Union general and pledged loyalty to the United States. In 1866, three of the daughters, Louisa, Annie Rosalie and Fredericka, purchased their siblings&#39; share of the property, and by 1890, Annie Rosalie was the sole owner of Monmouth. In 1914, when she died, the house was left to her nieces, who later sold it in 1924. For the next half century, the house was severely neglected with the house and other surviving structures filled with litter and the grounds overgrown.</p><br>
<h3>Ronald and Lani Riches</h3><br>
<p>After several changes of ownership, Ronald and Lani Riches of Los Angeles, California, purchased the property in 1978 and restored it to its original condition. The restoration of the house and original brick kitchen took three years. In 1982, after archaeological research determined the location of two small houses used as slave quarters, the buildings were reconstructed on the original sites. Though most of John Quitman&#39;s original furnishings had been lost, the house still contained a few pieces such as a sofa, a carved settee, and several chairs. The Riches searched for other furniture and memorabilia from Quitman, and they were able to recover his desk, two four-poster beds, and the Quitman family Bible. Other memorabilia now include the gold sword presented to Quitman by James K. Polk and the United States Congress for his services in the Mexican–American War, as well as the red handkerchief Quitman used to rally his troops.</p><br>
<h3>Nancy and Warren Reuthter</h3><br>
<p>Nancy and Warren Reuther are some of the current managing owners of Monmouth Historic Inn along with private investors. With extensive experience in the hotel and tourism industry, they continue to make sure every modern comfort has been provided in the 30 elegantly appointed spacious rooms and suites, yet carefully integrated as not to spoil the historic architectural virtue.</p><br>
<h2>Monmouth Historic Inn & Gardens</h2><br>
<p>Monmouth is now a small luxury hotel with 30 rooms and suites throughout the house and grounds. There is a fine-dining restaurant on site, Restaurant 1818, as well as a casual dining in The Quitman Lounge. Tours of the mansion are offered daily at 10 am and 2pm, and a gift shop in open to the public 7 days a week from 8am until 9pm. There have been a number of notable guests including President and Hillary Clinton, Michael Eisner, Alec Baldwin, Maya Angelou, Sela Ward, James Woods, Rob Reiner, Connie Chung, Morley Safer, Debbie Gibson, Ruby Dee and Michael Damian and Terry and Vicki Bartholomew</p><br>
<p>The Lucius Quintus Cincinnatus Lamar House is a historic house museum at 616 North 14th Street in Oxford, Mississippi. Its mission is "to interpret the life and career of the distinguished 19th-century statesman L.Q.C. Lamar within the context of his times and to encourage the ideal of statesmanship in the 21st century". Admission is free and open to the public Fridays, Saturdays, and Sundays from 1-4 pm unless otherwise advertised. The house was designated a National Historic Landmark in 1975.</p><br>
<h2>Background</h2><br>
<p>The Lucius Q. C. Lamar House is a site significant for its association with Lucius Quintus Cincinnatus Lamar II, who lived there while a Congressman and USA cabinet member. Lamar was active in USA national politics but resigned from Congress in January 1861. He wrote the Mississippi Secession Ordinance and served in the Civil War as a cavalry officer. Lamar became a Congressman again in 1872 and later became Secretary of the Interior and then a justice of the Supreme Court. He opposed civil rights legislation, promoted industrial progress, and "symbolized the South&#39;s regained political respectability."</p><br>
<h2>Origins</h2><br>
<p>The house was built by Lucius and Virginia Lamar in 1869 and was owned by Lucius Lamar up until around 1888. While the house was the Lamar family&#39;s official residence as he expanded his law practice in Oxford, Mississippi, it later became his retreat when he was in the USA House of Representatives. Lamar passed ownership of the house to his oldest daughter, Fannie L. Mayes, in 1888. Over time, the house became neglected and started deteriorating. The house was listed on the National Register of Historic Places and further was declared a National Historic Landmark in 1975.</p><br>
<h2>Restoration</h2><br>
<p>In the year 2000, the Lamar House was included in the Mississippi Heritage Trusts "Ten Most Endangered List" for its "demolition by neglect". In an effort to save the house, the Oxford-Lafayette County Heritage Foundation bought the house in 2004 for $425,000 with funds provided by the Mississippi Legislature. Later that year, it was named both a Mississippi and an Oxford landmark; three years later, restoration began on Lamar House. The total cost of this renovation amounted to $1.5 million which began in May 2007 and concluded in June, 2008. Aspects of this renovation included clearing the three acre lot of invasive plant species, replacing the foundation and roof of the house, and restoring the houses interior (including the hand painted frescoes in the main hallway). The restoration of the Lamar House was championed by the late Bill Russell who, as a member of the Oxford-Lafayette County Heritage Foundation, advocated for and oversaw much of the restoration process.</p><br>
<p>The Old Courthouse, Warren County, stands prominently on a hill in Vicksburg, Mississippi, and was a symbol of Confederate resistance during the Siege of Vicksburg. and a Mississippi Landmark in 1986. The landmarked area comprises the entire Courthouse Square, which includes the courthouse and four attached buildings that were originally cistern houses for catching rainwater to fight fires, but these were later converted into offices. Since 1948, it has served as The Old Courthouse Museum, focused on local history and the Confederacy.</p><br>
<h2>History</h2><br>
<p>Atop one of the highest bluffs in Vicksburg, construction began in the summer of 1858. The property for the new building was donated to the city by its founder, Newitt Vick. The Weldon brothers from Rodney, Mississippi, were hired to build the courthouse, which was completed in 1860 at a cost of $100,000.</p><br>
<p>During the Civil War, the building was one of the main targets in Vicksburg. As hard as the Union tried, the building suffered only one major hit. After a 47-day siege, on July 4, 1863, the Stars and Bars were lowered and the Stars and Stripes were raised. Many historical figures have visited the courthouse over the years, including Jefferson Davis, Booker T. Washington, William McKinley, and Theodore Roosevelt.</p><br>
<p>Famous trials were conducted in the buildings second-floor courtroom. One was of freed slave Holt Collier, who in 1867 was arrested and charged with the murder of a white police officer from North Mississippi. He was acquitted of all charges for defending his former owners name.</p><br>
<p>On December 7, 1874, during the Reconstruction-era, the Warren County Courthouse was the site of the first brutal event related to the Vicksburg massacre, when Black citizens were attempting to reinstate the newly elected Black sheriff Peter Crosby who had been coerced at gunpoint by a White militant group to sign a paper of resignation. The event which lasted into January of the following year, and ended with the arrival of the USA Army.</p><br>
<p>The original iron doors and shutters are still on the building today.</p><br>
<p>Following the construction of the new Warren County Courthouse in 1939, the old building was neglected. Throughout the early 1940s, Eva Whitaker Davis, founder of the Vicksburg and Warren County Historical Society, conducted a letter-writing campaign and other public efforts to preserve the old courthouse. With the approval of the county board of supervisors, supervised prison inmates helped Davis clean and repair the building for use as a museum. On June 3, 1948, the building was reopened as The Old Courthouse Museum.</p><br>
