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From the 1890s through the 1920s, the postcard was an extraordinarily popular means of communication, and many of the postcards produced during this golden age can today be considered works of art. Postcard photographers traveled the length and breadth of the nation snapping photographs of busy street scenes, documenting local landmarks, and assembling crowds of local children only too happy to pose for a picture. These images, printed as postcards and sold in general stores across the country, survive as telling reminders of an important era in Americas history. This fascinating new history of Philadelphia at the turn of the century showcases more than two hundred of the best postcards available.
Independence Hall and the Liberty Bell, two of America's most revered symbols of freedom, date back to the British rule of the American colonies. The main structure of Independence Hall was completed in 1732, and the final casting of the Liberty Bell was completed in 1753. Visited by over two million people yearly, these historic icons have been used as backdrops for many political and social demonstrations and speeches. Filled with images from the archives of Independence National Historical Park, Philadelphia Department of Records, and collections from around the country, Independence Hall and the Liberty Bell illustrates how these two historic relics generate a sense of pride and patriotism set forth by the signing of the Declaration of Independence on July 4, 1776.
Philadelphia, as laid out in the 1680s, extended from the Delaware River to the Schuylkill River and from Vine Street to South Street, an area known today as Center City. As its population grew, the settled areas expanded westward from the Delaware River beyond early important landmarks such as Christ Church, the Pennsylvania State House, and Pennsylvania Hospital. By the mid-19th century, commercial, religious, and cultural institutions arose along Broad Street, and exclusive residential neighborhoods developed even farther west in areas previously undeveloped or used as industrial sites. Bustling shopping districts anchored by stores such as Wanamaker's Grand Depot and Strawbridge and Clothier ran for blocks along Chestnut and Market Streets. Center City Philadelphia in the 19th Century highlights the buildings, people, and activities of this area from the 1840s until the end of the century.
The Benjamin Franklin Parkway has sliced through the Logan Square neighborhood of Center City (downtown) Philadelphia since World War I. Named after Philadelphia's favorite son, the mile-long boulevard begins at city hall and heads diagonally towards Logan Circle before reaching the Philadelphia Museum of Art. The postcards and other images in this work show the parkway's development and its role in Philadelphia's civic and cultural life. Despite often serving as a speedway into and out of town, the Ben Franklin Parkway is a triumph in urban planning that has become a treasured part of the City of Brotherly Love.
In these days of an aging traditional audience, shrinking attendance, tightened budgets, increased competition, and exponential growth in new types of communication methods, America’s house museums need to take bold steps and expand their overall purpose beyond those of the traditional museum. They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. This book is a groundbreaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation. It draws inspiration from film, theater, public art, and urban design to transform historic house museums while providing a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter’s authenticity. Anarchist's Guide to Historic House Museums offers a wry, but informed, rule-breaking perspective from authors with years of experience and gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.
There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.
Independence Hall is a place Americans think they know well. Within its walls the Continental Congress declared independence in 1776, and in 1787 the Founding Fathers drafted the U.S. Constitution there. Painstakingly restored to evoke these momentous events, the building appears to have passed through time unscathed, from the heady days of the American Revolution to today. But Independence Hall is more than a symbol of the young nation. Beyond this, according to Charlene Mires, it has a long and varied history of changing uses in an urban environment, almost all of which have been forgotten. In Independence Hall, Mires rediscovers and chronicles the lost history of Independence Hall, in the process exploring the shifting perceptions of this most important building in America's popular imagination. According to Mires, the significance of Independence Hall cannot be fully appreciated without assessing the full range of political, cultural, and social history that has swirled about it for nearly three centuries. During its existence, it has functioned as a civic and cultural center, a political arena and courtroom, and a magnet for public celebrations and demonstrations. Artists such as Thomas Sully frequented Independence Square when Philadelphia served as the nation's capital during the 1790s, and portraitist Charles Willson Peale merged the arts, sciences, and public interest when he transformed a portion of the hall into a center for natural science in 1802. In the 1850s, hearings for accused fugitive slaves who faced the loss of freedom were held, ironically, in this famous birthplace of American independence. Over the years Philadelphians have used the old state house and its public square in a multitude of ways that have transformed it into an arena of conflict: labor grievances have echoed regularly in Independence Square since the 1830s, while civil rights protesters exercised their right to free speech in the turbulent 1960s. As much as the Founding Fathers, these people and events illuminate the building's significance as a cultural symbol.
This book is the first to trace the fortunes of the earliest large free black community in the U.S. Nash shows how black Philadelphians struggled to shape a family life, gain occupational competence, organize churches, establish social networks, advance cultural institutions, educate their children, and train leaders who would help abolish slavery.
This book is a work of political archaeology. It focuses on the people and events at a particular colonial farm in Germantown, Pennsylvania; their stories provide a micro and macro view of economic, social, demographic, and agro-ecological change. Cresheim Farm shows how one mostly unknown but strategically placed piece of land—home to an extraordinary array of people, including early anti-slavery and anti-Nazi activists, the first woman editor of the Saturday Evening Post and a robber baron—can tell, affect and reflect the history of a nation. The writing is historically grounded and academic, future-oriented, deeply researched, and immediate. Cresheim Farm serves as a lens through which to observe and understand social forces, such as the launching point of freedom and democracy movements, white privilege, slavery, and genocidal westward expansion. The past lives on in all of us.