This historic structure report (HSR) was produced by the Historic Architecture Program (HAP) of the National Park Service's Northeast Regional Office, in order to document the development and use of the Elisha Jones House and Shed at Minute Man National Historical Park (NHP). The role of the HSR was to document the original construction, as well as known changes to the structures, and therefore record the evolution of the building. The HSR provides a written description and photographic documentation of the current physical appearance of the Elisha Jones House and Shed. Finally the HSR documents the "character- defining features" of the structure, and provides treatment recommendations for the preservation and maintenance of the Elisha Jones House and Shed.

This historic structure report as part of our ongoing effort to provide comprehensive documentation for the historic structures and landscapes of National Park Service units in the Southeast Region. This study of the Old Fort Rosalie Gift Shop will prove valuable to park management in ongoing efforts to preserve the building and to everyone in understanding and interpreting this unique resource.

A trip to Death Valley to make a field study of the charcoal kilns, and for related purposes, was made February 24 - March 1, 1970, by Architect Robert V. Simmonds and Chief, History and Historic architecture, Merrill J. Mattes, both of Western Service Center (WSC).

This bulletin is designed to help preparers properly select, define, and document boundaries for National Register listings and determinations of eligibility.

The purpose of this cultural landscape report is to thoroughly examine and document the physical development of the thirty-acre portion of the Charlestown Navy Yard that is owned and managed by the National Park Service. The report describes the evolution of the landscape from its establishment as a navy yard in 1800 until its closure in 1974 as well as changes during the period of National Park Service (NPS) management from 1974 to present. This site history is followed by a description of the current condition of the property and an analysis of historical significance and integrity. This includes an evaluation of the yard's historic and contemporary landscape characteristics, such as changes in spatial organization, circulation, and vegetation. With an understanding of the historical fabric, the report then presents treatment issues and recommendations related to security, accessibility, paved surfaces, trees, lawn areas, lighting, and other site features.

A Poet, On Park Hill? Outside the Box. A colour edition of the popular auto biographical book about the life and experiences of a real resident on the infamous flats including a brand new section starting from after the original publication until leaving the estate to better things. What's it like to be one of the people who live on those grim looking concrete creations from the mid 20th century? Ever wondered what sort of person may be up there, looking from their window wondering what sort of person you are? Well, this is a unique insight into the mind of a long term resident of the Sheffield Park Hill estate in the last stages of its original life before the grand regeneration. Stories, facts and photographs alongside varied poetry inspired by Park Hill, this tells a story of one of the many who called these flats home, and proud to do so

Which memorial's unveiling were the public barred from, so that no disruption could be caused by suffragettes? Why is a Danish prisoner of war remembered in Reading? Who was Goldwin Smith, whose birthplace is marked by a plaque on Friar Street? Did the sculptor responsible for the lion in the Forbury really commit suicide because of it? How many times did Queen Victoria visit Reading, and did she like her statue? The stories behind Reading's memorials bring the people and events of Reading's past to life. This book describes aspects of the town's history by considering some of its - often not well known - plaques, statues and monuments. Even the better known memorials have secrets to yield in the tales of their origins. With descriptions of where the memorials can be found, along with photographs to help identification, the book reveals vivid glimpses of life in Victorian Reading, and reminds us of the physical, as well as social legacy, our forebears left behind them.

In Grateful Memory Of The Soldiers And Sailors Of That Town Who Served In The War For The Preservation Of The Union.

Over 60 images relating to the U.S. Capitol building can be found in this full-color paperback. Part of Applewood's Pictorial America series, the book features images drawn from historical sources and includes prints, paintings, illustrations, and photographs. This small gem is the ideal gift for anyone interested in a concise and compelling visual history of the of one of the most important landmarks in our nation's heritage.

In Grateful Memory Of The Soldiers And Sailors Of That Town Who Served In The War For The Preservation Of The Union.

The role of cultural memory in American identity Terrorism in American Memory argues that the terrorist attacks of 9/11 and all that followed in its wake were the primary force shaping United States politics and culture in the post-9/11 era. Marita Sturken maintains that during the past two decades, when the country was subjected to terrorist attacks and promulgated ongoing wars of aggression, we have veered into increasingly polarized factions and been extraordinarily preoccupied with memorialization and the politics of memory. The post-9/11 era began with a hunger for memorialization and it ended with massive protests over police brutality that demanded the destruction of historical monuments honoring racist historical figures. Sturken argues that memory is both the battleground and the site for negotiations of national identity because it is a field through which the past is experienced in the present. The paradox of these last two decades is that it gave rise to an era of intensely nationalistic politics in response to global terrorism at the same time that it released the containment of the ghosts of terrorism embedded within US history. And within that disruption, new stories emerged, new memories were unearthed, and the story of the nation is being rewritten. For these reasons, this book argues that the post-9/11 era has come to an end, and we are now in a new still undefined era with new priorities and national demands. An era preoccupied with memory thus begins with the memorial projects of 9/11 and ends with the radical intervention of the National Memorial for Peace and Justice, informally known as the Lynching Memorial, in Montgomery, Alabama, a project that, unlike the nationalistic 9/11 Memorial and Museum in New York, dramatically rewrites the national script of American history. Woven within analyses of memorialization, memorials, memory museums, art projects on memory, and architectural projects is a discussion about design and architecture, the increased creation of memorials as experiences, and the role of architecture as national symbolism and renewal. Terrorism in American Memory sheds light on the struggles over who is memorialized, who is forgotten, and what that politics of memory reveals about the United States as an imaginary and a nation.