<p>Pemberton&#39;s Headquarters, also known as the Willis-Cowan House, is a historic house museum at 1018 Crawford Street in Vicksburg, Mississippi. Built in 1836, it served as the headquarters for Confederate General John C. Pemberton during most of the 47-day Siege of Vicksburg. It was also the site where Pemberton surrendered the city to USA Major General Ulysses S. Grant on July 4, 1863. The house is owned by the National Park Service and is open to the public as part of Vicksburg National Military Park. The house was declared a National Historic Landmark in 1976.</p><br>
<h2>Description and history</h2><br>
<p>Pembertons Headquarters is located on the eastern fringe of Vicksburgs downtown area, on the south side of Crawford Street just west of Adams Street. It is a two-story brick building set well above the street, from which a retaining wall and steep terraced landscaping separate it. A concrete stair climbs through the terracing to provide access to the front of the property. The house is a large L-shaped structure with a brick front section and a rear wood-frame addition. The front portion of the house was built in stages, with the initial structure of 1836 consisting of a main hall and flanking parlors, with a porch (probably smaller but more architecturally elaborate than the present one) sheltering the entrance. This was enlarged in brick in about 1850, with the rearmost additions coming around the turn of the 20th century.</p><br>
<p>The house was probably built by William Bobb, who sold it in 1836 to John Willis, an area plantation owner. It was under Williss ownership at the American Civil Wars outbreak. When the war came to Vicksburg, Williss house, one of the largest in the city, was chosen by Confederate General John C. Pemberton as the headquarters for the citys defense. Here, Pemberton and his subordinates planned their military activities and surrendered on July 3, 1863.</p><br>
<p>The Willises sold the house in 1886, and in 1890 it was bought by Mary Cowan, the wife of a Confederate veteran who died two years later. Cowan died in 1914, and her estate sold it to the Sisters of Mercy, who operated a convent and school across the street. The house was used as part of their facilities (and called "St. Anthonys Hall") until 1973 when it was sold into private hands. In need of significant restoration then, it continued to decline until the 1990s, when it was sufficiently restored to operate as a bed and breakfast inn for several years. That enterprise failed and stood vacant until the National Park Service acquired it in 2003 for inclusion as an element of the Vicksburg National Military Park. Although most of the parks facilities are on the citys outskirts, the house is now used to interpret the Confederate leaderships experiences and the city conditions during the siege.</p><br>
<p>Pemberton HQ front.jpgFront view</p><br>
<p>Pemberton HQ sign edited.jpgSign outside Pemberton&#39;s Headquarters</p><br>
<p>Waverley is a mansion, formerly a plantation house and now a historic house museum, in Clay County, Mississippi, ten miles east of West Point. Built in the 1838, it is architecturally unique among Mississippi&#39;s antebellum mansions for its enormous octagonal cupola. It was declared a National Historic Landmark in 1973.</p><br>
<h2>Description</h2><br>
<p>Waverley is located roughly midway between West Point and Columbus, on the northeast side of Waverley Road south of Mississippi Highway 50. It is set overlooking the Tombigbee River on a small portion of the original plantation land. The main house is a basically H-shaped two story structure, with a hip roof from which an oversized octagonal cupola rises another two stories. The building&#39;s Greek Revival features include corner pilasters and a dentillated cornice. The interior is richly decorated, with four rooms on each level opening into a central octagonal space. Hanging from the center of the cupola is the original gas-fired chandelier.</p><br>
<h2>History</h2><br>
<p>The antebellum home was originally owned by George Hampton Young, a colonel from Georgia. Young named the home after Sir Walter Scotts novel Waverley. From its accepted date of completion in 1852, the Waverley Plantation was a self-sustaining community, complete with gardens, orchards and livestock. It maintained a brick kiln, cotton gin, ice house and swimming pool with a bathhouse. Gas for the chandeliers was produced by burning pine knots in a retort. In later years, Waverley had its own lumber mill, leather tannery and hat manufacturing operation. It is believed that the first American-made saddle blankets were produced at Waverley and the first fox hunt association was formed in the mansions library in 1893. The mansion fell into disrepair following the end of the Young family line in 1913, but was restored by the Robert Snow family beginning in 1962.</p><br>
<p>The house is open for tours Sunday - 1 pm - 5pm; Tuesday - Saturday - 9 am - 5 pm.</p><br>
<p>Rosalie Mansion is a historic pre-Civil War mansion and historic house museum in Natchez, Mississippi. Built in 1823, it was a major influence on Antebellum architecture in the greater region, inspiring many of Natchez&#39;s grand Greek Revival mansions. During the American Civil War, it served as USA Army headquarters for the Natchez area from July 1863 on. It was designated a National Historic Landmark in 1989.</p><br>
<h2>Description</h2><br>
<p>Rosalie is located southwest of Natchez&#39;s downtown area, overlooking the Mississippi River at the junction of Orleans and South Broadway Streets. It is a cubical three-story brick building with a truncated hip roof encircled by a low balustrade. Its front facade has a monumental four-column Tuscan portico with entablature and a gabled pediment with a semi-oval window at its center. Broad entrances in the center bay provide access to the house on the ground floor and a balcony on the second; both have double-leaf doors, sidelight windows, and semi-oval transom windows. A five-column portico extends across the center of the rear elevation, although it is covered by a flat roof without entablature.</p><br>
<h2>History</h2><br>
<p>Rosalie Mansion was built for Peter Little, a wealthy cotton broker, in 1823 on the bluff overlooking the Mississippi River. It is on a portion of the site of the 1729 Natchez revolt at Fort Rosalie.</p><br>
<p>On July 13, 1863, a week after the Siege of Vicksburg, USA Maj. Gen. Ulysses S. Grant took possession of the mansion to use as a headquarters. On August 26, 1863, General Walter Q. Gresham took command of USA troops at Natchez. His headquarters remained at Rosalie. Gresham had much of the owners furnishings stored in the attic and put under guard to prevent theft or destruction. USA army tents covered much of the property surrounding the mansion. USA soldiers were positioned in the widows walk atop the mansion.</p><br>
<h2>Historic house museum</h2><br>
<p>The Mississippi State Society Daughters of the American Revolution has owned, operated, and maintained Rosalie Mansion as a historic house museum for more than seventy years.</p><br>
<p>It was declared a National Historic Landmark in 1989.</p><br>
<p>The Parsons Memorial Lodge is a small building built in 1915 by the Sierra Club at the northern end of Tuolumne Meadows in Yosemite National Park. It was one of the earliest structures built of stone in a national park.</p><br>
<h2>Memorial</h2><br>
<p>The lodge is a memorial to Edward Taylor Parsons, a New Yorker who joined the Sierra Club about 1900, and who eventually became the club&#39;s director from 1905 to 1914. Parsons was heavily involved in the losing fight against the flooding of the Hetch Hetchy Valley to provide a municipal water source for San Francisco. Parsons died in 1914, and in memorial the Sierra Club established a fund to build a club meeting house, library and headquarters in Yosemite. The site at Tuolumne Meadows was chosen for its accessibility to park backcountry and its location near Soda Springs, a location that the Sierra Club wished to safeguard.</p><br>
