Excerpt from Illustrated Centennial Sketches, Map and Directory of Union County, Iowa In presenting the Centennial Sketehes, Map and Directory of Union County to the subscribers, we desire to express our appreciation of your good will, co-operation and patronage. The work was undertaken in the belief that such a publication, carefully compiled, was demanded by the citizens of the county, and our later experience has shown our judgment well founded. The topographical part of the work has been carefully, and, we believe, thoroughly performed; and, as a precaution, after the tracings were ready for the engraver's hands, we submitted them to the careful inspection of well-posted residents of the several townships for final correction, before giving them to the lithographer. In this part of the work we have spared neither time nor expense, that we might offer you a correct map of the county. In the sketches of the early history, we have gathered facts and figures from a large number of the old settlers, and, so far as possible, have sought to reconcile occurrences, dates and circumstances, so that all might harmonize. Laying no claims to the qualifications of an author, we have sought to place in a permanent form scraps of early history, which, with the death of the present generation, unless preserved, would be irrecoverably lost. We have invited facts and incidents from a large number of old residents; some have not seen fit to furnish us with the data in their possession, while many others have lent us every assistance in their power; to one and all we extend our hearty acknowledgments for favors received. The Directory is as complete as it is possible to make it, considering the transient character of the inhabitants of some portions of the county. The digest of laws of the State, tabular statements of county growth, personal sketches, and the various other features of the work, we trust, may be found interesting and profitable. A larger number of engravings might have been inserted, but the stringency of the times deterred many from making investments in that direction. We desire especially to express our obligations for information and favors to II. A. Botleman, County Auditor; B. F. Martz, Recorder; Samuel Riggs, J. S. Lytle, J. H. Lemon, G. A. Ide, J. A. White, R. J. McKee, Rev. John Clough, R. C. Carter, W. T. Cornwall, A. C. Cooper, Mrs. Benj. Lamb and family, I. K. White, L. J. Williamson, J. S. Lorimor, William Groesbeck, Henry Groesbeck, Ira Seeley, T. M. Robinson, J. F. Bishop, Geo. W. Emerson, J. D. Spaulding, Dr. J. A. Day, and many others, who will ever have our gratitude and best wishes. 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.

A Lost Lady is a novel by American author Willa Cather, first published in 1923. It centers on Marian Forrester, her husband Captain Daniel Forrester, and their lives in the small western town of Sweet Water, along the Transcontinental Railroad. However, it is mostly told from the perspective of a young man named Niel Herbert, as he observes the decline of both Marian and the West itself, as it shifts from a place of pioneering spirit to one of corporate exploitation. Exploring themes of social class, money, and the march of progress, A Lost Lady was praised for its vivid use of symbolism and setting, and is considered to be a major influence on the works of F. Scott Fitzgerald. It has been adapted to film twice, with a film adaptation being released in 1924, followed by a looser adaptation in 1934, starring Barbara Stanwyck. A Lost Lady begins in the small railroad town of Sweet Water, on the undeveloped Western plains. The most prominent family in the town is the Forresters, and Marian Forrester is known for her hospitality and kindness. The railroad executives frequently stop by her house and enjoy the food and comfort she offers while there on business. A young boy, Niel Herbert, frequently plays on the Forrester estate with his friend. One day, an older boy named Ivy Peters arrives, and shoots a woodpecker out of a tree. He then blinds the bird and laughs as it flies around helplessly. Niel pities the bird and tries to climb the tree to put it out of its misery, but while climbing he slips, and breaks his arm in the fall, as well as knocking himself unconscious. Ivy takes him to the Forrester house where Marian looks after him. When Niel wakes up, he's amazed by the nice house and how sweet Marian smells. He doesn't't see her much after that, but several years later he and his uncle, Judge Pommeroy, are invited to the Forrester house for dinner. There he meets Ellinger, who he will later learn is Mrs. Forrester's lover, and Constance, a young girl his age.

By the middle of the nineteenth century, the most common method of photography was the daguerreotype—Louis Jacques Mandé Daguerre’s miraculous invention that captured in a camera visual images on a highly polished silver surface through exposure to light. In this book are presented nearly eighty masterpieces—many never previously published—from the J. Paul Getty Museum’s extensive daguerreotype collection.

In Every Root an Anchor, writer and arborist R. Bruce Allison celebrates Wisconsin's most significant, unusual, and historic trees. More than one hundred tales introduce us to trees across the state, some remarkable for their size or age, others for their intriguing histories. From magnificent elms to beloved pines to Frank Lloyd Wright's oaks, these trees are woven into our history, contributing to our sense of place. They are anchors for time-honored customs, manifestations of our ideals, and reminders of our lives' most significant events. For this updated edition, Allison revisits the trees' histories and tells us which of these unique landmarks are still standing. He sets forth an environmental message as well, reminding us to recognize our connectedness to trees and to manage our tree resources wisely. As early Wisconsin conservationist Increase Lapham said, "Tree histories increase our love of home and improve our hearts. They deserve to be told and remembered."

For the past three decades, many history professors have allowed their biases to distort the way America’s past is taught. These intellectuals have searched for instances of racism, sexism, and bigotry in our history while downplaying the greatness of America’s patriots and the achievements of “dead white men.” As a result, more emphasis is placed on Harriet Tubman than on George Washington; more about the internment of Japanese Americans during World War II than about D-Day or Iwo Jima; more on the dangers we faced from Joseph McCarthy than those we faced from Josef Stalin. A Patriot’s History of the United States corrects those doctrinaire biases. In this groundbreaking book, America’s discovery, founding, and development are reexamined with an appreciation for the elements of public virtue, personal liberty, and private property that make this nation uniquely successful. This book offers a long-overdue acknowledgment of America’s true and proud history.

Over the concluding decades of the twentieth century, the historic preservation community increasingly turned its attention to modern buildings, including bungalows from the 1930s, gas stations and diners from the 1940s, and office buildings and architectural homes from the 1950s. Conservation efforts, however, were often hampered by a lack of technical information about the products used in these structures, and to fill this gap Twentieth-Century Building Materials was developed by the U.S. Department of the Interior’s National Park Service and first published in 1995. Now, this invaluable guide is being reissued—with a new preface by the book’s original editor. With more than 250 illustrations, including a full-color photographic essay, the volume remains an indispensable reference on the history and conservation of modern building materials. Thirty-seven essays written by leading experts offer insights into the history, manufacturing processes, and uses of a wide range of materials, including glass block, aluminum, plywood, linoleum, and gypsum board. Readers will also learn about how these materials perform over time and discover valuable conservation and repair techniques. Bibliographies and sources for further research complete the volume. The book is intended for a wide range of conservation professionals including architects, engineers, conservators, and material scientists engaged in the conservation of modern buildings, as well as scholars in related disciplines.