Memorialisation and the Cornish Funeral Monument Industry 1497-1660 presents an extensive appraisal of several cohesive style groups of monuments, being the products of specific monument workshops in Cornwall, SW England, from the end of the fifteenth century to the Commonwealth. People used memorials to make statements. By examining every Cornish monument from 1497 to 1660uthe good, the unprepossessing, and the downright baduit is only then, with this mass of information, that one can truly contextualise motivations across the social spectrum and comprehend the contemporary meaning of the monuments to the countyAes inhabitants. These statements provide direct contemporary evidence as regards the identity of the commemorateduespecially their Cornishnessuand crucially how they sensed their identity then, rather than how we judge it now. In this work the tombs themselves are described, their iconography, design sources and sculptural perspectives are explored, and the motives of the patrons are deduced. The author goes on to discuss the methods and motives of Cornish memorialisation, identifying an unusualu if not uniqueusustained surge in monument commissions from Cornish workshops towards the end of the sixteenth century, using slate. The overall context of individual commemoration in Cornwall is analysed using wills and probate accounts as a guide to other means of remembrance, both pre- and post-Reformation, building on the motivations for tomb erection. This paradigm of Cornish memorialisation is compared with trends in Kilkenny, Ireland, and Finistere, France, to open up a matrix of memorialisation in the Celtic / Atlantic periphery. One of the discourses of a tomb which is frequently overlooked is its location in the church itself, therefore the author analyses monument positions to reveal how factors such as lineage status, and monumental continuity, affected the positioning of tombs. In the Appendices, the database of Cornish monuments acts as a reference tool to the arguments in the text of this book. The monuments of Kilkenny and Finistere are similarly itemised, together with analyses of masonsAe and helliersAe probate documents, wider sets of Cornish wills, and lists of individually priced burial locations in St Neot and Liskeard. Numerous illustrations of the monuments themselves are also presented, most of which have never been pictured before.

View the Table of Contents. Read the Introduction.

a[Duranteas] guidebook is a perfect walking-tour accompaniment to help New Yorkers and visitors find, identify and better appreciate statues famous and obscure (honoring, among others, the afather of gynecologya and the general who had an unremarkable military and business career but composed taps, the bugle call). . . . Durante winsomely places 54 monuments in historical and artistic perspective. We learn that a trumpet is an allegory for announcing fame, that the monument to Admiral Farragut in Madison Square Park altered the course of American sculpture, that the figure with the winged hat atop Grand Central Terminal is Mercury and that the statue of Atlas at Rockefeller Center was reviled when it was unveiled in 1937 because it supposedly resembled Mussolini. Letas hope Ms. Durante follows up in the other four boroughs.a
--"The New York Times"

aOutdoor Monuments of Manhattan is a primer on getting to know our city's monuments. . . . Each entry has a uniform structure. It contains a photo, vital stats (year dedicated, size, materials), an aAbout the Sculpturea section, and an aAbout the Subjecta section, as well as a carefully chosen boxed quotation culled from an old book or newspaper that pertains to the subject. . . . Outdoor Monuments of Manhattan is well written, well researched, well thought-out, funny, and often refreshingly original, and will help any interested New Yorker know about the wondrous monuments that dot the city.a
--"New York Sun"

aAnyone whose curiosity has ever been piqued by the peculiar mixture of historical statues that ornament the grounds of Central Park will find Outdoor Monuments byDianne Durante a satisfying read. . . . The entries provide background on each workas origin, explaining, for example, how a statue of the medieval Polish king Jagiello came to be in New York alongside more predictable allegorical and American patriotic figures. A brief history of the subject is also provided, including enough lively anecdotes and obscure facts to entice all readers.a
--"Sculpture Magazine"

a[Durante] tackles her task in the manner of a walking tour. . . . The language of the book is friendly and chatty, as if the author were in front of you, conducting an on-site lecture. . . . The purpose of the book is to encourage people to go and see the wealth of outdoor sculpture in Manhattan, and the book treats this purpose with the enthusiasm the subjects deserve.a
--"The Art Book"

Stop, look, and discover--the streets and parks of Manhattan are filled with beautiful historic monuments that will entertain, stimulate, and inspire you. Among the 54 monuments in this volume are major figures in American history: Washington, Lincoln, Lafayette, Horace Greeley, and Gertrude Stein; more obscure figures: Daniel Butterfield, J. Marion Sims, and King Jagiello; as well as the icons of New York: Atlas, Prometheus, and the Firemen's Memorial. The monuments represent the work of some of America's best sculptors: Augustus Saint Gaudens' Farragut and Sherman, Daniel Chester French's Four Continents, and Anna Hyatt Huntington's Jose Marti and Joan of Arc.