<h2>The lodge&#39;s design</h2><br>
<p>It is not clear who designed the Lodge. Mark White, brother-in-law and partner in Maybeck and White to architect Bernard Maybeck, was credited at the time of the lodges completion. White was a Sierra Club member. Maybeck scholars Gray Brechln and Kenneth Cardwell have suggested that Maybeck was involved in the design, chiefly through similarities to Maybeck-designed buildings at Lake Tahoe. Maybeck is alleged to have done the conceptual design, which was developed by White and Whites brother John, who would go in to design the LeConte Memorial Lodge.</p><br>
<h2>Description</h2><br>
<p>The Parsons Memorial Lodge is a 1,400 ft&sup2; one story stone building, accessible only from June through October in most years. The walls are rubble masonry with a concrete core, using local pink feldspar and gray granite, bedded with deeply raked mortar joints, and tapering from three feet at their base to two feet at the top. The door is arched with heavy stonework. The low-pitched roof is framed with peeled log rafters, about 18 in in diameter with interior and exterior log braces resting on low buttresses projecting from the walls on the east and west sides. The rafters are similar to the vigas found in American Southwestern architecture. Smaller peeled logs analogous to latillas rest on top of the rafter logs, running perpendicular, topped by roofing paper and a galvanized metal top surface. The interior features a massive fireplace on the north wall opposite the entrance. There are two windows with benches below them in the east, west and south walls.</p><br>
<h2>Modifications to the lodge</h2><br>
<p>The lodge has been modified slightly. In 1935 a concrete floor was installed over what had apparently been a dirt surface. Wood surfaces were placed over the stone benches, and the windows and shutters were studded with nails to deter bears. The lodge is still in use today, though it is now managed by the National Park Service. It is representative of the Bay Area architectural influences adapted by Bernard Maybeck for the extreme weather variations on the high valley, and National Park Service Rustic.</p><br>
<h2>The lodge declared a National Historic Landmark</h2><br>
<p>It was declared a National Historic Landmark in 1987.</p><br>
<p>The Rangers&#39; Club is a building in Yosemite Valley in Yosemite National Park that was donated by the independently wealthy first director of the National Park Service, Stephen Tyng Mather. He intended it to be used by the newly hired park rangers who were taking over from the departing army troops. He specifically intended it to blend into the natural environment. Its use of rustic stylings was part of a trend to the use of rustic design and natural materials in Park Service buildings until the 1940s.</p><br>
<h2>Concept</h2><br>
<p>The Rangers Club was designed by San Francisco architect Charles K. Sumner. Construction was completed in August 1924, at a cost to Mather of $39,380. The Rangers Club was intended to foster a sense of esprit de corps among the newly created ranger service. Mather hoped that the example at Yosemite would encourage Congress to appropriate money to build similar facilities at other national parks, a vain hope. The Rangers&#39; Club was the first significant structure on the north side of Yosemite Valley, part of a Mather strategy to relocate park services.</p><br>
<h2>Description</h2><br>
<p>The Rangers&#39; Club is a U-shaped wood-frame structure, stories high, centering on a massive stone chimney in the center of the U. The interior is clad in redwood shingles, with board-and-batten siding on the gable ends. The building rests on a granite rubblestone foundation. Peeled log pilasters emphasize the corners of the frame building, originally extending through the roof. The gable ends feature balconies at the second floor, with jigsaw-pattern railings. The wood shingle roof is steeply pitched with shed roof dormers in the main section and steeply pitched gable dormers on the outer side of the flanking wings.</p><br>
<p>The interior arrangement has not been substantially altered. The first floor features a living room and dining room connected by a hallway, which itself features nooks furnished with bookshelf-partitions on its north and south sides, featuring decorative fir tree designs. Columns and beams are dressed and trimmed, with rough-hewn ceiling joists supporting diagonal ceiling sheathing. Downstairs interior spaces are finished in plaster with dark wood wainscoting. The buildings original furnishings remain in the living and dining rooms. Upstairs a central hall runs to the ends of the wings, flanked by individual and dormitory rooms. The buildings kitchen and bathrooms have been updated, and the partial basement contains mechanical equipment.</p><br>
<p>An adjoining L-shaped garage-woodshed and a transformer house are similarly designed, and complement the main building.</p><br>
<p>The Rangers&#39; Club was declared a National Historic Landmark in 1987. The building was altered in 2008 to install new earthquake-resistant foundations and other seismic strengthening measures.</p><br>
<p>Stanton Hall, also known as Belfast, is a Greek Revival mansion within the Natchez On-Top-of-the-Hill Historic District at 401 High Street in Natchez, Mississippi. Built in the 1850s, it is one of the most opulent antebellum mansions to survive in the southeastern United States. It is now operated as a historic house museum by the Pilgrimage Garden Club. The house was declared a National Historic Landmark in 1974; a pivotal property inside the Natchez On-Top-of-the-Hill Historic District in 1979; and a Mississippi Landmark in 1995.</p><br>
<h2>Description</h2><br>
<p>Stanton Hall occupies an entire 2 acre city block north of downtown Natchez, bounded by High, Commerce, Monroe, and Pearl Streets. The property is ringed by wrought iron fencing with elaborate gate posts. The house is a three-story brick structure, plastered and painted white. It was designed and built by Thomas Rose, a local builder and English immigrant.</p><br>
<p>Its front entrance features a two-story Greek temple portico, with four fluted cast-iron Corinthian columns supporting an entablature and gabled pediment. Spaces between the columns have decorative iron railings, repeated in a second-floor balcony railing set under the portico. The main roof is hipped, and truncated with a large cupola at the center. The interior is elaborately decorated, using materials such as imported Italian marble, textiles from Paris and chandeliers made of glass and bronze.</p><br>
<h2>History</h2><br>
<p>Stanton Hall was built during 1851–1857 for Frederick Stanton, a cotton broker. Stanton named it "Belfast", but only lived in it for nine months before he died of yellow fever. The house&#39;s scale and opulence made it a great financial burden on his heirs, but it survived the American Civil War, and in 1890 was made home to the Stanton College for Young Ladies. In 1940 it was acquired by the Pilgrimage Garden Club, which uses it as its headquarters and operates it as a museum and event venue.</p><br>
<h2>In popular culture</h2><br>
<p>The houses insides have appeared in ABCs mini-series North and South as the Mains&#39; mansion interiors. The house was also seen briefly in Show Boat (1951).</p><br>
<p>In South and West: From a Notebook, Joan Didion writes that Ben Toledano&#39;s wife suggested she visit Stanton Hall as well as the Asphodel Plantation, the Oakley Plantation and the Rosedown Plantation to understand the South better.</p><br>
