Pennsylvania at the Jamestown Exposition, Hampton Roads, Va., 1907 (Classic Reprint)


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Excerpt from Pennsylvania at the Jamestown Exposition, Hampton Roads, Va., 1907 At this time It was tentatively decided that, in accord ance with the historical character of the Exposition in gen eral, and the purpose which had been indicated by other States to reproduce, as far as possible, some historical structure as their State buildings, Independence Hall Should be the model for Pennsylvania. The suggestion met with practically unanimous acceptance and was received with enthusiasm by the Exposition managers themselves. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.







Antiquarian Bookman


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Negro Building


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Focusing on Black Americans' participation in world’s fairs, Emancipation expositions, and early Black grassroots museums, Negro Building traces the evolution of Black public history from the Civil War through the civil rights movement of the 1960s. Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W. E. B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the Black cities of Chicago and Detroit became the sites of major Black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.







Lost Virginia


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Literally hundreds of Virginia buildings of architectural or historical interest have vanished. Most were demolished or burned, while others were abandoned as populations and needs shifted. The consequence is that important models of architectural accomplishment and key symbols of human aspiration and achievement have disappeared and are largely forgotten. Lost Virginia is an effort to document and reconstruct the appearance of Virginia architecture in earlier times, when the nation's destiny and history were intimately tied to the Old Dominion's landscape and buildings. It seeks to recover, at least on paper, an impression of our lost architectural heritage. Organized into categories of domestic, civic, religious, and commercial buildings, the more than three hundred vanished structures illustrated within include slave pens in Alexandria, George Washington's singular sixteen-sided barn, a one-room schoolhouse in Greene County, and the 18th-century Valley homes--long mistaken for forts--of German-speaking settlers. Soldiers in both blue and gray tramped by the now-lost Rockingham County courthouse, and a cathedral-like federal post office in Roanoke joins Rockbridge County's fantastic Alleghany Hotel on the list of exceptional but short-lived buildings. Also documented are creations like Frank Lloyd Wright's Larkin Company Pavilion, destroyed just months after it had been erected for the Jamestown Tercentennial Exhibition, and the Thomas Jefferson-designed Barboursville in Orange County. --jacket.




Fair America


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Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias of civilization,” the expositions impressed tens of millions of fairgoers with model environments and utopian visions. Setting more than 30 world’s fairs from 1853 to 1984 in their historical context, the authors show that the expositions reflected and influenced not only the ideals but also the cultural tensions of their times. As mainstays rather than mere ornaments of American life, world’s fairs created national support for such issues as the social reunification of North and South after the Civil War, U.S. imperial expansion at the turn of the 20th-century, consumer optimism during the Great Depression, and the essential unity of humankind in a nuclear age.