Each monument, illustrated with black-and-white photographs, is located on a map of Manhattan and includes easy-to-follow directions. All the sculptures are considered both as historical mementos and as art. We learn offurious General Sherman court-martialing a civilian journalist, and also of exasperated Saint Gaudens' proposing a hook-and-spring device for improving his assistants' artistic acuity as they help model Sherman. We discover how Lincoln dealt with a vociferous Confederate politician from Ohio, and why the Lincoln in Union Square doesn't rank as a top-notch Lincoln portrait. Sidebars reveal other aspects of the figure or event commemorated, using personal quotes, poems, excerpts from nineteenth-century periodicals ("New York Times," "Harper's Weekly"), and writers ranging from Aeschylus, Washington Irving, and Frederic-Auguste Bartholdi to Mark Twain and Henryk Sienkiewicz.

As a historical account, Outdoor Monuments of Manhattan: A Historical Guide is a fascinating look at figures and events that changed New York, the United States and the world. As an aesthetic handbook it provides a compact method for studying sculpture, inspired by Ayn Rand's writings on art. For residents and tourists, and historians and students, who want to spend more time viewing and appreciating sculpture and New York history, this is the start of a unique voyage of discovery.

The twentieth century was the most destructive in human history, but from its vast landscapes of ruins was born a new architectural type: the cultural monument. In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts, but also to make them worthy of protection from more quotidian forms of destruction. This movement was motivated by hopeful idealism as much as by a pragmatic belief in bureaucracy. An evolving group--including architects, intellectuals, art historians, archaeologists, curators, and lawyers--grew out of the new diplomacy of the League of Nations. During and after World War II, it became affiliated with the Allied Military Government, and was eventually absorbed by the UN as UNESCO. By the 1970s, this organization had begun granting World Heritage status to a global register of significant sites--from buildings to bridges, shrines to city centers, ruins to colossi. Examining key episodes in the history of this preservation effort--including projects for the Parthenon, for the Cathedral of St-L , the temples of Abu Simbel, and the Bamyian Buddahs --Lucia Allais demonstrates how the group deployed the notion of culture to shape architectural sites, and how architecture in turn shaped the very idea of global culture. More than the story of an emergent canon, Designs of Destruction emphasizes how the technical project of ensuring various buildings' longevity jolted preservation into establishing a transnational set of codes, values, practices. Yet as entire nations' monumental geographies became part of survival plans, Allais also shows, this paradoxically helped integrate technologies of destruction--from bombs to bulldozers--into cultural governance. Thus Designs of Destruction not only offers a fascinating narrative of cultural diplomacy, based on extensive archival findings; it also contributes an important new chapter in the intellectual history of modernity by showing the manifold ways architectural form is charged with concretizing abstract ideas and ideals, even in its destruction.

this study documents current and historical conditions of HS-11's interior configurations and finishes. Investigation for this study was conducted by Kingston Heath (principle investigator), Fred Walters (co-investigator), and Aaron Lemchen (graduate student) with Alison K. Hoagland consulting during the period of September 2004 through August 2005. This study is divided into three major parts. The first part consists of the presentation of the HS-11's history and its historic context. The second part consists of gathering new physical evidence from the building itself. The third part of the study will be the evaluation, analysis and conclusions based upon data provided by the previous two parts.

In tracing the process through which monuments give rise to collective memories, this path-breaking book emphasizes that memorials are not just inert and amnesiac spaces upon which individuals may graft their ever-shifting memories. To the contrary, the materiality of monuments can be seen to elicit a particular collective mode of remembering which shapes the consumption of the past as a shared cultural form of memory. In a variety of disciplines over the past decade, attention has moved away from the oral tradition of memory to the interplay between social remembering and object worlds. But research is very sketchy in this area and the materiality of monuments has tended to be ignored within anthropological literature, compared to the amount of attention given to commemorative practice. Art and architectural history, on the other hand, have been much interested in memorial representation through objects, but have paid scant attention to issues of social memory. Cross-cultural and interdisciplinary in scope, this book fills this gap and addresses topics ranging from material objects to physical space; from the contemporary to the historical; and from 'high art' to memorials outside the category of art altogether. In so doing, it represents a significant contribution to an emerging field.

A comprehensive guide to the individual churches, catacombs, embellishments and artefacts of Early Christian Rome. The author describes precisely where the extant features are situated and provides details on what can be seen. The ground plans of each site studies allows the reader to compare the proportions of each church with another.;From the 1st-century visits of the Apostles Peter and Paul to the end of the 9th-century Carolingian Renaissance, the book also includes dates of emperors and popes, and important historical events relating to this period in Rome. A historical introduction places the monuments in the context of the Early Christian period and its development in Rome.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.