<p>"Barncastle", also known as Kline Cottage, is a historic house, now an inn and restaurant, at 125 South Street in Blue Hill, Maine, United States. It is one of the earliest and largest summer cottages in Blue Hill, and remains one of its most visible and idiosyncratic. Listed on the National Register of Historic Places and originally called "Ideal Lodge" after the Boston Ideal Opera Company founded by its builder, Effie Hinckley Ober, the house was finished in 1884 to a design by George Asa Clough, Blue Hill native and noted Boston architect, Effie&#39;s childhood friend.</p><br>
<p>Entirely engulfing a smaller Cape Cod-style house owned by Effies mother Mary Peters Hinckley Ober Atherton, a descendant of early Blue Hill settlers, Cloughs design derived from notable buildings of his more famous contemporaries: the massing of the main block was based on a cottage by W.R. Emerson, and the landmark arch-and-turret link between kitchen wing and carriage barn strongly recalls familiar works by McKim, Mead and White at Narragansett Pier and Mamaroneck. The building has some idiosyncratic elements, including its central staircase, which rises in stages to an area featuring an interior window and balcony, and a modest bellcast-topped turret that rises from its main facade.</p><br>
<p>Now housing an inn and restaurant, Barncastle was listed on the National Register in 1980.</p><br>
<p>The Pound Farmstead, also known as the Dr. Pound Pioneer Farmstead, is a historic farm located in Hays County, Texas United States. The original 750 acre farm was founded by Doctor Joseph McKegg Pound and his wife Sarah in 1854 in an unsettled area of Central Texas, now located in the City of Dripping Springs. The farmstead is currently a museum about the life and times of Dr. Pound, his family and descendants. The property was added to the National Register of Historic Places on July 28, 1995.</p><br>
<p>Pound first came to Texas 1847 to fight in the Mexican–American War. He returned to Kentucky to pursue his medical education. In 1853, he returned to Texas with his wife, Sarah, along with two other families, John Lee and Malvina Wallace and daughter, Carrie; and John Lauter and Indiana "Nannie" Moss and son, Joseph. Dr. Pound first bought acreage near Henly; however, by December 1854, he sold his holdings there and purchased the land in what would become Dripping Springs. It is believed the spot for the farm was chosen because it was on the road connecting Austin to Fort Martin Scott in Fredericksburg.</p><br>
<p>The original Pound Home, the oldest existing building in Dripping Springs, was built as a "dog-trot" style log cabin, but was expanded to make room for Dr. Pound&#39;s medical practice. Dr. Pound was the earliest doctor in Hays County. The Pound house served as a medical office and hospital, church, schoolhouse, post office and social gathering place for the fledgling community of Dripping Springs. Dr. Pound also insisted on treating the local Indians with respect, and due to this was never raided.</p><br>
<p>The Pounds had nine children. Four generations of the family occupied the farmstead over a period of 130 years, until 1983. The property was donated to the City of Dripping Springs in 1987. In 1990, restorations on the house began. The Dr. Joseph M. and Sarah Pound Historical Museum opened in May 2003 and is part of Founder&#39;s Park.</p><br>
<p>Saint Clements Church is an historic Anglo-Catholic parish in Logan Square, Center City, Philadelphia. It is part of the Episcopal Diocese of Pennsylvania. The church, designed by architect John Notman, was built in 1856. It originally incorporated a spire more than 200 ft tall; this was found to be too heavy for the foundation and was removed in 1869. In 1929, the church building, which includes the parish house and rectory, and weighs 5,000 ST, was lifted onto steel rollers and moved 40 ft west to allow for the widening of 20th Street. On November 20, 1970, Saint Clements Church was listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>On September 13, 1855, a charter was granted to "The Rector, Churchwardens, and Vestrymen of St. Clement&#39;s Church in the City of Philadelphia". The first rector was the Rev. Henry S. Spackman, who was elected as soon as the first charter was received. His incumbency began officially on January 1, 1856. The cornerstone of the church building was laid on May 12, 1856, by the Rt. Rev. Alonzo Potter, third Bishop of the Diocese of Pennsylvania.</p><br>
<p>The land on which St. Clements was built was furnished by William S. Wilson, a Presbyterian and an Englishman, who with his two brothers came to this country and made a fortune as a manufacturer. He owned most of the land in the section of the city where St. Clements now stands, and his interest was directed to the development of a residential area by building row houses on Arch, Race and Twentieth Streets. He was eager that a church should be built, not so much because of any religious devotion on his part, but because he felt the erection of a church would greatly enhance the attractiveness of his residential projects.</p><br>
<p>St. Clements was the third Episcopal church to be designed by architect John Notman and built in Philadelphia between 1847 and 1859. He also designed St. Marks Church on Locust Street, the Church of the Holy Trinity on Rittenhouse Square and, with Napoleon Le Brun, was associate architect for the Roman Catholic Cathedral of SS. Peter and Paul on Logan Square. In accordance with the architectural wisdom of the time, Notman maintained that the Gothic Revival style was best suited towards the liturgical worship of High Church congregations, while Romanesque Revival architecture was better suited for the conventional Low Church worship of mainstream Episcopal congregations. Unlike St Marks, which was erected for a High Church congregation and built in the Gothic Revival style, St. Clements was originally designed for a typical Low Church Episcopal congregation, and like the Church of the Holy Trinity, was designed in the Romanesque Revival style. Like its two nearby sisters, St. Clement&#39;s was built entirely of brownstone. Its bell tower was originally topped by an impressive spire of over 200 ft in height. The weight of the spire was more than the foundation could support, and it was removed from the structure in 1869 in order to prevent damaging the foundation.</p><br>
<p>When the cornerstone was laid St. Clements was almost in the fields. The block between Arch and Race Streets had been, from about 1808 into the 1830s, the site of Sans Souci Garden, the largest for-profit botanical haven within the current-day confines of Center City. It had boasted a fine hotel at which visitors were furnished with fruit from the garden greenhouses as part of their refreshments. The garden was respected for its botanical collection; a portion of William Hamiltons private collection—developed at the Woodlands in West Philadelphia—wound up there. The resort was also immediately south of the Magdalene Asylum (a private charitable organization for the redemption of prostitutes) and the Pennsylvania Asylum for the Blind—illustrating how such institutions were established outside of the populated sectors of the city.</p><br>
<p>In the mid-1850s, few houses yet existed nearby and large tracts of open lots surrounded the ground that had been secured for the church. The grid of streets had hardly expanded westward as far as 20th Street and there was no City Hall in the Center Square. The Pennsylvania Railroad Terminal was located at 11th and Market Streets, and there was a covered wooden bridge over the Schuylkill River.</p><br>
<p>The building of St. Clement&#39;s Church lasted three years because of recurring financial difficulties. Contemporary evidence indicates that at one time all work was stopped and the building stood roofless for a long period. It was finally opened for services on the first Sunday in January 1859. There is no record of any services for the congregation before the opening of the new building. The Church was consecrated on April 12, 1864. Bishop Potter again officiated and was assisted by Bishop Stevens, Bishop Suffragan in the Diocese, and by Bishop Lee of Delaware.</p><br>
<p>It was not until the arrival of Hermon Griswold Batterson in 1869 that the parish increasingly came to be influenced by the theology of the Oxford Movement. During Batterson&#39;s time as rector, the parish adopted many of the liturgical practices associated with the Catholic Revival then taking place within the Church of England. These changes, which included liturgical practices such as the wearing of colored chasubles and stoles, placing lit candles on the altar during Mass, and genuflecting before the Blessed Sacrament, together with new theological emphases, including the encouragement of private auricular confession and absolution and encouraging prayer for the dead, were not uncontroversial.</p><br>
<p>As conflict over Batterson&#39;s changes escalated, the parish became divided between two factions. The anti-Catholic low church faction was led by several vestrymen who had the public support of the diocesan bishop, William Bacon Stevens. The Anglo-Catholic faction rallied in support of Batterson as the anti-Catholic faction tried to remove him from office as rector.</p><br>
<p>Despite having the support of the ordinary as well as that of the vast majority of the people and clergy of the diocese, the anti-Catholic faction was unable to use the judicial processes prescribed in the canons to remove Batterson from office as rector, and eventually the vestry, with the support of Bishop Stevens, voted to remove Batterson (and his curate) from office without the requisite canonical trial. The manner in which Batterson was dismissed, circumventing the proper procedures after forcing the parish to endure more than a year of internal conflict, caused the anti-Catholic faction to lose significant support among parishioners. As a result, control of the vestry shifted after the annual election of vestrymen when a number of Anglo-Catholic candidates defeated the incumbent anti-Catholic vestrymen. Later in the year, the vestry went on to elect Theodore M. Riley, an Anglo-Catholic, as the fourth rector of St. Clement&#39;s Church.</p><br>
<p>The catholicization of the parish continued during the tenure of the Society of St. John the Evangelist (SSJE), more commonly known as the Cowley Fathers, who were responsible for the parish from 1876 to 1891. Some maintain that the work of the Fathers and the entire St. Clements community among the poor and needy in Philadelphia may have influenced the diocesan authorities to moderate their criticism of the "high church" parish. Father Charles Neale Field, one of the assistant priests sent to St. Clements from Cowley in 1882, established the Guild of the Iron Cross for Working Men and Boys during this time, eventually drawing thousands of working men from all over the United States into its membership. His intent was to create a "crusade against Blasphemy, Impurity and Intemperance among working men themselves" and posed the question "Are we by our lives and teachings preaching the gospel to the poor?" The guild was a recreational as well as a religious association. The jovial cleric from Yorkshire established the Iron Cross Parlor and Gymnasium in 1889, and he often took large groups of boys and men for outings at various parks and places out in the country. St. Clement&#39;s was located near the great Baldwin Locomotive Works on Spring Garden Street and other nearby factories and workshops, so its congregation was surely made up of many working families whose fathers and sons were members of the Iron Cross Guild.</p><br>
<p>It has also been widely said that St. Clements was one of the first Episcopal parishes in the city to be integrated. While direct evidence is scanty, unlike its neighboring parishes of St. Marks and Holy Trinity and numerous other Philadelphia churches, St. Clements never established a separate "mission church" for African-Americans. Also, Field had come to St. Clements and established his outreach to the workers of the city having already become known for his ministry to people of color, so the church already had a long tradition of tolerance and inclusion.</p><br>
<p>Meanwhile, one long cherished wish of Father Basil Maturin, rector from 1881 to 1889, and his assistant priests, was for the establishment of a hospital for adults. Beginning the work by opening a dispensary in a nearby house in 1885, the plan was to have evening hours so that the working people could benefit. The only requirement for treatment was to be poor and sick. By 1890, the hospital facility had moved to Cherry Street and expanded its services beyond the capacity of the parish to sustain them financially. After a brief period of retrenchment and use of the hospital exclusively to treat epileptics, in 1899 the building was sold to the Community of The All Saints Sisters of the Poor, to be used as a mission house.</p><br>
<p>The Cowley Fathers had withdrawn from St. Clements in 1891 to focus their American work and ministry in Boston and, in 1895, the Rev. George Herbert Moffett became rector. His coming ushered in a new era of prosperity for the church. He built the present clergy house; began perpetual reservation of the Blessed Sacrament in the crypt chapel; was the first to use the term "Mass" officially in the parish; put the first side altar in the church, and moved the baptistry from the head of the south aisle to the rear of the north aisle. Moffett served until his death in 1904. In 1895, Saint Clements became the first parish in the Diocese of Pennsylvania to institute perpetual reservation of the Blessed Sacrament.</p><br>
<p>The latter part of the 20th century saw a significant change in the church congregation as the nearby factories and other industrial and commercial establishments closed, families moved to the suburbs or farther away and the parish neighborhood changed profoundly. St. Clement&#39;s evolved from a parish church to a shrine church, its outreach and membership becoming more regional and its pews filled on great feast days with worshippers often traveling great distances to partake of the traditional Masses that have continued.</p><br>
<p>Today, as its parish neighborhood is revitalized and new, young singles, students and families settle nearby, St. Clements continues as an inclusive community rooted in the Anglo-Catholic tradition. The church still emphasizes the Episcopal Churchs continuity with Catholicism prior to the English Reformation. St. Clement&#39;s therefore offers lavish worship and music with full Catholic ceremonial, including incense, bells, processions, chanting, and a professional choir. Mass is celebrated daily using the English Missal and the King James Bible, enhanced on Sundays and major feasts with classical music.</p><br>
<h2>Architecture</h2><br>
<p>The location and orientation of the site on which St. Clement&#39;s was built posed a significant problem for the design of the church. The west end of the site, where the main façade and doors would typically be located, was in the middle of a city block. For Notman, the easy solution would have been to reverse the church, erecting the main entrance on the east side of the lot and the apse on the west side. However, this would have altered the eastward orientation of the building. Instead, Notman retained the apse on the east side of the church and incorporated it into the main façade.</p><br>
<p>The main façade is dominated by the bell tower and the assertive semi-circular apse, which features a blind arcade of simple columns and Romanesque arches. The blind arcade is broken at both ends by large stained glass windows. Just north of the apse exists the bell tower, which was originally topped by an impressive spire of over 200 feet in height. The weight of the spire was more than the foundation could support, and it was removed from the structure in 1869 in order to prevent damaging the foundation.</p><br>
<p>The nave of the church is of rectangular floor plan and possesses impressive height. The windows are contained within arched bays in the Romanesque style. Buttresses, topped by gablets with decorative carved reverse Ogee arches, separate each bay. Both the roof of the nave and of the apse are of grey slate. Along the ridge of the nave roof at both the east and west ends exist cupolas of carved brownstone, each surmounted by a carved stone cross.</p><br>
<p>In the early 20th century, the roof of the apse was raised some 15 ft with the installation of a clerestory. This renovation was necessary in order to accommodate the installation of the triptych that currently stands above the high altar. While the clerestory windows mirror the Romanesque arches of the blind arcade, the elaborate exterior stonework above the clerestory windows incorporates forms found in both Gothic and Romanesque styles. Also completed about this time was the complete rebuilding of the roof and roof trusses of the nave, the original having been proved to be significantly deteriorated and unsafe.</p><br>
<p>In 1929 the City of Philadelphia undertook a project to widen North 20th Street by some 40 ft. St. Clement&#39;s Church was in the middle of the proposed expansion. Facing the prospect of having to demolish the church, the vestry undertook a project to move it. The two houses to the immediate west of the church (at 2028 and 2030 Cherry St.) were acquired and demolished, and the 5,000 ST structure was raised onto steel beams, moved 40 ft to the west, and placed onto a newly built foundation. The move itself took place between July 11 and July 16, 1929.</p><br>
<p>The interior of the church is dominated by the large carved oak reredos and triptych, installed in 1908, which stand above the high altar. The central panel of the triptych depicts Christ on the cross, clothed in the vestments of the Holy Sacrifice of the Mass, with the Blessed Virgin Mary and St. John the Apostle at the foot of the cross. South of the sanctuary is the Lady Chapel, which features an altar and reredos of English red stone. The central niche of the reredos contains a statue of the Virgin and Child while the two side niches contain statues of St. Joseph and St. Elizabeth with St. John the Baptist. Located in the nave, the Shrine of Our Lady of Clemency climbs to a height of some 25 ft and features a statue of the Blessed Virgin depicted as Queen of Heaven replete with crown and sceptre. The nave also contains shrines dedicated to the churchs major patron, Pope Clement I, pope from 88-97 AD, and to the churchs minor patron, St. Catherine of Alexandria. The church&#39;s four manual, 51 rank pipe organ is Austin Organ Company Opus 507, which was originally installed in 1914.</p><br>
<h2>Liturgy</h2><br>
<p>Saint Clement&#39;s uses the English Missal, an English-language translation of the Tridentine Mass as it existed prior to the 1955 liturgical reforms of Pope Pius XII. Today, Low Mass is offered every day, using a liturgy based on the Anglican Missal and 1928 Book of Common Prayer. A High Mass or Sung Mass is celebrated every Sunday of the year and on most major feasts. From Monday through Saturday, Evening Prayer is recited according to the 1928 prayer book, followed by the novena prayers at the Shrine of Our Lady of Clemency.</p><br>
<h2>Rectors</h2><br>
<p>Henry S. Spackman, 1856–1863</p><br>
<p>Treadwell Walden, 1863–1868</p><br>
<p>Hermon Griswold Batterson, 1869–1872</p><br>
<p>Theodore M. Riley, 1872–1875</p><br>
<p>Oliver Sherman Prescott SSJE, 1876–1881</p><br>
<p>Basil W. Maturin SSJE, 1881–1889</p><br>
<p>Duncan Convers SSJE, 1889–1891</p><br>
<p>John Metcalf Davenport, 1891–1893</p><br>
<p>Alfred Bowyer Sharpe, 1893–1895</p><br>
<p>George Herbert Moffett, March 1895 – November, 1904</p><br>
<p>Charles S. Hutchinson, 1905–1920</p><br>
<p>Franklin Joiner, 1920–1955</p><br>
<p>William Elwell, 1955–1964</p><br>
<p>Edward Oscar Hendricks, 1965–1978</p><br>
<p>Francis C. FitzHugh, SSC, 1979–1984</p><br>
<p>Peter Laister, 1986–1993</p><br>
<p>Barry E. B. Swain SSC 1993–2001</p><br>
<p>W. Gordon Reid, 2004–2014</p><br>
<p>Richard Alton, 2014–2024</p><br>
<p>The Dancing Rabbit Creek Treaty Site is a historic Choctaw Native American gathering place in rural Noxubee County, Mississippi. Located near a freshwater spring above the floodplain of Dancing Rabbit Creek in the southwestern part of the county, it was the site of a treaty negotiation between the Choctaw and the federal government in 1830, resulting in the Treaty of Dancing Rabbit Creek, in which the Choctaw agreed to surrender their ancestral lands for territory in what is now Oklahoma. It was the first treaty negotiated after passage of the Indian Removal Act, and served as a model for other treaties passed pursuant to that act. It also led to the Choctaw Trail of Tears. The site, now marked by a stone memorial and a small Choctaw cemetery, was designated a National Historic Landmark in 1996.</p><br>
<h2>Description and history</h2><br>
<p>The Dancing Rabbit Creek Treaty Site is located in a remote wooded area of southwestern Noxubee County, on the southeast side of Dancing Rabbit Creek. It is accessed via Monument Road, where the commemorative marker and cemetery mark the center of the landmarked area. There are no historical structures standing in the area, although there was at the time of the treaty negotiation a Choctaw meeting house which was the central point of the meeting that culminated in the treaty signing. The granite marker was placed in 1928 by the local chapter of the Daughters of the American Revolution. It soon became the focus of Choctaw commemorative activities, including the burial of some of their dead. The marker&#39;s placement was based on research conducted in the late 19th century by Henry S. Halbert, a Choctaw historian, that included oral histories from witnesses and individuals who had known witnesses to the proceedings.</p><br>
<p>The Choctaw were one of the "Five Civilized Tribes" of the southeastern United States, which had to some extent adopted Euro-American customs, and developed an independent tribal government system including a constitution. Despite this, pressure from white settlers for their lands (historically including parts of Mississippi, Alabama, and Louisiana) had prompted the tribe to ceded some of its lands in the 1820s. President Andrew Jackson, upon taking office in 1828, sought the removal of the Choctaw and other southeastern tribes to lands in what was then termed the Indian Territory, now Oklahoma. The treaty negotiations with the Choctaw took place between September 15 and 27, 1830. The proceedings were attended by several thousand Choctaw, a number of opportunistic white entrepreneurs, who offered gambling, drink, and other vices to the assemblage, and John H. Eaton and John Coffee, the federal government representatives. Many Choctaw expressed disapproval of the treaty offered for consideration on September 22, and a large number left the encampment over the next few days. Three major chiefs signed the treaty, under a questionable set of conditions that may have included threats, bribery, and extortion. The vast majority of Choctaw were removed to Oklahoma in 1831–33.</p><br>
<p>The Eudora Welty House & Garden, at 1119 Pinehurst Street in Jackson, Mississippi, was the home of author Eudora Welty for nearly 80 years. It was built by her parents in 1925. Welty and her mother built and tended to the garden located at the side and back of the home over decades. Welty could often be found writing in her bedroom or on the porch, which frequently hosted her peers in writing. The house was first declared a Mississippi Landmark in 2001,</p><br>
<p>The house was restored by the Eudora Welty Foundation and the Mississippi Department of Archives and History. In 2006, the house and garden were opened to the public as an authors house museum. The renovation of the house and garden is part of a larger effort to celebrate and promote Mississippis literary heritage as a means of developing tourism to the state. In 2009, the Education and Visitors Center was opened next door at 1109 Pinehurst Street. There, visitors can purchase tickets to tour the Welty House, see a selection of Weltys literary awards, and explore exhibits based on the authors memoir, One Writer&#39;s Beginnings.</p><br>
<h2>The Visitor Center</h2><br>
<p>The Visitor Center is located next door to the home of Eudora Welty at 1109 Pinehurst Street. This center is used to provide visitors with an overview of Welty&#39;s life, writings, and literary achievements. Inside of the visitor center is a store where visitors can buy books, shirts, and other such memorabilia relating to Eudora Welty. The Visitor Center is also home to a "Little Library," which is a community maintained free library. This is a space dedicated to the preservation of literature.</p><br>
<h2>The Garden</h2><br>
<p>This garden was designed by Chestina Welty, Eudora Weltys mother, in 1925. The garden was often referred to by Eudora and her mother as a labor of love. It is located in the back of Eudora Weltys home and is a popular tourist attraction. The garden has a rose garden section, woodland garden section, and a camellia flower collection. Chestina Welty put enormous effort into the design of the garden, creating a "succession of bloom" throughout the entire year. For example, over 40 varieties of camellias bloom in the garden throughout the winter months. In the summer, the night-blooming cereus plants bloom on the side porch, an event Welty often invited friends to come spectate. Visitors are able to tour and explore the vast amount of different species of flowers growing in the garden, many of which feature in Welty&#39;s writing. In The Golden Apples the cereus is depicted as “a naked, luminous, complicated flower.” Welty also wrote extensively about the garden in her letters.</p><br>
<p>Kenworthy Hall, also known as the Carlisle-Martin House, Carlisle Hall and Edward Kenworthy Carlisle House, is a plantation house located on the north side of Alabama Highway 14, two miles west of the Marion courthouse square. It was built from 1858 to 1860 and is one of the best preserved examples of Richard Upjohns distinctive asymmetrical Italian villa style. It is the only surviving residential example of Upjohns Italian villa style that was especially designed to suit the Southern climate and the plantation lifestyle. It has a massive four-story tower, windows of variable size and shape with brownstone trim, and a distinctly Southern division of family and public spaces. The building was designed and constructed for Edward Kenworthy Carlisle as his primary family residence and the centerpiece of his 440 acre estate. The house and a purported ghost are featured as a short story in Kathryn Tucker Windham&#39;s 13 Alabama Ghosts and Jeffrey.</p><br>
<h2>History</h2><br>
<p>Edward Kenworthy Carlisle was born in 1810 near Augusta, Georgia. He migrated with his mother, Susan Curry Carlisle, to Perry County, Alabama as a young man. His mother had family members who were established cotton planters in the area. He married Lucinda Wilson Walthall in 1841. Carlisle eventually became a large landholder and also established himself as a cotton factor. In 1858 he decided to build an estate indicative of his family&#39;s Black Belt social standing. He first wrote to Upjohn on 4 May 1858 in a letter that stated "Desiring to build a house, a country residence, and at a loss for a plan, we address you as a well known Architect to ask you to draw us a plan, a rough sketch at first, which we hope may result in a suitable plan."</p><br>
<p>The plans for Kenworthy Hall evolved over the course of the next several months, with the plans continuing to be worked on through correspondence even as the brownstone trim, shipped from New York, began to arrive at the site. Carlisle had difficulty in finding labor skilled enough for such an ambitious house, but he finally found a master mason, Philip Bond, in November 1858 and work then commenced. Bond estimated that the brickwork would be completed by June 1859. The family had moved into the house by 1860.</p><br>
<p>The American Civil War arrived in 1861 and Carlisle continued to have success in his many business ventures. One of his cotton trading firms, Carlisle and Humphries, actually saw profits increase during the Union blockade. His fortunes abruptly changed after the war, however, and his taxable property was valued at less than $20,000. The Kenworthy Hall property itself was valued at only $9000 in 1867. He entered into a business relationship in nearby Selma with his son, Edward Carlisle, Jr., and his son-in-law, Alexander Jones. They went on to found the City National Bank in 1871. Carlisle then died in 1873, leaving the property to his wife, Lucinda, who divided her time between it and a home in Selma. She increasingly used Kenworthy as a summer residence only and gave it to her only surviving child, Augusta Carlisle Jones, in 1899.</p><br>
<p>Lucinda died in 1912 and in 1914 Augusta sold the property. The property went through a series of owners after that and went into a general decline. The house lost both of the original porches during this period. The house had various times that it stood vacant. The house was completely vacant for much of the 1950s and experienced a great deal of vandalism. It was at that time that the plasterwork was mutilated, many marble mantles were broken, and the stained glass destroyed, though it all had been partially documented by the Historic American Buildings Survey in 1934. During these various periods of vacancy the local population began to tell stories of the house being haunted and one of these stories was later recorded by Kathryn Tucker Windham in a short story entitled "The Faithful Vigil at Carlisle Hall," which she printed in her first book of ghost stories, 13 Alabama Ghosts and Jeffrey. The story involves the purported ghost of a young woman in the fourth floor tower room, who awaits the return of her lover.</p><br>
<p>The house and 19 acre was purchased by Karen Klassen of Birmingham for $4000 in 1957 and for the next decade she did what she could to restore the house. In 1967 the Martin family bought the property and spent the next thirty years restoring it. The house was listed on the National Register of Historic Places in 1990 and the Historic American Buildings Survey spent the part of the summer in 1997 preparing drawings and taking new photographs. The Martins both died not long afterwards. The Martin heirs sold the house in 2001 to a new family. The house, along with four surviving ancillary structures, was declared a National Historic Landmark on August 18, 2004.</p><br>
<h2>Description</h2><br>
<p>Kenworthy Hall is closely related to a series of Italian villa style residences that Upjohn designed in the Atlantic Northeast, most notably the Edward King House in Newport, Rhode Island. But in this house Upjohn designed a residence adapted to a hot, humid climate and a plantation lifestyle. The most obvious adaptations were the wide cross hall at the rear of the main entrance hall, the detached kitchen, and the full width rear porch. Edward Carlisle&#39;s correspondence with Upjohn stressed that the house use the finest materials and the best construction. The house is built in brick, including the interior walls. The original standing-seam terne roof survives to the present. Kenworthy Hall features a partial basement, three separate stairways, three large hallways, seven major rooms on the first floor, six major rooms on the second floor, a large attic, a third floor tower room, and a fourth floor tower room. Ancillary structures that contribute to the National Historic Landmark status of the house include the detached two-room brick kitchen, a brick smokehouse, a partially buried brick water cistern, and a brick and wood well house. The house also originally had its own gas plant for gas lighting, though this is now marked only by a brick and brownstone platform.</p><br>
<p>The exterior walls of the house are built from a dull red brick that was locally made. The bricks are laid in a stretcher bond pattern, with belt courses of brownstone above the foundation and at each floor level. The windows on the house, all sixty-four of them, feature brownstone headers and windowsills. Most of them, except for those under the original first floor porches and in the kitchen building, feature round or segmental arches. Brick panels are inserted below the windowsills of the parlor, sitting room, and all twelve of the fourth-floor tower windows. The tower features a bracketed balcony at the second floor level, with a metal canopy roof. This type of balcony was a signature of Upjohn&#39;s Italian villa style. The roof is a low-pitched hipped and truncated structure with wide eaves. The eaves have an overhang of three feet and are decorated by flat wooden brackets. Two skylights, original to the house, are mounted on the flat portion of the roof. The roof also features four brick chimneys, capped with brownstone and serving twelve fireplaces.</p><br>
<p>The original porches, both originally referred to as piazzas, featured multiple arched wooden bays separated and supported by miniature Corinthian columns on pedestals. The front piazza was replaced by a far simpler structure after 1912, the rear one was taken down in the 1940s and was never rebuilt. Some of the components were stored at that time and have survived, with reconstruction contemplated by the current owners. The rear piazza originally connected to the detached kitchen by means of an elevated covered walkway, of a slightly simpler design than the piazzas. The main entrance doors are set into a Serliana brownstone arch. The doors are set under an arched glass fanlight with the sidelights placed in straight-topped transoms to either side. The front of the house also has a "family" entrance to the left of the tower, entered through a small arched loggia. The rear elevation has a centrally placed set of entry doors that enter the building behind the main staircase. The rear of the house also has an exterior service entry that opens into the servant&#39;s hallway and staircase.</p><br>
<p>An extensive use was made in the interior of decoratively carved cabinetry, oak moldings, decorative plasterwork, and one of the Deep South&#39;s first uses of ornamental stained glass. The stained glass is believed to have been produced by an early American ornamental stained glass company, that of Henry Sharp and Company of New York City. It was featured in the arched transom and sidelights of the main doors, as well as the large arched window over the main staircase landing. The glass was destroyed by vandals in the 1950s, as was many of the plasterwork ceiling medallions. The entire house has original 5 in heart pine floors.</p><br>
<p>The ground floor features a 26 ft by 13 ft entrance hall that is joined to form a T-shape with a cross hall at the back measuring 13 feet wide and 27 feet long. The cross hall is centered on the main oak staircase. Both halls employ large ornamental oak arches to visually define the spaces. The parlor is entered from the right side of the entrance hall and has an ornate plasterwork cornice with a central ceiling medallion. It measures roughly 18 by 26 feet. The sitting room is across the hall on the left and measures 18 by 18 feet. The octagonal library is entered from the east end of the cross hall. The library is furnished by a pair of built-in arched bookcases, features an elaborately molded plasterwork cornice, and measures roughly 18 by 22 feet. The dining room is on the opposite end of the cross hall and is the same size as the parlor. Other rooms on this floor include the smoking room, sewing room, a large butler&#39;s pantry and adjacent storage room.</p><br>
<p>In addition to the main staircase, there is a servants hall with its own staircase and an elliptical family staircase just off of the family entrance. The second floor features a central cross hall that corresponds exactly to the one below. Around it are clustered an upstairs sitting room, five bedrooms, and a linen room. The upstairs sitting room has a small adjoining chamber and direct access to the servants staircase. Two of the front bedrooms have large adjoining dressing rooms that are original to the plan. A large trunk room between the upstairs family hall and the two front bedrooms has been converted into a bathroom. The family staircase on this floor continues up to a landing that opens into a former servants room measuring roughly 19 by 19 feet on the third floor of the tower. This landing also has an entrance door into the attic. The fourth floor tower is accessed by a straight flight of stairs located just outside the servants room and the third floor landing. This room measures the same as the servant&#39;s room below and has three arched casement windows on each wall for a total of twelve.</p><br>
<p>The Bearwallow Mountain Lookout Cabins and Shed are located in the Bearwallow Park near Mogollon, New Mexico. Built in 1940 by the Works Progress Administration, they are one of three New Deal-era buildings in the Gila National Forest, which also include the El Caso Lookout Complex and the Mangas Mountain Lookout Complex. In 2006 the buildings were threatened by the Bear Fire, which burned across Bearwallow Mountain.</p><br>
<p>Midtown Corinth Historic District is a historic district in Corinth, Mississippi that was listed on the National Register of Historic Places in 1993. The district then had 229 contributing buildings and one contributing site, as well as 55 non-contributing buildings. The district "is roughly bounded by Cass, Bunch, Washington, Main, Filmore, Linden, Douglas and Cruise Streets".</p><br>
<p>Four buildings within the district were included within the 1991-designated Siege and Battle of Corinth Sites district, a National Historic Landmark. These are:</p><br>
<p>Duncan House, 810 Polk Street,</p><br>
<p>Oak Home, 808 North Fillmore Street, which served as Leonidas Polk&#39;s headquarters during the Battle of Corinth. It is a one-story, post and timber center hall plan cottage with Greek Revival style, built c. 1857 and expanded c. 1930–35.</p><br>
<p>Fish Pond House, 708 Kilpatrick Street, (#6 in accompanying photos), also a one-story, post and timber center hall plan cottage with Greek Revival style, built c. 1857. It has a bullet-like trim motif added c. 1925-30 to its entablature.</p><br>
<p>and Veranda House (a.k.a. "Curlee House"), 705 Jackson Street (#15 in photos).</p><br>
<p>Other notable buildings in the district include:</p><br>
<p>Zachery House, 404 Douglas Street, c. 1905–10, a one-story cottage with elements of Colonial Revival and Queen Anne styles, built ca.</p><br>
<p>1905–10.</p><br>
<p>Taylor House, 1022 North Fillmore Street, (#26 in photos), built c. 1870–75, a center-gable "T-plan cottage with Gothic Revival influence"</p><br>
<p>The Smith Park Architectural District was listed on the National Register of Historic Places in 1976. It covers an "irregular pattern along N. West and N. Congress Sts. between Capitol St. and State Capitol", in Jackson, Mississippi. The district was increased by a boundary increase on</p><br>
<p>October 29, 1993 which added 225 E. Capitol St., a building built in 1928 that was designed by architect C.H. Lindsley. It was again increased in 2014, including the entire 200 block of East Capitol Street. The centerpieces of the district are Smith Park, the only public square designated when Jackson was platted out in 1822, and the Mississippi Governor&#39;s Mansion, which stands facing the park.</p><br>
